Palooka Magazine

Issue ​fifteen of Palooka Magazine has dropped​. If ​you're looking for something to indulge in​ and treat yourself with this month, I ​suggest anyone who is a lover of​ quality and depth to lose yourself in​ the art and literature of Palooka. ​

Art and literature can be admired in many forms — but one thing that I​ ​personally adore about print magazines​ is the​ir ability to allow you to carry with you​ the very essence of thought and heart​​ that goes into literature and art​. It is an incredible feeling to get lost in the pages​,​ as you navigate another person's fascinating perspective. I really like books. Any magazine that holds within it such powerful moments, captured in words or through art, is something to pay attention to. Something to, I would say, embrace. 

I have to reiterate how incredible this magazine is. ​Jonathan was kind enough to send me a few copies of my choice. I was specifically interested in issue fourteen and issue ten; they stood out to me and I was excited to explore them. What I found within both Issues of Palooka was potent, refreshing and raw. While taking​ in issue ​fourteen, I was incredibly moved by ​Pardeep Toor​'s "You'll Understand When You're Older"​. I cannot recommend reading this enough and struggle to explain the ​boundless vulnerability, ​emotional rawness, intelligence and unspeakable bravery that I presume it must have taken to write what Pardeep wrote. Truly, this person is someone who, through his sheer honesty, has my respect. 

This is a single example of many that I could share. There are innumerable gifted voices out there, in both literary and artistic circles. But it can be a challenge to know where to look on this ​vast world wide web. ​Some platforms are phony​, some say one thing and mean the other and some ​aren't serious and ​lack compassion. But it is clear that this literary magazine is different. ​

Having been established in 2010 by founding editor, Jonathan Starke, ​Palooka sets itself apart from the noise​, while inspiring one to pause and listen​;​ listen to the words on a page and the colors in a work of art. Immerse yourself in someone else's thoughts as they scream, calm and whisper to you, from the crevices and corners of issue after issue. Find art and literature that speaks to you. Support platform that resonate on a deeper level to you. Embrace the stories that find you and get excited about reading again. Everyone has different tastes but that is maybe the beauty of it. I've written something like a novel here but I type a great deal, when something relating to art or writing catches my attention and I feel it worthy, relevant or important enough to share. In the hustle and bustle and rushing willful chaos, Palooka Magazine is wholeheartedly worth everyone's time​.​ There are actually many amazing literature and art magazines out there but given that I have been reading and enjoying Palooka lately, I wanted to, understandably, focus on this magazine. I will be featured in Issue Sixteen. 

Browse all issues of Palooka here:  https://www.palookamag.com/issues.html

Dive into Issue Fifteen here: https://www.palookamag.com/15.html

Goddess Arts Magazine: Issue Eighteen

A special thank you to Lena Snow, founder of Goddess Arts Magazine, an amazing art magazine based in Germany, for featuring me in issue eighteen, alongside many other artists. Profits from issue 18 will benefit the Women’s Earth Alliance, ''a nonprofit that empowers women globally to protect our environment and build resilient communities''. So, when you purchase this magazine, as Lena mentioned, you aren't only being given the opportunity to immerse yourself in art, you're also contributing to something that could have an amazing impact. I am somewhat late in sharing this, given that this issue was released in August. Nonetheless, very grateful! Thank you Jana and Lena. 

'Aloof' by Cierra G. Rowe

A composition of soft, feminine colors against harsh reds and distressed black. A face lingering in the chaos, with distant colors forming behind.

https://www.artofcierra.com/product/aloof-acrylic-on-canvas-panel-8x10-framed

Upcoming Books and Tom Antona Appreciation Post

My debut book of poetry; The Devil Bakes A Cake For His Wife is scheduled to be released in late '25. Meanwhile, my book Mood, with a foreword by Tom Antona (of Alice Donut), is to be announced v. soon (also within 2025).

Both books are something that I have put a tremendous amount of work into, with Mood having been in the making for over 4 years and The Devil Bakes A Cake For His Wife, having been in the making for over 2 years. On and off I have had a great desire to write but have also been dealing with deeply personal things. Very big hugs to my husband, for encouraging me to keep with it, despite me feeling somewhat overwhelmed, whenever I revisit things and write longform but also for understanding my intent behind Mood.

This is also a Tom Antona appreciation post. Seriously this guy, who is a fierce pure-talent, is forever cool and someone who has my respect. To be given the privilege to talk in depth, about art and passion and beyond - tons of conversations, with an artist, whom I admire means so much to me. Words do not cut it. Like, at all. Tom has basically been a mentor to me. His sincere words have helped me a great deal, when I wasn't so sure and more than that, inspired me to keep going. When someone can do that, talk to you, as an artist, and revive in you this sense of confidence in what you are doing, is nothing short of amazing and I am so grateful. He also owns multiple pieces of my art (pieces that I always assumed would not find homes) and that in and of itself is deeply heartwarming.  Trying to capture my gratitude in words fails me because it is more than what I could put words on. People who know me know that I don't expect much, especially in the way of anyone giving a damn about what I do. So it means alot to me. It's a huge deal to me. Props to my husband for putting us in touch, ages ago. And Tom, you already know how much this means to me but seriously, thank you so, so much. 

Realism

Progress on (untitled as of yet) Realism. I have no desire for realism, unless speaking about sincerity. There is a kind of beauty in honesty that enriches art. But traditional realism? No. I used to adore it, some time ago. I was so fascinated in capturing the exactness, the essence of a person. For a while, I was very into it. But things change. I find abstract portraiture far more intimate. There is no comparison. Intimacy in art, to me, is very important. If a person were to paint someone, would they prefer them to capture their reflection or would they prefer them to go deeper....and paint who they truly are, based on outward mannerisms, the way that they speak, miscroscopic traits and that which they are unaware of - signatures of who they are beneath the surface? I would prefer the latter. I would prefer to paint someone as they are, from what I see rather than a surface depiction. 

art

Before I began painting more common elements of surface nature, I made art that many would refer to as 'dark'. Admittedly, perhaps on the surface that is how it appeared but I am of the mind that beneath any given surface lies deeper meaning — things that you cannot see right away. Sometimes you become so consumed with your art, that you forget the eyes outside of it. If one knew the artist's intention behind a piece, things would be clarified; meaning would become clearer and shapes would not look so...misshapen. But art is a mystery. Not so long ago, something happened and it changed things and shook me up pretty badly. While outside, upset under a tree, trying to get a grip and failing, I remembered what I had said in an interview; ''An artist has to break to grow''. You should be careful what you say, because I ate my f/cking words and found them mocking me. The more that I wept, the harder those words laughed at me. So...while in the depths, through trying to mask and avoid, circling the drain of being lost, running from the things which would not let me sleep, eat or think — I tried to paint things which were the opposite of how I felt; simpler things. Meaningful, yes but simple compared to what I commonly painted before all of this happened. It was too much all at once. Spiraling. I tried to gather myself and began painting a fusion of plants, landscapes and glowing shadows. After a while of painting these things, I began to feel a familiar kind of hunger. What I did not realize, through doing this — through repressing things, was that I was restraining myself in painting. I know the foundation of my art. I know what's behind painting. I also know that you cannot run from who you are. How can one fully express themselves if they are locking part of themselves away? What is art, if there is restraint? I think in modern times, it has become rule to put a word on things. Or to be just one thing. Or don a label that encompasses you as a human being. Impossible. In reality, I find that humans are the ''et cetera'' of nature. So, art must remain unbound.

'Sex' by Cierra G. Rowe

An intense interpretation of carnal and animalistic instincts.
https://www.artofcierra.com/product/sex-acrylic-on-canvas-panel-8x10-framed

An intense interpretation of carnal and animalistic instincts. As a female artist, I am sometimes made to feel ashamed or uncomfortable whenever I paint things of this nature, especially involving sex. It's like, if I paint it - then i'm somehow wrong, unclean or have created something offensive. I am not twelve. I have earned the right to paint whatever I please. If one takes offense, then that is a choice. Looking at the surface of something and making an assumption is a choice. Art is an invitation to release. It should never be dictated or controlled by the audience. What sort of artist only paints things that others will approve of? That sounds pointless and sterile. How could anyone find satisfaction in that? It is like eating a cookie made of styrofoam. It can also be frustrating when I paint something and it is taken the wrong way. Given that perception outside of yourself is not controllable, this comes along with the territory. Sometimes it can be a beautiful thing, other times it can be an annoyance. As a woman, when I paint things of this nature it does not mean that I am akin to some imagined, sex-starved nymphomaniac or that I am sending subliminal messages to a hypothetical audience or that I seek some form of pseuco-validation. It seems as though anything remotely sexual in nature is viewed as smut or taboo, nevermind ''tastes''. Art, through many layers of definition, is a statement of existence — fueled by complexities, emotion and private things. It must remain untamed. To keep art unbound is to maintain its purity.

'Spirit' by Cierra G. Rowe

 

A composition of that which is elusively beyond comprehension.
https://www.artofcierra.com/product/spirit-acrylic-on-canvas-panel-8x10-framed

'Cannibal (Tortured Artist)' by Cierra G. Rowe

 

As an artist, you are a kind of performer; opening yourself for all to see. Perhaps your audience consumes you and your pain makes it all the more appetizing. Perhaps enough is never really enough​, for them and they are not sated until all of you, every bit, is on display. Then comes the great climax, as you are littered with roses, attention and applause. One final standing ovation from your audience of empty faces. After you have given your all and passionately emptied yourself comes silence. Only then will your audience walk away, on to the next amusement — leaving you as you lay motionless.​ This portrait is a question of what it means to be famous​ and to know, deep down, that fame is fleeting​ ​because you cannot hold everyone's attention forever. 
https://www.artofcierra.com/product/cannibal-tortured-artist-acrylic-on-canvas-panel-8x10-framed

Early Compositions

My earliest works pave the way for current works. As an artist (painter), change is narrated through brushstrokes. My earliest drawings and compositions have always imprinted on later art. Especially my way of capturing the human form. It has always been abstract, especially after realising that realism did not quite satiate me. My way of painting human beings is more of an abstract and figurative fusion. A good example of this is the drawing shown below (which I completed several years ago using markers and colored pencils); 'Famine'. I tend to distort faces, while adding colors that accentuate what I am conveying in any given composition. A much later example of this is through looking at my paintings 'Sex' and 'Cannibal (Tortured Artist)'. 

'Famine' - Cierra G. Rowe est. 2016

'Powder Blue' by Cierra G. Rowe

 

This composition consists of a milky moon sitting in the night sky, over farmland, surrounded by ethereal swirls of whispering blues, purples and dusty pink.
https://www.artofcierra.com/product/powder-blue-abstract-expressionist-acrylic-on-canvas-panel-8x10-framed

'Impose' by Cierra G. Rowe

 

Soft and light hues of pinks and yellows coalesce in this vast sky, over dark green trees and soft fog. Impose is an intimate scene​ that I observed not so long ago, in the gentle silence of the countryside, stillness of the evening sky and hum of nature.
https://www.artofcierra.com/product/impose-abstract-expressionist-acrylic-on-canvas-panel-8x10-framed

'Fever Dream' by Cierra G. Rowe

 

Colors brush against each other, in this intense and pastel-like depiction of a fever dream. I wanted to focus on intensity and atmosphere, in this piece, through pitting effervescent colors against the strong presence of black.
https://www.artofcierra.com/product/fever-dream-abstract-expressionist-acrylic-on-canvas-panel-8x10-framed

Brushstrokes

Most of my photos appear neat and tidy. Well, the truth is there is nothing neat and tidy about painting or creating art at all. Not the pain behind the creation and not the actual clothing that one dons when painting.​ Like most things online, you can crop out the ugly and only show the cleaner, neater, more appealing-to-the-eye aspects of any given thing. Here is me painting, with a cloth on the side to swipe my brush.

Textured

 

Years ago, I was obsessed with smoothness in my paintings; constantly layering colors and smoothing them over, to achieve evenness.​ Then, I realized that I love texture. The reason that there exists texture within paintings is because of the process where the mind unfolds​ during completion. There is a progression; you begin with one color but then decide to use another color. one changes their mind and paints over the perceived mistake, to form something ​beautiful, tangible and perfect. Artistic perfection is the sense of satisfaction from creating​ — or perhaps​, on a much deeper level, that's gratitude. ​

Coffee

Coffee sans cream; the only way to truly indulge. This particular brand is very strong, with tones of chocolate but not too heavy. It's smooth; like someone playing a saxophone, while wearing a tuxedo. Or maybe like Spandau Ballet. Oh yeah, now that's smooth.

'Cerulean' by Cierra G. Rowe

 

Fire flies and glowing trees come to life, one summer night.
https://www.artofcierra.com/product/cerulean-abstract-expressionist-acrylic-on-canvas-panel-8x10-framed

'Sun Dream' by Cierra G. Rowe

Dark trees, holding shades of green, stand beneath intense sun rays.
Deep pink skies, flecked by blue and black, stretch on in the distance.
https://www.artofcierra.com/product/sun-dream-abstract-expressionist-acrylic-on-canvas-panel-8x10-framed

 

Goddess Arts Mag Interview

A special thank you to Lena Snow (Founder), Jana Ebert and everyone at Goddess Arts Mag. 

GAM: Please tell us something about your background and your art journey so far.

Cierra G. Rowe: My artistic background is ardent, rife with color and deeply personal. Having become absorbed by painting, my art journey is one of metamorphosis. I am an independent artist who began painting seriously during adolescence. Having no formal background in the arts, I gravitated towards painting naturally and am an autodidact. In terms of artistic direction, my passion is my north star so to speak. 

GAM: Describe what a normal day looks like as an artist. 

Cierra G. Rowe: Mornings commonly bring low temps. With the outdoors being a natural muse, I like to enjoy a hot chocolate and scratch out sketches of what I may or may not paint later on. I may also jot down poems, it all depends on the mood. If I am already in the middle of a painting, then it's likely that I'll be consumed by that until completion. I am a country girl at heart, having been raised in the south, so small comforts are important to me.

GAM: Can you tell us more about the theme in your art and your inspiration? 

Cierra G. Rowe: Nature and emotion are constants for me, within my art. I feel most compelled to paint things that are of significance to me, through capturing them in my own way. Often this lends itself to be in the form of nature, scenes and abstract forms both interior and exterior. I find inspiration in the ''little things'' and personal moments. 

GAM: How does your art life impact other parts of your life? 

Cierra G. Rowe: I feel that the two are mutually exclusive — one in the same. Life imitates art and the muse of art is life. I think that art acts as a kind of antidote for the complexities that often accompany life.'Innocence Interrupted' 

GAM: Tell us about your best experience in the art world so far. 

Cierra G. Rowe: I am not sure that 'the art world' pertains to me. I don't mean this in an arrogant way. As an outsider, I don't know that I fit into what the art world wants, nor do I have any desire to. The concept of 'the art world', at its very core seems to be a coterie of influential names who decide what is and is not based on aesthetic, popular culture, monetary gain and other plagues of society. If this changes, then perhaps I could write out a better answer. The only world that is of any importance at all to me is this one Earth. 

GAM: What practical advice can you give to fellow artists? 

Cierra G. Rowe: I am hesitant to give any sort of advice, given that I am not in anyone else's shoes. I am also unsure if anyone actually wants my advice. But if anyone were to want my advice, I would say that the best thing that any given artist can do for themselves, regardless of chosen medium, is to stay true to who they are. 

GAM: What are you working on at the moment and are there any upcoming events you would like to talk about? 

Cierra G. Rowe: At the moment, I am painting plant life inspired by my home region, along with scenes from the area where I grew up.

crazy skies

A cup of milky hot tea, as heavy rain swooshes the trees and Harriet Wheeler sings about the summertime as I paint a crazy, chaotic sky. Thunderstorms all week, so says the weatherman.

Happy Father's Day

Currently baking my dad a diabetic cake for Father's Day. Happy Father's Day to all of you dads, papas, daddies, pa's and grandpas out there. I hope that each of you realize how special you are and how much of an impact you make each and every day just by being ''dad''.

This is a photo that I snapped a few years ago, while gathering fire wood with my father. It was a really nice day, late in the year.

'One Fine Day' by Cierra G. Rowe (and a brief word about my landscape paintings)

A planter of red begonias sit at the forefront of an unfolding summer day.

Behind them, cumulonimbus clouds linger near thick and tangled masses of trees.

https://www.artofcierra.com/product/one-fine-day-palette-knife-landscape-acrylic-on-canvas-panel-8x10-framed

Landscapes have their mysteries. I have photographed them often. Some, from a distance and other times closer. But before I picked up the camera, I travelled often as a child. In hindsight I was in awe of how different one region was from another and startled by how many places lingered just outside of what I was able to see from my tiny hometown.​ When you travel, the world seems to expand.  

During that time, my idea of 'home' was primitive and naive. It was ​after adolescence that ​idea changed; becoming more emotional, more complex. 'Home' means many things to many different people. It's the place that you know, ​the place that surrounds you, the private space cushioned between self and nature, the sacred setting of time, season and familiar comforts. 

I grew up in a very southern and rural area, so overtime nature became something of a confidant for me. To find inspiration for my landscapes, I often revisit my photography or go on nature walks and snap more photos of things that make an impression on me; Trees swaying in the wind before a heavy rain, a rainbow breathing life into the sky,​ a setting sun kissing freshly tilled land​ as day winds down to night. Nature is a huge part of my background; both artistically, and personally. When I paint, I like to capture whatever I am seeing in my own way, with colors that fit the emotional aspect of a scene (how it makes me feel). I translate that reverence for nature through hues in my palette that hold significance to me. I am also very much into texture and enjoy using thick paints with my palette knife to achieve this within my landscapes.

'Rainbow After the Storm' by Cierra G. Rowe

 

A late Spring double rainbow appears after a storm,
spreading across the sky behind a thicket of trees.
Rainbows are an incredibly beautiful natural phenomenon
that often appear around here, following a hard downpour of rain.
https://www.artofcierra.com/product/rainbow-after-the-storm-palette-knife-landscape-acrylic-on-canvas-panel-8x10-framed

'Candy Sun' by Cierra G. Rowe

 

Lush greenery and thick masses of trees swim together under a pink sun, hanging in the sky on the first evening of summer. Sunsets in this region are often a treat, with many of them having intense colors or simply a pastel background holding a striking sun. (inspired by my photography).
https://www.artofcierra.com/product/candy-sun-palette-knife-landscape-acrylic-on-canvas-panel-8x10-framed

Candy Sun, Reference

Photo on bottom was taken by me of a beautiful pink sun that I saw. Upon staring at it, I immediately knew that I wanted to capture it. So, in my own way I did. 

'Candy Sun' 

Reference, Photo Copyright © Cierra G. Rowe

Intimate Abstract Landscapes

A few days ago, in the later hours, while daylight was still visible, the sun was an absolutely gorgeous shade of pink. High in the sky, above dark green trees. It was a pink sun in an ashy blue sky with soft accents. I was completely in awe and couldn't stop staring. It was then that I decided I would really like to paint scenes from around here. By this I mean plant life in my home region, intimate landscapes and scenes from the area where I grew up that make an impression on me or that are important to me natively. I have not painted scenes from my surroundings since quitting oils a few years ago. 

I take nature photos often. I took a photo of the sun that I mentioned on my phone and that is the photo shown on the screen in this pic. You can't really see how vivid it is or the impression of the colors, like at all due to camera resolution but it was really nice and very pink. Very grateful to have captured this photo to use as reference for the painting on the left which I am completing with palette knives, brush and heavy body acrylics.

Serving Guests

My mother invited me to a church event. Church is a healing place and reminds me of my Grandmother. It really does. Like, whenever I go there I feel really close to her because it meant alot to her. In the photo, I and other women are serving guests for a special event at church. 

My grandmother and mother, since I was a little girl, served often on the Kitchen Committee. My grandmother was elected head of the Kitchen Committee before my mother and then my mother was elected as head of the Kitchen Committee afterwards. Sometimes my aunt even helped out. Seeing all three of them together was so nice. I really miss that. This committee is a group of women who organize, prepare and serve food and tend to guests when there is an event or ceremony. 

As a little girl, I often remember how tired they were at the closing of an event and how my Grandmother didn't want to leave my mother to sort everything out. Instead she stayed even longer, working as a team with ma', to sort things out once guests went home. 

This particular event was a celebration of women, so women from many parts of the region were there. This time, I was privileged to be part of a small group of women who helped serve. It wasn't the Kitchen Committee but something similar involving serving. 

Serving, in any way, stems from gratitude and it was a privilege to greet so many amazing and beautiful women who I had not known before, along with seeing familiar faces from when I was a little girl. May is hard. It's easier to just like, pretend that it isn't May. That's how hard it is for me. So, I was a little nervous about going but my husband was encouraging and supportive. It was comforting. Everyone was so nice. Even that lady who knew that I didn't know how to use the Keurig to make her a cup of coffee.

I know that some people get weirded out when anyone mentions church online. Sometimes people tease or have something condescending to say about it. Online you're expected to be whoever people want you to be or whoever people have decided that you are and you're judged if you have any sort of tradition that isn't on par with popular culture. It's whatever though *shrug*. I just prefer to post things that matter to me. This church is a place of love, peace and healing. A place with people of all appearances. Going to a place that helps you shouldn't be condemned, but instead encouraged.

(I'm wearing the dark scarf)

The Connection Between Mental Health and Art, Interview with Kathryn Vercillo

Thank you to the amazing Kathryn Vercillo, author of Ghosts of Alcatraz, Ghosts of San Francisco, The Artist's Mind: The Creative Lives and Mental Health of Famous Artists and many others, for giving me the opportunity, through her compelling research, to open up about something that I ordinarily do not talk about: mental health. Mental Health is a term that is often stigmatized. Nonetheless, it remains a relevant topic of importance that applies to everyone. As an artist, it isn't often that I am given the chance to speak on this subject. Atleast not in this way. Everyone, at some time or another struggles or has struggled. Sometimes scars are left behind. Sometimes deep scars are left behind. And as a person, you wear them as best as you can. Or maybe you hide them because that is easier than confronting the pain. It doesn't mean that you are abnormal. If anything, it means that you are real. It does not change that it hurts. But it also does not define you. Kathryn's ingenious approach to connecting art and psychology isn't just brilliant but genuinely compassionate. Through giving the artist an opportunity to answer interview questions with both art and words, she is bridging the gap between mental health and art in a captivating way. As a person, sometimes it feels as though there is immense pressure to be the best version of yourself, even when you are struggling or to always present the best side of yourself, even when you are exhausted. Discussing mental health does not mean that you are isolated. Like art, it is a dialogue that needs everyone's voices to coalesce. Thank you so much, Kathryn for all that you do and for furthering the discussion of the connection between mental health and art. Read Part I and Part II of my interview here:

Part I (Visual Answers): https://createmefree.substack.com/p/interview-with-cierra-g-rowe-part

Part II: https://createmefree.substack.com/p/interview-with-painter-cierra-g-rowe

'Serendipity' by Cierra G. Rowe

 

Surreal skies linger overhead,
among thick and soft clouds, over an empty back road.

https://www.artofcierra.com/product/serendipity-acrylic-on-canvas-panel-8x10-framed

'Marshmallow Clouds' by Cierra G. Rowe

 

Puffy white clouds yawn and stretch in a dramatic gradient sky
above haybales sitting near a quiet country road.

https://www.artofcierra.com/product/marshmallow-clouds-acrylic-on-canvas-panel-8x10-framed

'Breath of Night' by Cierra G. Rowe

 

Night exhales in dramatic shades of blue,
while twinkling stars shine overhead like fireflies.
Headlights head somewhere down the road.
https://www.artofcierra.com/product/breath-of-night-acrylic-on-canvas-panel-8x10-framed

'Clear My Mind' by Cierra G. Rowe

 

Shedding all thought and worry on a rural road,
under a cool blue sky in early fall.
https://www.artofcierra.com/product/clear-my-mind-acrylic-on-canvas-panel-8x10-framed

Thank you❣️

 

A very heartfelt thank you to the American Diabetes Association for sending me this beautiful, framed display of the front cover, containing my art and my article page from issue 6. This is so nice and a very, very kind gesture that I wasn't expecting. It has been a long day and I really appreciate this, this made me smile.❣️

Diabetes Care Volume 48, Issue 6 Cover

It is a great honor and privilege to have my painting 'Blessed (Opal, Lapis Lazuli)' as the cover art for Volume 48, Issue 6 of Diabetes Care and furthermore to have an exclusive interview featured within its pages, along with being included in their The Art of Diabetes Care collection of artists and contributors. Diabetes Care is a journal published by the American Diabetes Association (ADA) and is the leading clinical and clinical research journal for diabetes globally. As the daughter of someone with diabetes, whom I care for deeply, this is of absolute importance to me. I don't know that my words will do justice to how grateful I am. I would like to especially thank writer Benjamin Page from Washington, D.C. for taking the time to interview me over the phone. It was a pleasure to talk about my artistic background, my father, upbringing and reasons behind my art. I would also like to thank the American Diabetes Association and every single person who makes this amazing journal possible. Thank you so much. I have included relevant links below.

Diabetes Care Volume 48, Issue 6 : https://diabetesjournals.org/care/issue/48/6

About The Artist Cierra G. Rowe : https://diabetesjournals.org/care/article/48/6/861/158279/About-the-Artist-Cierra-G-Rowe

The Art of Diabetes Care : https://diabetesjournals.org/care/collection/3059/The-Art-of-Diabetes-Care

About the Artist: Cierra G. Rowe , Diabetes Care article

https://diabetesjournals.org/care/article/48/6/861/158279/About-the-Artist-Cierra-G-Rowe

'Composure' by Cierra G. Rowe

 

A rose floats easily in the dark, glowing with verve and poised through faith —
speaking to the notion that being brave and taking a leap of faith can, at times,
show you the light that is already within yourself.
The rose is, metaphorically, everyone. Anyone.
https://www.artofcierra.com/product/composure-acrylic-on-canvas-panel-8x10-framed

Happy Mother's Day

This day is for the amazing women who brought life into this world, took on the role of mom in unique ways and who sacrificed so much, all in the name of motherhood. To the moms, mums, ma's, mams and mamas of the world — Happy Mother's Day. You are loved. You are seen. You are appreciated. You are honored.

If your mother or mother figure has passed on and this day is hard for you, I am so sorry. Please stay strong and know that nothing outshines love and that their love is always near, keeping you warm. I know that no words can touch the pain but some how, some way love is the medicine. My heart goes out to you and you have my deepest sympathies.

May is hard. It's very difficult. I get shaken up whenever it comes 'round. But I celebrate my Grandmother in the only way that I know how on this day: by attending her church with my mother and wearing a big ole hat that I sewed a rose onto in her honor. My gran taught me how to sew and I wanted the hat to be special. She loved hats. This church is a very special place to me. When I go there I am often moved to tears and today was no different. 

Today is Mother's Day but your mom is more than one day. She's more than nine months. She's worthy of being known as a person and of being appreciated for all of the things that she went through before she had you. That matters. As a daughter, a daughter-in-law, a niece, a sister, a granddaughter and a wife, Mother's Day is special. Sacred, even. Because no one would exist without their mothers, and their mother's mothers and their mother's mother's mothers and so on. I have so much respect for the women who have raised, embraced and adopted those who needed them in their life. For these things and more, you are celebrated. 

Happy Mother's Day.

(photo is me and my mother at church. She wanted me to wear a dress and I was like ummmmm no. lol but my husband and I bought her a nice cake to enjoy.)

'Bourgeoisie' by Cierra G. Rowe

A chandelier hangs privately above a vase
and rug, in a room all but empty with green walls.  
https://www.artofcierra.com/product/bourgeoisie-acrylic-on-canvas-panel-8x8-framed

 

''You don't post selfies.''

I am told that I don't post many ''selfies''. This has been said by a few people. Recently I was again told this. It's laughable but I guess even something as silly as a statement like that can be thought-provoking. ''You don't post selfies'' ...and from what I've seen, when you do ''finally'' post a candid photo of yourself, it's referred to as ''a rare selfie''. It all sounds very ...I don't know, self-absorbed? It almost brings to mind Sir David Attenborough narrating the exquisite movements of some​ enigmatic creature, hidden behind the shadows of a remote jungle, rarely emerging from its lair within a high budget nature documentary. Lol. The phrase implies that an ''appearance'' is expected — that you are somehow meant to show off or be loud in being seen online and when you're not, you are somehow ''hiding'', even if you are not hiding. Is it curiosity? Or maybe people have become so accustomed to others posting intimate photos of every moment of every day, that it is now accepted as a social norm. ''You don't post selfies.'' Well, yes... that may technically be so but as an artist what good would that really do? Maybe I am dealing with a lot and don't necessarily feel compelled to take a bunch of ''selfies''- one after the next. Maybe I'm not the most confident cherry in the bush. Maybe on some level I'm aware of how superficial people can be and don't want my art or myself as an artist to be relegated to cosmetic preferences, projections and vapid fixations, based on how I appear to whomever. I am passionate about art. Painting is therapeutic​ and writing is an extension of that. So maybe those things are more important to me than trying to look ''appealing'' or appear however someone appears when they post a myriad of self-photos and personal previews across multiple platforms. If I post a photo, I'd prefer that it relate to my art somehow and be genuine. As an artist, this is important to me. 

'Secret Garden' by Cierra G. Rowe

A secret garden unfolds in a room, behind the comforts of a locked door,
hidden away and rising from soil.
https://www.artofcierra.com/product/secret-garden-acrylic-on-canvas-panel-8x8-framed

Moon

 

early stages of latest, featuring an evening scene of contorted tree
with full moon and a bit more.

''Comments''

The option to comment on my posts is now enabled. I think that I have it set up to where anyone can comment. If anyone chooses to comment, all that I ask is to please be civil and refrain from posting any links. I have pretty much limited comments on all of my social pages, given the high volume of apparent spam accounts that are active but hopefully I won't have to do that on here. *update* looks like I had to do that on here. 

There is an actual tea called ''Constant Comment'. Lol very fitting for this post.

Who is first known to have depicted the sunflower in art?

Art History, to me, is about delving beneath the surface of what has been popularized and going deeper into origin, truth and evidence. Raw truth and raw beauty - that is art. This is the most interesting facet of painting any given subject; understanding its origin. For me, knowing what I am painting - the history and or significance, is important. As it relates to Sunflowers, I have always liked them but was not aware of their history or who they were first used and depicted by.

Earlier while having coffee, I started thinking of Sunflowers. Being one of my favorite flowers, next to tulips and roses and pretty much every flower, I was curious of its actual history and of when the sunflower was first known to have been depicted in art and by who. Upon briefly delving into the documented history of Sunflowers, I have found some very interesting things.

The sunflower is native to both North America and Mexico. Native Americans were the first to depict sunflowers in art, using them as sources of pigment but also as a subject in their own art. Per Marion Barnes of Clemson University: ''Native Americans cultivated and used sunflowers for thousands of years, with evidence suggesting their cultivation began around 3,000 B.C. in present-day New Mexico and Arizona.''

Per The National Sunflower Association: ''The Sunflower is native to North America and was first domesticated by the American Indian into a single headed plant with great variety. The article goes on to read: ''Sunflower was a common crop among American Indian tribes throughout North America. Evidence suggests that the plant was cultivated by American Indians in present-day Arizona and New Mexico about 3000 BC. Some archaeologists suggest that sunflower may have been domesticated before corn.''

I browsed a few other places and stumbled across a blog post written by Margot Kravette, an explorer and photographer. In her ''Inspired Journeys'' blog, she writes: ''Sunflowers held significant symbolic meaning for many Native American tribes. They were often associated with the sun, harvest, and abundance.'' She also states ''Native Americans saw sunflowers as a symbol of courage. Warriors would carry sunflower cakes to battle with them or a hunter would sprinkle sunflower powder on his clothing to keep his spirit up.''

It is incredible that one flower holds so much meaning, history and significance. I am grateful to have a much clearer idea of the Sunflower's origin, while appreciating that it is rooted in significance not only in art but as a resource for early Native American tribes, including traditional medicine. There is certainly more information surrounding this topic but it would take ages to red through everything out there in its entirety.

Sources:

https://thebigsunflowerproject.com/a-short-history-of-sunflowers/#:~:text=Origins,being%20called%20called%20Russian%20Giant.

https://pmc.ncbi.nlm.nih.gov/articles/PMC2359819/#:~:text=Evidence%20for%20early%20(ca.,the%20domesticated%20sunflower%20in%20Mexico.

https://inspiredjourneys.live/journeys/sunflowers-reaching-for-the-sun

https://walterborolive.com/stories/sunflowers-a-native-plant-with-an-amazing-history,32426#:~:text=Evidence%20suggest%20that%20wild%20sunflower,with%20the%20bright%20yellow%20flowers.

https://phys.org/news/2008-05-roots-sunflower-cultivation.html

https://www.sunflowernsa.com/all-about/history/

Review: Liquitex ​Professional Heavy Body Acrylic and Grumbacher Academy Acrylic

I am finicky when it concerns paint. Having experimented with a wide variety of brands and mediums, I've realized how different any given selection is from another. I regularly use Liquitex as my main brand of paint for staple colors like red, black and white. Their selection of professional heavy body acrylics are perfect and reliable.​ Recently, I purchased a tube of Liquitex PHBA in Naphthol Crimson but noticed that my tube of Liquiex PHBA Titanium White was pretty much empty. After ordering a new tube online, I began searching through art materials and realized that I had two unused tubes of Grumbacher Academy Acrylics in Titanium White and Cadmium Red. In this review, I'll be comparing both brands. 

138 ml Liquitex Professional Heavy Body Acrylic (left)
75 ml Grumbacher Academy Acrylic (right)

Price

For a 75ml tube of Grumbacher Academy Acrylic Titanium White and or Cadmium Red, the price is between $5 and $9 each or higher, depending on where you buy it, tax and shipping & handling if purchased online. I bought both of these colors for about $14 in-store. For a 138 ml tube of Liquitex Professional Heavy Body Acrylic Titanium White and or Naphthol Crimson, the price is anywhere from $14 - $20 or higher depending on where you buy it, tax and shipping & handling if purchased online. I purchased both of these colors together online for $40.00.

Test 

I am already very familiar with Liquitex and understand its quality but before actually using this new Grumbacher paint within any of my paintings, I wanted to do a test beforehand. If I dislike the results in the ''test'', I'll be donating the Grumbacher to charity, as I often do with all art materials that I don't use. In the photo below, I have taken a 5x7 rectangle of glass from a picture frame and labeled the left side ''Grumbacher'' and the right side ''Liquitex''. I then applied a dollop of paint from each tube and made a few brushstrokes. The first three photos show the paint while wet, before it dried. The bottom photo shows the paint two hours later.

The tiny dots of white that can be seen on the surface are tiny specks of white paint.*

After two hours, the Grumbacher Academy Acrylic is still wet and malleable, while the Liquitex Professional Heavy Body Acrylic is firm and dry to the touch. Each appears to retain brustrokes but the Grumbacher's peaks are, to me, not as defined as Liquitex. This is due to it having not dried completely but also because it is a medium body acrylic, not a heavy body acrylic. As a painter who often layers paint, a fast drying time is crucial. That being said, I do feel that had I not applied so much paint, both samples would likely have dried in a similar amount of time, give or take 30 minutes. The more depth, the longer it will take for paint to completely dry. On the other hand, If I were working with palette knives, which would require me to use heftier amounts of paint, based on this ''test'', I would definitely have to wait hours for the painting to be completely dry if I opted to use Grumbacher as opposed to Liquitex, which is really something to consider.   

Conclusion

GRUMBACHER ACADEMY ACRYLIC

Grumbacher is ''a collegiate grade, medium bodied acrylic paint'', per their website.This paint is very smooth and very easy to spread. In their own words ''colors go on like silk'' and that certainly rings true. Grumbacher Academy Acrylics also dry to a semi-gloss finish. This highly pigmented paint is also very rich and available in a brilliant array of shades. Drying time for this paint seems to vary and based on my experience can be in excess of 3+ hours. Despite this centuries long waiting time, Grumbacher Academy Acrylics have an ASTM lightfast rating of 1, which is the highest rating, meaning that this paint is highly resistant to fading, when exposed to light. Maybe it's worth the 3+ wait. Despite the ASTM rating, It has been mentioned that this paint can fade over time but as is often the case, this likely depends on how an artwork is displayed. Even if any given paint is highly resistant to fading, that should not be taken as an invitation to display it improperly or in direct sunlight. Regarding texture, this medium body paint can hold both brushstroke and texture well but not as well as Liquitex. So, all in all I give this paint a 9 out of 10. 

LIQUITEX PROFESSIONAL HEAVY BODY ACRYLIC

As Liquitex's thickest acrylic paint, their Professional Heavy Body Acrylic makes a deep impression; holding superb, well defined brushstrokes and texture effortlessly, with an impressive drying time. Per their site '' The entire {Heavy Body Acrylic} range is flexible, durable, non-yellowing, UV-resistant, water-resistant when dry, and ready for you to discover.'' With that being said, Liquitex is like the Dior of acrylic paint; It carries a hefty price tag. Given its higher quality, this is understandable. Concerning paint, cheaper is not better. The cheaper the paint, the more issues down the road relating to longevity. Liquitex paints have an ASTM rating of I or II and are considered to be permanent and lightfast for 50-100 years in gallery conditions, which is amazing. This has been my favorite brand since I tried it out a couple of years ago. With its satin finish, archival quality and thick butter consistency of highly pigmented colors, I give this paint a 10 out of 10. 

As a painter, I have my own preferences moulded from experience and taste. Since switching from matte soft-body acrylics to heavy-body acrylics some years ago, I quickly became partial to the latter after only a few brushstrokes. The difference is night and day and with so many brands out there, it's crucial to experiment to see what works and suits one's tastes. In conclusion, both paints are solid brands, each with their own strengths and amazing color selections. A person's view of any given paint rests solely in their own personal preferences. 

Also, I was not paid or sponsored or anything like that to write this review. I wrote this review and created the ''test'' above because I'm a nerd.