Artistic depiction of children (a boy and a girl) planting a young tree, gardening with flowers and plants in a garden setting.

Planting for the Future Original Painting

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60 h X 50 cm (23.6 h x 19.685 inches)
Gallery-wrapped canvas (framing optional as the sides are painted)
Acrylic on Canvas
© 2026 Kelly Borsheim
Available, also with payment plan (0 interest, your schedule)

Planting the Future

This spring (2026), I decided to try a different type of 'Estemporanea' in Italy. I have participated in these types of short-term painting competitions, but the four I did this spring were all a new kind to me in that the host organization KEEPS the winning artworks. Only one of the three kept ONLY the top three winners and the People's Choice, but the lower cash prize winners got to keep their paintings.

However, this was the first work I did and it was for the 'Estemporanea' for a developing butterfly garden in Massarossa (between Lucca and Viareggio in west Tuscany). The theme was "The Colors of Spring." The date of the competition was 26 April 2026. The Garden was to be open only the day before (April 25 is a national Italian holiday) and Easter Sunday (5 April in 2026).

Naturally, it made sense to do a research trip to learn more about the garden and the general area. Online research can only go so far. And visiting on Easter gave me more time to create an idea.

How an 'Estemporanea' works:

My first 'Estemporanea' happened in Croatia in 2014 September. An artist that I met during a stone carving symposium in Bulgaria in July 2014 invited me to come visit his town in Croatia that September. In that north-western region of Croatia, called Istria, they speak Italian. I understood he told me that there would be some painting competition and small markets that weekend in September, but I had not understood that he wanted to enter ME into the competition.

Luckily, my nature is to take a million photographs everywhere. He told me to go explore the village in the morning and we would meet up at lunch. Afterwards, he took me to his and his wife's home where he paints. He had registered a canvas for me on the Friday morning (I arrived Saturday morning), but I had only six hours to paint a large canvas! And not with good paintbrushes... yikes, what stress. But in the end, I actually like this "abstract" painting I did of the electric wires up high on a wall. I did not win, and naturally, my host kept my painting. But I was shocked: the top prize was 2,000 euro... in 2014!

woman artist posing next to her abstract painting of electrical cords or wires in a village in Croatia

These competitions in Italy had top prizes much less than that even in 2026!

So, at the beginning hours of the competition, artists bring a blank (or some allow a colored, if solid without a drawing on it) canvas. The hosts put their unique stamp on the back as proof that the canvas entered was empty. At the end, you enter that same canvas to be juried.
Each competition has rules... some do not care how or where the artist paints. Others insist in plein air painting (on-site with scene in front of the artist). All the ones I have attended state that the subject has to be that town or surrounding areas, limits given.

Some provide a lunch and/or awards aperitivo, at least one of the days of the competition, if there are multiple days.

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With this one in Massarossa's Butterfly Garden, the top prize was 500 euro. The organization gave out TEN prizes, but the last 5 or 6 prize levels received only 100 euro. However, the new (to me) thing is that the hosts KEEP all of the prizewinning paintings. Considering that it costs 25 euro to enter, and a minimum of expenses in materials, I felt that I wanted first or second place or nothing.

To that end, I read and re-read the rules... minimum canvas sizes accepted, theme, subject matter (wanted real scenes of that specific garden, as they sell the collection of canvases to raise money to develop this ecosystem that includes a field of lotus plants, and another of lavender), etc.

During my Easter research trip, I made many photographs, including of the signs scattered throughout the garden of the various breeds of butterflies and trees. I was surprised to see that they are cultivating Japanese cherry trees!

large information sign showing the male and female butterfly types that visit this garden

garden scene of small lake surrounded by tall grasses

The research trip on Easter Sunday was enormously helpful! I had not seen any points of view that made me think, "Oh, I MUST paint that!" Thus, the idea to create a conceptual piece that blended images of the actual place with the idea of their expanding the gardens and ecosystem for future generations was born.

Using my own photographs to design a modified garden scene in Photoshop saved me time. I freely moved things around. For example, the distant mountain and hilltop villages were the actual view from this garden, but I made them much larger to appear closer. In reality, they would have appeared so small as "not to bother."

collaged design of children in garden scene with mountain and Japanese cherry tree in background

Below is my little sketch in which I wanted to decide on how to color the shapes. Had I had more experience with creating a complicated painting in seven hours, I would have taken the time to use this first effort to refine and define the design and fill out the second one I had prepared. These sketches may be about 5 x 4 inches.

small sketch with color of children planting a garden

Ironically, I painted the figures a solid yellow immediately so that I could best see the forms in the design. Had I really prepared well, I would have known not to paint the flowers inside the figures too dark!

the new start of a colorful painting with yellow shapes of children planting a young tree

Below is a shot of my painting space, right beside the walking path and the little lake. I chose it for the row of trees behind me and a small group of trees to my right. My hope was to have as much shade as possible while I painted. During the day, a tour guide came through with a fairly large group of people (20?). She explained the reasons that each plant was chosen to create the ecosystem. I wish that I had had time to eavesdrop.

Colorful painting on easel set up outdoors next to a pathway with fence in public garden in Massarosa Tuscany Italy

More progress. You may see that I am painting in full sun now. Why? Because I forgot my umbrella stand and was so stressed about getting a good fast start on the first pass of colors that I did not want to take time to rig up something. You may see the edge of the umbrella shadow as I put it into my little cart that once held materials... hoping to block my body, but not the painting. However, it was not up high enough to properly shield the artist.

not finished colorful painting on easel in an outdoor public garden setting for competition Estemporanea

Another progress shot, this one below courtesy of the competition hosts in this Butterfly Garden in Massarossa. There, you have proof that I am the painter. lol. I got several compliments as various small groups of people stopped wandering the garden to view the paintings being created. A couple of them told me that they were convinced that I would win, as they loved the concept and the colors. In hindsight after a few more Estemporanea competitions this spring, I no longer get my hopes up and consider those words a "jinx," but am happy inside that what I am doing already seems beautiful.

artist painting in outdoor garden setting

Here is a great example of the perils of painting outdoors with a constantly traveling sun and no umbrella. You may note of my YouTube videos, how my solid-coloured magenta umbrella brings its own challenges. If I choose to do this more often, I need to invest in a neutral-colored umbrella that is lightweight and easy to set up.

start of a colorful painting of children in a garden outdoors with shadows from trees cast onto the canvas

Next you see that I took time to do some finishing work early while I took a necessary break.

an easel stands in a garden, but the painting rests nearby on the park bench with materials off to the left

Hi from Massarossa! It is hot enough out here, but grateful that this is not June or worse.

selfie of artist Kelly Borsheim in front of her easel, as the painting rests face up on a bench to allow the just-painted sides to dry

Another note to self: Remember to check where the contest stamp is before I think to thoroughly paint the sides wrapping around the back! Learning so much...

detail of backside of canvas in which the artist covered a contest stamp after painting sides and some of the backside of the canvas

A quick walk to the Porta-Loo and to snap a photo of some of the other painters at work.

a garden scene showing lots of artists painting on easels

In the morning, this table under the olive trees was for registering our blank canvases. Later, they turned it into the fundraising table for the garden. They also had publicity materials for summer events and the flowering schedule for the lotus and lavender fields.

booth under shade trees to fundraise and announce upcoming garden events

And I loved it that they created an educational space about herbs. There were signs throughout the garden stating something like, "These are not weeds!" This event is very well planned out. I only have one suggestion, which I will show you later, but I doubt it will be changed (I will explain that later, too).

under the shade of tree, a table full of herbs and information sits with a artist painting on a canvas on an easel in the background

This was my sack lunch that was included for my entry fee. It was perfect and convenient. Sadly, I had already been in pain with my thoracic spine surgery area. For a couple of hours. Some of that was probably self-induced stress.

a bag lunch of sandwich, orange fruit, and a sweet bread lie on top of the artist's pink jacket on the ground

I learned from past local 'Estemporanea' that needing to be done by a certain and unchangeable time is similar to how I worked as a street painter in Florence many years ago. One must pace oneself. I tend to set timers because time flies without my concept of its passing. This next image was taken at 13:31 (or 1:31 for non-military folks). This is also the point in which I started my big design mistake!

an unfinished painting of children planting a garden is shown on an easel outdoors

This image below was taken two hours later. But I am SO HAPPY to not have the sun beating down on me. And, photographs register shadows with more contrast than the human eye sees. Knowing that helps plein air professionals understand how better to paint from images, if they need to.

a colorful painting of children in a garden full of flowers lies with sharp shadows from the trees above landing on the canvas in weird shapes, distracting the painter

And this image was taken at 4:16 p.m. I had ten minutes to set up my Nikon on my tripod, move the art on easel into a sunnier spot and take quality images of my artwork. Why? In case I win any prize and may not have the time to do so later (or the light!).

A colorful figure and landscape painting on an easel is in shadow while the garden path around it is in sunshine.

Ok, so this was my entry for "The Colors of Spring" theme. Painted in about seven hours, but obviously with a lot of prep work ahead of time. It was far more than I would give traditional plein air painting ideas.

painting of a lake with side tall grasses, mountain in the background, cherry tree, and two children outlined planting a tree. they have flowers inside their bodies. Butterflies included and a bee.

A woman takes a photo of a painting that lies between others on display in a garden setting

Now, you may note the only thing I felt was less-than-ideal in this competition: each artist had to bring his own easel and set up the artwork for judging UNDER THIS SMALL AREA OF OLIVE TREES. Granted the photos have more contrast than reality, but the dappled light was evident anyway. It did not present any of the works in their "best light." However, all of us had the same disadvantage. And, I cannot think of a better solution. The olive trees are too low to hang any sort of tarp under the branches to even-out the shadows. And posting in full sun in the garden would have not been an option in this heat.

a row of paintings on easels on display under olive trees. Colorful petunia flowers in pots are in the foreground

I did not win, but I was happy with that. As I explained earlier, had I done all that research and composing ideas, plus the long and painful day of painting non-stop only to win one of the lower level awards, I would have lost my painting for very little reward. The bossman also announced again his encouragement to all artists to donate our efforts to the garden. They sell to support development of that space.

I would prefer to sell my art at normal prices, then donate some of those proceeds to the inspiring garden while still retaining rent money. Not winning meant that I had a good start on a new work, got a lunch, a simple aperitivo after the awards ceremony, and I learned SO MUCH in this process. And each artist was given a flowering plant of our choice from their table, and a participation certificate.

Now, I share a funny story (funny to me anyway). I may have been the last artist to find a spot under the trees, and that meant that I was off to one side, near the Porta-Potty behind folks and somewhat blocked views due to olive branches to see the award winners. I did not know ANYONE there before a few presentations of the staff that morning. Thus, I could not see those involved in the jury process until later at home when I took time to look at my images of the winning paintings and authors.

During the aperitivo after the awards were presented, I told myself that now was the time to try to meet other artists and make myself be social a bit. You may laugh at this, but I am shy by nature and I am almost convinced that if my mother had not enrolled me into Toastmasters International my senior year of high school so that I could give a speech to a completed full and large auditorium, I might never speak to anyone I did not already know. [Thanks, Mom, as painful as the experience was at the time.]

Most people were over by the finger sandwiches and donuts (bomboloni in Italian), but there was a small group of people in a circle some distance away. A tall man with white hair and a bright red shirt was sharing tips to one of the painters, telling her to add dimension to her scene to improve it. I stood behind the circle eavesdropping, curious and looking for a moment to say hello to someone.

Before I knew it, the group dispersed and the red-shirted man was alone. Ok, he is the one then. Feeling like a man searching for a pickup line at the bar, I approached him and said, "Oh, that is so kind of you to offer that artist some advice. Are you also a teacher?" [I realized in hindsight that night to my horror that he might have interpreted my question as sarcasm. Yikes. I had intended it as a compliment, but also, I needed to pose a question that he could answer. My first comment was only a statement. However, I hope that my tone of voice showed no such malice.]

He did not answer my question, instead asking me, "Where is your painting?" I thought nothing of it since artists always enjoy looking at art and discussing it. When we got in front of my project, I said nothing while he looked at it. Then he offered, "That is quite surrealistic." I had no words, processing what to think about that. And then he added, "Very colorful." And then he turned and walked away!

Wow. I have a problem with shyness, but his interaction with me seemed a bit rude and dismissive. I told myself that I was being too sensitive because what motive could he have to leave like that, other than hunger?

Also, his comments were neither helpful or hurtful. They just were. Thus, I added those to my mental list of words I have that people at art shows use when they are speaking directly to the artist, but do not like the artwork by that artist. You know, words, such as "interesting, different, remarkable, unique, etc." Those words could be positive or negative, and thus perhaps sounds complimentary to a hopeful soul, yet give the speaker a way to escape feeling that he was kind to a less-than-skilled artist.

Later when I looked at my photos of the awards, I saw with horror that the red-shirted man was standing BEHIND the table where the awards were presented. He had been one of the JUDGES! Had I known that, I can honestly say that I would NEVER have presented myself to him nor shown him my work. It had not occurred to me to ask for feedback. I already knew that I had more work to do on this painting after returning home. And it was clear that he did not see it as meriting any award. But it also showed me his personal taste. Despite the theme "the colors of Spring," colorful seemed to be the only positive thing he could give me.

My boyfriend had returned from the sea to attend the awards. He tried to console my loss with a "you do not know anyone here. Probably the winning artists are donors to the garden or someone's relative or have participated for several years in this competition." When the First Place prize art was shown, the husband of a prizewinner comments behind me "Those are not spring colours, but autumn ones."

I may be shy, but I am generally not thin-skinned. I liked several of the paintings that won, even if they did not match the rules or theme. And I am not at all offended that my work was not chosen, especially after I gave myself the critique to figure out how I needed to improve the composition and make the idea stronger. And, I really do not like thinking that winning artists did not merit the award due to their artwork alone. Because just like the concept of karma, if you follow it to full conclusion, in this case, it could mean that if I ever win, it was due to my social skills or donations. Ugly. Petty. I prefer to put my head in the sand, when the stakes are this low in the big picture of life.

Also, I know from decades of experience that winning or losing a competition is not going to make or break any artist. It is one person or one juror groups opinion on one day. Also, getting rejected simply causes one to have a good hard look at how to improve one's actions. [And I think that I shall never start a conversation with "are you a teacher?" lol.]

And another point (since I tend to be the "What-if" girl): it is quite possible that the judges choose paintings that they know the organization is likely to be able to SELL to raise money for developing the land. They know their audience far better than any contestant might.

If you are interested in my self-critique and what I consider a "fix" of my design, go have a watch to this video I created to explain my thinking:

https://youtu.be/xrOuqVSCgD4

These are two details from the now finished acrylic painting. I found myself loving acrylic as I learned how to make softer edges and minimal tone differences in this medium. I love this "embossed" monochromatic effect that truly improved the focal points of the children at work in the garden, "Planting the Future."

soft and light yellow flowers are painted inside a young girl's head in a detail of a painting

Detail of lightened flowers and butterflies inside the outline of the boy holding a shovel to plant a tree

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