You may be aware of Julia Cameron’s book, ‘The Artist’s Way’, which has become a go-to for creatives. Since its publication in the early 90’s I’ve flicked through it in bookshops, a friend was going to lend me hers until she decided she’d rather keep the notes she’d pencilled in the margins private, and I’ve loaned it out from the library numerous times. I finally bought a copy of my own a year or so ago with a book token I received for my birthday.

I still haven’t managed to complete the 12-week course which is at the heart of the book, but I think Cameron’s ‘The Artist Date’, a once-a-week solo outing somewhere that will fuel your creativity is an innovative idea. During Lockdown I discovered the joy of online creative writing Zoom workshops and I still continue to sign up to my favourite ones whenever I can. However, I’ve allowed myself a get-out clause from Cameron’s instructions by accepting that there may be long gaps between my dates because, despite my best intentions, life often gets in the way; and I have been fortunate that people have asked me to go to creative events with them and I count these as equally valid opportunities to re-fill my creative well.
Which is how I came to be in a cafe the other evening waiting to experience my first #splatnchat with Chloe@www.splatnchat.com
My friend Laura had invited me. She really is talented! Do check out her website to see the amazing cakes she and her husband, Martin, make @www.bakingthedream.co.uk
I was slightly nervous. This was out of my comfort zone and, although I was trying to ignore them, there were whispers, words, I can never quite unhear. And, as we all know, it’s the negative comments that remain embedded in our minds…
Having flown from the cosy nest of my small, primary school, the secondary school where I’d landed was a huge shock of screeching bells, rivers of older girls pushing against me and a never-ending rabbit warren of corridors, often leading to the wrong class. The art room was gloomy and felt foreboding; a cave where something lurked deep within. Early in the term we had to draw a still life, a flower in a glass jar. We had been given charcoal which I’d never used before. The twig-like stick snapped when I applied too much pressure, leaving accusatory smudges on the white paper; it skittered off in spidery lines I couldn’t control when I tried to use a lighter touch.
Our teacher stared at my offering.
“You really can’t draw, can you?”…
Chloe helped me to banish many of my artistic self-doubts the other night. Her energy and encouragement were infectious and fizzed around the room as she squirted white, peach and jewel green and blue whorls of paint on our paper plate palettes. She used a dot-to-dot method of painting each section of a Caribbean Island beach on her canvas, then waited while we copied them onto ours, cheerfully tweaking our mistakes with a flick of her paintbrush.
With an 80’s soundtrack thumping away in the background, flashing neon signs in acid pink, lime green and banana yellow on the walls, the optics glittering a rainbow of gin flavours behind the bar, it was a reminder that an artist’s studio can be a magical place.

Like Jean, the children’s book illustrator who lived down the lane from us when I was young. She worked in an old caravan hidden away in an overgrown corner of their garden. Occasionally, I was allowed to visit her once she’d finished work for the day. She’d slurp now-cold coffee from a paint splattered mug as I lightly ran my fingers over the forests of brushes, some large some tiny, in handle-less jugs, cracked clay pots and washed-out tin food cans, at the same time trying to count the number of colours and varieties of paper and paints that littered every surface; tubes of oils, tubs of powdered, watercolours and acrylics, pastels and chalks. I would crawl under the pitted, ink-stained wooden table scavenging for the paper cut-offs I’d been told I could use. It wasn’t prescriptive, it was fun. My daisy might be as tall as my tree but it didn’t matter; I wasn’t judged.
Sometimes, Jean doodled absent-mindedly while she asked me about my day and, when it was time to leave, she’d hand me a scrap of paper with a rabbit or an acorn, a toadstool or a mouse, drawn on it.
Back in my bedroom, I’d carefully hide such treasures in my special shell-encrusted box. I’d spotted it in the village gift shop one summer and had doggedly saved up my pocket money to buy it. I wove a story around it that it was crafted by a mermaid while she bathed her injured tale in a rockpool, waiting for the salt water to heal her damaged scales. Once successfully treated, the mermaid would be able to swim away, out to sea, at the next full moon.

L






