Finding the look

2016-02-26 15.17.46Several new series were born as a result of doing small studies this winter. The studies are being shown this weekend as a part of exhibition containing a few watercolors and some significant works in fiber that are eco-dyed, handprinted and hand embroidered. I am an irreverent quilter and don’t follow many rules. Sometimes I experiment with fusible, battings and surface design before I quilt. The purpose of it all is to find the look, I am searching many traditional techniques and then bending them to my own style to get a texture and quality that I am not ready to define yet. I’ll know it when I see it.

Cutting on the bias, using my sewing machine, or working by hand, washing, ripping, tearing, machine thread painting, hand embroidery, framing, binding, not binding, giving structure on wood panels, using bamboo to hang work, vintage silk, found objects, eco-dyeing, tea dyeing and over-dyeing, mono-printing, heliotypes, and beading are a few of the ways I am working with fabric now.

2016-01-28 14.51.09-1Emerging are what I call Spirit Cloth’s…they are worked in a meditative state and result in a pure form of hand and mind being one and the same, a positive flow of the spirit of the artist.

There are also images born out of my love for the earthiness of tilling and gentle farming of grains and vegetables. The works include deep night skies and are simply stitched by hand.

2016-01-31 23.49.33-1

Its a great time for me and my need to explore what is available to me in fiber and art. Today I am scaling up one of the series and am excited to find new ways to bring the color and stitching to life…

You.

When I was a kid I drew. And painted. Everywhere. I am born to make things. Kinetic. Creator.

In progress - watercolors, acrylic mono prints, ink pen and eraser.
In progress – watercolors, acrylic mono prints, ink pen and eraser.

I never thought about where the objects I made would hang. Never cared if they sold. Those concepts never entered my mind. All my life I made art to make it—no choice–more like a compulsion. Last Thursday, I went to the NYC gallery where my painting is on display. Friends and family were with me and that made it more real for me that my work is hanging in NYC. I’ve heard others describe it as a dream they always wanted even from childhood. Odd that it never crossed my mind as being that important although I exhibited a few times in the 80’s because I was invited to do a small show.

Until a few years ago. I turned 49 and was on the upswing to 50 when I made a decision that I would exhibit again. I called it Aurora The Third Act. Aurora is goddess of the dawn and what a dawn this has been these 4 years. I am so pleased to be accepted into NAWA and have work in the annual exhibit. And pleased that I create work that brings pleasure to so many people. Although it can seem like it is about me, the artist, its not. Its about the viewer. You. Its about what you see and how you feel and where it leads you when you view the art I make. Together we make art an experience.

This photo is a picture of my tools and work in front of me. I work at a constant pace on paper and reserve my longer bits of time for larger paintings. The small work gets me through rough patches when time constraints are pushing me to and fro, or space is limited and I am on the go. Much like a knitter takes their work along, I take small paper drawings and pens. This work probably won’t end up in a gallery setting but I make it anyway. I use all my skills to create the best possible work at any given time or using any medium.

Lately, string is pulling me into hours of reverie, inventing images in my mind about what I might make with a crochet hook. I have a painting on an easel at home and one in the studio. Yet I don’t feel inspired to go to work on them. Summer was a series of trips and events that took me from home interspersed with the death of 4 people I know. Their passing has left me feeling very bereft and I think of them several times a day. I can’t see them again and have conversation or ask questions, smile with them, hold their hand. Mortality is rearing its head and I am interested in how that plays out in life and art. Life goes forward. So will the art.

Its Just Talk

Its Just Talk Watercolor, Ink, Papyrus
Its Just Talk
Watercolor, Ink, Papyrus

Regarding Sherlock Holmes and his ignorance of Copernican theory, “What the deuce is [the solar system] to me?” he exclaims to Watson in A Study in Scarlet. “You say that we go round the sun. If we went round the moon it would not make a pennyworth of difference to me or to my work.” And now that he knows that fact? “I shall do my best to forget it,” he promises.

My art is mine, its not inspired by anything in particular or anyone. Simple concept or it should be. Well just try that on in the modern world. There are labels slung at the work, me and the style. Comparisons are made with no regard to my thoughts or feelings. I prefer the enigma that naturally exists in the creation and the process. I don’t intend to create and make statements of any kind. I’m not that pretentious. I wonder who really cares about my opinion…and do I actually care to use my precious work as a tool to provide statements to the public? If you’re a long standing friend we may find ourselves discussing it but otherwise I’m likely to say a little when queried about the art I make.

The reference to Sherlock Holmes? I read Conan Doyle in my youth and the realization of what Holmes referred to in the Copernicus statement stuck with me. What do I need to know–to shape my life as I want it to be….and what do I need to forget? I don’t want to know about the art that came before me or even really of what is being created right now. Keeping it simple, I have little need to know about artists, it impedes my progress, infiltrates my brain and I fight to keep it out. I’ve been told that I’m wrong, that if I had gone to art school or college I would know that I should build on the structure of artist who created before me. Now I have to forget that too! I met Ian Frazier several times and he told me he has had a similar experience. He said the internet contains so much information its difficult to filter when doing research for his writing. I explained my Holmes theory to him and he chuckled and nodded his head.

To all who know me, please stop telling me to change my mind on this subject. I paid dearly to avoid art school. I consider myself an iconoclast and being institutionalized doesn’t work for me. While working low paying full time jobs, I painted during my precious time off. Not having knowledge of art history doesn’t make me not bright. Figuring out processes by experimentation doesn’t make my work unsophisticated. It does make me an outsider for the most part. What I didn’t get by going to college…I struggled, worked hard and experimented a lot. I found out that I am an innovator, a risk taker and improvise on every piece I make. I’m happy with my work and proud of what I do. I am pleased and humbled every time someone acquires a piece. I’m impressed with those who collect my art, as they are an extraordinary group of people.

Phantasmagoric or Psychedelic? I say Wild!

Pods 51

Phantasmagoric or Psychedelic?  People are intrigued by my art and ask me if I do psychedelics. I explain: as a child I made art similar to this, less refined because my tools were different: crayons, felt tip pens, construction paper. I adored colors that had impact and vibrated, there was no direction, my mother let us explore and no one told me do or don’t do it this way. So I let the colors come into being together like living objects. Wild!

I continued to make art the same way and did not go to college for art. I disliked school. I did not want to be contained. From the age of 4 I refused to go, plead and begged not to be sent to a place that had the sticky odors of too many people and cafeteria foods. I had little understanding of what we were doing there. The aesthetic was dismal: it was cold and the light was harsh, the windows were too high to see out of, the desks were ugly metal grey-blue legs with beige plastic formica tops that lifted up and were pitted with the marks of the previous students. The rooms were not colorless, worse yet, they were badly colored, sickly shades of greens and tans, dull peaches and obscure reds. I cannot imagine what kind of people engineered such a hideous stinky place. School left an indelible mark on me and is responsible for my becoming an iconoclast. I refused to go to college for art because I knew I would be forced to bend to the will of commercialism.

Creating the art however had all the appeal – I would simply make it – I was the engineer of my visions and dreams. Without the prodding and lecturing of the teachers I would remain free. As an adult in my thirties I finally went to college for computer science. I was old enough at that point to be settled and confident that I would retain my sense of self throughout the process. Later, in my mid-forties I took a few basic art classes. One of my professors championed my own art when he saw my portfolio. That made my decision to forget a degree in art–and I just continued my own methods.

As an artist, I consider myself an outsider, self-taught and making art according to my standard. A Wild Artist is what I call myself. Wildish: free, lush, luxuriant, organic, extravagant, primeval. The underpaintings are turbulent and loose, free of conformity, I paint with my hands and use anything at hand to distribute the color. Then come the layers. The lines of ink, more paint, more, more more. People have said, how can you be an outsider, you are so skilled and the work is so refined. They don’t see the whole process–and I am skilled. Dexterity, spatial skills, innate sense of color and balance. I cannot tell you how or why I know how to create what I do. I don’t actually care. The Art Speaks for itself. The artist is Self-taught. Driven. Compelled to create. Its non-stop–when I am forced by life to do ordinary tasks, drive or do the laundry, I wish I was painting or drawing–and use many spare moments to scratch a few lines. Many who know me, patiently overlook my tendency to draw while we talk or eat dinner. Its not that I am bored at dinner so much as I am compelled to make art. People have asked, do you have a science background. I do not. These images come from the ether, my imagination, my hands and my heart. Its untamed, yet its refined at the same time. I say its Wild!

Hiding in the Petals

Hiding in the Petals
Hiding in the Petals

I am working on the old wooden table from the Log and Stone house today. The windows are open and I am surrounded by the gardens: the birds chippering lingers on the fresh air. The drawing that I am playing with this morning is a flower somewhat like a magnolia flower, although its as folkly abstract as most of my drawings are. I so admired the large waxy magnolia blooms when I lived in North Carolina. I can imagine the little creatures shyly cloistered in the petals and making their home in the tree.

Recently I got a bottle of Dr. Ph. Martin’s Bombay India Ink in Violet, or as my friend Cleveland named it Vivacious Violet and a booklet of Strathmore Drawing paper in the 4″ x 6″ size. I thought that I would use the violet ink everyday and complete a series of 24 small drawings. I also got a bottle of green ink. So far, 3 are done and 2 are in the hands of some very special people.

 

Free Labor?

Hands in Cave

A few days ago, artist Gregory Coates shared a wall post on Facebook by Takos Boikat about how artists should be paid. I shared it out on Facebook– and of course I champion the cause. I saw a few reactions to it on Facebook from artists about working for free–how often they are asked to do something in the name of getting exposure, or a famous artist/person will bestow a favor later. Often later never comes around, or the exposure turns out to be little if anything that really drives a career. I have had fellow artists ask me to help them find artists to work for free for them—or work for sub-standard wages. And sadly, I cannot count the number of fellow artists who tell me they work for very little or free.

Gregory’s post is very timely. A society must value the sensitive creative people in the culture—the ones who create are the ones with the ideas, the real drivers of culture and how the future will play out rests on the shoulders of the artists. It is a heavy burden. Risk takers, inventors, social engineers, visionaries, and the creators, this is what makes us extraordinary. Not always knowing the outcome of what we do, we take up the challenge and forge new paths, new ways of seeing, hearing and feeling. 

The caves show work thousands of years old—the work of artists. There are arguments that the work might be spiritual—but we cannot know if the paintings were done for pure joy or for shamanic purposes. Whatever purpose the painters had no longer matters, what does matter is that they left images for everyone to see. Artists matter to society–lets reward them for their labor.


Section of Hecate’s Lair – Art Quilt

As Earth Day April 22, 2012 approaches, I want to share a poem today. The poem came to me through a Word Wednesday poet from Allentown, PA. I have little to say, because I just prefer to let his words shine through.

Salt by Ismael Street

A mother is the salt of the earth . The salt of society. The light of the world. A natural resource far and above your Comprehension. She preserves, reconciles, and adds Taste to the fruits of life and love we enjoy We inspire to be. Her mirror reflects our soul. Her light lamp brightens our night. Giving rhythm in the dance of the ocean And the sun. Nourishing our minds, our bodies, And the world.

http://www.facebook.com/events/300367116698966/ – there is also an Earth Day celebration at Muhlenberg College today.

New Bridge Group

A conceptual art group is being let loose shortly in Allentown, PA – the New Bridge Group. NBG has arisen out of the need to bridge artists and community together.

Allentown and the surrounding area have generated groups of artists and like all groups they go through changes. In 2008, The Chen Arts group was started to provide a place for local visual and performing artists to meet, network and collaborate. The intention was to have open group shows. For a time that worked—artists drifted in and out. In autumn of 2011 a buzz was heard about the future of Chen—changing from the unstructured open format to a more structured organization. In the meantime, the city embraced some serious structural changes and altered the landscape to provide for an arena and remove some older buildings—one is the House of Chen restaurant where Chen Arts group based its name.

Members E.A. Kafkalas and Alison Bessesdotter of the Chen Arts group ran head-long one winter evening into a local sculptor Steven Condra. Alison and E.A. invited Steven to exhibit with the Metamorphosis show. They explained that the next Chen show would be themed Bridges Outside the Box, representing a change that was needed to start a new movement in town. Steven was intrigued—because he had also formed an idea about bridging artists together—snapping together the free thinking 20th century German expressionists with a modern twist called The New Bridge Group. Synchronicity was in full force; it was the mash-up of their concepts about building bridges between artists and the community. The intent would be to create and maintain a vibrant and productive artist group in Allentown with a tribal feel. When asked what that means, Alison explains that the tribal concept is about creating genuine relationships with true freedom of information, and a future of limitless potential bound only by their imagination. Audacious—it may well be, but the New Bridge Group/Chen Arts wants to change the world view of art and the relationship to earth and community. Alison says “The time is right for this, the core is in place and the only thing we need more of is you.”

The 2012 Metamorphosis show was organized by E.A. Kafkalas who is quick to explain, “the success of the Metamorphosis show was truly an effort of everyone involved in the production—it was not the effort of one person.” The show opened with the sale of 9 pieces of work from a diverse group of artists at the 2 week event in January 2012.

Today The New Bridge Group/Chen Arts are planning the next show Bridges Outside the Box. The show runs from May 27th through June 10th at the community room of the Allentown Art Museum. For information on becoming a member or just to see what all the fuss is about, see the NBGArtists Facebook page or http://www.nbgartists.org/ to find our next event.