I decided to print out 2 photos I had taken with generous borders, so that I could embellish the overall images. I had a lot of fun with the project and look forward to future swaps with this group.
Tuesday, September 30, 2008
More swappage
I participated in a photo swap with another group I mingle with online. This called for us to send out a photo and a letter to our partners.
I decided to print out 2 photos I had taken with generous borders, so that I could embellish the overall images. I had a lot of fun with the project and look forward to future swaps with this group.
I decided to print out 2 photos I had taken with generous borders, so that I could embellish the overall images. I had a lot of fun with the project and look forward to future swaps with this group.
Thursday, September 25, 2008
My first moleskin spread
can be seen bigger here
I'm really pleased with the way that this turned out, and it went in some directions that I hadn't expected! As usual, there were some mishaps - the paint stuck to the other pages, bits got torn, and so forth - but I think I corrected those problems pretty well.
Its on its way to Jen, who will work on the next few pages, and I'm eagerly awaiting the Anne's book which is themed a medieval bestiary. I've decided to do a cockatrice, and I'm really looking forward to it.
Thursday, September 4, 2008
Inspiration of the Month!
I just love the surprises found in all of Thomas Doyle's work! Each piece has its own rich story and I continue to find myself captivated by them.
What are your main inspirations in art?
More than anything else, I am interested in history and memory as it pertains
to the human experience. War, birthday parties, etc. - these are the backdrops
for major, definitive personal experiences, and these things form the
narrative backbone in my work.
What is your art background? (education, experience, etc)
I studied painting and printmaking at Humboldt State University for three
years before taking a sabbatical; I never returned. Two years later, after
becoming disenchanted with painting, I began creating small-scale models using
techniques learned through trial and error.
What is your process for creating your work?
Thinking, planning, sketching, and then executing. An idea may arise in five
minutes, but execution often takes five weeks - or five months.
What is the single most important thing you want to communicate with your
work?
A sense of wonder.
What are your career goals?
Maintaining the independence to continue making work.
What one object has been the most instrumental in helping you achieve what you
have so far?
The X-Acto #11 blade.
Tell me three random things about you.
What are your main inspirations in art?
More than anything else, I am interested in history and memory as it pertains
to the human experience. War, birthday parties, etc. - these are the backdrops
for major, definitive personal experiences, and these things form the
narrative backbone in my work.
What is your art background? (education, experience, etc)
I studied painting and printmaking at Humboldt State University for three
years before taking a sabbatical; I never returned. Two years later, after
becoming disenchanted with painting, I began creating small-scale models using
techniques learned through trial and error.
What is your process for creating your work?
Thinking, planning, sketching, and then executing. An idea may arise in five
minutes, but execution often takes five weeks - or five months.
What is the single most important thing you want to communicate with your
work?
A sense of wonder.
What are your career goals?
Maintaining the independence to continue making work.
What one object has been the most instrumental in helping you achieve what you
have so far?
The X-Acto #11 blade.
Tell me three random things about you.
- I regret never making Eagle Scout.
- I don't like to drive.
- I'd take the Natural History Museum in New York over the MoMA any day.
Wednesday, June 4, 2008
Swap loot
I got my swap dolls today! Im so thrilled with the set I received and Im super glad I participated.
I'm swapping mushroom art this month with a friend of mine and looking forward to that as well. I've been bitten by the art swap bug - and I hope I can find other creative swaps to take part in!
You can see the rest of the nesting doll artists in this Flickr set put together by Abbey. Do go look, there are some amazing dolls there!
Here are some of the other sets people received:
Silent Dreamer
Bricolagelife
My Cosmopolitan Diary
Vert Pistache
Bowdenisms
Monday, June 2, 2008
Inspiration of the Month!
I stumbled across Rob Evans's work recently, and was swept away by the haunting and serene imagry.
What are your main inspirations in art?
After graduating in 1981 from Syracuse University I moved into a 19th century farm on a ridge above the Susquehanna River in central PA. This farm was once part of a large property owned by my maternal grandparents. Perched on this property’s highest point and surrounded by 100 acres of old growth oak forest was a magnificent 4 story stone inn (named Roundtop). This was the primary residence of my grandparents and I spent many extraordinary summers there roaming the woods, collecting insects, bones, old bottles and all kinds of interesting artifacts. Experiencing the cycles of life, death, growth and decay first hand in this natural realm opened my sense of the wholeness of things in a way the suburbs couldn’t have. This place had a profound effect on me and is what ultimately drew me back there to raise a family and paint. This farm and the surrounding natural landscape is a starting point for almost all the concepts I deal with in my paintings.
Although my paintings deal metaphorically with universal themes they are inspired by and rooted in real places, experiences and memories. I think that this gives the work a sense of honesty, that the experiences have been truly lived, the memories and feelings deeply felt. I think the viewer can sense when something is entirely invented - it doesn’t feel authentic. By transforming common and real everyday occurrences, places and things into the universal it puts the work in a language that can be easily read and understood by anyone who has experienced or thought about those same things. It makes the work timeless. This is also why I choose the traditional language of realism - it allows the work to be more accessible to a wider audience.
What is your art background? (education, experience, etc)
I studied art at Syracuse University in New York and received a BFA there in 1981. The teacher there who had the biggest impact on me was Jerome Witkin, whose large multi-paneled narrative realist works were just beginning, at that time, to receive international attention. He is an extraordinary draftsman and I took every course I could with him while at Syracuse. I also spent a semester abroad in Amsterdam, The Netherlands, studying the paintings of Rembrandt, Vermeer and the great 17th century Dutch painters.
After leaving art school I found my own personal artistic voice fairly early in my career, with a series of drawings and paintings I produced in the early 1980’s depicting the interior of the farmhouse (located on my grandparent’s property in Pennsylvania) where I currently live with my family. These spare and uninhabited interiors were exhibited in Washington D.C. in my first solo show and, with the help of a positive review in the Washington Post, helped launch my career as an artist. My next body of work included night landscapes and multi paneled narrative paintings featuring insects as metaphorical elements. As I later married and had children, my recent work has begun to include my family as well, incorporating them in the compositions of large scale narrative/ figurative works including recent explorations of the triptych/altarpiece motif. Over the last decade my paintings have moved increasingly in the direction of dealing metaphorically with broader themes inspired by real places, experiences and memories, allowing the most common and everyday occurrences, places and things to be transformed into the universal, dealing with issues I face as an artist, parent, spouse and as a participant in life at this particular time in history.
I have had the good fortune to be able to work full time as an artist for more than 25 years now and have had many great adventures. Some highlights include: exhibiting at the Tretyakov Museum in Moscow and the Corcoran Museum of Art in Washington, D.C., being included along side Andrew Wyeth and Andy Warhol in an exhibit of Pennsylvania artists that toured museums around the state of Pennsylvania 5 years ago, and recently seeing my work enter the collections of the Metropolitan Museum of Art in New York City and the National Gallery of Art in Washington, D.C.
In addition to painting full time I have also, on occasion, worked as an independent curator. In fact a traveling exhibit I organized and guest curated, "Visions of the Susquehanna: 250 Years of Paintings by American Masters" is currently on tour to several museums (it opens at the Roberson Museum in Binghamton, NY on May 15). This exhibit features more than 40 works depicting the Susquehanna by the greats of American landscape painting including Benjamin West, Thomas Moran, Jasper Cropsey and other Hudson River School masters plus contemporary works by such renowned painters as Mark Innerst, Debra Bermingham, Randall Exon and Leonard Koscianski. You can see more about this exhibit and other projects on my website: www.robevansart.net.
What is your process for creating your work?
The concept for a painting usually begins as a small sketch jotted down in response to something in my daily routine that catches my eye or imagination. It could be something very simple or mundane that I see, or even a passing thought or memory. Whatever it is, it is something that I recognize consciously or unconsciously as having the potential to say something more universal. These sketches are kept visible on a tabletop or in a sketchbook and can sit dormant for months or even years. Every time I see one of them, however, there’s a flash of excitement, a reminder of its potential that keeps the idea alive and germinating in the back of my mind. Ultimately, one of these concepts takes root and compels me to begin to develop the idea further - thus beginning a long journey of transformation and evolution that culminates in a finished work.
For example, with my monumental painting, Cicada, the idea began in 1994 with a small sketch of a cicada shedding its skin on a tree branch - inspired by the memory of the cicadas’ song vibrating through the treetops on the ridge at my grandparent’s home each summer and finding their papery translucent skins on the bark of the trees. The idea of metamorphosis and change intrigued me and became especially relevant later that year as that homestead, a place that seemed would always be a permanent and enduring fixture in my life, was sold out of the family and was completely remodeled and changed by its new owner. Suddenly the concept behind the painting took on a powerful new meaning and relevance - it became a way of dealing with and expressing my sense of loss over this place which was an enormous and important part of my childhood. In a way it became a realization and acceptance of the fact that all things, no matter how permanent they may seem, are ephemeral, and that life is in a constant state of flux. In a wonderful way the cicada metamorphosing became a metaphor for this process and I used it as the central image for the triptych.
What is the single most important thing you want to communicate with your work?
At the surface level I just want the viewer to enjoy each painting as a mysterious and beautiful physical object - a rich paint surface with a sense of history. Then as they enter into the illusory reality of the painted space they can enjoy the beauty and mystery of the subject matter itself and the way it is transformed by the artist’s vision and use of light. Finally, as they look deeper into the work, hopefully they begin to make connections within the work itself and with events in their own life. As this happens perhaps they begin to get the meaning I intended, or perhaps they find their own personal meaning for the work - each is valid. No matter what meaning they find, they will have lost themselves for a brief time in the painting, and, as a result, hopefully will leave it seeing the world in a slightly different way
What are your career goals?
From the "career" perspective my primary goals center around providing the support necessary to take care of my family and allow me to continue painting, full time, the work that I want to do. Career goals such as landing works in museums and prominent collections, showing in galleries, publicity in magazines etc. are all wonderful and certainly help feed the ego, but the bottom line is that in the end all this is really most useful for is in raising prices to a level that supports my work and my family.
What one object has been the most instrumental in helping you achieve what you have so far?
The " physical object" which has had the most influence on me is this property overlooking the Susquehanna River where our farm is located. As I mentioned earlier it has deep childhood connections, is where I am raising my family, and has been the inspiration for nearly all the work I do.
Tell me three random things about you.
*I enjoy playing the piano (blues and boogie woogie)
*We have an amazing dog named Harry (a Flat Coat Retriever) who we adopted from the pound.
*I had the thrilling opportunity last month to meet Antonio Lopez Garcia, who I feel is the most significant artist of our time (his work is currently on display at the Boston Museum of Fine Arts).
What are your main inspirations in art?
After graduating in 1981 from Syracuse University I moved into a 19th century farm on a ridge above the Susquehanna River in central PA. This farm was once part of a large property owned by my maternal grandparents. Perched on this property’s highest point and surrounded by 100 acres of old growth oak forest was a magnificent 4 story stone inn (named Roundtop). This was the primary residence of my grandparents and I spent many extraordinary summers there roaming the woods, collecting insects, bones, old bottles and all kinds of interesting artifacts. Experiencing the cycles of life, death, growth and decay first hand in this natural realm opened my sense of the wholeness of things in a way the suburbs couldn’t have. This place had a profound effect on me and is what ultimately drew me back there to raise a family and paint. This farm and the surrounding natural landscape is a starting point for almost all the concepts I deal with in my paintings.
Although my paintings deal metaphorically with universal themes they are inspired by and rooted in real places, experiences and memories. I think that this gives the work a sense of honesty, that the experiences have been truly lived, the memories and feelings deeply felt. I think the viewer can sense when something is entirely invented - it doesn’t feel authentic. By transforming common and real everyday occurrences, places and things into the universal it puts the work in a language that can be easily read and understood by anyone who has experienced or thought about those same things. It makes the work timeless. This is also why I choose the traditional language of realism - it allows the work to be more accessible to a wider audience.
What is your art background? (education, experience, etc)
I studied art at Syracuse University in New York and received a BFA there in 1981. The teacher there who had the biggest impact on me was Jerome Witkin, whose large multi-paneled narrative realist works were just beginning, at that time, to receive international attention. He is an extraordinary draftsman and I took every course I could with him while at Syracuse. I also spent a semester abroad in Amsterdam, The Netherlands, studying the paintings of Rembrandt, Vermeer and the great 17th century Dutch painters.
After leaving art school I found my own personal artistic voice fairly early in my career, with a series of drawings and paintings I produced in the early 1980’s depicting the interior of the farmhouse (located on my grandparent’s property in Pennsylvania) where I currently live with my family. These spare and uninhabited interiors were exhibited in Washington D.C. in my first solo show and, with the help of a positive review in the Washington Post, helped launch my career as an artist. My next body of work included night landscapes and multi paneled narrative paintings featuring insects as metaphorical elements. As I later married and had children, my recent work has begun to include my family as well, incorporating them in the compositions of large scale narrative/ figurative works including recent explorations of the triptych/altarpiece motif. Over the last decade my paintings have moved increasingly in the direction of dealing metaphorically with broader themes inspired by real places, experiences and memories, allowing the most common and everyday occurrences, places and things to be transformed into the universal, dealing with issues I face as an artist, parent, spouse and as a participant in life at this particular time in history.
I have had the good fortune to be able to work full time as an artist for more than 25 years now and have had many great adventures. Some highlights include: exhibiting at the Tretyakov Museum in Moscow and the Corcoran Museum of Art in Washington, D.C., being included along side Andrew Wyeth and Andy Warhol in an exhibit of Pennsylvania artists that toured museums around the state of Pennsylvania 5 years ago, and recently seeing my work enter the collections of the Metropolitan Museum of Art in New York City and the National Gallery of Art in Washington, D.C.
In addition to painting full time I have also, on occasion, worked as an independent curator. In fact a traveling exhibit I organized and guest curated, "Visions of the Susquehanna: 250 Years of Paintings by American Masters" is currently on tour to several museums (it opens at the Roberson Museum in Binghamton, NY on May 15). This exhibit features more than 40 works depicting the Susquehanna by the greats of American landscape painting including Benjamin West, Thomas Moran, Jasper Cropsey and other Hudson River School masters plus contemporary works by such renowned painters as Mark Innerst, Debra Bermingham, Randall Exon and Leonard Koscianski. You can see more about this exhibit and other projects on my website: www.robevansart.net.
What is your process for creating your work?
The concept for a painting usually begins as a small sketch jotted down in response to something in my daily routine that catches my eye or imagination. It could be something very simple or mundane that I see, or even a passing thought or memory. Whatever it is, it is something that I recognize consciously or unconsciously as having the potential to say something more universal. These sketches are kept visible on a tabletop or in a sketchbook and can sit dormant for months or even years. Every time I see one of them, however, there’s a flash of excitement, a reminder of its potential that keeps the idea alive and germinating in the back of my mind. Ultimately, one of these concepts takes root and compels me to begin to develop the idea further - thus beginning a long journey of transformation and evolution that culminates in a finished work.
For example, with my monumental painting, Cicada, the idea began in 1994 with a small sketch of a cicada shedding its skin on a tree branch - inspired by the memory of the cicadas’ song vibrating through the treetops on the ridge at my grandparent’s home each summer and finding their papery translucent skins on the bark of the trees. The idea of metamorphosis and change intrigued me and became especially relevant later that year as that homestead, a place that seemed would always be a permanent and enduring fixture in my life, was sold out of the family and was completely remodeled and changed by its new owner. Suddenly the concept behind the painting took on a powerful new meaning and relevance - it became a way of dealing with and expressing my sense of loss over this place which was an enormous and important part of my childhood. In a way it became a realization and acceptance of the fact that all things, no matter how permanent they may seem, are ephemeral, and that life is in a constant state of flux. In a wonderful way the cicada metamorphosing became a metaphor for this process and I used it as the central image for the triptych.
What is the single most important thing you want to communicate with your work?
At the surface level I just want the viewer to enjoy each painting as a mysterious and beautiful physical object - a rich paint surface with a sense of history. Then as they enter into the illusory reality of the painted space they can enjoy the beauty and mystery of the subject matter itself and the way it is transformed by the artist’s vision and use of light. Finally, as they look deeper into the work, hopefully they begin to make connections within the work itself and with events in their own life. As this happens perhaps they begin to get the meaning I intended, or perhaps they find their own personal meaning for the work - each is valid. No matter what meaning they find, they will have lost themselves for a brief time in the painting, and, as a result, hopefully will leave it seeing the world in a slightly different way
What are your career goals?
From the "career" perspective my primary goals center around providing the support necessary to take care of my family and allow me to continue painting, full time, the work that I want to do. Career goals such as landing works in museums and prominent collections, showing in galleries, publicity in magazines etc. are all wonderful and certainly help feed the ego, but the bottom line is that in the end all this is really most useful for is in raising prices to a level that supports my work and my family.
What one object has been the most instrumental in helping you achieve what you have so far?
The " physical object" which has had the most influence on me is this property overlooking the Susquehanna River where our farm is located. As I mentioned earlier it has deep childhood connections, is where I am raising my family, and has been the inspiration for nearly all the work I do.
Tell me three random things about you.
*I enjoy playing the piano (blues and boogie woogie)
*We have an amazing dog named Harry (a Flat Coat Retriever) who we adopted from the pound.
*I had the thrilling opportunity last month to meet Antonio Lopez Garcia, who I feel is the most significant artist of our time (his work is currently on display at the Boston Museum of Fine Arts).
Thursday, May 1, 2008
Inspiration of the Month!
Casey Matthews is a dear friend, whos paintings never fail to stir my imagination. They have such energy, movement, and depth to them - each one pushes the boundaries of reality just a little bit.
What are your main inspirations in art?
Aside from my art being “my job” and profits from “my job” provide me with both necessities and comforts in life – a more creative answer for inspiration and motivation for creating is actually difficult to articulate without confusing both myself and the "listener". For me, I believe that my art is neither a blurred color interpretation nor an exact blue print of the world, but instead, an initiatory approach, an examination, a projection, an echo from a relationship with the world - with other people. It is a relationship which is constantly reexamined, ever present, and one that should never settle. It is an invitation to proceed on the way to meeting myself, the one that is forever evolving and reinventing. Painting (creating) is a sacred act. A naked self-examination is the most precious thing to be discovered. And congruently being the most and the least tangible, and elusive: It is wisdom far and beyond. It is a fear of being discovered as the cliché you really are; a walking contradiction.
I also create to preserve my sanity.
What is your art background? (education, experience, etc):
From a very young age I was encouraged to create. My parents had me involved in every sport and after school activity you could imagine yet nothing really held my interest like art classes did. I have always lived my life as a creative person and creative thinker. Whether it is in the form of cooking, gardening, decorating a home, dressing, fixing things, inventing things, or solving problems: I find comfort in all things visual and beautiful. I try and take things at face value - never really analyze or question the process or habit.
I have a formal art education in Art History, Painting, and Graphic Design from the University of Alabama, but I really think I learned the most from being thrown out there in the real world and given the freedom to explore on my own. It has been a long, hard (lonely) road at times. I was not really “taught” that I could actually be an artist. Like everyone else, I was encouraged to go on to graduate school – but for what? To teach? But how can you teach if you have not lived/worked/struggled as an artist? I never understood that. I could barely squeeze out an undergraduate degree, so 2-4 more years of school (and debt) was not an option. I have no idea what my former classmates are doing today. I never see their names in regional juried shows or galleries. I can’t imagine what I am thought of by my art peers or professors. I try not to over analyze it too much and just do my own thing. One can waste too much energy if they begin to worry about what everyone else thinks of them.
And even though I often cuss the fact that live in a cultural wasteland and a vacuum of a small town - I find I am actually more productive if I keep to myself and not concern myself with what everyone else is doing at the moment. I enjoy looking at other art, but I find creative over-stimulation to be crippling at times. I subscribe to New American Paintings, and ArtForum, and Art News in case I feel really out of touch.
What is your process for creating your work?
I am always looking for visual sources of inspiration in everyday life. I can walk through a retail store and absorb composition ideas, or flip through a design magazine for color combinations that strike me. I mentally collect patterns in nature that intrigue me while on a bike ride or beach walk. I even admire different types of music for its rhythm and multi faceted layers. I then combine these influential snapshots with my own energy and mood and to create an intuitive piece of art. It isn’t until later that I can be subjective and dissect what was actually going on in my life at the time. For the most part, I refer to my work as “non-objective” because I don’t really want to answer to any symbolism that may or may not occur – but in reality, my work is a visual diary of current events in my life, history, and surroundings.
I paint for myself. I am a visually driven person, and also enjoy experimentation and challenge. I am more successful when I clear my mind and let the circumstances of the painting come to me. I try not to over think or plan about what I am actually doing. In turn, I find my work very rewarding and I feel that the viewer can recognize the soul and passion that goes into each piece verses something that is massed produced just to turn a buck.
What is the single most important thing you want to communicate with your work? Actually, I am not really sure I want to communicate anything with my work. Is that weird? I don’t deny that it is a form of communication, but it is only a private glimpse here and there that I let you see. (if I incorporate writing in my paintings, I often blur, erase, and smudge words so it is not completely recognizable.)
To be honest with you, I am not sure what I really have to say yet. And even if I had something to say I would probably think it too arrogant to push that on society. That is just my personality. I am private and shy. I am not angry or political. I am not a feminist or disabled. I don’t really have story. And even if I did - I loathe pity so I probably would not share it just to sell a few paintings. So if my paintings are reduced to being called “pretty mindless pictures” I don’t really mind all that much. I am not really trying to prove anything. I am not trying to pretend I am deep, or articulate, educated, or even know what I am doing. I am my own worst critic and have myself to answer to. When it comes down to it, I don’t really think I am doing anything all that new or inventive – besides, hasn’t everything already been done? I just find joy in pushing the envelope with my materials and technique. Maybe that is what I am trying to say?
What are your career goals?
Good question. And one I need to repeatedly remind myself of. I have goals that I achieve and constantly add to, but these are the forever constants:
- First and foremost I will always need to paint more. The more I paint the more consistent my body of work becomes and is easier to market and easier to get into the galleries and juried shows I really desire. The more I paint the better I become and the more I sell. And the more I sell - I can putt off the thought of that day job I was supposed to get way back when.
- I need to have more of my work seen. I am currently trying to get into a more galleries and juried shows. To gain a foothold on larger markets I have only just tasted (NYC, New Mexico, California, and Chicago). I would also like more corporate placement work. Work with interior decorators and architects.
- I would like to write and obtain grant money. Also achieve a level of success so I can submit proposals for public art programs.
- To maintain relationships with the patrons I already do have but have neglected (mailing list, emails, etc). Attempt to blog, and let people “in”
- To be a better business person, keep better records, be more outgoing, and market more. I will always be in a constant battle for structure and organization. Something that is difficult for me but essential for any self-employed person.
What has been the most instrumental in helping you achieve what you have so far?
I have very supportive parents and long time friends that “get” me.
I have been blessed with fearlessness. I never give up and I don’t take no for an answer. I am a sensitive person, but for the most part, when it comes to my work I can be objective to criticism and rejection. I am very thankful for that. I also try to keep really busy and avoid putting my eggs in one basket to allow myself to get hurt. In fact, rejections, insecurities, fear, and anger fuels me - I am able to successfully harness my problems and struggles into creative endeavors. It is the best antidote.
A few random factoids about me:
- I have hiked to the bottom of the Grand Canyon (and camped!)
- When I was 16, I became a published poet, and to this day I won’t let anyone I know read anything.
- I have an Italian Greyhound named Stella.
What are your main inspirations in art?
Aside from my art being “my job” and profits from “my job” provide me with both necessities and comforts in life – a more creative answer for inspiration and motivation for creating is actually difficult to articulate without confusing both myself and the "listener". For me, I believe that my art is neither a blurred color interpretation nor an exact blue print of the world, but instead, an initiatory approach, an examination, a projection, an echo from a relationship with the world - with other people. It is a relationship which is constantly reexamined, ever present, and one that should never settle. It is an invitation to proceed on the way to meeting myself, the one that is forever evolving and reinventing. Painting (creating) is a sacred act. A naked self-examination is the most precious thing to be discovered. And congruently being the most and the least tangible, and elusive: It is wisdom far and beyond. It is a fear of being discovered as the cliché you really are; a walking contradiction.
I also create to preserve my sanity.
What is your art background? (education, experience, etc):
From a very young age I was encouraged to create. My parents had me involved in every sport and after school activity you could imagine yet nothing really held my interest like art classes did. I have always lived my life as a creative person and creative thinker. Whether it is in the form of cooking, gardening, decorating a home, dressing, fixing things, inventing things, or solving problems: I find comfort in all things visual and beautiful. I try and take things at face value - never really analyze or question the process or habit.
I have a formal art education in Art History, Painting, and Graphic Design from the University of Alabama, but I really think I learned the most from being thrown out there in the real world and given the freedom to explore on my own. It has been a long, hard (lonely) road at times. I was not really “taught” that I could actually be an artist. Like everyone else, I was encouraged to go on to graduate school – but for what? To teach? But how can you teach if you have not lived/worked/struggled as an artist? I never understood that. I could barely squeeze out an undergraduate degree, so 2-4 more years of school (and debt) was not an option. I have no idea what my former classmates are doing today. I never see their names in regional juried shows or galleries. I can’t imagine what I am thought of by my art peers or professors. I try not to over analyze it too much and just do my own thing. One can waste too much energy if they begin to worry about what everyone else thinks of them.
And even though I often cuss the fact that live in a cultural wasteland and a vacuum of a small town - I find I am actually more productive if I keep to myself and not concern myself with what everyone else is doing at the moment. I enjoy looking at other art, but I find creative over-stimulation to be crippling at times. I subscribe to New American Paintings, and ArtForum, and Art News in case I feel really out of touch.
What is your process for creating your work?
I am always looking for visual sources of inspiration in everyday life. I can walk through a retail store and absorb composition ideas, or flip through a design magazine for color combinations that strike me. I mentally collect patterns in nature that intrigue me while on a bike ride or beach walk. I even admire different types of music for its rhythm and multi faceted layers. I then combine these influential snapshots with my own energy and mood and to create an intuitive piece of art. It isn’t until later that I can be subjective and dissect what was actually going on in my life at the time. For the most part, I refer to my work as “non-objective” because I don’t really want to answer to any symbolism that may or may not occur – but in reality, my work is a visual diary of current events in my life, history, and surroundings.
I paint for myself. I am a visually driven person, and also enjoy experimentation and challenge. I am more successful when I clear my mind and let the circumstances of the painting come to me. I try not to over think or plan about what I am actually doing. In turn, I find my work very rewarding and I feel that the viewer can recognize the soul and passion that goes into each piece verses something that is massed produced just to turn a buck.
What is the single most important thing you want to communicate with your work? Actually, I am not really sure I want to communicate anything with my work. Is that weird? I don’t deny that it is a form of communication, but it is only a private glimpse here and there that I let you see. (if I incorporate writing in my paintings, I often blur, erase, and smudge words so it is not completely recognizable.)
To be honest with you, I am not sure what I really have to say yet. And even if I had something to say I would probably think it too arrogant to push that on society. That is just my personality. I am private and shy. I am not angry or political. I am not a feminist or disabled. I don’t really have story. And even if I did - I loathe pity so I probably would not share it just to sell a few paintings. So if my paintings are reduced to being called “pretty mindless pictures” I don’t really mind all that much. I am not really trying to prove anything. I am not trying to pretend I am deep, or articulate, educated, or even know what I am doing. I am my own worst critic and have myself to answer to. When it comes down to it, I don’t really think I am doing anything all that new or inventive – besides, hasn’t everything already been done? I just find joy in pushing the envelope with my materials and technique. Maybe that is what I am trying to say?
What are your career goals?
Good question. And one I need to repeatedly remind myself of. I have goals that I achieve and constantly add to, but these are the forever constants:
- First and foremost I will always need to paint more. The more I paint the more consistent my body of work becomes and is easier to market and easier to get into the galleries and juried shows I really desire. The more I paint the better I become and the more I sell. And the more I sell - I can putt off the thought of that day job I was supposed to get way back when.
- I need to have more of my work seen. I am currently trying to get into a more galleries and juried shows. To gain a foothold on larger markets I have only just tasted (NYC, New Mexico, California, and Chicago). I would also like more corporate placement work. Work with interior decorators and architects.
- I would like to write and obtain grant money. Also achieve a level of success so I can submit proposals for public art programs.
- To maintain relationships with the patrons I already do have but have neglected (mailing list, emails, etc). Attempt to blog, and let people “in”
- To be a better business person, keep better records, be more outgoing, and market more. I will always be in a constant battle for structure and organization. Something that is difficult for me but essential for any self-employed person.
What has been the most instrumental in helping you achieve what you have so far?
I have very supportive parents and long time friends that “get” me.
I have been blessed with fearlessness. I never give up and I don’t take no for an answer. I am a sensitive person, but for the most part, when it comes to my work I can be objective to criticism and rejection. I am very thankful for that. I also try to keep really busy and avoid putting my eggs in one basket to allow myself to get hurt. In fact, rejections, insecurities, fear, and anger fuels me - I am able to successfully harness my problems and struggles into creative endeavors. It is the best antidote.
A few random factoids about me:
- I have hiked to the bottom of the Grand Canyon (and camped!)
- When I was 16, I became a published poet, and to this day I won’t let anyone I know read anything.
- I have an Italian Greyhound named Stella.
Wednesday, April 30, 2008
Dolls
Whoo - I've been busy! Art Chicago was a blast and I have a gazillion photos to process and post in the near future. I've also been catching up on yardwork during this beautiful patch of weather, and its taking up a good chunk of my time.
I got the dolls in just under the wire! They were a whole lot more labor intensive than I had expected, but I think they came out well. There are some pearlescent powders mixed in with the paints so they have a glowy sheen to them - and the bottom halves all use real feathers.
I mailed them off today and can hardly wait to see what all the other participants have come up with. I'm hoping that the organizer will put together a Flickr group for the whole swap.
Sunday, April 27, 2008
Etsy!
I put up the other birdstamp paintings that I've finished so far! Get them on etsy.
I'm having *such* a difficult time getting the aqua color to be picked up. I thought maybe it was just the scanner, so I set up a photo shoot in natural light today - and STILL, no aqua green came through. ARGH.
Whats worse is that the pictures end up coming out a little muddy looking, no matter how brilliant they are in person. Ive tinkered like mad in photoshop, and can't get it to work. ::sigh::
I'm just in love with this series, they are so luminescent - and I want that to translate online too. Especially because, once they sell, I will only have my digital pictures to remind me.
Tuesday, April 22, 2008
Link of the day!
Cool stuff today from the blogosphere!
The Anonnymous Photo Project
"The Anonymous Photo Project is a playful project in which camera packages are left in public places. People find the packages, take pictures, and return the cameras to the Project. Then we post them"
I just LOVE this idea, and wish I could duplicate it!! What a thrill it must be to receive a full camera, with all the promise it holds inside. Its like an everyday piece of wonder.
THINGS FOR SALE THAT I WILL MAIL YOU:
"If you give me $30 I will walk around New York, and the first homeless person I see I will buy him or her whatever he or she wants to eat (as long as it is less than $30). I will mail you back the exact change (minus the paypal fee and the cost of the postage stamp) with the receipt for the food and the name of the person who ate it.
* Kris Efland bought a really big Kentucky Fried Chicken meal and an orange drink from Nedick's for Regional Keith on W 33rd and Broadway on February 24, 2008.
* Joie Mikitson bought a bunch of groceries from Park Avenue Food Court for Francis on E 10th and 4th Ave on February 25, 2008.
* Bart Schouten bought a pizza full of every topping except anchovies from Johns' of Bleeker Street for Marvin who was in the Houston train stop for the 1 on February 28, 2008."
This whole project feels like a living poem to me. You can buy a minute of him thinking of nothing but you, an empty envelope he will mail you, an apology letter to someone he wronged - both you and the wronged individual will get a letter, and so much more!
I particularly love the po box, where he will send sporadic notes and quirky mail to the po box in NYC. (Id just have to find someone who could collect everything for me in NYC) Id also love love love to fund a semester of his grad school - where I'd get all the art he makes that semester.
The whole project is brilliant.
The Anonnymous Photo Project
"The Anonymous Photo Project is a playful project in which camera packages are left in public places. People find the packages, take pictures, and return the cameras to the Project. Then we post them"
I just LOVE this idea, and wish I could duplicate it!! What a thrill it must be to receive a full camera, with all the promise it holds inside. Its like an everyday piece of wonder.
THINGS FOR SALE THAT I WILL MAIL YOU:
"If you give me $30 I will walk around New York, and the first homeless person I see I will buy him or her whatever he or she wants to eat (as long as it is less than $30). I will mail you back the exact change (minus the paypal fee and the cost of the postage stamp) with the receipt for the food and the name of the person who ate it.
* Kris Efland bought a really big Kentucky Fried Chicken meal and an orange drink from Nedick's for Regional Keith on W 33rd and Broadway on February 24, 2008.
* Joie Mikitson bought a bunch of groceries from Park Avenue Food Court for Francis on E 10th and 4th Ave on February 25, 2008.
* Bart Schouten bought a pizza full of every topping except anchovies from Johns' of Bleeker Street for Marvin who was in the Houston train stop for the 1 on February 28, 2008."
This whole project feels like a living poem to me. You can buy a minute of him thinking of nothing but you, an empty envelope he will mail you, an apology letter to someone he wronged - both you and the wronged individual will get a letter, and so much more!
I particularly love the po box, where he will send sporadic notes and quirky mail to the po box in NYC. (Id just have to find someone who could collect everything for me in NYC) Id also love love love to fund a semester of his grad school - where I'd get all the art he makes that semester.
The whole project is brilliant.
Monday, April 21, 2008
Artists Against Aids
Well, we successfully dropped off 7 paintings tonight for the Artist Against AIDs show, to be held later on this week!
I wanted to bring more, but I didn't have enough of them ready and framed. Ah well, there's always next year! I'm keeping my fingers crossed for a sale, because there are a number of things I'd love to invest in for my new studio setup.
The old and eccentric building the show had been held in previous years was torn down to make space for new condos. So the venue has moved to the old 1914 Orpheum Theatre, which is the current home to the children's science museum in the front lobby and mezzanine. The auditorium hasn't yet been renovated, and its going to house this years AAA show.
I'm glad they found a new setting that was a quirky and full of charm as the old one. (which was an old old bank)
Its a terrific cause and one I'm proud to be a part of. 50% of all proceeds go to The Greater Community AIDS Project (GCAP), a local non-profit agency providing support services for those affected by HIV/AIDS in our own backyard.
I wanted to bring more, but I didn't have enough of them ready and framed. Ah well, there's always next year! I'm keeping my fingers crossed for a sale, because there are a number of things I'd love to invest in for my new studio setup.
The old and eccentric building the show had been held in previous years was torn down to make space for new condos. So the venue has moved to the old 1914 Orpheum Theatre, which is the current home to the children's science museum in the front lobby and mezzanine. The auditorium hasn't yet been renovated, and its going to house this years AAA show.
I'm glad they found a new setting that was a quirky and full of charm as the old one. (which was an old old bank)
Its a terrific cause and one I'm proud to be a part of. 50% of all proceeds go to The Greater Community AIDS Project (GCAP), a local non-profit agency providing support services for those affected by HIV/AIDS in our own backyard.
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