Steps of a Legacy: Art, Shoes, and the Journey Within #49 #cong24 #legacy

Synopsis:

This essay reflects on my legacy as an artist with a love for shoes. Each pair of shoes and each painting represents a part of my journey, carrying memories and moments that shape my story. Legacy, for me, is not about lasting monuments but about leaving honest, heartfelt imprints—marks that may fade over time but capture emotions and perspectives that continue to inspire me.

Total Words

1,080

Reading Time in Minutes

4

Key Takeaways:

1.Legacy can be a quiet but powerful trace of our journey**: Like footprints that eventually fade, our legacy is the heartfelt impact we make in the moment, meaningful even if it’s not permanent.
2. Legacy can be found in personal, everyday items: Even something as simple as a pair of shoes can carry meaningful memories, reflecting different stages of life..
3.Legacy isn’t always about permanence**: Leaving a legacy doesn’t require something monumental; sometimes, it’s the small, honest imprints we leave behind that matter most.
4. Our legacy is shaped by both presence and influence**: The people we touch, inspire, or challenge are part of what we leave behind, even if we’re not remembered by name.

About Trish Findlater:

Trish Findlater grew up in Co Westmeath on the River Shannon.
After an (BauhausArt inspired) Foundation year at GMIT Galway, she spent three years at the Fine art department of University of Ulster in Belfast graduating with a first class honour degree in Sculpture & painting 1983.
The following year Trish was awarded an masters scholarship to the Academy of Antwerp, Belgium specialising in portraiture, sculpture, painting and art history graduating with a masters in Art 1986. On her return to Dublin Trish established a very successful mural painting company which evolved into the world of interior design and eventually she engaged fulltime in Architecture working with various companies here in Ireland only returning in 2006 to complete a first class degree in interior architecture at Griffith college Dublin, finally setting up her own practice and continuing in design for many years.
Trish attributes her return to fine art to her late husband Alex who always felt she had a tremendous talent for it and now fully immersed. Her focus is primarily Landscapes and seascapes but tends to paint in both oils and soft pastels a variety of subject matter whilst painting ‘En plein air’. Her Solo exhibition last year ‘Grief’s dark seed and hope’s Blossom’ of 41 paintings in soft pastel inspired by her perennial and herbaceous garden was a triumph. The book of the same title was published subsequently with the addition of her poetry and winning the Silver gilt award at AITO Wexford in the same year firmly acknowledged ‘Trish Findlater, an artist of note.
“ I adore art, all genres of art, but I am expressly drawn to landscape and seascape and have made these my main focus in my painting and can carry the viewer to new places or evoke emotions & memories of previous locations.
My paintings often prompt emotional responses especially through the use of pastels ,their highly pigmented colours along emit light, texture & composition.

Contacting TRISH FINDLATER:

You can contact Trish by email or see her work

By Trish Findlater

Legacy is a word that carries weight, echoing forward from the lives we’ve lived and the impressions we’ve made. As a fine artist, my work naturally becomes a piece of my legacy—a silent, visual mark on the world. My legacy isn’t something grandiose or fixed; it is a collection of moments, thoughts, and images woven together, like brushstrokes on a canvas, waiting to be interpreted. And, somewhat unexpectedly, I realize that my love for shoes has found a place within this understanding of legacy, shaping how I step into and leave each moment.

Shoes are among the most personal items we own. They carry us, support us, and reflect our journey. When I think of my wardrobe full of shoes, I think of the stages of my life that each pair represents. There are scuffed sneakers from my days of long walks through cities, where I wandered alone, searching for inspiration. There are elegant, strappy heels that remind me of gallery openings, where I stood tall, hoping my art spoke louder than my words could. In this way, each pair of shoes represents a piece of my history, a small fragment of my story. And this, too, is legacy: it is the collection of places I’ve been, the things I’ve seen, and the imprint I’ve left behind.

My work as an artist is undoubtedly a significant part of what I leave behind, but I wonder if legacy truly lies in the permanence of things. A painting may hang on a wall, but its meaning evolves over time and with every new viewer. My art is a kind of whisper, a suggestion of the world as I’ve seen it. The colors, shapes, and textures I choose are expressions of emotions, observations, or questions I couldn’t articulate in any other way. Legacy, then, isn’t just about what endures; it’s also about what I contribute to the endless conversation of human expression and understanding. Like shoes, each piece of art carries a bit of where I’ve been, but each also walks forward without me, adding meaning through others’ interpretations.

Legacy, in a broader sense, is also about influence—the lives we touch, the people we inspire, even those we challenge. I don’t know if my art will be remembered a hundred years from now, or if anyone will even know my name. But in the present, I hope to leave behind a trail of empathy, a record of emotions felt deeply. My hope is that my art, like my shoes, carries people—maybe just for a moment—into a different experience or perspective.

Sometimes, I think of legacy as the footprints left on a well-trodden path. Just as I walk in the shoes of artists who came before me, creating and questioning as they did, I leave traces of my own journey. My shoes remind me that my legacy is not only my art but also my curiosity, my willingness to explore, to move forward with uncertainty and excitement.

In the end, my legacy might not be monumental or historic. It will likely be quiet, like a shoeprint in sand that fades over time. But it will be honest—a collection of places I’ve been, questions I’ve asked, and beauty I’ve sought to capture. For me, that is enough.

Legacy & the Artist #11 #cong24 #legacy

Synopsis:

Art captures emotions, experiences, and ideas, but its legacy is unpredictable and beyond the artist’s control. While some artists like Van Gogh or Vivian Maier achieved recognition posthumously, others, regardless of their efforts, may see their work fade or be rediscovered with changing cultural values. Historically, female artists faced barriers that limited their impact, as their contributions were often overlooked or dismissed. Artists should focus on authentic expression rather than preoccupy themselves with legacy, as it unfolds naturally. Once art is shared, it belongs to the world, shaped by audience interpretation and the passage of time.

Total Words

1,216

Reading Time in Minutes

5

Key Takeaways:

  1. Legacy is Unpredictable: Artists cannot control how their work will be perceived or remembered due to cultural shifts, and changing values over time
  2. Art is About Expression, Not Control: The true role of the artist is to create from a place of honesty and passion, responding to their personal and external experiences.
  3. Historical Barriers for Women in Art: many women’s contributions were overlooked or attributed to men, delaying the cultural shift toward a more inclusive and diverse art world.
  4. Family and Market’s Role in Legacy: After an artist’s death, the family or market can significantly influence how their legacy is maintained or shaped.

About Zanya Dahl:

Born and raised in Dublin, I spent 17 years running a successful branding and design agency before deciding to pursue a lifelong passion for painting. At the end of 2019, I committed full-time to my artistic practice while also delivering creative workshops to leadership and management teams.
I am often seen cycling my bike around Dublin and very much enjoy being mother to two amazing girls.

Contacting Zanya Dahl:

Zanya’s art can be viewed via ZanyaDahl or on Instagram.

By Zanya Dahl

Art captures experiences, emotions, and ideas in the moment, but its lasting impact — or legacy — is often beyond the artist’s control. As artists, we focus on expressing what resonates with us now, not on how our work will be perceived in the future. While we might wonder whether our creations will endure or speak to universal truths, it’s ultimately a waste of energy to try to shape that outcome.

Once a piece is completed and shared, it takes on a life of its own, subject to the interpretations and biases of the audience, critics, and the passage of time. Legacy, then, is unpredictable. A work may be celebrated, ignored, or misunderstood, and these judgments can shift dramatically as cultural values and perspectives evolve. What resonates in one era may fall out of favour in another, or vice versa.

All an artist can do is create from a place of truth, responding to their inner world and external environment. Once the work is released into the world, it becomes something else entirely, shaped by how others experience it. Creation is about expression, not control, and an artist’s legacy will always be a mystery, unfolding in ways we can never predict.

In van Gogh’s case, the unpredictability of legacy is most apparent. During his lifetime, he struggled with both his mental health and financial instability, selling very few paintings. Despite this, van Gogh persisted, painted obsessively, driven by his need to express his internal world and his connection to nature rather than any conscious concern for legacy. Yet he posthumously became one of the most celebrated artists in history.

Similarly, photographer Vivian Maier, who never sought recognition, became famous only after her work was discovered. Primarily a live-in nanny and caregiver, she only printed a tiny fraction of the hundreds of thousands of images of bustling city life she snapped over the course of fifty years. She showed them to almost no one, amassing boxes and boxes of negatives and undeveloped film. There’s no indication that she ever tried to sell or showcase her art. It seemed to be a form of pure creative expression without concern for an audience. Her recognition came after her death, sparked by the sale of her Chicago storage units at auction in 2007, when she stopped paying rent. It’s another reminder of the sheer unpredictability of legacy.

Historically, female artists faced great challenges in leaving any legacy of their creative soul. Barred from formal training and prestigious exhibitions, their contributions were often overlooked or attributed to male relatives. As a result, their work had limited impact on the broader art world, and their absence hindered the cultural shift that might have inspired other women to pursue creative careers Their absence from the public domain delayed the cultural shift that would have empowered more women to embrace art, limiting the richness and variety of artistic expression in history.

In contrast, some contemporary artists actively cultivate their legacies. Sean Scully, for example, has built his reputation through unabashed self-promotion and clever control of his work’s supply and demand. Yet, despite his efforts, his long-term legacy remains uncertain — will his reputation endure without his active involvement? Maintaining an artist’s market value after death requires ongoing exhibitions, academic discourse, and a continuous presence in the public eye. This is no small feat, especially considering the constant shifts in the art market and changing tastes among collectors and institutions.

In light of this, it’s interesting to consider the role families play who inherit the work of an artist. In some cases, the value of the work can skyrocket after the artist’s death, creating newfound wealth and recognition for the family. However, this can also bring unexpected responsibilities. For some, it can become a deeply fulfilling mission to keep the artist’s spirit alive through exhibitions, sales, or public recognition. Others may feel the weight of preserving their loved one’s artistic legacy, ensuring that the work continues to be appreciated and valued by future generations.

In stark contrast to Scully’s approach, Banksy has earned a legacy by challenging legacy using subversion, anonymity, and social commentary. His street art, often altered or removed, emphasises impermanence over preservation. His “self-destructing” piece, “Girl with Balloon,” sold for over £1m, solidified his reputation as an artist who rejects conventional notions of art’s value and legacy, making the impact of the moment his primary concern.

As for my own work, I have no expectations about its future. The art I’ve created is an expression of my voice, vision and spirit. If it shifts perspectives or inspires others, that’s a truly wonderful thing, but I won’t be around to control or judge what happens after I’m gone. My daughters will inherit my paintings, and they are free to do what they wish with them. They may sell them, give them away, keep them or do a mix of all three. Some pieces may hold sentimental value, just as my father’s hand-crafted furniture does for me.

Every creator, whether known to the masses or not, plays a role in the evolution of their field. The ripple effect of every artistic endeavour, no matter how small or seemingly unnoticed, contributes to a larger creative ecosystem that is continuously evolving.

Legacy, then, is not something for an artist to preoccupy themselves with, as it unfolds naturally through their work. The impact they leave happens of its own accord, shaped by the authentic expression of their creativity, often in ways they may never anticipate.

Finding Purpose in Recreating the Past #29 #cong22

Synopsis:

A project whose purpose was to invoke the past by creating authentic costumes to be worn in the present during events celebrating the continuity of St Nicholas church in Galway life.

Total Words

479

Reading Time in Minutes

2

Key Takeaways:

  1. Great sense of purpose can be found in working together and sharing skills
  2. The past and present may be linked in places and clothing.
  3. There is joy to be found in creativity.
  4. There isn’t an App for the things most worthwhile.

About Deirdre Ni Gearlailt

My name is Deirdre and I am married to Seamus. We have 4 children and two grandchildren, with another grandchild on the way. I work as a doctor in general practice and child development. My passions are my family, travelling, cooking bodhran playing and handcrafts.

Contacting Deirdre Ni Gearlailt

You can contact Deirdre by email

By Deirdre Ni Gearlailt

This is a story about a project that fostered a sense of purpose in a community, forging deep connections with the past and present.

Background

St Nicholas church, which has been used alternately by Catholics and church of Ireland in Galway is now 703 yrs old.

A time for celebration – delayed by 3 years because of the pandemic.

4 years ago I visited a friend’s house and admired the many rich luxuriant fabrics hanging in her sewing room.

Silks,embroidered fabrics and wools.

So when I asked her what was the destiny , I found myself enrolled in a most exciting project.

The idea was to re create a medieval scene to evoke times past in at St. Nicholas church.

Building Purpose

The costumes whose designs were inspired by a medieval seamstress book with applique patterns included dresses, jackets aprons, hoods, purses and belts – both leather and woven.

The dresses have the designs from the city Tribes family crests.

A diverse group of men and women Catholic, protestant, Irish, English, American and African to form the work group.

Our little community met in the church and our purpose was to dress people who wear the costumes at fetes and when showing the church to visitors.

We are now labelling the costumes with carefully embroidered labels with silver thread embellishments.

Included in the labels of was the wearer’s name, the Tribe after whom the dress was designed and the year it was made.

The seamstress’s name was not included on the label as it was felt, like the illuminated texts of Kells a community created them and while all these details would be noted in a leather bound book for posterity it would not be mentioned in the label.

I have totally enjoyed this community with a purpose and listened to many stories of the people around the work benches.

I hope to have some of the items to show the congregation as examples of the work.

Purpose of Mind, Eye, Hand #28 #cong22

Synopsis:

In brief ; Purpose as I thought I knew it previously in my life , and finding a new abstract form of purpose.

Total Words

666

Reading Time in Minutes

3

Key Takeaways:

  1. Meaning
  2. Abstraction
  3. Visual
  4. Hand

About Trish Findlater

I started out in life after school attending Art college. Completed several years to Masters in Fineart.
Later in life I returned to architectural school as a mature student and subsequently worked in various practices and out on my own as an interior architect… I have since ‘cooled the jets’ as they say on my hectic design work and have returned to my art studio where I am presently preparing an exhibition of my art work which will coincide with book launch ‘ the theme the Seasons in a garden and the seasons of grief.
I also have a keen interest in Gardening, music, dance, yoga and Pilates.

Contacting Trish Findlater

You can contact Trish by email

By Trish Findlater

“Purpose is an active expression of our values and our compassion for others, it makes us want to get up in the morning and add value to one’s life and the world’*

The Power of Purpose FIND MEANING, LIVE LONGER, BETTER by Richard J Leider

Purpose as I thought I knew it was snatched away some years ago with the sudden death of my husband…suddenly the tectonic plates of my life it’s purpose, meaning and happiness were shifted severely beyond my grasp.
Painting especially when painting outdoors is slowly reigniting an new form of purpose within me ,it’s abstraction only clear to me when painting.
The French use the term En plein air’ to describe painting outdoors.

I was on a recent painting holiday in the south of France, each morning I left my hotel early, pochade in right hand and canvas in left out to paint ‘en plein air’. My mantra for the day playing in my head;

“Be patient, grateful and humble.

Just to have the opportunity to paint is a gift., and especially in this beautiful place Beaulieu Sur Mer, Côte d’Azur.

Stay grateful for the opportunity, humble to the task and, for heaven’s sake, be patient with yourself.

Keep your heart open and your hand sure.”!

En Plein air painting holds tremendous purpose for me, as an artist it allows me to capture the emotional and sensory dimensions of a particular landscape at a particular moment in time. It provides an escape from reality, a wonderful sense of belonging and community with my fellow artists.

Purposely enabling self-expression and self-awareness, providing a means for contemplation and reflection a source of entertainment and enjoyment especially when the composition,design colour and intent all come together to make what is a good piece of ‘ART’.

The best advantage of painting plein air is that all the senses are engaged and like happiness, the purpose of painting is not necessary alway to complete a profound piece of ‘ART’, but rather to practice and journey through shape, design, light and colour.

Finding a purpose is accessible at any age, and I have experienced this meaningful purpose especially painting outside, it demands of one to be willing to explore what matters and what kind of person you want to be and act to become that person if that makes sense ?

I am standing at my Pochade looking at the subject matter; the promenade, azure blue sea, bobbing boats, swimmers, children playing fetch with well groomed pouches, landscape, or a bustling cafe at the market Square, consuming all my concentration so much so a bomb could go off beside me and I would remain engrossed in my painterly 2 dimensional world!

I guess by setting up my paintbox, to create a painting with Sennilier chalks I am essentially making a first-class memory, through mind eye and hand.

I am always reminded of the artist ‘Paul Klee’s essay ‘The Thinking eye’. I read as an enthusiastic young art student ‘a hundred years ago’!