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So it begins. My ironing board is covered with fabric, organized in a general way. Some of the stash fabric has been taken out, auditioned, refolded and put back more neatly. Some small bits lie around looking like rubble.

Today’s email brought the “twice-weekly letter” from Robert Genn. These often give me a lot to think about and I’m grateful that he provides this great service to keep my brain thinking about bigger things.

Today’s letter says:

As I looked back into my studio, I realized that paintings ought to work in the almost-dark as well as in the full light of galleries or on home walls. Almost-dark is similar to what we do when we half-close our eyes. Areas of incongruity pop out, spindly and weak elements beg to be strengthened, woolliness is exposed as major-woolly. You notice funny things in the almost-dark–odd things, ghostly things, apparitions, things that look like something else. That evening I made a mental inventory of what needed to be dealt with in the morning.

Go and read the rest here.

Taking a last look at my current work with some of the lights turned off is a frequent late night, just-on-my-way-to-bed-really! activity. When you’ve stopped for the night, hung it up if it’s hangable, it’s great to take a few moments to sit and enjoy and ponder your work so far. I think it helps me figure out what needs to be done – borders, quilting ideas, binding, etc.

I enjoy those quiet minutes not working on, but being with my piece. As Robert Genn points out, sometimes you see things that do need fixing, but you’ve already decided that working is for tomorrow, so there’s no angst. It’s for tomorrow.

And the next best thing to that late night communing is that first look in the morning, even if only a quick glance on the way to the day job. Sometimes what looked iffy last night is clearly good or bad in the morning, but that’s ok. I know it will be there waiting for me when I get home.