Window 24 36×27 (2021)

Altholz kann schön aufbereitet, optisch sehr viel her machen! So funktioniert die Altholzaufbereitung bzw. das aufbereiten von Altholz!

Oh, friends. My.Back.Is.Out. {ouch!!} So, let's get to it- shall we? Before I branch off into unrelated, drug induced tangents! Today I'm happy to introduce you to my bloggy-friend, Kristin. She's the creative force behind Simply Klassic Home. I'd be surprised if you haven't already "met" her- she's super friendly and so sweet. Not only does she blog, but she also does blog design- you have probably seen her work around blogland- and probably her printables, too. ✧✧✧✧✧ Master Bedroom Reveal - An Unexpected Makeover When a decorator gets an idea, she has to run with it, right? Thus is the case with this master bedroom makeover. If you've been following since the beginning, you may remember the first makeover just about a year ago. Well, it never felt quite right, but I had moved on to other projects and it was "good enough." Now, I've got lots on the "to-do" list for this year, and the master bedroom didn't even make the cut...so why is it the first thing finished??? A couple of months ago I decided to use the shutter headboard elsewhere in my home so out of the bedroom it came. Then I realized I had to replace it with something but had no idea what. I knew I wanted to add more natural elements and warmth and texture, but how? If you are a follower of Pamela at PB&J Stories you already caught a glimpse of the new headboard when I shared my painted mirror project. (As you can see, distressed won!) I was Pinterest surfing and came across this project by Vintage Bliss. Inspiration struck as I remembered I had our old hollow core closet doors stored in the garage. I hoped it would be the right size, and though it was a little wider than the bed, I thought it was just right. All of a sudden here I was completely immersed in a bedroom makeover. I went to my favorite store, Country Roads in Orange, California (ahem, fivetimesintwoweeks), looking for new pieces to complete the room. (It may be a sickness.) I'm so grateful to have my amazing friend to bounce ideas off of. (From one Princess K to another, thank you from the bottom of my heart.) She found this beautiful bench for me at where else, Country Roads. A quick coat of poly and she was ready to go. The dresser was part of last year's makeover. I added each of the vignette elements. I grabbed some vintage books from the unused (in 20 years) church library to give the lamps some height and switched out the shades. Dropcloth curtains are cheap and effective, and add the perfect amount of color and texture. Tied with burlap scraps to finish them off. An old frame and iron bird hooks hold my necklaces (all three of them). I tied a scrap of dropcloth and twine around a small mason jar, added a wire hanger for a cute little hanging vase. I had to include a special new fluffy pillow in the corner for my sweet kitty (mostly to keep her off of my bed!). And finally, a framed printable reminds me of what I'm striving for each day - to let go of the junk and live in the moment every single day. I'm loving it all and know that this is exactly what I wanted!! Thanks for stopping by and I hope you enjoyed this little tour. I'll be sharing some details later in the week. Now maybe I can get back to some of the other projects I've been working on! ✧✧✧✧✧ Didn't she do a great job? I adore that headboard- I am fully addicted to that union jack flag. So obviously I am coveting that pillow, too! Kristin totally deserves a retreat-like bedroom. She's a single mom of 2 {adopted!!} kids- and warrants some "her" time. Right? A few extra goodies... Kristin joined the chalk paint rage when she painted her grandmother's heirloom hutch! You will want to see the before on this baby- it's is totally awesome!I love how she displayed family heirloom furniture and filled it with the same. So meaningful- and it looks beautiful! I also love this mantle scape- the gray wood, pops of turquoise and vintage jars are right up my alley! Check out how Kristin made this sign- I'm sure you'll want to make your own. I know I do- like seriously! Make sure you pop over and say "Hi" to Kristin! I hope you all have a great Monday!!

Window 1 36×27 (2018) Window 4 36×27 (2018) Window 6 36×27 (2018) Window 7 36×27 (2018) Window 10 72×54 (2018) Window 11 72×54 (2019) Window 12 36×27 (2019) Window 13 36×27 (2019) Window 14 36×27 (…

Efter en runda till soptippen på förmiddagen, så upptäckte vi att det var loppis i Folkets Hus hemma i byn. En träfärgad vattenskadad pall blev min för en 50-lapp. (Makens 50-lapp, vilket grämer honom lite, hihi!) Jag målade om den så snart vi kom hem, med en hemmablandning av 5 olika slattar av både det ena och det andra, i färgerna grönt-vitt-gult-svart. Nästan lite Upsala Ekeby-grönt, om man kisar! Så nu har vi en ny pall i samlingen. Var den ska stå vet jag inte riktigt än, men det där brukar lösa sig. Glasverandan ligger bra till, tror jag. Den som lever får se, men först ska jag måla den en omgång till.

This is an antique wooden riser stool. The rustic farmhouse stool has chippy white and black paint.

“Pinto no las cosas que veo, sino las emociones que en mi despiertan.” “I paint not the things I see but the feelings they arouse in me.” “La gente algunas veces piensa que tomo un bastidor y pinto un signo negro sobre él, pero no es así. Pinto tanto lo blanco como lo negro, y el blanco es igual de importante.” “People sometimes think I take a white canvas and paint a black sign on it, but this is not true. I paint the white as well as the black, and the white is just as important.” “Si siento que una pintura en la que estoy trabajando no tiene imágenes o emoción, la pinto y trabajo sobre ella hasta que las tenga.” “If I feel a painting I’m working on doesn’t have imagery or emotion, I paint it out and work over it, until it does.” “La prueba final de la pintura, la suya, la mía, la cualquier otro es: ¿llegó la emoción del pintor? (…) Procedimiento es la palabra clave (...) La diferencia es que nosotros no comenzamos con un sentido definido de procedimiento. Es libre asociación desde el principio hasta el estado final. La vieja idea era hacer uso de tu talento. Esto, creemos, es a menudo para tomar la línea de menor resistencia (…) como Rothko, Pollock, Still, que quizá reaccionaron a la tendencia de analizar (…) Una nueva forma de expresionismo inevitablemente siguió. Con Willem de Kooning el procedimiento es el cambio continuo, y la urgencia del cambio. Con Jackson Pollock es la confianza que sientes de la concentración de su energía en una imagen dada...” “The final test of painting, theirs, mine, any other, is; does the painter’s emotion comes across? (…) Procedure is the keyword (…) The difference is that we don’t begin with a definite sense of procedure. It’s free association from the start to the finished state. The old idea was to make use of your talent. This, we feel, is often to take the line of least resistance (…) painters like Rothko, Pollock, Still, perhaps in reaction to the tendency to analyze (…) A new form of expressionism inevitably followed. With Willem de Kooning the procedure is continual change, and the immediacy of the change. With Jackson Pollock it’s the confidence you feel from the concentration of his energy in a given picture…” “No creo que mi trabajo sea caligráfico. Los críticos también describir Jackson Pollock y Willem de Kooning como pintores de caligrafía, pero la caligrafía no tiene nada que ver con nosotros. Es interesante que los críticos orientales nunca digan esto. La idea oriental del espacio es un espacio infinito; no es espacio pintado, y el nuestro lo es. En primer lugar, la caligrafía es escritura y no estoy escribiendo.” “I don’t think of my work as calligraphic. Critics also describe Jackson Pollock and Willem de Kooning as calligraphic painters, but calligraphy has nothing to do with us. It’s interesting that the Oriental critics never say this. The Oriental idea of space is an infinite space; it is not painted space, and ours is. In the first place, calligraphy is writing and I am not writing.” “El simbolismo es una idea difícil. No soy un simbolista. En otras palabras, se trata de experiencias de pintura. Yo no decido de antemano que voy a pintar una experiencia definida, pero en el acto de pintar, se convierte en una verdadera experiencia para mí. No es el simbolismo más que su caligrafía. No estoy pintando construcciones de puentes, rascacielos o boletos de lavandería (…) No pinto un objeto determinado (una figura o una tabla) Pinto una organización que se convierte en una pintura...” “Symbolism is a difficult idea. I’m not a symbolist. In other words, these are painting experiences. I don’t decide in advance that am going to paint a definite experience, but in the act of painting, it becomes a genuine experience for me. It’s not symbolism any more than it’s calligraphy. I’m not painting bridge constructions, skyscrapers or laundry tickets (…) I don’t paint a given object (a figure or a table); I paint an organization that becomes a painting…” “Mis viejos paisajes de Pennsylvania son tan valiosos ahora que he tenido que esconderlos, para no exponerme a estar en una categoría de impuestos más alta. Por años nadie habría pagado ni diez centavos por ellos. Y siguen siendo las mismas pinturas. No hay nada mejor en ellos. Los valoro tanto como a mis últimos abstractos en blanco y negro (…) Mi marchante se puso furioso cuando le mostré mis últimos trabajos. Estoy volviendo al color. Él me dice que espere y cambie con los cambios de la moda. ¡Le dije que no! Le dije que yo pinto cada pintura desde el corazón. He seguido mi corazón toda mi vida.” “My old landscapes of Pennsylvania are worth so much now that I have to hide them, so I don’t get put in an even higher tax bracket. For years nobody would pay a dime for them. They’re still the same paintings. They didn’t get any better. I treasure them as much as my recent black and white abstracts (…) My dealer was furious when I showed him my latest works. I’m returning to color. He tells me to ride it out and change when the fashion changes. I told him no! I told him I paint each painting from the heart. I have followed my heart all my life.” Citas de / Quotations from: “Conversations with Artists”, ed. Seldon Rothman, Capricorn Books, New York; “Talks with Seventeen Artists”, Katherine, Harper and Row, New York, 1962; “Conversations With Artists”, ed. Selden Rodman, 1957; “Evergreen Review”, Vol. 2. no. 6, Autumn 1958; Kline’s talk in the jazz club ‘The Five Spot’, as quoted in ‘Introduction’ by David Anram, ”The Stamp of Impulse, Abstract expressionist prints”, David Anram, David Acton; and ‘Living Art’, Vol. 1. (no. 1), David Sylvester, Spring 1963.

“Pinto no las cosas que veo, sino las emociones que en mi despiertan.” “I paint not the things I see but the feelings they arouse in me.” “La gente algunas veces piensa que tomo un bastidor y pinto un signo negro sobre él, pero no es así. Pinto tanto lo blanco como lo negro, y el blanco es igual de importante.” “People sometimes think I take a white canvas and paint a black sign on it, but this is not true. I paint the white as well as the black, and the white is just as important.” “Si siento que una pintura en la que estoy trabajando no tiene imágenes o emoción, la pinto y trabajo sobre ella hasta que las tenga.” “If I feel a painting I’m working on doesn’t have imagery or emotion, I paint it out and work over it, until it does.” “La prueba final de la pintura, la suya, la mía, la cualquier otro es: ¿llegó la emoción del pintor? (…) Procedimiento es la palabra clave (...) La diferencia es que nosotros no comenzamos con un sentido definido de procedimiento. Es libre asociación desde el principio hasta el estado final. La vieja idea era hacer uso de tu talento. Esto, creemos, es a menudo para tomar la línea de menor resistencia (…) como Rothko, Pollock, Still, que quizá reaccionaron a la tendencia de analizar (…) Una nueva forma de expresionismo inevitablemente siguió. Con Willem de Kooning el procedimiento es el cambio continuo, y la urgencia del cambio. Con Jackson Pollock es la confianza que sientes de la concentración de su energía en una imagen dada...” “The final test of painting, theirs, mine, any other, is; does the painter’s emotion comes across? (…) Procedure is the keyword (…) The difference is that we don’t begin with a definite sense of procedure. It’s free association from the start to the finished state. The old idea was to make use of your talent. This, we feel, is often to take the line of least resistance (…) painters like Rothko, Pollock, Still, perhaps in reaction to the tendency to analyze (…) A new form of expressionism inevitably followed. With Willem de Kooning the procedure is continual change, and the immediacy of the change. With Jackson Pollock it’s the confidence you feel from the concentration of his energy in a given picture…” “No creo que mi trabajo sea caligráfico. Los críticos también describir Jackson Pollock y Willem de Kooning como pintores de caligrafía, pero la caligrafía no tiene nada que ver con nosotros. Es interesante que los críticos orientales nunca digan esto. La idea oriental del espacio es un espacio infinito; no es espacio pintado, y el nuestro lo es. En primer lugar, la caligrafía es escritura y no estoy escribiendo.” “I don’t think of my work as calligraphic. Critics also describe Jackson Pollock and Willem de Kooning as calligraphic painters, but calligraphy has nothing to do with us. It’s interesting that the Oriental critics never say this. The Oriental idea of space is an infinite space; it is not painted space, and ours is. In the first place, calligraphy is writing and I am not writing.” “El simbolismo es una idea difícil. No soy un simbolista. En otras palabras, se trata de experiencias de pintura. Yo no decido de antemano que voy a pintar una experiencia definida, pero en el acto de pintar, se convierte en una verdadera experiencia para mí. No es el simbolismo más que su caligrafía. No estoy pintando construcciones de puentes, rascacielos o boletos de lavandería (…) No pinto un objeto determinado (una figura o una tabla) Pinto una organización que se convierte en una pintura...” “Symbolism is a difficult idea. I’m not a symbolist. In other words, these are painting experiences. I don’t decide in advance that am going to paint a definite experience, but in the act of painting, it becomes a genuine experience for me. It’s not symbolism any more than it’s calligraphy. I’m not painting bridge constructions, skyscrapers or laundry tickets (…) I don’t paint a given object (a figure or a table); I paint an organization that becomes a painting…” “Mis viejos paisajes de Pennsylvania son tan valiosos ahora que he tenido que esconderlos, para no exponerme a estar en una categoría de impuestos más alta. Por años nadie habría pagado ni diez centavos por ellos. Y siguen siendo las mismas pinturas. No hay nada mejor en ellos. Los valoro tanto como a mis últimos abstractos en blanco y negro (…) Mi marchante se puso furioso cuando le mostré mis últimos trabajos. Estoy volviendo al color. Él me dice que espere y cambie con los cambios de la moda. ¡Le dije que no! Le dije que yo pinto cada pintura desde el corazón. He seguido mi corazón toda mi vida.” “My old landscapes of Pennsylvania are worth so much now that I have to hide them, so I don’t get put in an even higher tax bracket. For years nobody would pay a dime for them. They’re still the same paintings. They didn’t get any better. I treasure them as much as my recent black and white abstracts (…) My dealer was furious when I showed him my latest works. I’m returning to color. He tells me to ride it out and change when the fashion changes. I told him no! I told him I paint each painting from the heart. I have followed my heart all my life.” Citas de / Quotations from: “Conversations with Artists”, ed. Seldon Rothman, Capricorn Books, New York; “Talks with Seventeen Artists”, Katherine, Harper and Row, New York, 1962; “Conversations With Artists”, ed. Selden Rodman, 1957; “Evergreen Review”, Vol. 2. no. 6, Autumn 1958; Kline’s talk in the jazz club ‘The Five Spot’, as quoted in ‘Introduction’ by David Anram, ”The Stamp of Impulse, Abstract expressionist prints”, David Anram, David Acton; and ‘Living Art’, Vol. 1. (no. 1), David Sylvester, Spring 1963.

Even wat anders.... Ik had een andere post bedacht, maar de slaapkamer is nog niet helemaal klaar, nog even de finishing touch zeg maar.....dat houden jullie tegoed :-) Nu werkt het bij mij zo, als i

This is an antique wooden riser stool. The rustic farmhouse stool has chippy white and black paint.

With its dramatic texture, our Pioneer Siding instantly adds eye-appeal to a room