Posts Tagged ‘male nudes’

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Click here to access all entries in Douglas Simonson’s “On the Road” Series


• FRUSTRATION
• REAWAKENING
• NEVER WHAT YOU EXPECTED, BUT ALWAYS PERFECT
• PAINTING WITHOUT FEAR


July 7, 2012

As I write this from my Lincoln, Nebraska studio, after spending 3 full months in Honolulu and now another three-plus months in Nebraska, I’m thinking: Hey! This is supposed to be the “On the Road” Blog!

My full-time travel lifestyle seems to have gotten bogged down!

Well…once again we find out, THINGS OFTEN DON’T GO AS PLANNED.

Then again–the magic usually doesn’t happen inside the plan.



FRUSTRATION!

SHORT RE-CAP: My goal was to (a) sell my Waikiki apartment and get out from under an onerous mortgage, and (b) pack up my entire studio and office and ship it to Nebraska, where a more affordable cost of living and a more central location would facilitate my new full-time travel lifestyle.

On April 4, I sank into my seat on the plane in Honolulu with a huge sigh of relief. My entire life and career had been packed into boxes and was on its way to Lincoln, Nebraska. And now, finally, so was I! Best of all, my apartment had been sold and was already in escrow. Everything was falling into place.

Or so I thought.

Within 24 hours the apartment sale had fallen through and that began a long chain of similar disappointments. Now, over 2 months later, the apartment is still unsold.

And here I am in Nebraska working my butt off to keep the mortgage paid on my Hawaii apartment.

You can imagine the frustration I’ve been feeling.

But WAIT.

Something unexpected has begun to happen.



REAWAKENING

I’m now living in a 1-bedroom brick duplex on Dakota Street, in a quiet neighborhood just a few blocks from my sister Kelly’s house. The duplex has a full basement, and that’s where I’ve set up my studio. Now that everything is in place and I’ve begun actually painting, I’ve found this may be the best studio I’ve ever created for myself. It’s set up exactly as I like it and there’s plenty of space.

So I’ve got a great studio.

Unfortunately, I’m in Lincoln, Nebraska, and I have NO LIFE.

Wait, did I say “unfortunately”?

It turns out NO LIFE is exactly what the doctor ordered. Here in Lincoln, I don’t have the distractions I had in Honolulu. No social life to speak of, no ocean singing its siren song, no Hula’s just around the corner.

So here I am with a great studio, no social life, and bills to pay…I guess there’s only one thing to do.

PAINT!

Wherethemagichappens



NEVER WHAT YOU EXPECTED,
BUT ALWAYS PERFECT

It’s taken me a while to get it, but now I know: This is why I’m in Nebraska.

Let me give you a little history. I’ve been painting professionally for over 30 years. I’ve created a lot of art in that time, but not nearly as much as I could have. I keep records of these things, and recently I looked at my art-production numbers over my career. Turns out my most productive year ever happened back in 1990. I did over 120 original works that year (not counting rough sketches). That’s about 10 a month! The early 1990s as a whole were an incredibly productive period for me.

Not a coincidence that I produced some of my most memorable works during that time.

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This is me in the late 1980's. I didn't know it, but my most productive period as a painter was about to begin.

Fast-forward to 2011, last year. I produced 24 originals. For the whole year. Quite a difference. Yes, I’d been traveling, but that’s not the heart of it. Mostly I just hadn’t made painting a priority.

If you’ve never painted, you won’t know about the love-hate relationship. When a painting is working it’s a magic time. It makes everything worthwhile. But when a painting is not working, it’s a nightmare! And when you don’t have a painting going, and it’s time to start one, it’s terrifying. You’ll do almost anything to avoid going into the studio. This is how it is for me and many other painters I know. What it really comes down to is fear. It’s just too easy to give in to the fear of failure or screwing up.

So for years and years, it was incredibly easy to avoid painting and do just about anything else. And that worked, for a while. But one basic fact turns out to be unavoidable…

I AM A PAINTER.

Whether I like it or not!

Turns out I needed the combination of factors that are now in place–a great studio space, no distractions, and financial pressures–to rediscover myself as a painter.



PAINTING WITHOUT FEAR

Once I got the studio set up and started painting, things really started to bubble and then boil over. I’m talking about a creative fever. I didn’t know until now how hungry I was to paint and try out all those visual ideas that had been popping into my brain all these years but which I had managed to avoid because of fear.

So it turns out I didn’t move to Nebraska just to create a more practical jumping-off point for my new traveling lifestyle–I moved here so I could become a BETTER PAINTER.

It took the combination of factors I just mentioned to get me out of my comfort zone and back into Painter Mode.

SERIOUS Painter Mode.

In the month of June I completed FOURTEEN PAINTINGS.

And I had an amazing time doing it.


Recent art comp

These are just some of the paintings I've completed in the past few weeks. Click on the image to see these and more on my website.

I’m learning, growing, changing, breaking through my fears over and over again. I thought I wasn’t on the road, but guess what: like Jamiroquai said, I’m TRAVELING WITHOUT MOVING.

You can’t go from years of painting in a haphazard, lackadaisical way to painting full-time with great enthusiasm and energy, without experiencing some major shifts.

One of the great developments has been that my painting has gotten looser. I recently wrote to an artist I greatly admired and told her how much I loved how loose her paintings were and that’s what I’m always going for. She pointed out that looseness wasn’t really an end in itself, and I said yes, thank you, you’re absolutely right. I realized what I’m really saying is, I keep going for PAINTING WITHOUT FEAR.

That’s what I’ve been doing here in Lincoln.

I’ve been painting with more courage than ever before, spending a lot of time out on the tightrope where it’s dangerous and exciting and where the magic lives.

I thought I was stuck in Lincoln. No, I’m FLYING in Lincoln. When the time comes and I’m out on the road again, I will bring more of ME along. I’ll be bigger, stronger, more present, BRAVER. I would say “I can hardly wait,” except that there is no WAITING involved.

I’m too busy PAINTING!




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Click here to access all entries in Douglas Simonson’s “On the Road” Series


The Complete ON THE ROAD Blog Series (So Far)

Click on image to go to blog entry

Chapter 1, Early June 2011:
On Chucking It All and Going On the Road
Ontheroad1 chucking it all
Chapter 2, Mid-June 2011:
Prepping for the Road
Prepping for road blkborder
Chapter 3, Late June 2011:
Before I Take Off
Before i take off
Chapter 4, July 2011:
Letter from L.A.
Letter fm LA
Chapter 5, July 2011:
Malibu Photo Shoot with Steve Chen
Malibu w stevechen
Chapter 6, August 2011:
Letter from Lincoln
Lincoln w type
Chapter 7, September 2011:
Letter from Baltimore
Baltimore
Chapter 8, October 2011:
Letter from Honolulu
Honolulu hawaii beach
Chapter 9, November-December 2011:
Letter from Brazil
Letterfrombrazil
Chapter 10, February 2012:
Leaving Home…Going Home
Leavinghome goinghome
Chapter 11, July 2012:
Letter from Dakota Street
Ds instudio
Chapter 12, October 2012:
Letter from Banff
Letter from banff header
Chapter 13, November 2012:
Letter from Santo Domingo, Part 1:
Arrival in the Dominican Republic,
and Photo Shoot with Muscleboy Jeison
Header letter stodomingo 1
Chapter 14, November 2012:
Letter from Santo Domingo, Part 2:
Dominican Boys Gone Wild
Letter fm sto domingo part2 B
Chapter 15, November 2012:
Letter from Santo Domingo, Part 3:
Javier: The Boy Can’t Help It
Ltr fm sto domingo part3 B
Chapter 16, December 2012:
Letter from Santo Domingo, Part 4:
TROUBLE, and Getting Wet in Cabarete
Ltr fm sto domingo part4
Chapter 17, December 2013:
Winter 2013: Everything Changes

Winter2013 everythingchanges cropped
Chapter 18, February 2014:
On The Road: Walking The Tightrope

Walkingthetightrope header

letterfrombrazil.jpg

Click here to access all entries in Douglas Simonson’s “On the Road” Series


• GRATEFUL TO BE BROKE
• BRAZIL ARRIVAL AND COUCHSURFING FAIL
• THE HOSTEL EXPERIENCE
• DANIELA
• RIO AND PURA VIDA
• OLIVER AND THE ONE THAT GOT AWAY
• BYE-BYE BRAZIL



GRATEFUL TO BE BROKE

As you read in the first entry of this “On the Road” blog series, last summer I had a revelation in my kitchen and decided to go traveling for a year.

In that first entry, I talked about how imprisoned I was feeling by the fact that I now owned an apartment, and had to pay a big mortgage every month.

There’s more to the story.

When what is now being called the Global Financial Crisis hit in 2008, I had just bought my apartment AND rented an office, and my monthly expenses had more or less doubled. At almost the same time, or just shortly after, my business began to slow down. A LOT.

My expenses DOUBLED, and then BAM, my income dropped by HALF.

Whoa!

What that meant in practical terms was that suddenly my comfortable life became very UNcomfortable. It became more and more difficult to pay my bills. My income kept dropping, and my expenses stayed high.

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This is pretty much the same thing that happened to my business in mid-2008...

Over the next 2-1/2 years I tried many things to revitalize my art sales, and sometimes they seemed to work, but nothing worked for long. Sales continued to decline, and my financial condition continued to deteriorate. I sold everything I could sell, went deeper into debt, and still the slide continued. The result is, I’ve been going through some very trying times, and it’s been a challenge not to beat myself up for all this, and to maintain my optimism.

It would be easy to blame the global financial crisis for what’s been going on with my business, but what good would that do? And besides, I’ve come to believe that on a deeper level, something entirely different is going on.

My “On the Road” experiment has now been going on for nearly six months and I have to say, it’s one of the best decisions I’ve ever made. I love this life and its challenges and rewards. I’m growing, changing, getting stronger and more self-aware every day, in a way I simply wouldn’t have if I’d played it safe and stayed in Hawaii.

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It's scary and challenging and never boring. The first 6 months being On the Road have been phenomenal.

So when I look back at my decision from this vantage point, it’s pretty clear to me that if I hadn’t been going through such difficult times financially, if I hadn’t been feeling so up against the wall, I would never have made such a bold, outrageous decision.

The more clearly I see myself and my life (and I’m getting clearer fast out here on the tightrope), the more grateful I am for the trials and tribulations that kicked my ass out of my comfort zone!

At the same time, there are a lot of days when I just wish I had more money and I could pay all my debts right now. Because it’s one thing to be sitting in your apartment in Waikiki and feeling financial pressures. It’s another to be staying in a hostel in Brazil and not knowing how you’re going to pay for another week’s food and lodging! This is the kind of challenge I am now embracing in my life: seeing every trial as a gift.

There are no accidents. If my business had continued to grow and flourish, I wouldn’t now be on one of the greatest adventures of my life.

And the real adventure is not the travel or the daily challenges of living on the road. It’s discovering, over and over again, how powerful I am when I give up the need to control things or change them, and instead practice acceptance and gratitude.

And discovering that the more willing I am to have things stay exactly as they are, the faster they shift!



BRAZIL ARRIVAL AND COUCHSURFING FAIL

I flew to São Paulo on October 27.

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It was my first time in Brazil in 3 years and I was pretty happy to be back. My Hawaii friend David Moyer now lives in São Paulo and kindly offered me a place to stay while I was there. My plan was to stay in São Paulo for about a week, then take off and explore some Brazilian places I hadn’t seen before—and find one or more hot new models to photograph.

Things didn’t quite work out that way.

I belong to a website called couchsurfing.org, and prior to taking off on this trip, I was hosting couchsurfers from all over the world in my Waikiki apartment for several months. I didn’t do this get couchsurfer “cred”, I did it because I thoroughly enjoyed it. But when I did get the idea to go traveling for a year it occurred to me that I could experience the other side of the couchsurfing experience. I was planning to explore more of Brazil by going where the couches were, and letting that help define my travels. So I spent a lot of time on the computer while staying at Dave’s in São Paulo, trying to set up some couches to surf. I was particularly interested in going to Paraty, a beautiful little colonial beach town halfway between São Paulo and Rio.

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Scenes from my time in São Paulo

It was pretty frustrating. Either no response, or they would respond but they were traveling and couldn’t host, one thing after another. I realized that I should have started setting this up months before. I was in São Paulo for over 2 weeks before I realized I was going to have to find another solution.

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Couchsurfing.org is an awesome website and organization and I totally support it. However, it didn't work out so well for me when I was trying to find a place to stay in Paraty...

I was functioning on very little income, so hotels simply weren’t an option. But one of the couchsurfers who hadn’t been able to host me in Paraty had suggested something else: a hostel.

I don’t think I had ever actually stayed in a hostel. I’ve stayed in pousadas, and bed and breakfast places, but I had never shared a single dorm room with 8 or 10 strangers. But I looked at the prices, and I thought, Why not? I’m on an adventure anyway—and I need to get out of São Paulo and start the next phase of this trip! So I booked a $17-a-night dorm room bed in a hostel in Paraty, and spent $40 for the 4-hour bus ride.



THE HOSTEL EXPERIENCE

This turns out to be another gift my financial issues have given me. Staying at the MistiChill Hostel in Paraty was an awesome experience.

Side note here: I was painfully shy when I was younger, and it took me a lot of years and a lot of work to teach myself to be more courageous socially. But I have learned. And one of the things I’ve trained myself to do when faced with a stranger is to march right up to him or her, extend my hand and say “Hi! I’m Douglas.” I do this almost without thinking now. Well, actually, I do it TOTALLY without thinking, because if I thought about it I wouldn’t be able to do it.

I bring this up because this is the perfect approach to hostel life. I walked into the MistiChill Hostel and was immediately confronted with about 10 new people, all milling around the rather small common area. So I did what I do. I introduced myself and learned all their names (remembering names is another thing I’ve trained myself to do). Now I was everybody’s new friend, and when a group began forming to go out to dinner, I was automatically included. Awesome!

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New friends and a party every night when you're staying at a hostel!

(I can’t tell you how many times I’ve traveled alone and been in a hotel in a strange new city and wished I knew someone I could hang out with. Obviously this is not a problem in a hostel!)

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MistiChill Hostel in Paraty. Clockwise from upper left: Looking down from the 2nd floor; breakfast was served on the beach every morning; view from the front door of MistiChill; the common area of the hostel.

I must admit that sleeping in a small room with 7 other people and a tiny bathroom has its challenges. I did not always get a good night’s sleep. But somewhat to my surprise, I handled this all pretty well. One of my goals on this trip is to get more flexible, and I saw this as another opportunity. I did not see it as my right to have a good night’s sleep. Instead, I began to look at a good night’s sleep as a gift that one sometimes gets, and when it happens, you appreciate it profoundly. And when you don’t, it’s really not that big a deal. (But I was happy I had my headphones and my iPod.)

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Scenes of Paraty and nearby beach Trindade.

I spent over a week in Paraty, and I had a new group to hang out with every night, and I enjoyed every night! However, I was a bit frustrated that I was not finding models. I had hoped that the Paraty beach scene would be something like the Rio beach scene, with gorgeous boys running around in speedos. Nope. I had an awesome time in Paraty but I did not find a model, or even get close to it.

I wasn’t sure where I was going to head next, either. I didn’t want to go to Rio because I’ve been there so many times, I was feeling like I was over it. But along came Daniela.



DANIELA

One morning I woke up to a new girl in the room where I was staying. She was in the lower bunk opposite me. “Hi,” she said, “I’m Daniela.”

Daniela is a tall, pretty girl born and raised in Rio de Janeiro who looked like she was from Germany or Holland. Her heritage was German and Italian, so that’s why. But she’s totally Brazilian, with all the expressiveness and extreme social energy that goes with that. As soon as I met her, my new-crowd-every-night thing stopped because we were instant best friends. I started hanging out with her and another girl I really liked a lot, Luciana, who was visiting from São Paulo.

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Daniela and Luciana.

They were a lot of fun, and Daniela solved my problem of where I should go next. “I’m going back to Rio day after tomorrow,” she said. “Why don’t you come with me? I know a great hostel right near where I live in Copacabana and I’ll call them and put in a good word for you.”

I’d been waiting for a sign from the universe and here it was. So two days later Daniela and I took the 4-hour bus ride from Paraty to Rio, and she took me to the hostel she had lined up for me, the Pura Vida Hostel in Copacabana.



RIO AND PURA VIDA

My first impression of the Pura Vida hostel was, Oh my god. It’s beautiful.

It’s up on a hill on a side street in Copacabana and it looks like a castle. I found out later it used to be the Polish Embassy in the 1920’s, back when Rio was still Brazil’s capital. And now it’s a hostel. Like the MistiChill, there was a constant parade of new people and my meeting-people skills were pressed into action once again.

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The Pura Vida Hostel in Rio de Janeiro.

I hadn’t been sure I even wanted to go to Rio, but once I was there, something wonderful and unexpected happened: I fell in love with Rio all over again. It was like running into an old boyfriend after many years and finding out that you’ve both grown and changed, but the old magic is still there, and it’s better now because you’re more relaxed with each other. I felt comfortable and at home in Rio. Yet that teasing flavor of the exotic was still there.

(Plus, and I don’t know why it is, but the men are definitely hotter in Rio. Lots of model material!)

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But I went through some major challenges while in Rio. I was keeping in touch with my assistant via e-mail and Skype, and together we decided what bills we could pay and what we would have to put off. It was a never-ending juggling act. I made a mistake at this point, and I’ve done this before: I put paying bills ahead of my personal well-being. The result of this was, after 3 or 4 days in Rio, I found my pockets empty, and I couldn’t even go to the beach and rent a beach chair and umbrella.

I got pretty depressed at this point.

I went through a couple of pretty difficult days, and I realized something: if I don’t take care of myself first, I won’t be able to pay my bills anyway. I have to take care of myself or I can’t write or create art. Pretty basic, but I hadn’t gotten this yet. This was a good realization. So I stopped doing that.

It meant putting off another couple of bills, and that was uncomfortable, but I had to do it. Once again I was able to go to the beach, which was important, because that was one of the main places where I could scout for models.



OLIVER AND THE ONE THAT GOT AWAY

One day on the gay beach in Ipanema I met a boy named Oliver, a tall, skinny black boy with a big afro and a bigger personality.

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Ipanema, looking toward the gay beach.

Oliver is a model and actor, and social butterfly, and very funny and entertaining. He and his friends were a lot of fun and I was really enjoying hanging out with them and trying to understand their rapid-fire Portuguese.

When the sun drops behind Pedra da Gávea, it’s time to head down Farme de Amoedo for after-beach drinks and socializing. So I joined Oliver and his friends and off we went to a place called Tô Nem Ai. This is a sidewalk bar-café where everybody goes after the beach. (Tô Nem Ai is a Brazilian Portuguese expression which basically means “I don’t give a shit” or “Who cares?”)

We had already been drinking at the beach, and we drank more at Tô Nem Ai. I was having a great time. At some point in the evening, and I don’t remember exactly when or how this happened, Oliver and I began kissing. I do remember exactly how his lips felt. This boy was an amazing kisser. Oh my god. I also found out he was 19 years old. Less than one-third my age. Guess what. Tô nem ai.

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Fun with Oliver and friends.

One of Oliver’s friends was named Eder. Eder was model material. I didn’t approach him that night for two reasons: 1, I was busy kissing Oliver. 2, I didn’t want to offer him a modeling job when I was drunk and then find out later that he wasn’t all that hot after all. So I held back.

The next day at the beach, I saw Eder again when I wasn’t drunk, and then I knew. Yes, he’s hot. I started talking to him about modeling.

Eder was one of those people who, when you’re talking to him, seldom looks at you. He was busy looking around at everyone else. This was not a good sign, but I chose to ignore it. He was beautiful and he had a great body, and my time in Brazil was growing short. I needed a model! (I did not have the money to pay him, but I decided to just trust that it would be there when I needed it.)

Eder and I made arrangements to email each other that evening and firm up arrangements for him to come to the hostel the next day where he and I could go over the model agreement and the arrangements for the photo shoot itself.

I emailed him that night. The next day I began checking early for his return email.

It never arrived.

The next day, I went to the beach and Oliver was there, with Eder, and they came up to me and Eder said immediately, “I never got your email.” I told him I’d sent it. At this point it started to become clear to me that this was not going to work out, because rather than engaging me about this and going ahead and planning a photo shoot anyway, Eder simply shrugged and walked away.

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Eder and Oliver.

After many years of dancing the dance with potential models, I recognize the danger signs early. When you’re trying to put together a photo shoot with someone, things usually go one way or the other. Either things flow and fall into place nicely—or they don’t. And when they don’t, it’s a clear sign that nothing is going to be easy here, and it’s best to move on.

It was obvious things weren’t going to flow with Eder, and it was time to move on.

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The weather in Rio was sucking.

Unfortunately I only had a few more days in Rio, and to make matters worse, the weather was sucking. 3 out of every 4 days were rainy and/or cold and cloudy. I began to resign myself to the fact that I was going to have spent 6 weeks in Brazil and not found a model.

I began to think back on all the guys I’d seen on the street in Rio who were hot and might have made great models. I began to beat myself up for not chasing them down the street and stopping them and talking to them and giving them my card. Then I stopped myself. How long is it going to take before I learn to give myself a break and trust the way things are unfolding? If I’d been meant to find a model during this Brazil stay, it would have happened. It’s not the end of the world that I didn’t find one. It will happen when it happens. I’ve been through this before, and a great new model always surfaces. If I’ve learned anything by now, it’s that you can’t control this kind of thing. So I let go and gave myself a break.



BYE-BYE BRAZIL

I spent my final days in Rio just enjoying the place and allowing things to flow the way they flowed.

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On the bus with Adriano.

My final evening in Rio I spent with a friend from Hawaii in Ipanema, and we visited a sauna called G Spa filled with beautiful men (too bad it was my last night or I might’ve found a model!). I did find a new friend, Adriano, and he helped make my final evening in Rio memorable.

The next day I took the 6-hour bus ride to São Paulo where I hung out for a day at Dave Moyer’s, then went to the airport at Guarulhos to catch a midnight flight to Dallas.

I’m now staying at the home of my Hawaii friends Bud and James, who now live in Austin, Texas. I’m catching up on writing and drawing (hard to find space for that kind of thing in a hostel!). Missing Brazil already, but glad to be back in the U.S. too. What a joy to have my own room and bathroom with hot water—and real toilet paper! I am appreciating the little things like never before.

Next, Christmas with the family in Nebraska, and then back to Hawaii in early January. Eager to get back to my studio and do some painting before taking off on the next phase of the adventure.

And who knows? I may find a model in Texas. Or Nebraska. Anything could happen.


If you’d like to send some support my way and help make sure the art
and the blogs keep coming, use this button. Many thanks!


Click here to access all entries in Douglas Simonson’s “On the Road” Series

letter-fm-honolulu.jpg

Click here to access all entries in Douglas Simonson’s “On the Road” Series


October 25, 2011

When I decided to go traveling for a year I really thought that I could travel for like two and half to three months at a shot, then come back to Hawaii for a week or 10 days, just catch up on stuff, and then take off for another two and half to three months.

Nice plan!

But totally out of touch with reality.

I have now realized, after my first quick Hawaii check-in has turned into a five-week stay, during which I have worked 12 to 14 hour days most of the time, that it’s not that simple.

I forgot that I would have 3 months of stuff to catch up on every time I come home!

Also, when I returned to Hawaii on September 15 after 2+ months of traveling, my apartment in Waikiki still hadn’t been rented. This was puzzling to me. It’s a great apartment, great location, and the property management people seemed to be doing a good job of showing it.

It was frustrating because I’d been counting on that rental income. On the other hand, it
was nice to have a place to stay while back in Hawaii.

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At Hula's with Steph.

Then, about a week after my return, I went out for a drink with my friend Steph (read about Steph and our 2008 Brazil travels together here). I told her I still hadn’t rented my apartment and she got excited. She and her friend Brian had been looking for a place in Waikiki…you can figure out the rest!

(Now I understood why the apartment hadn’t rented for 3 months…it was waiting for Steph!)

That was the perfect solution to one problem, but it created another. They wanted to move in immediately, which meant I no longer had a place to stay, and no immediate prospects for one.

But y’know, I wasn’t worried. One thing about my new lifestyle: it’s making me a lot more comfortable with uncertainty. My first 9 weeks on the road, traveling across North America and back again, was like the path of a tropical storm: unpredictable, erratic, and totally dependent on the winds, temperature and currents for direction and destination.

I’d been kind of apprehensive when I started my long-term traveling, with a make-it-up-as-you-go approach. I wasn’t sure I really had the balls to live this way!

Turns out I do. In fact, so far I’m loving it. One of the best, and least-expected, benefits of living this way, being open to circumstance and trusting rather than knowing what’s coming next, is that wonderful, unexpected things keep coming my way.

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With my friends Richard and Michele in Los Angeles

In LA, standing in line at Whole Foods in Brentwood, I looked behind me to see my publisher friend Richard, an old friend from Hawaii. I’d been trying to reconnect with him online for the past year or so. I got a chance to meet him and his wife Michele, who is lovely and already a friend, for lunch and catching up.

In Lincoln, Nebraska, where I hardly expected it, I met a woman who, like me, is just beginning to discover her abilities as an energy worker and healer. I spent a whole day with Bonnie and we not only did healing work on each other, we both learned a lot.

In New Orleans, I got on the shuttle for the airport in the rainy pitch-black of 3:20 a.m. and met Kath, a beautiful woman from Australia who is a seeker in many of the same ways as I am. She was on her way to an adventure in Cuba. We talked all the way to the airport, then found ourselves on the same flight, in seats next to each other, and again, talked all the way to Miami. We parted with a big hug and we’re now in touch via Facebook.

In LA, I reconnected with an old boyfriend who is now a dear friend, and has been a flight attendant for the past 20 years. When he heard about my new traveling lifestyle, he set me up with a buddy pass on his airline.

A friend I’ve known since my early days in Hawaii happened to be in LA when I was and saw me on Facebook and invited me to lunch. It was a wonderful reconnection and great to see him. When we said goodbye, he gave me an envelope and said, Open this later. When I got home, I opened it, and out fell $1400 in 100-dollar bills. It turns out that 30 years ago in Hawaii, I had loaned him $500 to buy a motorcycle. I’d forgotten long ago, but he not only remembered, he repaid me plus 30 years of interest.

I almost fell over when I opened that envelope, because I’d been wondering how I would manage, moneywise, over the next couple of months.

It seems the more uncertain my life is, the more space there is for unexpected blessings. I thought it would be a challenge to live this way, and certainly at times it is, but mostly I just feel blessed, and I love the way I’m learning to trust.

So I wasn’t worried about finding a place to stay even though it was Sunday night and my new tenants were moving in on Monday and I did not want to be the landlord crashing on the living-room floor! So I decided I would go out that evening, and just trust that things would fall into place.

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At Honolulu's La Mariana Restaurant with friends Allen and Joe a few days before leaving for Brazil. Allen is the angel who gave me a place to stay while in Honolulu

Within a half-hour of my arriving at the bar, I ran into a friend of mine named Allen, who happened to have an empty house that needed housesitting…for 3 weeks, which was just the amount of time I would be on the island. He even had a car I could use.

Believe me when I say this was not the type of thing that used to happen to me when I was living a safe, conservative life, staying in one place and playing it relatively safe.

I spent the next 3 weeks in Honolulu drawing, painting, writing, and doing the million things required of me before taking off again. And today, as I write this from seat 13A on American Airlines flight 162 from Honolulu to LA, I feel ready for the next phase of the adventure.

(Another unexpected plus just now: one of the flight attendants is an old friend, and he’s been sending me free beer and anything else I want.)

ADDENDUM:

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Kurt and Jacob in rainy L.A.

I’m now in the airport waiting for my flight to Dallas where I connect to my flight for São Paulo. I’ve just spent a wonderful couple of days in LA with my friend Kurt Brown. Kurt and I got a chance to work together on his first e-book (watch for that on my site!) It was great spending time with Kurt and his roommate Jacob, despite the rainy weather while I was there.

So I’m about to get on the plane now. I just checked my e-mail and I see that my friend Dave, who’ll be my host in São Paulo, is throwing a party for me day after tomorrow. Can’t wait!

(Be watching for upcoming Letters from Brazil!)

Access all blog entries in Douglas Simonson’s “On the Road” Series here:


Chapter 1
    June 9, 2011   On Chucking It All and Going On the Road

Chapter 2
    June 21, 2011   Prepping to Go on the Road

Chapter 3
    June 29, 2011   Before I Take Off

Chapter 4
    July 18, 2011   Letter from Los Angeles

Chapter 5
    July 28, 2011   Malibu Photo Shoot with Steve Chen

Chapter 6
    August 20, 2011   Letter from Lincoln

Chapter 7
    September 15, 2011   Letter from Baltimore

Chapter 8
    October 27, 2011   Letter from Honolulu

Chapter 9
    December 10, 2011   Letter from Brazil

Chapter 10
    February 3, 2012   Leaving Home…Going Home!

Chapter 11
    July 7, 2012   Letter from Dakota Street

Chapter 12
    October 27, 2012   Letter from Banff

Chapter 13
    November 18, 2012   Letter from Santo Domingo, Part 1

Chapter 14
    November 25, 2012   Letter from Santo Domingo, Part 2

Chapter 15
    November 25, 2012   Letter from Santo Domingo, Part 3

Chapter 16
    December 3, 2012   Letter from Santo Domingo, Part 4


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Here's the photo of Kawai and Sam that inspired me to make a new painting.)

There are a lot of great images from the Kawai-Sam photo shoot I still haven’t used. I came across another great one recently and decided it would make a great painting. I didn’t want to do something literal and realistic, though, I wanted to do something stylized and interesting.

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One of the first studies I did for the proposed painting. (Click on image to see it on my website.)

But when I set out to do something stylized I usually have to draw the pose realistically a few times to get a sense of it before I can start to play with it and turn it into something more interesting. This is one of the first sketches I did. It’s cute, but in this case just a first step toward what I’m going for.

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This sketch is much closer to what I want. (Click on image to see it on my website.)

I had to do several more drawings before I got to what I was aiming for. This sketch has the kind of movement and dynamic tension I want in the painting. Even though the figures are a mostly vertical element, there are lots of diagonals cutting across the painting to keep the eye moving. This is the main compositional function of the leaves whose vectors cut across the figures diagonally. It’s also interesting how often the strong straight lines are partnered with a sensuous rounded shape. This happens both in the foliage and in the men’s bodies. (I want to be clear that this analytical look at the drawing is something I can do after it’s done and I have some distance from it. When I’m actually in the process of drawing this is not where my mind is at all. I’m just thinking, oh, a line here might work, let’s see what it looks like, oh yeah, that feels good, and now it needs a curve here…etc.)

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After transferring the drawing to canvas, I put a purple wash over it, then paint the outlines in black.

Once I had a drawing I liked, I transferred it to the canvas with pencil. Then I did a purple wash over the entire canvas and once that was dry, I used a small round brush to re-draw the entire drawing in black. This is now the framework on which I can begin to hang color.

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Beginning to add color. It's important to work all over the painting.

I have a relatively consistent palette I can resort to when I begin a painting like this. Rather than reinventing the wheel every time I start a painting, I have some old standbys I use, like burnt umber for the dark darks (sometimes with a bit of alizarin crimson and ultramarine blue added for flavor), burnt sienna for the medium darks, and for the lighter flesh tones, a mix of yellow oxide (yellow ochre), alizarin crimson, ultramarine blue and titanium white. As I paint with these basic colors, I add in some cadmium reds (a warmer, more orange-y red than alizarin), some pure yellow oxide, some pure raw sienna, and sometimes some cadmium yellow as well. I’m going for a basic fleshtone with some vivid surprises thrown in. Notice that as I begin the painting I’m already working all over to some degree. As I’ve said many times, the more you can work all over the painting as you go, the more you can adjust color and light and dark as you work, rather than getting to the end of a painting and having one area that just refuses to work well with everything else.

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This painting is coming along well by this point. No major hitches. Another thing I like to do is let one color area “leak” into another. So you see splashes of green on the bodies and bits of flesh tone in the plants. This adds visual interest and makes for a more unified color scheme.

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The final painting, 'Embrace.' (Click on image to see it on my website.)

This is the finished work. I’m happy with how it turned out. One of the nice surprises is the way the blues pop out and by contrast make the rest of the image even warmer. I like the warmth both for what it says about the emotion of the painting and because the setting is a wet, humid tropical jungle. I’ve titled this one “Embrace.”

There’s this photograph of Wellington and Israel at Massarandupió Beach in Bahia that I love. It really captures one of the many great moments that day. The composition, the lighting, the feeling of the image….I think they’re all wonderful, and I thought it would make a terrific painting. But for a long time I was afraid to tackle it. I was afraid I wouldn’t be able to capture the light and the feeling of the image. But finally I decided, okay, maybe I’m ready now. I’ll give it a shot!

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This is the photo I started with.


I started by tweaking the image in Photoshop. There are two major differences I make in the image this way. One, I intensify (via saturation and light/dark) the colors, which makes the image more vibrant. In this way I have a guide for mixing colors. It’s possible to mix vibrant colors even though you’re working from a less-than-vibrant photographic image, but it’s a lot more difficult. I like to let the computer do this for me. And in the final analysis, I don’t have to follow the color guide in the photo exactly…it’s just a guide. The second thing I do when tweaking the image is blur it. But I don’t use the Blur function in Photoshop, I use something called Median (Filters -> Noise -> Median). This removes the detail in a more elegant way than just blurring the image. And that’s what I want—to remove the detail. This forces me to look at the major shapes and areas of color and light and dark when working on the painting. I could do that by just squinting at the source image while working, but it’s nice not to have to do that. And of course I keep the undoctored image around in case I want to add in some detail (but not until much later!). Oh, yeah—I often use Posterize on the image after Median. This lessens the number of colors used so it’s easier to see color areas.

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This is the photograph after some tweaking in Photoshop.


My next step was to do a color study. This is a small, rough version of the final painting in which I can work out problems of color, tonal balance (balance of lights and darks), composition and whatever else I might not expect but which will probably crop up in the color study. The color study went pretty well but I found I had difficulties with the tone of the hill behind the figures. I kept getting it too light or too dark. Also it was a tricky mix of greens and purples. I kept remixing the colors until I got it more or less correct. When I had everything looking pretty balanced, I decided I was ready to tackle the big picture.

The acrylic sketch I did as preparation for the painting (click on image to see this item on my website)

The acrylic sketch I did as preparation for the painting (click on image to see this item on my website)

The biggest challenge in doing a big finished work, as opposed to a rough sketch, is psychological/emotional. It’s hard not to take the larger work more seriously and care more that it works out. Caring too much about the success of a painting is practically a guarantee of its failure. The difficulty is finding a balance between working toward a vision of the finished work, but not gripping that vision too tightly, so you can stay loose and allow the energy to flow. With this painting I was on both sides of that line, but walked it most of the time. Which worked out pretty well. I needed all the preparatory work I’d done because this painting was a challenge in many ways—but all the work paid off and I managed to keep it loose and fairly spontaneous and still capture the feeling and the light of the original scene. I’m pretty happy with this one. I’m calling it Bahian Beach Boys.

The final painting (click on image to see this item on my website)

The final painting (click on image to see this item on my website)