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Carole Gray-Weihman and Cedric Egeli painting on the beach in Provincetownl, with a blue umbrella overhead and houses behind; sunny, focused on painting Sarah, the model dressed in red.
Painting in Provincetown with Cedric Egeli (Photo by Joanette Egeli, around the year 2000).

On October 4th, I learned that one of my beloved painting teachers, Cedric Egeli, had passed away the night before.


Cedric was one of my teachers during an earlier, formative chapter in the late 1990s and early 2000s. What he gave me has endured across the years... his knowledge, his generosity, his way of seeing, and the lessons that became part of the painter I am. He was a true genius.


The people who profoundly shape us do not remain neatly in the past. So, when I write that Cedric was my teacher, I mean it as a factual truth. But honestly, he still IS.


I studied with Cedric and his wife, Joanette, for several years. They were both students of Henry Hensche, and through them I became part of an artistic lineage that was never simply about learning how to paint an object, a landscape, or a person. It was about learning how to see. To truly see.


To observe color relationships, to notice the temperature of light and how it travels through space. To recognize how one color changes because of the color beside it. To become observant enough to let nature reveal what is actually there, rather than painting what the intellect assumes should be there.


Those lessons forever changed me.


I remember a month I spent studying with Cedric and Joanette in Edgewater, Maryland, in January of 2002. It was winter, and there was something wonderful about the intimacy of those days: the studio, the conversations, the rhythm of working, watching, questioning, and learning. There were ordinary moments too, the kinds of details that become unexpectedly precious with time: coffee, laughter, the quiet routines surrounding the work.


At the time, I thought I was learning to become a better painter. Only years later do we sometimes understand that our teachers were giving us something much larger. They were teaching us how to pay attention. And attention, I have come to believe, is one of the purest forms of love. Recently, I have found myself thinking a great deal about the idea of Oneness and the possibility that our separateness from one another may not be quite as absolute as it appears.


Cedric’s passing has brought that question closer to the surface for me. We tend to imagine a human life as having clear boundaries. A person is born into their human suit. They live their life. And someday that life ends. Biologically, of course, this is true. But relationally? Creatively? Spiritually? I am no longer sure where those boundaries are.


Cedric learned from those who came before him. He absorbed their teachings through his own remarkable perception and experience. He shaped new ways to express that knowledge. Then he passed some of that wisdom to Joanette, his children, his students, me, and countless others. And every time one of us carries those lessons to the easel, something continues.


Perhaps I stand one morning outdoors and notice a cool violet plane turning beneath warm sunlight because someone once taught me to look for color relationships rather than objects. Perhaps I place a note of color differently because Cedric once said something in a studio many years ago. Perhaps a student watches me paint someday and begins to see light differently because of something I learned from him. And perhaps that student will someday pass it to someone else.


Where, then, did Cedric’s influence end? I cannot find the edge of it. It reminds me of "The Butterfly Effect"— the idea that even the smallest action may travel outward through the world in ways we can never fully trace.


A kindness changes someone’s afternoon. That person goes home softer. They speak differently to someone they love. That person carries the feeling elsewhere. One moment becomes another, and another, and eventually we lose sight of the original source.


Teaching works this way too. We know love does... So, a life does.


I keep returning to an image: an ocean filled with waves. For a little while, each wave has its own shape. Its own direction. Its own height and rhythm. We name it and recognize it as something distinct. And yet it was never separate from the ocean... It was water all along.


I think human beings are like that. Individual, certainly. Precious in our individuality. And yet somehow participating in something much larger than the boundaries of a single life.


Cedric remains in the paintings he created.

He remains in Joanette.

He remains in his family and friends.

He remains in the artists he taught.

He remains in the way some of us look at a patch of sunlight falling across a face or a landscape and understand that the color is never simply what we think it is.

He remains in the discipline of looking.

In curiosity.

In generosity.

In the passing of knowledge from one human being to another.

And perhaps that is why I hesitate to write that Cedric was a wise and giving soul.


He was... But in another sense, he still IS. The form has changed. The influence has not.


Grief makes absence feel very sharp. There is an empty space where a person once stood, and no spiritual idea should ask us to pretend that absence does not hurt. But alongside grief there can sometimes be another realization. Someone can be gone and still be here.


Not in the way we would wish. Not in the way that allows another conversation or another afternoon together in the studio. But a part of us. Their words. Their gestures. Their humor. Their way of seeing. Their kindness. The things they taught us without ever realizing we would still be carrying them decades later.


Lately, I have been asking myself a simple question: Did I bring love into the world today?


I think about that now when I think about Cedric.


A teacher who freely gives what he has learned sends something forward that may travel far beyond his own lifetime. He changes people who may eventually change people he will never meet. What a beautiful form of generosity that is.


And perhaps this is one small glimpse of what Oneness means. Not necessarily something abstract or mystical. Perhaps it can be found in something as ordinary as one human being teaching another how to see.


Cedric, thank you.


Thank you for your generosity, your wisdom, your patience, and your willingness to pass along what had been given to you.


Thank you for helping me see. I will carry that forward, as will so many others you have taught.


The wave changes shape, yet the water remains.

It’s strange, the things that bring us to stillness. Sometimes it’s beauty. Sometimes it’s pain. And sometimes it’s the body itself, insisting ...enough.


Five months ago, my world went dim for a moment that felt like forever. I passed out from pneumonia, and in that fall, my head met the unforgiving tile floor. Nine staples, IV fluids, and a slow recovery later, I began the long journey of patience, surrender, and time.


Recovery has been slow, uneven, humbling. The simplest things: reading, remembering, focusing; became delicate exercises in endurance. My thoughts moved like fog rolling in and out, softening the edges of everything I knew so well.


Yet in that fog, I found something unexpected: gratitude.


When I learned I could re-enter paintings I had submitted during the 14th Plein Air Salon into this year’s 15th Annual Plein Air Salon Show, I didn’t have the stamina to paint something new. The rules allow re-entries, even past winners from previous years. This is a rare grace in this kind of competition. So I unenthusiastically submitted some of the same paintings again, thinking nothing of it beyond the small satisfaction of participation.


When the news appeared in my in-box, “Best Plein Air Landscape,” I felt quietly honored ...and relieved. My painting Before the Storm had found new eyes again, proof that its life wasn’t over, that it still had something to say. It was a quiet reflection of its earlier recognition.


That same painting had received an award in the 14th Annual Plein Air Salon, as well as 4th Place in the American Impressionist Society’s 9th Annual Small Works Showcase during the same month.

Plein Air painting, by Carole Gray-Weihman, "Before the Storm"
Month of Sept 2025 - Best Plein Air Landscape - 15th Annual Plein Air Salon

Those earlier awards came a few months before my concussion ...a time that now feels both close and distant, while this most recent recognition feels like life circling back with a quiet reassurance from the universe: your work still speaks, even when you’ve been silent.


I hadn’t entered the Salon for nearly five months. Part of me hesitated. I wasn’t actively painting, and it’s easy to feel invisible when you’re not producing new work. But this exhibition reminded me that art isn’t only about constant creation; it’s about connection. It’s about letting your work keep breathing in public view, even while you pause to catch your own breath.


It was, Camille, who first urged me to start entering the Plein Air Salon, just a month and a half before she passed away. “Enter every month,” she told me, her words both encouragement and challenge. That summer, after she was gone, I submitted my first entry. And now, each time I enter, it feels like a small act of honoring her wish, a promise kept.


So no, this isn’t an “I can’t paint” story. I can paint. I’ve simply chosen to step back for a time, to allow healing to take the front seat. I know that what comes next, the work that will emerge from this stillness, will be stronger, deeper, and more honest because of it. Healing, after all, is an investment in the art itself.


The Plein Air Salon keeps the top 100 finalists posted each month; what a gift that is. It’s more than a competition; it’s a quiet bridge between effort and recognition, between artists and the world. I don’t enter expecting to win the grand prize. I have so much yet to learn. I enter to stay present, to remind myself that art has its own pulse, its own life beyond the studio.


In a year when I’ve barely picked up my brushes, this recognition felt like a quiet reassurance from the universe: you’re still part of this world, even in rest.


I often think of Camille’s words now ...“Enter every month.” They carry a different meaning these days, not just about competitions, but about showing up for life itself. About staying in the conversation, even when your voice is quieter than before.


Art teaches us to see. But it also teaches us to pause. Sometimes the most profound progress happens not in motion, but in stillness. Healing, too, is its own kind of plein air, an open landscape of patience with light shifting slowly across the horizon of our days.


So today, I’m simply grateful. Grateful for the art that continues its journey even when I’m not painting. Grateful for the community that holds me close. And grateful for the understanding that beauty doesn’t always come from striving. Sometimes it finds us where we are ...tender, quiet, and healing, ...before the wind remembers its voice.

If you’ve ever had to pause your art to heal in body, mind, or spirit—I see you. May you find grace in the stillness, and trust that your creative light never leaves; it simply waits, gathering strength for when you’re ready to begin again.

— Carole

It’s taken me some time to sit down and write this. I’ve been quiet, and I appreciate the patience and understanding of those who’ve noticed my absence. Today, I want to share the journey I’ve been on lately, both in my art and personal life.


Camille resting after painting, 1996.
Camille resting after painting, 1996.

As many of you know, my mentor and dear friend, Camille Przewodek, passed away recently. Camille was more than a mentor—she was a guiding light in my life and art. For over 25 years, we shared not only a studio but also a bond that went beyond teacher and student. She challenged, inspired, and ultimately, in many ways, shaped me into the artist I am today.


In May of this year, I had the privilege of spending four final days with Camille at the Plein Air Convention in Asheville, North Carolina. These were the last days of her relatively good health, and I cherish that time we had together. We painted together, and walked through the humid, damp landscapes as faculty field painters for the PACE attendees—soaking in the atmosphere of an area that has since sadly been impacted by Hurricane Helene. Reflecting on that now, I can’t help but think how close we were to what later became the center of that storm. Those days, though, were calm. There was something magical about them, a quiet understanding between us, though neither of us knew it would be the last time we’d share that space together. I felt honored then, and even more so now, to have had that time with her.


Camille Przewodek, 1996
Camille Przewodek, 1996

Camille’s passing has been a profound loss for me. Grief is a complex emotion, and processing her absence has not been easy. After losing her, Al Tofanelli and I made the difficult move out of our shared studio space. In the earlier days, especially, our studio had been our sanctuary, a place where creativity flowed and where the boundaries between art and life often blurred. In the coming months, I hope to re-establish a new space of my own. It’s a bittersweet transition, but it’s a necessary one, a way to keep moving forward while holding Camille’s influence close to my heart.


There’s another chapter of my life tied to Camille that I’m ready to close: the house we shared in the south of France. It’s in the village of Soreze, which was once a place filled with memories—of quiet mornings painting under the French sun, deep conversations over wine, and inspiration drawn from the landscape surrounding it. I’m trying to sell the house, a decision that comes with its mix of emotions. As I step into this new phase, I ask for your good vibes and positive energy to help support the sale of our 400-500 year-old stone and mud house. It’s time for that chapter to close so that new ones can unfold.



Where we held classes and workshops.
Where we held classes and workshops.

In the time since Camille’s passing, I’ve found myself in a period of reflection. Creativity, for me, has always been a source of healing, but there are moments when the weight of grief makes it difficult to do creative work. I’ve taken this time to step back, to honor my feelings, and to allow myself the space to process everything. But I can feel the pull of the landscape tugging at me to be painted again, that quiet nudge that tells me it’s time to return. I know Camille would be lecturing me to get back to work, to not waste a moment and continue exploring the boundaries of light and color, and to carry forward the lessons she so dedicatedly shared with the art world.


As I emerge from this quiet period, I want to thank you all for your continued support. Your messages, thoughts, and kindness have meant more to me than I can express. The art community is a place of deep connection, and I feel fortunate to be part of such a caring network of friends and colleagues.



My things, (and Camille's things too), are safe in storage.
My things, (and Camille's things too), are safe in storage.


Moving forward, I’ll share more updates on my work and the exciting projects I’m working on. Camille’s influence will forever be woven into my art, and I hope to honor her legacy with each new work and creative project. There’s still so much more to discover, so much more to create, and I know she’ll be with me every step of the way.


Thank you for being here with me through this time of transition. I look forward to what’s next, both in life and in art.


Below is my tribute post to Camille from my Instagram page.



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