My 2026 “Year of the Horse” calendar is finally finished.
This year’s work felt slower, heavier, and more demanding than usual, but when I placed the very last image into its spot, everything quietly clicked into place. Completing a twelve-painting calendar is never just a project for me—it is a journal, a ritual, and a way of closing one chapter while preparing for the next.
This year’s theme was the horse.

At first, I chose it simply because horses are elegant, powerful creatures. But as I painted, I began to understand their deeper energy—the steady, silent drive that pushes them forward, the dignity in their stillness, and the strength they carry without ever needing to display it. I tried to hold that quiet power in each piece, painting not just the body of the horse but its breath, rhythm, and presence.
The process was not easy.

My health wasn’t perfect this year, and there were many days when lifting a brush for more than a few minutes felt overwhelming. At times I wondered if I should skip the calendar this year. But every time I sat back down and faced the shape of a horse, something inside me softened. Painting the calm, unwavering gaze of a horse grounded me. It whispered, “Just a little more. Keep going.”

And I did.
So this calendar is not simply a collection of twelve images.
It is twelve small acts of endurance, recovery, and quiet encouragement—twelve reminders that I kept going even when it felt difficult. In many ways, it has become my most honest portfolio, capturing not only my artistic growth but the emotional landscape of my year.
This project also made me ask myself some deeper questions:
Why do I keep painting?
What do I hope to leave behind as an artist?
What do I want my students, my children, and my community to see in my work?
The answer turned out to be simple.
I paint because I love it.
I record because it matters.
And if my work offers even one moment of comfort or inspiration to someone else, then it is enough.
​
Laying the completed pages out on my table, I felt a quiet shift--
the year truly ending,
and another one waiting patiently at the door.
To everyone who receives this calendar, I hope the gentle strength of the horse accompanies you throughout 2026.
May its steady energy help you move forward in your own way, even on the days that feel heavy.
And to anyone reading this, I hope it reminds you that small, consistent acts of creation can become something meaningful—both for yourself and for the people who encounter your work.

​As I look ahead to 2026, I have decided to submit my new painting, Brilliant Blue Horse in Moonlight, to next year’s Mills Pond Gallery Member Show. This piece was one of the last works I completed this year, and it holds a deeply personal meaning for me—far beyond being simply another painting of a horse. It carries the quiet strength, emotional depth, and transformative energy that I felt throughout this year’s journey.

In this artwork, the blue horse stands in the middle of a dark forest illuminated gently by falling moonlight. The background is filled with soft vertical streaks that suggest both rain and light, giving the scene a dreamlike atmosphere. I wanted the horse to feel alive in its stillness—its mane flowing as if moving with an unseen wind, its body shimmering with layers of blue, silver, and soft white. The moonlight touching the horse’s coat became the most important symbolic element of the entire piece.

The title “Brilliant Blue Horse in Moonlight” came naturally as I painted. To me, this horse is not afraid of the darkness. In fact, it becomes more radiant within it—finding strength, beauty, and presence in a place where light is scarce. That idea felt very close to the emotional path I walked this year. I often found myself navigating quiet challenges, yet somehow shining more brightly through those moments.

Submitting this work to the 2026 Mills Pond Gallery Member Show feels significant. Mills Pond Gallery has always been a warm and supportive space for local artists—a place where we share not only our artwork but the stories and transformations behind them. Every Member Show becomes a conversation among artists: What did you see this year? What did you feel? What did you survive? What did you create?

This painting grew during a year of many shifts. Some relationships faded while others grew stronger than ever. My family found new stability. My children became more grounded. I reconnected with my sister, and I finally began taking better care of my own health. I stabilized my work, my finances, and my creative foundation. All of these changes are woven into this painting, whether visibly or not.

When I finished the final brushstrokes—especially the silver highlights in the horse’s flowing mane—I felt a quiet sense of closure. And at the same time, a beginning. This horse, standing confidently under moonlight, feels like I am looking at myself stepping into a new chapter. Stronger. Clearer. More centered.

When the exhibition opens next year, and I see this painting hanging on the wall of the gallery, I think I will feel a mix of gratitude and anticipation. Just as the horse is surrounded by the mystery of night, I too am stepping into the unknown of a new year—but with a heart that is brighter than before.
​
Submitting Brilliant Blue Horse in Moonlight is not just about participating in a show. It is about acknowledging the journey that brought me here, and opening the door to new possibilities that 2026 may bring. I hope this work resonates with viewers in its own quiet way, offering them the same sense of calm and strength that it gave me.
​

I received wonderful news from Mills Pond Gallery this week: my watercolor painting First Snow has been sold during their winter exhibition, Small but Mighty. The title of the exhibition has a special meaning for me. It celebrates artworks that may be modest in size, yet carry deep emotional resonance—pieces that speak quietly but powerfully. To have First Snow included in such a thoughtful show, and then to see it chosen by a viewer, is a moment of quiet gratitude I will remember for a long time.

First Snow is one of my more intuitive watercolor pieces. It was painted with soft washes, subtle transitions, and delicate splatters to evoke the feeling of a winter morning when the first snow begins to fall. Rather than focusing on realism, I aimed to capture the emotion of that moment—the stillness, the purity of cold air, and the gentle shift in light that signals a new season. The deer in the painting represents calm endurance, turning toward a soft glow that hints at renewal.

Exhibiting at Mills Pond Gallery has always been meaningful to me, but Small but Mighty felt especially fitting. The show highlights how a small work can hold a surprising impact, how a simple composition can still move someone deeply, and how watercolor—often dismissed as fragile—can express extraordinary strength. That is something I believe in wholeheartedly. Watercolor may appear soft, but it contains a kind of quiet resilience. It flows, resists control, surprises, and ultimately reveals truth through transparency. In that sense, it is both small and mighty.

When I create a painting, I work alone in my studio guided only by instinct and emotion. I never know who the final viewer will be, or whether the piece will resonate with someone else. So when a collector decides to bring one of my paintings home, it feels like a shared moment of understanding—an affirmation that what I tried to express gently reached another heart. First Snow is leaving my hands now, but I hope it brings peace and warmth to its new home, just as the first snow of winter softens the world.

I am deeply grateful to Mills Pond Gallery for curating such a beautiful exhibition, and to the person who chose to welcome my work into their life. Each milestone like this reminds me to keep painting, keep exploring, and keep trusting the quiet voice that guides my artistic journey.
​
Thank you to everyone who continues to support my work and walk alongside me through moments big and small—each one, in its own way, mighty.

Today, I submitted my artwork for the annual Dickens Festival Art Show, one of the most anticipated events hosted by the Night Heron Watercolor Artists. Each year, this exhibition marks a meaningful moment for me—a time when months of steady work, quiet focus, and creative reflection finally come together in a place filled with warmth and holiday magic. It is never just about hanging paintings on a wall; it is about becoming part of a tradition that transforms our local community during the month of December. Once again, I am grateful to participate, and this year I will be exhibiting three pieces.

I began preparing for this show back in September. As summer faded into fall, I spent many weeks considering which direction to take, what stories I wanted my paintings to carry, and how the winter atmosphere might complement my style. After much thought, I chose two themes that have long been central to my artistic journey: my signature koi fish series and my interpretations of birch forests. These subjects have accompanied me for years—koi fish representing freedom, movement, and vivid life; birch forests embodying calmness, resilience, and time’s quiet passage. Imagining how these familiar themes could harmonize with the serene beauty of Christmas became an inspiring and rewarding process in itself.

The venue for the Dickens Festival undergoes a remarkable transformation every December. Garlands drape across railings, shimmering snowflakes hang from the ceiling, and rows of Christmas trees stand illuminated by soft lights. During the day, natural sunlight filters through the large windows and gives the space a peaceful glow. By evening, the lights and decorations turn the entire building into something that feels like a winter village. Artworks displayed in this magical setting do not simply hang on the wall—they become part of the holiday scenery. Paintings nestled between the trees and ornaments shine like small jewels, inviting visitors to pause and look closer.

I wanted my work to blend naturally into that atmosphere while still carrying my own creative voice. The koi fish, swimming through deep blue water, add warmth and vitality to the cool winter palette. The birch forest piece, with its gentle pastels and textured strokes, evokes a quiet winter landscape—a moment of stillness that many people associate with the season. Though each piece has a distinct character, together they form a collection that speaks to both movement and calm, energy and reflection. Seeing them placed within the Christmas décor made the themes feel unexpectedly harmonious.

Submitting artwork is always a moment filled with both nervousness and excitement. Each piece holds hours of effort, layers of emotion, and countless decisions—down to the smallest brushstroke. Standing before the works as I dropped them off today, I felt both humble and grateful. When a space is decorated so beautifully, I find myself hoping that my paintings will resonate with someone who walks by, that they will become part of a visitor’s memory of this holiday season. That possibility alone is enough to make the long preparation worthwhile.

This year, the experience feels even more meaningful. As I managed multiple projects over the past months, I promised myself that this show would receive my full attention and care. These paintings became a personal way to close the year—a gift to myself and a doorway to whatever comes next. Knowing that they will spend the month of December in a space transformed by community, tradition, and holiday spirit brings me a quiet sense of fulfillment.
​
The Dickens Festival Art Show is more than an exhibition; it is a cherished part of our town’s winter landscape. Visitors come not only for the decorations but also to enjoy the diverse works created by local artists. I am truly honored to be part of that collective expression. As my paintings settle into their places among the Christmas trees and greenery, I hope they bring a moment of beauty to someone’s day and shine gently within the magic of the season. And as I look ahead, I carry the energy of this experience with me, eager for what the next chapter of my creative journey will bring.
​

The below post offers a detailed introduction to the three artworks I prepared for this year’s Dickens Festival Exhibition. Each piece reflects themes I have explored throughout the year, including the fluid motion of koi fish and the quiet elegance of winter forests. I describe the inspiration, process, and meaning behind each work, sharing how these paintings came together during months of preparation leading up to the holiday season.

The article also explains how these pieces fit into the festive atmosphere of the Port Jefferson Village Center, where the exhibition transforms the space with Christmas trees, garlands, and sparkling winter decorations. Through this post, readers can learn not only about the paintings themselves but also about the environment in which they are displayed and the emotions and intentions that guided their creation.

https://www.annakoh.com/blog/three-winter-works-for-the-dickens-festival-exhibition

Exhibition Period
November 20 – End of December
(Artwork will be on display throughout the entire holiday season.)

Location
Port Jefferson Village Center, 2nd Floor
101-A East Broadway, Port Jefferson, NY 11777

Admission
Free and open to the public

Map
Visitors can easily find the venue at the Port Jefferson Harbor waterfront.
Google Maps link:

Here we go~

The exhibition will be on view from November 20 through the end of December at the Port Jefferson Village Center, 2nd Floor, a beautiful space overlooking the harbor. During this period, visitors can walk through the building’s holiday decorations, enjoy the Christmas trees, and explore the artwork freely. Admission is completely free, making it a welcoming seasonal destination for families, neighbors, and anyone spending time in the village. The Village Center is conveniently located at 101-A East Broadway, Port Jefferson, NY, and can be easily found on the map here:
https://maps.app.goo.gl/N6FQG7AJjX5vWLBK8

These links are records from my previous participation in the Dickens Festival Art Show. They include the artwork I exhibited that year, along with photos and reflections from the event:​

www.annakoh.com/blog/winter-inspirations-with-a-festive-dickens-exhibit

https://www.annakoh.com/blog/the-winter-art-show-with-the-night-heron-in-port-jefferson-gallery​

My thought

There is no such thing as a meaningless moment, and in the same way, there is no such thing as a meaningless exhibition. Every show, every display, every encounter holds a value that reveals itself in its own time. The Port Jefferson Village Center—where the Dickens Festival exhibition is held—is an especially meaningful place for me. Located right in front of the beautiful Port Jefferson Harbor, the gallery welcomes countless visitors each season, including many travelers who discover the artwork while exploring the village. Its openness and accessibility make it one of the most vibrant cultural spaces in the area.

One of the most charming aspects of exhibiting here is that the visitors take photographs of the displayed artworks and kindly send them to the artists via email. It is a small gesture, but it speaks to their respect for creators and their commitment to celebrating local art. These photographs often become treasured records—snapshots of a particular moment in my artistic journey, preserved before the pieces return home or find new owners.

A memorable experience from a previous year still stays with me. A visitor had taken a photograph of one of my koi fish paintings during the exhibition. Months later, that same person came to see me at an outdoor art show, holding the photo on their phone. They wanted to make sure the painting was mine. The moment they confirmed it, they purchased my work without hesitation. They told me they had kept the image all that time because the painting stayed in their mind, and they hoped to find the artist someday. Encounters like this remind me how art can quietly make its way into someone’s heart long before I ever meet them.

Moments like these are the reason I continue creating with sincerity. When I meet art lovers with such clear and genuine eyes—people who seek out beauty, connection, and meaning—it inspires me to work even harder and to give my best in every brushstroke. My paintings are not just objects; they are opportunities for connection, invitations for someone to pause, feel, and remember.
​
As I prepare for this year’s exhibition, I carry that memory with me. I cannot help but wonder what new encounters or unexpected opportunities might unfold. Art has a way of creating its own path, weaving small miracles through ordinary days. With a hopeful and excited heart, I look forward to seeing what stories this December will bring.

This winter, I am delighted to share that three of my artworks will be featured in the Night Heron Watercolor Artists Group’s special winter exhibition at the Dickens Festival. This annual event is a cherished tradition in our community, bringing together literature, seasonal atmosphere, and local artists in a warm and festive celebration. Each of the three pieces I am presenting reflects a different mood of nature and the quiet beauty that winter often reveals.

​The first piece, “Koi Fish in Christmas” (Acrylic), is part of my ongoing koi fish series. In this work, I explored the sense of life and quiet warmth hidden beneath the cold surface of winter. Even in the chill of the season, the koi continue to glide gently through the water, reminding us that vitality and hope remain alive. Using layered acrylic textures and reflective tones, I aimed to capture the stillness of a winter pond touched by soft holiday light. Rather than depicting the bright energy of Christmas, the painting focuses on the calm, introspective side of the season.

​The second work, “Happy Hibernation” (Watercolors), is inspired by the natural cycle of rest. Winter gives us a rare moment to pause, breathe, and gather strength before spring returns. Through the gentle spread of watercolors and warm, muted tones, I wanted to express that quiet comfort—like a soft blanket of snow that protects rather than hides. This piece carries a message of restoration, and I hope viewers will feel a sense of calm and warmth when they encounter it at the exhibition.

​The third piece, “A Brilliant Birch Morning” (Acrylic), captures the clarity of morning light passing through a birch forest. Winter mornings have a unique stillness, almost as if time itself slows down. The slender birch trunks and soft glow create a moment suspended between light and silence. Using acrylic’s ability to create both fine detail and atmospheric depth, I sought to express the balance and serenity found within the quiet winter forest.

The Dickens Festival exhibition is more than a display of artwork—it is a gathering place where community, creativity, and seasonal spirit meet. As a member of the Night Heron Watercolor Artists Group, I am grateful for the opportunity to share my work alongside fellow artists who continue to inspire me throughout the year. I hope that visitors will pause, even briefly, to take in the peaceful emotions these pieces carry, and that the exhibition will add a meaningful touch of beauty to the winter season.