David Brault sketching at Rise Up Coffee, November 2024 David Brault appears to be a quiet and unassuming man. Yet, if ever it were true, still waters run deep.   David has a passion for art and an unending desire to share it with the viewer. Start a conversation with him and together you’ll soon be exploring line, form, composition, and contrast. All the while, he’ll be peppering in bits of story, history, insight, gentle humor, and quiet charm. David is a keen observer of detail, honed one imagines through his daily habit of sketching commonplace things around him. Despite this lifelong practice, David didn’t fully immerse himself in artmaking until his retirement.  After a career in the U.S. Navy, David started taking local art classes, absorbing YouTube tutorials on art, and participating in art critique and painting groups. His dedication to learning and practice paid off as his skills steadily progressed at a quick pace.     Landscapes are a frequent subject for him, and usually reflect places he saw while traveling in the Navy or walking about in Anne Arundel County. A recent series of paintings were inspired by the view from his house window. Though the scene remained the same, David’s interpretation of it changed with each painting he rendered, evoking wholly different emotions from the same subject. While he frequently works in oils, David’s affection for pen and ink drawings is foremost. In fact, he goes nowhere without his pens.  He does not want for lack of a canvas. Paper not available? No problem. He has been known to sketch on coffee cups, face masks, napkins, bags, or whatever else is handy. In fact, he has been recognized for work he created in marker on a guitar as part of a collaboration with the Warrior Music Foundation (see story here ). David's art hanging at Rise Up Coffee In Edgewater, he’s a regular—and somewhat of a local legend—at Rise Up Coffee. While he drinks his morning coffee and chats with the other regulars by name, David sketches the people and things around him.  In fact, the staff are so enamored of David and his work, they hang it on the walls around the café and keep a book of his work to share with anyone who wants to see it. David Brault on stage at Maryland Hall Last month at Maryland Hall surrounded by family, friends and local arts enthusiasts, David was honored as the 2024 recipient of the Visual Arts Annie Award given by the Arts Council of Anne Arundel County.  This was the 24th year of the Annie Awards, a prestigious award recognizing exceptional artists across nine categories for their lasting, significant, and inspiring contributions to an art form. The award in the category of visual arts is given to an artist who has created a significant body of work displayed in public exhibitions, museums, galleries, and private collections and achieved excellence in artistry as evidenced by reviews and awards.    David (2nd from the right) with presenters On stage with the recipients of awards in other categories, David’s story was shared with the audience by the presenter, Pamela Gentry, and through a pre-recorded nomination video by MCAG President Lora Collins. David's wife Marie, other family members, and a dozen or so members of Muddy Creek Artists Guild excitedly took their seats in the auditorium to watch the ceremony and cheer David on.  Like those on stage with him, David was recognized for the whole-hearted dedication he has given to his art, and the skill and passion he demonstrates. In the audience, a row filled with members of Muddy Creek Artists Guild Here at Muddy Creek Artists Guild David is a friend as well as an active member. We wish you big congratulations on your award, David, and look forward to seeing in what directions you take your art, and where it takes you!   MCAG members at the Annie Awards reception To see David’s art, visit a Muddy Creek Artists Guild show, or pop into Rise Up Coffee on Mayo Road any random morning. Ask him about his art. You won’t regret it. David discussing one of his paintings

“ Pull up a chair. Take a taste. Come join us. Life is so endlessly delicious.” Ruth Reichl, American chef and food writer Bringing people around a table for good food and even better company is a staple of so many cultures.  It gets us through the highs and lows of life.  I’d wager you don’t have to work hard to remember moments in your life when eating together was the stage for joy and celebration, or the salve for sorrow and remembrance.  No question, there is creativity and beauty involved in making and presenting good food, but that’s not where my thoughts have come to rest today. Reichl is offering up an invitation to participate in community. There is a small group of 8 or 9 Muddy Creek Artists Guild members who meet monthly for the purpose of providing each other feedback on their artwork.  I was invited recently to sit in on a meeting, and there I saw in action a non-confrontational, supportive way the art of critique takes shape, very much promoting Reichl’s sense of community.  Looking at each piece of art in turn as it was presented by the artist, members described what they saw, discussed principles and elements, asked questions about the artist’s meaning and intentions, and, when invited to, offered their opinions. Members know each other well enough to reference the artist’s unique vocabulary—something I learned is roughly like frequently used themes or concepts. They noted which part of the work caught their eye, how light played off the work, and what changed if the orientation of the work was reversed.  They also offered a lot of encouragement, especially when an artist talked about trying something new or pushing themselves in a different direction. “I appreciate your willingness to go beyond what you like,” is an example of a comment that conveyed an understanding of the artist and the unique challenges they grappled with. The group started as an outgrowth of several artists gathering at Steve Schulman’s studio to paint together.  This was somewhere around 2019, or perhaps a year or two earlier—the timeline is a little hazy for those involved.  While creating together, the artists soon started asking for and offering feedback to each other about the pieces that were in front of them.  It didn’t take them long to realize the value in this and they began bringing other works, whether in progress or finished, for critique.  The word “critique” may make someone feel a bit cautious at first, I’ll admit.  It was not long ago I read “Art & Fear: Observations on the Perils (and Rewards) of Artmaking,” in which the authors, Bayles and Orland, describe the many fears of the artist, including that of not being understood, accepted, or approved of. And then there are the stories from cyberspace of critiques offered to artists that left them in tears, enraged, or both. On the positive side, though, I remembered fondly my art teacher who pointed out what he saw in my works and analyzed how the parts, like line, shape, color and light, were organized and working together, or not. I found the process very helpful and ended up learning a great deal from him.  “Amazing!” was the first response when I asked a participant about the group, and it became the most repeated word I heard as I talked with several others about their experience. I don’t exaggerate when I say their eyes lit up and a smile rose on their lips at the mention of the group. Each member I spoke with credited the art critique group with contributing immeasurably to their growth as artists. It didn’t matter their medium, style, or how long they had been making art. There was consensus, too, on how supportive each participant finds the group and what a gift it is to get constructive feedback from people who know you so well. The ability to engage in philosophical, and highly personal, discussions about the process of artmaking was recognized as refreshing and a rare opportunity in a rural area like South County. Opening up to a group of your peers about what you create may not be for everyone. Vulnerability makes us feel, well…vulnerable. Successful groups recognize and respect this. The goal of most peer groups is to foster a supportive environment where individuals can openly share their artwork and process, receive honest feedback, and collaboratively reflect on their practice. How you arrive at the goal is by building trust, which requires time and intention. And if a member occasionally strays from these principles, a good group gently guides them back onto the path. When the ingredients all come together, the experience leads to improved skills, personal growth, and a stronger sense of collegiality. From what I can see, this group of artists has found that magic sauce.   If as you read this, you wonder about the peer critique opportunities available to you as an artist, I need to let you know the group is intentionally kept small in number to allow time for everyone to present and receive feedback. There is no reason, though, why more small groups cannot be established. In writing this story, I hope I have conveyed some of the benefits for doing so.   And so, back to the Reichl’s invitation. It is not coincidental, I don’t think, that “nutrition” and “nurturing” share the same root word. As with the communal table, so too the well-run art critique group—both offer a community of sustenance to those who partake. The possibilities are deliciously endless!

Several of our Muddy Creek Artist Guild members will be hosting another weekend at the River Gallery 1000 Main St Galesville, MD. Shop paintings, jewelry, mosaics, sculptures, pottery and more all made with love by local artists. Stephanie Kilchenstein, Michelle Schneider, Kathie Staska, and Robin Shilkret will be showcasing their art and hope to see you there!  Gallery will be open from 11-5pm Saturday August 17 and Sunday August 18. Wine and cheese reception on Saturday from 3-5 pm.

Courtesy of Ruth Bailey: Several of you have asked for another art challenge. Here it is! A No Rules Art Challenge for August 2024. An art challenge is a way of stretching yourself. Creating everyday boosts creativity. Trying new subjects increases your flexibility. Working small means you haven't spent much time or materials and it doesn't matter if it doesn't turn out the way you wanted -- Do it again! You may create everyday, or on weekends, or when you want. You may follow the prompts, or do your own thing. You may try a new medium or a new style. Bring your results to the members meeting on September 12th and we'll have a show and tell. Here are the prompts: Arch Buried Deck Effervescent Feather Fiber Filter Global Huddle Luminous Obstacle Patch Pattern Plant Pull Record Rush Rusty Scratch Serenity Shell Signal Spiral Striped Study Sweet Tidal Trunk Turn Vitamin Widen

Muddy Creek Artists Guild member Stephanie Kilchenstein will be hosting an exhibit and sale of her art at the River Gallery in Galesville, Maryland, on Saturday, June 8, 2024, from 11:00 to 5:00. River Gallery is located at 1000 Main Street, Galesville. Come out and visit with Stephanie and see her beautiful work. Visitors will have a chance to win an original piece of artwork.

Do you ever wonder what happens with the monetary donation Muddy Creek Artists Guild makes to the art programs in South County schools? Well, let me tell you. First, a little back story. Since its inception, the Guild has been committed to supporting local arts education in K-12 schools through its Arts Education Fund. Guild members donate art work at each Guild-sponsored show with all proceeds from those sales going to the Fund. Additionally, a few outstanding donated works are selected to raffle off at each show, with proceeds from ticket sales supporting the Fund. By purchasing raffle tickets or buying donated art designated for the Arts Education Fund, art show visitors join hands with Guild members in supporting art instruction in South County schools. Art instruction is a crucial component in a child’s school life.  It helps them tap into their creative sides and hone skills like communication, fine motor skills, problem solving, and emotional intelligence. Art also introduces students to creative ways of knowing, which can help them see the world in new ways. Each year the Arts Education Fund supports schools from a specific instructional level.  In 2023, the monies were targeted for the 9 elementary schools in South County (Deale, Edgewater, Central, Davidsonville, Lothian, Mayo, Shady Side, Tracey’s and Central Special). Overall art sales were good last year, enabling the Guild to supplement the Arts Education Fund earnings and raise the amount each school received to $1000. In February 2024, Guild President Lora Collins, along with several other Guild members, visited each school and presented a check to the art teacher and principal. And what did the art teachers do with the funds? Let’s take a look. Manikins, glue, tempera paint (in neon colors!), paint brushes, watercolor palettes, and colored pencils were among supplies identified by the older students at Central Elementary School when they gave input to art teacher Lauren Schlossberg about what supplies they thought were needed in the art room.  Working on making papier-mâchè action figures, the fifth graders used the new manikins to study proportion and movement. Students created sketches using the manikins and then translated the drawings into three-dimensional figures. Ms. Schlossberg reports that the manikins made it much easier for students to understand how to proportionately draw their person in action. The Central kindergarteners dabbled in tempera to create sunsets on their seascapes, the third graders used the new watercolor palettes in making their Georgia O'Keefe inspired flowers, and the fourth graders busily attended to using watercolors for the backgrounds of their Maryland-inspired lighthouses. At Davidsonville Elementary School, the 2nd grade artists were thrilled to have brand new markers to use in their Keith Haring Design works. Meanwhile, the kindergarteners enjoyed trying out Kwik Stix—tempera paint that dries in 90 seconds—and dreaming up ideas for incorporating this into their art next year in 1st grade. The Davidsonville 5th grade artists created complementary cake paintings with Crayola Premier Tempera paints and both round and flat Royal Langnickel paintbrushes, all purchased with the funds.  Art teacher Jennifer Lahtinen expressed gratitude, saying, “High quality materials make a huge difference in the artists’ creative processes! Thank you!” Art teacher Jenilee Denney at Mayo Elementary bought clay and other sculptural materials, as well as bamboo brushes for teaching Sumi-E style painting.  Budding 2nd grade artists in Ms. Denney’s class used the clay to make ceramic pinch pot tulips, while the 1st graders created jellyfish that were adorned with cool tentacle materials. Ms. Denney still has other items waiting in her shopping cart for the remaining funds. Over at Shady Side Elementary School the 3rd graders were learning about American Sign Language and in art class made ceramic “I Love You” hands. Art teacher Nicole Drennan ordered both the clay and glazes for this project using the Guild donation. Deale Elementary School art students benefited from supplies purchased for their participation in Deale’s annual K-5 art show, which this year was themed “Underwater Adventure”. The show was a huge success with over 400 pieces of student art on display. Julie Braithwait, Deale art teacher, said: "The students had a blast learning about and creating different sea creatures to showcase the beauty of life under the sea! Your generous donation helped to purchase supplies such as: flourescent/metallic paint, canvases, wire, beads, clay, and so much more!" Gillian Conner at Central Special bought ceramic glazes, adaptive scissors and “so much more.” Maria Sage, art teacher at Tracey’s Elementary, ordered items for a Talavera Tiles project. Proceeds from the Arts Education Funds in 2024 will be donated to the art programs at the two high schools in South County, Southern and South River.  Please do come out and purchase designated artwork at our shows this year and help us continue our commitment to K-12 art instruction. Who knows which of these young artists will grow up and become Muddy Creek Artists Guild members themselves some day!  As of now, they’ve made a great start.

The Muddy Creek Artists Guild has been meeting at the Davidsonville Family Recreation Center for about a year in a building we share with Cub Scout Pack 454.  Scoutmaster Dan Schiavo saw a fortuitous opportunity when the scouts (called “Tigers”) decided to undertake their art badge. The badge requirements were fairly straightforward: 1) Visit an art gallery or a museum, explore an art website, or visit your library. 2) Look closely at pictures of some art with your den or a family member. Decide what you like about the art, and share your ideas with the other Tigers. 3) Create a piece of art on paper, poster board, or canvas. 4) draw or create an art piece using shapes. 5) Use tangrams to create shapes. Scoutmaster Schiavo needed help with items 2-5 so a call went out for volunteers from the Muddy Creek artists to assist the scouts with their art-themed Stories in Shapes. Up stepped Jan Willem van der Vossen, mixed media artist and once-upon-a-time cub scout. With three daughters who have followed him into the arts and a granddaughter who was recently accepted into the GW Carver Center for Arts and Technology (a big congrats to her!), Jan Willem had good cred for the task. Jan Willem met with the Tigers at DFRC for two evenings in March. Ten children ages 6 to 8 participated. Jan Willem set about explaining how art is made up of shapes, lines and color, demonstrating on a large piece of a paper at his easel. Drawing on his experience as a father and grandfather (and heeding the advice of the Scoutmaster), he avoided getting too deep in lecture or theory lest the kiddos’ attention waned. Jan Willem obviously nailed the delivery because the Tigers were rapt. As he concluded this intro, he stressed that making art is not about making something that other people (like your parents or teachers) think is pretty. Art is an expression of your ideas and emotions. In fact, it could be loads of fun to make something that might NOT be considered pretty or used “ugly” colors. Jan Willem encouraged them to paint what and how they wanted, adding, “YOU are in charge!” Jan Willem provided each Tiger with an 18” x 24” piece of paper and six colors of acrylic paint.  To their delight, the kids were then allowed to select a brush from his personal collection for the evening.  Jan Willem steered them toward the bigger brushes in an effort to encourage the kids to let go and be free with their expression. The Tigers embraced the assignment with gusto, aided in no small measure by dressing the part with berets and smocks provided by Scoutmaster Schiavo. (Oh my gosh, too cute!) Between his first and second visits, Jan Willem made posterboard mats from the pieces the Tigers had made the first night. The kids said the treatment made the pieces “pop,” which Jan Willem told them was like “putting a suit and tie” on their work. More fun commenced for the second evening. Scoutmaster Schiavo reported that the Tigers were the most engaged he has seen them during any activity this year. In fact, he thinks they would have happily spent all night painting had they been allowed. Parents had to drag them away (figuratively speaking, of course) at the end of the evening.  There are quite a few naturally gifted artists in the Tiger Den, according to the Scoutmaster, who also made a point to express his appreciation to Jan Willem and the Guild for supporting the scouts. From all accounts, the experience was a huge success and enjoyed by all—including Jan Willem! In fact, he has volunteered again for next year.

My eyes lit up awhile back when I saw an article written by Julia Halperin in The New York Times entitled, “Fiber Art Is Finally Being Taken Seriously.” As a fiber artist, I was thrilled the medium was getting recognition as art from a widely circulated and well reputed newspaper. From the earliest recorded history of civilization, the use of natural fibers to create textiles for utilitarian purposes (e.g., clothing and bedding) has been fundamental to the human experience. Textiles as art came into prominence in the Middle Ages and Renaissance when fabrics took on a decorative, aesthetic purpose (i.e., weaving and tapestries). Introduced into the vernacular around the time of World War II, the term fiber art is defined, according to Wikipedia, as fine art whose materials consist of plant, animal or synthetic fibers, and which prioritizes artistic expression and aesthetic value over utility. There is some dispute in the literature, though, about using “utility”, or the lack thereof, to separate art from craft. In her article, Halperin describes the early 20th century as a time when minimalist artists embraced commercial fabrication and mundane materials to challenge long-held assumptions about art objects. For example, the Bauhaus school, founded in Germany in 1919, made no special distinction between applied and fine arts, having as its core objective the unification of the arts through craft.  The materials and the artist’s manual labor were part of the work’s significance. Alexandra Griffith Winton in her essay for The Met describes the Bauhaus curriculum as an effort to eliminate the divide between art and craft by combining the elements of both. Students enrolling at Bauhaus were required to take a preliminary course in the study of materials, color theory, and formal relationships between elements. The course was often taught by well recognized visual artists of the time, like Paul Klee, Vasily Kandinsky, and Josef Albers. From there, students continued their studies in specialized workshops (metalwork, furniture, cabinet making, weaving, pottery, typography, and painting) taught by accomplished artisans in each medium. Specialization was dependent on gender. Both Griffith Winton and Halperin point out that Anni Albers, later to become recognized as a prominent textile artist, recalled being less than thrilled to enroll in a weaving course at Bauhaus in 1923 as the classes in painting and stained glass were open only to men. As Halperin observes, “the [historical] hierarchy placing art above craft—and intuition above skill—is gendered and archaic.” My excitement about Halperin’s article, in part, was born out of my curiosity with the ever-present debate on whether using fiber for creative expression is recognized as art or craft. As we know, there are defenders on both sides. Elissa Auther (“String, Felt, Thread”, 2009; see video here) traced the differentiation between art and craft back to the Renaissance when painting and sculpture became associated with liberal arts like music and poetry rather than with “mechanical” arts like weaving and blacksmithing. This distinction lingers today, with a few exceptions. Fiber art experienced a heyday in the 1960s and 70s when artists, predominantly female, explored how the qualities of thread and fabric could create works of art that moved off the wall and into three-dimensional space.  Historically, Halperin notes, this new era of the fiber art movement formed against the backdrop of the women’s liberation, civil rights, and antiwar movements. Fiber art materials became ubiquitous as the counterculture embraced DIY craft projects (e.g., macramé plant holders). The fiber arts movement of the 60s and 70s lost its energy, though. The medium was “too rooted in technique to be taken seriously as an ‘attitude’,” the curator Jenelle Porter writes in the catalog for the exhibition “Fiber: Sculpture 1960-Present,” which appeared at the Institute of Contemporary Art/Boston in 2014. (Check out videos about that exhibit here.) In 2024, even though more men and young people work with fiber, numerous stereotypes around fiber, gender, and art vs. craft remain (e.g., "knitting grandmothers"). The art world is currently seeing a resurgence of attention on fiber art, Halperin writes. “…In an age when we spend much of our time touching the flat surfaces of screens, this tactile art form feels newly seductive to makers and viewers alike as both a contrast with and a culmination of modern sensory experience.” This statement provides me encouragement, while, I admit, also a tinge of sadness about the state of our sensory relationships with electronics. The Smithsonian American Art Museum is preparing to open “Subversive, Skilled, Sublime: Fiber Art by Women” in spring 2024. I can’t wait to go. Written by Kendra Smith

As a child, I remember sitting down with the Sears catalog Wish Book every year, pouring through its voluminous pages to develop my Christmas wish list. I’m certain when I fell asleep each Christmas Eve it was images of the Kenner Give-a-Show projector, Dick Tracy two-way wrist radio, and an Easy Bake oven dancing through my head, not sugar plums. My “wishes” have certainly changed over the years, though I admit my Apple Watch sometimes harkens me back to those Dick Tracy aspirations. These days I lean more toward wishing for intangible things, like peace on Earth, and getting out of bed in the morning with few aches and pains. Exploring this year’s Muddy Creek Artists Guild holiday art show and sale, though, was like a deep dive into a more mature version of the Wish Book. What lovely work by talented artists. Across two weekends in early December, 46 artists displayed hundreds of pieces of unique art across a variety of mediums. It was a pleasure to see work from long-time Guild members as well as the 9 new member artists who participated. Jan Willem Van der Vossen reached out for impressions from the new artists about their first Guild show. The consensus was a warm and welcoming experience. Though at the outset they weren’t sure exactly what to expect, the new artists found the show to be well organized from set-up to break down. New member Linda Curtis expressed trepidation at participating in a show so soon after joining the Guild, but felt included and special as she received encouragement and guidance from established members. Others shared that they found comments from the public about their art to be uplifting. As veteran Guild members know, the feedback from members and the public can be invaluable for future directions an artist may decide to take. Bruce Saylor, one of our newer members, put it well: “After hearing positive comments, I will be making a few changes on the format of my work and look forward to seeing how these changes will be met at the next show.” Studio Intrepid was a hit with the public once again as visitors young and old stepped in to make their own artful holiday decorations. Michelle Schneider, volunteering for the first time, shared a heartwarming moment when a mother expressed gratitude to Studio Intrepid for giving her a chance to discover her son’s interest in art—something he had until then not shared with her. Each day as I moved throughout the gallery, I made mental notes of which pieces would make that special gift for family and friends, and the ones I dreamed of having in my own home. Visitors were frequently heard giving voice to these same thoughts. It was a bonus that as art sold, it was often replaced by yet another piece of the artist’s work, making the gallery an entirely fresh experience each day. Over the six days, roughly 1400 items were sold and $2,070 was raised for the Art Education Fund. Though it’s always hard to know the exact number of visitors at any given show, the customer count (of those paying by credit card) was 261, about half of whom were first timers. As usual, dedicated teams of volunteers worked hard to turn an empty storefront into a lively gallery pop-up. The first-time show co-captains, Kathie Staska and Bonnie McLeod, stepped up and did a great job. Anita Ewing and Betsy Meynardie combined their vast experience toward heading up Operations, as did Roxanne Weidele and Fran Thompson for hanging and placement. A shout out to John Hannah for heading up the Setup/Breakdown crew, and to all his many helpers during the process. Oversight of art check-in was in Joan Scott’s capable hands, and Jan Willem Van der Vossen took the lead on publicity. Lisa Fairbank did a masterful job, as always, with the inventory system.  Well-deserved recognition also goes to Fran for sending out sales tallies throughout the show. With a nod to Clement Moore, the Muddy Creek Artists Guild members deserve to settle in for a much-needed long winter’s nap. In the coming days and weeks, here’s hoping the only arising clatter in your life will be joyous and merry—and most certainly creative. As new member Meryl Tiemann aptly put it, “I’m looking forward to what comes next!” written by Kendra Smith

written by Kendra Smith I had the pleasure not long ago of chatting with Bea Poulin, fine art photographer, artists co-op member, gallery director, and one of the founders of the Muddy Creek Artists Guild. Bea has a wealth of knowledge and experience with the art scene here in Anne Arundel County and, most recently, St. Mary’s County. She earned an undergraduate degree in Art, a Master’s degree in nonprofit administration, and ran local government programs prior to giving full-time commitment to her artwork and the North End Gallery in Leonardtown, Maryland. Bea shared MCAG history with me, as well as her ideas about what makes an art guild successful. I’ve done my best to capture Bea’s accounting below. I hope you find her stories as interesting as I did. The year was 2009 and Bea had been back into what she calls her “art brain” for some time at that point, having earlier set aside art after college as her life became filled with family and career. As an employee of Anne Arundel County, Bea was quite familiar with the ever-growing presence of galleries and artists in and around Annapolis. Just a year earlier, in 2008, the Art in Public Places Commission had designated a portion of the city dense with galleries as the Annapolis Arts District and funded ArtWalk, a project intended to turn the streetscape into a visual gallery of large original works. Opportunities were popping up for artists of various mediums, with the city at the focal center. Annapolis’s identity as a cultural center notwithstanding, artists in lesser populated areas of the county were left looking for outlets closer to home and more suited to their local needs. Drawing on what she saw on the job and as an artist, Bea was acutely aware of the paucity of art venues below the South River. Turns out, Bea was not the only South County resident seeking a means to share her artwork. Through her connections with other photographers, she heard similar stories, confirming that artists in South County were thirsty for opportunities to present their work to the public. One of those artists was Joanne Riley, a friend and fellow photographer with whom Bea had done shows at Discovery Village in Shady Side. They agreed that a consistent flow of weekend shows periodically throughout the year might create that opportunity they otherwise lacked. The two women began floating the idea with other local artists and were emboldened by the positive response. Soon Bea had 5 or 6 like-minded artists in her living room tossing out ideas and drawing up the beginnings of a business plan, her administration degree coming in handy. As Bea recalls, “We were all still working in full time jobs but also feeling explosively creative.” This small group quickly had their ideas down on paper. Why not create their own gallery by renting a space for occasional weekends to house the show? Like a spark to a wildfire, their excitement and enthusiasm spread quickly. But first, recognizing a small number of artists would be hard pressed to sustain this model alone, Bea suggested forming an organization of artists. They scheduled a meeting for the nascent guild and put out a call in The Bay Weekly for any interested South County artists to attend. About 30 in all showed up at that first meeting. Again, enthusiasm, commitment, and volunteerism reigned, with each person agreeing to contribute a small sum to establish the guild and support it during the first year. Potential names for the new group were bandied about, with “Muddy Creek Artists Guild” winning the group’s approval. One illustrator designed a logo for the guild and the husband of another artist drew up the paperwork establishing a corporation. Now they needed to locate a rental space. Though they didn’t use the term “pop-up” show, the Guild members envisioned a gallery that would appear at predictable intervals and various locations as if out of thin air and then disappear in similar fashion. It was important, they agreed, that the show be set up like a true art gallery—not a flea market or garage sale. They wanted professional displays for the art, food, wine, music, and a reception. Keeping this in mind and looking for a suitable venue, Bea, with her County connections, contacted the community hall in Galesville. Even though the Guild was prepared to pay for use of the space, the Galesville community generously offered it free of charge for that first show. Elsie Whitman, Laura Dixon, and Roxanne Weidele, all of the River Gallery at that time, were instrumental in assisting the group in figuring out the show’s gallery aspect. A small group of volunteers gathered in Galesville to build display panels—still in use today, by the way.Others went to work on publicizing the show, which they titled, “Artists on the Half Shell.” The vision was coming together through the collective efforts of many volunteers. Stay tuned for part 2 of my conversation with Bea Poulin in the next MCAG blog. In the meantime, please share your thoughts about the story by scrolling down and adding to the Comments section below.

written by Kendra Smith In the last blog, I shared the first part of a delightful and informative conversation I had with Bea Poulin, the founding president of Muddy Creek Artists Guild. (If you missed that post, you might want to catch up by reading it first. You can find it here.) In Part 2, we pick up where I left off with the newly-formed Guild completing their first art show in 2009. By all accounts, that first show was a tremendous success, drawing in scores of people interested in fine art and exceeding the predictions for sales. The Guild members were thrilled. With one in the win column, the Guild continued to plan and host more shows in 2009. The commercial real estate scene in South County at that time was struggling, creating abundant rental spaces that the Guild could once again magically transform into a weekend gallery space. The second show, “A Harvest of Artists,” was held in the building formerly occupied by Blockbusters in Deale. Visitors remarked on how exciting it was to see good art without having to drive into DC or Annapolis. December 2009 saw the first “Gifts from the Arts” show, a popular one that has continued every year since (excluding the pandemic years of 2020 and 2021, of course). Over the years, venues have included community halls, storefronts, a Greenstreet Gardens greenhouse, Captain Avery Museum, Honey Harvest Farm, and Homestead Gardens, just to name a few. Throughout that first year, the Guild spread the word about what it was doing and encouraged more artists to join their membership. Lo and behold, artists came out of the woodwork. As the second year began, the membership had more than doubled to 60 or 70 artists across a variety of mediums. As with any new organization, there were rough spots the Guild faced in those early years. Opinions differed, and communication among members was not always consistent, especially as its numbers grew. Bea recalls one of the challenges centered on the practice of jurying in new members. Admittedly, it is hard to jury your peer group, particularly when they are often also your neighbors. The Guild stood behind its criteria, though, that membership be offered only to those who are actively engaged in creating art, not craft, and live or work in South County. This was based not in value judgment, but rather a desire to preserves the Guild’s mission and protect it from trying to be all things to all people. Bea emphasized that no one was turned away because they were new to their art—a policy that lives on today. In fact, many of the original members were only recently discovering their talents. The focus was (and is) on nurturing those across many mediums who were growing their art and striving to be fine artists. Bea served as the Guild’s first president. During her tenure in that capacity, Bea was repeatedly able to call on her training in management to keep the Guild forward focused. She organized a two-day retreat every other year in which the members would review activities from the previous period, identify where they wanted the Guild to be 3-5 years down the road, and develop a plan for how to get there. She conveyed to the membership the value in identifying strengths and opportunities, along with weaknesses and threats. At these retreats, members also took time to make art and eat together, helping to grow new bonds and strengthen existing ones between members. The very first retreat was held at the sailing school in Galesville early in 2010. On the second day, it started to snow, covering the landscape with a glorious white blanket. A day remembered by all who attended. As a wholly volunteer organization, the Guild has relied on the talents of its membership to get things done. Everyone who comes and goes contributes in some way. For example, Steve Schulman lobbied for the addition of the studio tour and Janet Goldberg, treasurer during Bea’s tenure, brought the idea of DoART to the membership. Both endeavors were quickly adopted and recognized as a means to engage community residents in the making of art. One of the first DoARTs was held at the Captain Avery Museum. A huge canvas was laid out, with paint and brushes provided by the Guild. Participants were instructed to paint whatever they wanted. Bea recalls the organically created piece was quite amazing. After serving 6 years as president, Bea stepped down to encourage new blood to address marketing and infrastructure growth. Jennifer Heinz came in as the Guild’s second president. With a good head for policy, Jennifer spearheaded the development of the Guild’s bylaws and got the accounts organized. When Mike Dennis, with a construction management background, became president, he was able to help members understand the approach to working up a show. Subsequent leaders have left their unique mark on the Guild’s growth and development. The Guild has continued to thrive from 2009 to the present, holding three art shows and a studio tour each year in various locales around South County. Bea estimates that these events have brought in hundreds of thousands of dollars in artwork sales. Bea feels you can’t put a price tag, though, on the tremendous value MCAG has had in South County by filling a cultural need for art. “Art is essential; whether you sell it or not, having a place where people can experience it is of utmost importance,” Bea asserted. The Guild embraces this philosophy, through its shows, community events like DoART, and the Art Education Fund, which provides funds to local students studying art. MCAG activities have nurtured the development of countless artist members along the way. Some have felt empowered enough by their Guild experience that they went on to exhibit in larger venues, have solo shows, and even start their own art-related businesses. Asked what advice she might give to artists considering guild membership, Bea’s reply was threefold. First, even though having your work judged can feel intimidating, embrace it and you’ll learn a great deal. Next, be open to trying new things and experimenting with process and medium. Don’t get stuck in an artistic rut. Finally, share with your fellow guild members; it’s the comradery and common purpose that maintains the strength of any guild and reaps you, the individual, the most reward. Bea had a few words of advice for the Guild, too. Keeping everyone on the same page is hard in a large group, but resist the temptation to have only a small number of members doing the bulk of the work. Leaders need to be continuously mining talent within the membership in order to keep the organization healthy. Make it a goal to keep members engaged and coming back. Add art play to meetings; the bonding that happens is an investment in the Guild’s future. Cap the membership at a number that ensures artists get the attention they need, and take care not to over represent one medium over another. Last but not least, (and this is a big one but totally do-able according to Bea), consider investing in a permanent brick and mortar gallery space. Where’s Bea now? Well, after retiring from her county position, she moved south to St. Mary’s County and pursued her art full time. She joined the North End Gallery, a 37-year-old artists cooperative with a permanent storefront gallery in Leonardtown. Her artwork can be found displayed there and on her website at beapoulinart.com. Bea continues to contribute her managerial talents to North End, currently serving as the gallery director. We welcome your comments on this story and any memories you may want to share about the early history of the Muddy Creek Artists Guild. Post comments below by scrolling to the section below.

The 5th Annual Muddy Creek Artists Guild Open Studio Tour was a fantastic success last weekend. Over two crisp and sunny autumn days, 143 visitors came to our 8 locations, logging close to 400 individual studio visits! Positive comments were received from artists and visitors alike, with many emphasizing how much fun it was for the opportunity to talk about art. Demonstrations and hands-on activities were popular, including felting flowers and paperweights, and making envelope books. It was exciting to see so many people visit multiple tour stops. Others concentrated on the artists they already knew or a medium that attracted them. Local South County folks made up the largest numbers, while some came from further distances, like Kent Island, southern Maryland, the DC and Baltimore suburbs, and even western Virginia. One visitor was heard to say, “It’s worth the drive to feel SO welcomed into artists’ studios!” Indeed, the participating artists, to a person, created a warm and friendly experience demonstrative of their joy in sharing art with the public. (Rumor has it that one stop even served wine!) Behind the scenes, the Guild events take a lot of planning—as studio tour co-captains Mike Dennis and Kendra Smith will tell you! Yet, with a team of members cooperating to pull all the parts together, events like this tour look seamless. Shout outs to Jan Willem Van der Vossen and Lisa Fairbank for subcommittee support, participating artists for opening their studios, The Twisted Bead and Rock Shop for sponsoring the tour, and the many business sponsors whose donations funded the raffle. The studio tour is one of several events each year that serve as the foundation of what the Guild is all about. In our next post, we’ll be sharing more about the history and mission of the Guild. Hope to see you here again for that one! What were some of your favorite highlights of the studio tour? Post a comment below to let us know.