Revisit abandoned spiritual practices; you may be surprised

Not long ago, I played my clarinet in a concert. It was the first performance I’ve been in for over 30 years. I used to play a long time ago, and although I never got very good, I stuck with it as long as there was a group to keep me going. It always made me a little sad to come across my old, broken-down instrument and wish I could be in a band again. So this past Christmas, my husband bought me a new clarinet, and my daughter spotted an ad for a community band, and away I went.

And guess what? I’ve gotten better. Not a lot, but unmistakably, I’m a better player than I was 30 years ago. This is somewhat counterintuitive, because, at age 48, my fingers ache in a way they did not when I was a teenager, and my lung capacity is certainly worse. I now need reading glasses to see the notes, and sometimes I still can’t see the measure numbers without sticking my face right in the page.

But my sight reading is much faster than it was, and my posture is better, too. My musical sense in general has matured. And there are more subtle things: I don’t get my feelings hurt when I’m stuck playing the harmony, rather than the melody; I’m patient with my own mistakes, and just try again, rather than getting frustrated and embarrassed and giving up.

I find it easier to listen to the director and accept that she knows what she’s talking about, rather than rolling my eyes because she’s bossy. I’m better at listening to the band as a whole, and trying to play my part as it’s written, rather than impress anyone. I also try my best to play all the music well, even if it’s not my favorite, because I’m just not as bratty as I used to be. These are things that I’ve learned to do in the last few decades, even while never so much as touching a clarinet. So now I’m a better musician.

The clarinet is not the only old hobby I’ve revisited recently, and it’s not the only thing I’ve discovered I’ve gotten better at, simply by taking several decades off and growing up a bit.

A few examples: I used to be the world’s worst baker. My biscuits were dense, my cakes were crooked and flat, my cookies were rubbery and always burnt. I could make cornbread, because it was almost impossible to do it wrong, but pretty much everything else was garbage. I resorted to mixes and store bought baked goods for decades. But then slowly, gradually, I recently started to experiment with baking some simple things from scratch— french bread, basic cakes—and guess what? I can bake fine. I’m no expert, but I’m completely competent, and the things I bake usually look like the picture on the recipe page.

How did this happen? For one thing, I’ve gotten better at assessing which recipes are going to be suitable for my skill level, and only attempting trickier ones when I know I will have the time and energy to focus on them. In the past, I would have approached an outrageously difficult recipe with the attitude of “but I WANT to” and then predictably ruined it, and then gotten angry and disgusted, and then had my confidence shattered for next time, making it harder to do well with a recipe that really was within my grasp.  I’ve also just gotten my competent in the kitchen in general. I’ve spent countless hours cooking, and many of those skills translate to baking—and the confidence and sense of self-worth absolutely translate. I don’t get flustered and distracted as easily, and if I make a mistake, I don’t automatically panic and make things worse. Some of my terrible baking was, I’ve discovered, due to me straight up refusing to follow recipes because I thought I knew better, based on zero evidence, for no reason at all. Now I know better. So now I’m a better baker!

The same thing happened with drawing. I used to desperately, achingly long to be an artist, but I hit a plateau in my rendering skills, and it became a miserable exercise because what I drew never looked anything like what I imagined in my head. Now, I can choose a subject, get an idea of what I would like it to look like, and render it pretty faithfully in a reasonable amount of time. Not every time, but fairly reliably. I haven’t had any lessons in the intervening years.

What has changed is that I’ve calmed the heck down. I have reasonable expectations, and I no longer feel like my whole identity is riding on what turns up on the page. I also don’t draw to impress anyone, but simply because I enjoy the process, and therefore focus better on the process. And that often makes for better work.

There are other examples, but you get the point.

Guess what? You can do this with spiritual exercises, as well: You can revisit long-since abandoned spiritual practices that you gave up because they weren’t working for you, or you didn’t like them, or they didn’t fit into your life, and see if they might work better for you now. Sometimes you just need to grow up a bit, and that makes a big difference.

Is there some saint that everyone loves, and they never really clicked with you? Maybe they’re not the saint for you—or maybe they were simply not the saint for younger you. Might be worthwhile taking another look and seeing if there’s more there than you realized. If not, that’s okay, too. But if it’s been a decade or more, chances are you’ll have changed so much, it will hit different this time around.

Maybe the rosary always felt like a terrible, pointless slog when you were younger, and you very reasonably set it aside, because it just wasn’t meaningful, and some other form of prayer was. But if you’re once again casting around for something to help anchor you to Christ, don’t be afraid to go back and try old things again. Relationships change, and prayer is about your relationship with God, so maybe it will strike a chord now.

The same goes for any spiritual practice that is licit, but just wasn’t working for you a long time ago. Things can change! People are supposed to change. If you let something go because it was hurting you, or because it’s associated with some trauma, that’s a different matter; but if you simply didn’t get much out of it, or it felt like you weren’t getting the hang of it, maybe give it another shot. Maybe you’re ready now.

One of the great things about the Catholic faith is that it’s so varied. There are countless ways to make and keep and renew contact with God. What works for one person may not work for another person, and that’s perfectly fine, because there are very many options out there.

But it’s also good to remember that what didn’t work for you once may work for you now. It’s thrilling and illuminating to find something new, but it’s even more gladdening to discover that something that once felt stiff and unnatural is now fruitful and profound, because you now have more capacity to appreciate and understand and receive it. This is part of what it means to grow spiritually: Discovering not only more about who God is, but who you are.

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A version of this essay was originally published at The Catholic Weekly in May of 2023.

Image by Reuven Hayoon from Pixabay 

Failing harder, drawing better

Over spring vacation, we did a family screen detox. We all just spend too much time staring at screens, sometimes more than one screen at once, ugh, and we all needed to back way the heck off and re-learn how to do other things with our time and minds and attention. The kids astutely pointed out that actual detox in real life doesn’t even work, to which we astutely responded, “Too bad; we’re doing it anyway.”

So we did, and it was good. We spent a lot of time together, we read and crafted more, and I absolutely did not miss the bleak numbness that comes with constant, obsessive doom scrolling. One kid, who formerly spent most of his free time drawing and animating on his tablet, pulled out his old sketch pads and started drawing with pencils and ink again. He’s quite good, and I love seeing him draw either way, but I was excited to see the return of the paper and pencil. I asked him how that went.

He said that it was hard, but good. He described what a different sensation it is to feel the texture of the paper under the tool, rather than to work directly with your fingertip on a screen. He said he’d like to develop both skills, because they’re each useful and valuable in their own ways.

Then he said something I hadn’t thought of: That drawing on paper was scarier, because you can’t just disappear your mistakes. When you make a mistake on a tablet, you can just tap it twice (or whatever; I forget exactly what the gesture is) and you revert back to the previous version. But on paper, you can either try to erase a mistake, or you can try to work with it, but you can’t just make it like it never happened.

Here’s the part that got my attention … Read the rest of my latest for The Catholic Weekly. 

Photo by Andrey Novik on Unsplash

Introducing WITHDRAW2020: A daily art challenge for COVID-19

Welp, looks like we’re sticking close to home for two weeks at least. We’re not quarantined, but we feel a strong obligation to help flatten the curve, so we’re doing school at home (including the college kids), making a spiritual communion rather than going to Mass, and cancelling all the appointments, social events, and trips we possibly can. 

Seems like a great time to get back to daily drawing. Let’s draw something every day and share it with each other. Introducing #withdraw2020! Withdraw, but draw with, get it? Take that, social distancing! Thanks to the brilliant Rebecca Sachiko Burton for the title pun.

Here are the WITHDRAW2020 rules:

1. Draw something every day.
2. Use the daily prompts (literally or as inspiration), or just draw whatever you want. 
3. Any medium is fine, as long as it’s your own work.
4. Share it on social media and tag it #withdraw2020.

That’s it! As you shall see when you see my stuff, you don’t have to be an accomplished artist. If you miss a day, just pick up the next day. 

Here are the daily prompts. They are COVID19-themed, but I tried to choose words that are open-ended, so you can go in whatever direction you like. Or of course draw anything else that strikes your fancy.

This is four week’s worth of prompts, just in case. 

  1. home
  2. wash
  3. mask
  4. distance
  5. patient
  6. curve
  7. beans
  8. hoard
  9. sing
  10. calm
  11. fever
  12. spread
  13. soap
  14. gouge
  15. neighbor
  16. toilet paper
  17. retreat
  18. alcohol
  19. bored
  20. separate
  21. catching
  22. test
  23. clean
  24. flatten
  25. breathe
  26. swab
  27. hands
  28. share

I’ll share mine on Instagram and on my Facebook pages:
facebook.com/simcha.fisher
facebook.com/SimchaJFisher/
https://www.instagram.com/simchafisher/

and my kids, who are far better artists than me, are
instagram.com/clarascuro/ (who made the graphic)
instagram.com/bubblegumscout/

I’m also sorta on Tumblr but I always forget I am: simchafisher.tumblr.com/
and I’ll probably post a few reminders on this site. 

Feel free to share your instagram or Facebook handles in the comments so we can follow each other! I know that’s not how social media works, but I don’t care. JOIN US!!!!

Catholic Artist of the Month: Matthew S. Good

Here is the second installment in a series: Catholic Artist of the Month.  Rather than constantly kvetching about mediocre, sentimental art by Christians, I’ll be featuring artists who are doing it right. Last month (okay, it was two months ago! June was . . . rough), I had a wonderful conversation with Timothy Jones.

This month, I’m featuring Matthew S. Good, 31, who lives and paints in Hickory, North Carolina. His paintings are moody and intense, reminding me of Rembrandt, and it took several weeks to find a time when he was available to talk. I was somewhat nervous, expecting a reticent, brooding artist type. Instead, I was delighted to find myself chatting with a cheerful, self-deprecating fellow with a quick wit and a thick Southern accent.

Good has been apprenticed under Benjamin S. Long IV for several years.

Good’s work can be found at matthewsgood.com, and he blogs sporadically, mostly about the technique of painting. He has a large collection of studies in storage, and intends to list more of them on eBay.

Here is part of our conversation. My questions are in bold.

 

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Have you always known that you wanted to be an artist?

I’ve always drawn. When I was about twenty, I saw Raphael and [Flemish Baroque painter Anthony] van Dyck, who are heroes of mine.  I bought a bunch of pigment for oils, and made about three hundred terrible paintings. I had no formal training; it was just trial and error.

What is the thing you’ve struggled with most as you improve as a painter? What did you really need to learn?

An understanding of anatomy. Drawing is all about how light hits the form. If you don’t understand the form you’re looking at, you can’t understand what’s going on.

 

That’s a big thing [Long] pushes: learning anatomy, and just drawing.  A lot of great painters that hardly draw anymore. Even if you go to restaurant, you should draw people when they’re not looking. Draw, draw, draw; practice, practice, practice; patience, patience, patience.

 

 

It looks like most of your training has been private.

I never went to art school. I’m in a personal apprenticeship with Benjamin S. Long IV. He’s renowned for his true frescoes. The first one was in Italy, in Lucignano, where he lives half the year. It was a memorial to one of his friends.

There are thirteen or fourteen frescoes here in North Carolina. It’s the highest concentration of frescoes outside of Europe.  The one I helped him with was three years ago. I helped grind colors, get the plaster ready, clean brushes.

 

 

How does that work, being an apprentice?

I work with him on a weekly basis with oils and drawing. He doesn’t tell me how to do anything .  It’s helpful to work on your own as much as you can; but it’s really helpful to have him there when you get into a bind. “Look at this, see how bad I am!” His whole thing is that you never use photographic references; use models.

 

 

I notice that a lot of your models don’t look like privileged people. They look like they just got off work, or just stepped out of a bar.  They have tattoos.

 

 

They’re all my friends! It’s important to me to paint my friends. There’s a whole variety of people I paint, and I don’t choose one type or another.

Well, they look like lovely, wonderful people! But I mean that you show all of your subjects with a great amount of dignity.

 

 

That’s very important to me. Rembrandt is the top. One thing I really love about his work the psychology in his paintings. Peasant, aristocrats — he painted them all with dignity. No person is more important than the other.

 

 

 

That emphasis on people’s dignity seems very Catholic to me. You are Catholic, right?

Yes, I am. I’ve done commissions for churches, but I don’t put a lot on my website about liturgical art. I love my faith, but I am a sinner. I struggle with my faith. This is the big thing:  I believe in loving absolutely everybody. Some of my deepest friends are from all faiths and walks of life. I don’t select only Catholic for friends.

Is there any particular kind of religious art that you especially enjoy?

I love all religious art. It’s in a public space, you don’t have to go into someone’s hallway to see it. And there’s a narrative to religious art, which is just the pinncacle of art, for me.

 

 

Is your family artistic?

No, I don’t know where it came from. I drew with my friends as a kid all the time. Michelangelo is the first artist I really loved.

What did your parents think when you said you wanted to be an artist?

They love it. A lot of my artist friends’ parents hate the idea, but my parents are very proud of me. My parents are both Protestant, very humble religious people. They have never tried to tell us we have to make a lot of money to be successful.

I’ve been making a living as an artist for five years now. I scrape by. I do travel to Italy!

 

 

Who are some of your favorite artists who are working now?

My favorite living painter, Ben Long, paints the life around him. He does large frescos, multi-figured paintings, and he doesn’t doctor it up. He paints life solely from observation, and he has a humble approach to the world around him.

I also love Steven Assael, who is not religious.

And I’ve never met him, but Neilson Carlin does religious work on a great scale, very beautiful work.

Do you see any kind of return to the kind of art that you enjoy? It seems like people are getting tired of ugly and bland things and are thirsting for beauty.

Believe me, my fingers are crossed.  John Paul II and Benedict have talked about bringing back art into the Church. It does seem like there’s a growing interest.

A lot of us are very anxious to return to the traditions of the church. I’m not militantly opposed to Vatican II, but traditional settings more reverent. Modern spaces aren’t thought through the way they used to be.  “Traditional” doesn’t necessarily mean repeating the past word for word, but I don’t see why we have to disregard thousands of years.

What kind of work would you most like to be able to put your name on?

Any sort of narrative from scripture or from the saints. This is something I would really like to get into. It’s hard doing it on your own. I don’t have much resources for models. Just doing paintings for churches would be my dream job.

But you weren’t raised Catholic.

I was raised Lutheran. In high school, I didn’t know if I believed.  It must have been when I was 19, I went on a little journey: Presbyterian, Methodist, Episcopal. I wasn’t even sure if I could go to Mass, but I went, and I could see something special was going on.  I got some library books on Catholicism, and appreciated the theology.

Ten years ago I converted. It’s a beautiful. I love the Catholic Church. You don’t hear much about sacraments in protestant churches, but it’s the most important thing we’ve got here.

 

 

*****

 

Are you a Catholic artist, or do you know one who would be available for interview? Send me a tip at simchafisher[at]gmail[dot]com.

Right Brain Summer Drawing Club – don’t forget!

This week, we’re reading through chapter three and doing the exercise in chapter four of Drawing on the Right Side of the Brain. I’ll put up a picture share link on Monday (not Tuesday, because we’ll be away on our camping trip). I’ll leave the link-up open indefinitely this time, because people are working at different paces.

I really enjoyed looking through the pre-instruction drawings in picture share #1! Thanks for going to the trouble of uploading your pics and linking up. If you don’t have a blog but want to join in, you can start a Tumblr or Flickr or Photobucket (oretc.) account and use that link — or just upload your drawings to the comment section. And of course your’e welcome to work along with us without sharing your pictures! The more, the merrier.