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35 contributions to Creative Coaching with F.Forte
This comment peaked my curiosity
"Even a burger is clearly treated with love" hmmmmm What are they experiencing in observing my work? My first thought was that a ballet dancer would dance like themselves and their best no matter what they were dancing... or is it that they are surprised to admire a burger? Is my hand demonstrating that anything can be beautiful? What do you all think?
This comment peaked my curiosity
When I see this person’s response, it makes me think of a doctor I used to work with when I was nursing. He was different from a lot of the other doctors at the hospital. You could ask him a question, and he would slow right down and sit in silence for a minute or two. Some people thought he wasn’t paying attention, but he was. He was thinking. He wouldn’t let himself be rushed. He took his time to consider things, whether he was deciding which labs to order or what diagnostic tests were needed. You would get used to his pauses. He didn’t fit the personality you might expect in that kind of setting. But what I noticed was that he made careful choices, listened to patients more than most doctors and listened to the nurses and other health care practitioners too. He earned a lot of respect and inspired people to slow down. I think he reminded people of a kind of wisdom that exists in all of us, but we need each other to remember it, to connect with these invisible mysteries and truths that are also very solid, too but can be forgotten. They have real effects on the world. His tendency was a gift for others. Anyway, I was thinking about how what I get from this comment, is a sense inspiration, of being reminded, of noticing a resonance. A slowing down. It feels like a return to something that, for many people, has been lost or forgotten because of dominant systems that look to productivity, speed, and separate us from our fullness of being. I think maybe there is a vibration, a tone that resonates a truth for this person. They recognize that this magic is real. The magic that you’re practicing in your work, and the magic you’re practising through your kind of attention. This is a remembering for them, or maybe an affirmation, through seeing it through your work. To delight in attention and beauty that comes from that.
Monthly Challenge for Members
Let's try this again. My thought is that we can have a challenge inspired by the Critique Club meeting each month. What I'm left with after today's meeting is a curiosity to hear more about Stephanie's dark, back, Fire Woods and the experience of making that pastel painting of them! The Challenge should you choose to accept: Post a painting to the community feed that was a profound experience to create and tell us the story.
Monthly Challenge for Members
The woods have a fiery energy, under a full moon it intensifies. The brook and forest lead to a wide river. Like every river, sacred. This one is named the Wolastoq, the beautiful and bountiful. Its energy has gravitas, the sturgeon, ancient fish, grow to great sizes. This place connects close by to that river. Old growth forest rise out of water, sleep under snow in winter. Its power can overwhelm. It is beautiful. I prayed to them for the first time, these trees, a few years ago. My answer was not soft and kind but swift, fierce and true. In Filipino culture you do not stare at trees, it is like staring at a person in public who you don’t know. You must develop a relationship with them first. You return to them. Anyway, the piece did scare me. I felt the power, like I was making a devotional object through my attention to them. And it was more powerful than I first expected. It needed time. Perhaps more trust with the trees before taking. Perhaps I need to cut some hair, as an offering. Sit below them. And ask for permission.
@Kim Santini I haven’t read the mother tree, that sounds so good—I will see if I can get it at my library! I’ve read Kimmerer, Braiding sweet grass, and there are four medicines to offer, I can’t remember all four. But tobacco, sage, and sweet grass. I will offer my hair for now, since I am cautious to practice with the other medicines without knowledge passed to me. Perhaps a land acknowledgement, actually yes, I will do that too. Thank you, you sparked that thought train! 🙌❤️
For critique club 10/17
This is my first painting following a long needed break. I started with a loose red drawing and have been gradually building up the forms, allowing parts of the original marks to remain visible. I'm enjoying the process and feeling excited to paint again. I'm not feeling particularly stuck, but I'd love some fresh perspectives to inspire my continued exploration. I'm mostly curious about: - What do you notice about the relationship between the initial drawing and the painted forms? - Which passages feel most interesting or alive to you, and why? I'm less interested in figuring out how to finish the painting right now and more interested in discovering possibilities I might not have considered as I continue. Thanks!
For critique club 10/17
This piece and the last critique club piece with their perspectives, angles and the mirror here—a sort of construction deconstruction and in between spaces. I was inspired by them and the idea of the composition being built with the refined and unrefined areas. Loved coming into your conversation with the piece.
For critique club ❤️
I’ve been thinking about how the final stages of a drawing can be difficult for me. There’s often uncertainty about where to go next, and I wonder whether old expectations around getting things right or meeting a certain standard make it harder to slow down, stay curious and follow intuition. I’m interested in how I can approach this stage with more kindness and curiosity rather than feeling I need to control the outcome. The first drawing is a moonrise picnic with my partner and daughter. I’m finding the density of the forms distracting, the trees feel heavy. I’m curious whether there are ways to bring more lightness and to the drawing. I’ve also wondered about trying it again on sandpaper, since I feel there is more flexibility with sandpaper, sometimes reach a point with pastel on other papers where the surface won’t accept much more. The second is another moonrise drawing, set in autumn. There are a lot of different elements in this one, and I feel I lost some of the clarity in the sky as I worked. I also lost steam while working through the branches and shapes of the trees, and I’m not sure how to approach the final stages. I’d appreciate any thoughts on the drawings themselves, as well as suggestions for navigating that uncertain final stage of a piece.
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For critique club ❤️
In process
Two pieces I’m currently working on and one of the sketches behind the idea. I’ve done various iterations of this concept over the years, but never been satisfied. These feel Pretty ok right now, much stronger than past iterations. Thinking the blue one could be less blue and slide into deeper darks, and I may have overdone it with the moths. The linework feels important, but I’m not sure it’s working. Need to add more fragility to the green one and gray out some of the stronger color in her body. Also more variety/strengths in the linework - it’s lost in the overall piece. I will have more work done on these by critique club, and perhaps a third that is low key. But meanwhile wanted to share these, get a little feedback maybe on execution of concept and their emotional impact. Thanks!
In process
I love the dream like quality of these paintings and your notes on marks and experimenting. Very inspiring! The final drawing felt very powerful in its rawness.
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Stephanie Weirathmueller
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88 points to level up
@stephanie-weirathmueller-8978
Artist, gentle work living with ME/CFS

Active 1d ago
Joined Nov 9, 2025