Well, Thanksgiving is behind us and the Christmas season is fast approaching. I've been thinking about community and fellowship and how important it is to connect. Since I've been so busy over the last 3 years with grad school, I've not connected with people as much as I would have liked. Now that grad school is over, I've been playing catch up with family and friends. It feels good to connect.
I've also realized how much the connections energize me and gives me joy. I totally enjoy my house filled with people - especially the friends of my kids. They're so much fun and I completely enjoy hearing the laughter - even if it's into the wee hours of the morning! It means that the house is alive and we're alive - able to enjoy and experience the good things of life. Again, it's good to connect.
I also realize that these connections helps me with the creation of my artwork. It fills my reservoir so that when I need to tap into it - there is something there to give to me. The time spent being quiet (as I wrote about in the last blog) and the time spent in fellowship/connection with others gives a wonderful balance in the grounding of my being. It's good to experience people; it's good to connect!
So as this busy season comes upon us - enjoy the time and enjoy the connections. The blessings are enormous! Until next time, take care, enjoy, and God bless!!!
Sunday, November 29, 2009
Saturday, November 28, 2009
Friday, November 27, 2009
Thursday, November 26, 2009
Friday, November 6, 2009
Nov. 6, 2009
Now, it's really been a long time since I've posted anything on this blog! Life has been interesting.... I've been working at the college and slowly but surely working on art. And, yes, I graduated from graduate school in July - Whoo Hoo!!! I do want to let everyone know how grateful I am to my family and friends, especially Randy for the support and encouragement I was given to accomplish this goal. Thank you all so much!!!!
I was thinking of how wonderful it is to be able to work and create in your own studio space. I've moved from the kitchen table to a beautiful 250 sq. ft. studio which is absolutely fantastic! The quiet and the solitude that I have when creating really helps me to focus on what I'm doing. Not having the distractions that I typically have at home is a blessing. One thing I've noticed while working in this new space is how much I depend on the quiet to help me create. I typically do not have music or anything playing in the background when working. This time spent in quiet, peaceful solitude does wonders for the soul. I was thinking about that today, in the studio. It was so quiet and peaceful but I realized that I was not at focused as I typically am. I was working and progressing on a couple of pieces but my 'reservoir' was not as filled as it typically is when I'm in the studio.
I realized that I haven't had the quiet time that is needed to help me center and create. Too often, I think, I don't take the time to just sit and be still. I'm so busy with teaching, planning lessons, grading papers/portfolios, making art, being a wife and mom, that the time spent being still is few and far between. I know that it is a very needed time - not something that is a luxury - but something that is an necessity. It is the time spent with myself and more importantly, with my God. I can hear His voice when I finally 'be still'. The clutter of my world takes precedence too many times and I cut myself off from truly calming and centering myself. But at the same time - when I'm in the studio - I feel the presence of God and the centering of my soul. That is important. But just taking the time 'to be', to just relax with myself and not put any pressure on me to always be doing something is an opportunity to allow myself to pray and seek the presence of God. That is something that revitalizes and strengthens me - I cherish those times. I believe that my artwork improves after spending time like this. It's hard to create when you're filled with clutter and chaos. The quiet time in the studio and in prayer all inform and support what I do in the studio. I feel it and the work shows it.
I've started two new pieces - a 'book' and an encaustic piece. I was working more on the encaustic piece today - got the wax and colors on it but it's not there yet. I'm trying not to rely on too much of what I know or what I know that works with this piece. I'm venturing into new ground - trying to vary the colors and textures. I'm also debating on whether or not to add different textures - but I don't want it to become just an exercise in texture. I think there is a spiritual dimension to the work and don't want to plan it out too much. I don't want to control the spirit of the work. Then it can fall into the category of being contrived and I don't want that. It's a bit uncomfortable yet exciting to see what will happen.
I think that when we venture into uncharted territory with the creative process, the real fun and excitement begins. For when we allow ourselves to be guided by the medium, to allow the work to dictate what happens, our creativity moves to another level. This can happen with realistic or abstract work - it is allowing the intuition, the uninhibited self to come through. Some would say the spirit (for me it's the Holy Spirit) helps guide the work or at least becomes a part of the process. For me that's crucial - to let go and let the artwork become it's own entity. That's exciting, that's partially what drives me to create. That's the beauty and wonder of being an artist. It's great!!!
Well, that's it for now. I'm off to just relax and 'be still'. So take care, enjoy and God bless.
I was thinking of how wonderful it is to be able to work and create in your own studio space. I've moved from the kitchen table to a beautiful 250 sq. ft. studio which is absolutely fantastic! The quiet and the solitude that I have when creating really helps me to focus on what I'm doing. Not having the distractions that I typically have at home is a blessing. One thing I've noticed while working in this new space is how much I depend on the quiet to help me create. I typically do not have music or anything playing in the background when working. This time spent in quiet, peaceful solitude does wonders for the soul. I was thinking about that today, in the studio. It was so quiet and peaceful but I realized that I was not at focused as I typically am. I was working and progressing on a couple of pieces but my 'reservoir' was not as filled as it typically is when I'm in the studio.
I realized that I haven't had the quiet time that is needed to help me center and create. Too often, I think, I don't take the time to just sit and be still. I'm so busy with teaching, planning lessons, grading papers/portfolios, making art, being a wife and mom, that the time spent being still is few and far between. I know that it is a very needed time - not something that is a luxury - but something that is an necessity. It is the time spent with myself and more importantly, with my God. I can hear His voice when I finally 'be still'. The clutter of my world takes precedence too many times and I cut myself off from truly calming and centering myself. But at the same time - when I'm in the studio - I feel the presence of God and the centering of my soul. That is important. But just taking the time 'to be', to just relax with myself and not put any pressure on me to always be doing something is an opportunity to allow myself to pray and seek the presence of God. That is something that revitalizes and strengthens me - I cherish those times. I believe that my artwork improves after spending time like this. It's hard to create when you're filled with clutter and chaos. The quiet time in the studio and in prayer all inform and support what I do in the studio. I feel it and the work shows it.
I've started two new pieces - a 'book' and an encaustic piece. I was working more on the encaustic piece today - got the wax and colors on it but it's not there yet. I'm trying not to rely on too much of what I know or what I know that works with this piece. I'm venturing into new ground - trying to vary the colors and textures. I'm also debating on whether or not to add different textures - but I don't want it to become just an exercise in texture. I think there is a spiritual dimension to the work and don't want to plan it out too much. I don't want to control the spirit of the work. Then it can fall into the category of being contrived and I don't want that. It's a bit uncomfortable yet exciting to see what will happen.
I think that when we venture into uncharted territory with the creative process, the real fun and excitement begins. For when we allow ourselves to be guided by the medium, to allow the work to dictate what happens, our creativity moves to another level. This can happen with realistic or abstract work - it is allowing the intuition, the uninhibited self to come through. Some would say the spirit (for me it's the Holy Spirit) helps guide the work or at least becomes a part of the process. For me that's crucial - to let go and let the artwork become it's own entity. That's exciting, that's partially what drives me to create. That's the beauty and wonder of being an artist. It's great!!!
Well, that's it for now. I'm off to just relax and 'be still'. So take care, enjoy and God bless.
Friday, May 15, 2009
May 16, 2009
Wow, it's been awhile since I've written on this blog! My graduate work has been very time consuming but it's been a good experience overall. My thesis has been discussing my art practice as a form of research in which I discuss the concepts of hidden and revealed and adoption and redemption. I've spoken on redemption a bit but not so much about adoption. This topic is very close to my heart for I was adopted at birth and lived the majority of my life knowing this fact. My adoptive parents gave me a good home and cared for me greatly but there was alway something that nagged at me regarding my biological parents. Why did the give me up? and Will I ever meet them? and sometimes especially when I was younger, Who am I? These questions I may never know the answers to but I believe that I have been given a special gift knowing that I was loved enough from both sides of the adoptive parties.
Since I collect objects from the ground or where ever I find them, there is a correlation between the collecting, selecting, cherishing, and integrating the objects in my art work and my physical adoption. There is something that speaks to me when I find an object that I want to use within the art I create. Something about the physical appearance strikes me as I am compelled to take the object home. This finding of the object and the selection process are very ingrained within my being. I cannot help but collect - I have done it since I was a child. I'd find rocks, wood, feathers, metal - anything that revealed to me a history or a past. These revelations were very much unknown as far as any details were concerned but the physical presence of the object spoke of some type of past or part of their story, if you will. I cannot resist collecting or giving meaning to these objects. It is as if their voices are crying to be heard and through the art work, I can give them a platform with which to speak for these objects each have something to say. They speak with quieted voices, subtle references to the things of the past. There story is partially unknown just like my story is partially unknown. I adopt them to give them significance, to give them a place where they are cherished, to give them redemption through the act of creation.
The selection of these objects is a very intuitive one for I know immediately if I will use the piece within a work of art. I may not know exactly how or when I will use the piece but I do know if I will use it. The pieces are then chosen, selected and transformed within the work of art. Something about the physicality of the surface, or the color or texture of the object draws me to it and I select it for my studio. Their voices are not silenced but given new meaning through the creative act. Within the selection process, I find myself seeing the preciousness of the object for it is not something that should be discarded but listened to and heard. The object becomes cherished for it is sometimes a reference for redemption and sometimes it is a type of self portrait. This personification of the object helps me create the symbolism that I use within my art work. The integration of the object into the art work completes the adoptive act. The work houses and gives the object its new context and its new meaning and validity.
Well, it's getting late and I've talked enough! So until next time, take care, enjoy, and God bless!
Since I collect objects from the ground or where ever I find them, there is a correlation between the collecting, selecting, cherishing, and integrating the objects in my art work and my physical adoption. There is something that speaks to me when I find an object that I want to use within the art I create. Something about the physical appearance strikes me as I am compelled to take the object home. This finding of the object and the selection process are very ingrained within my being. I cannot help but collect - I have done it since I was a child. I'd find rocks, wood, feathers, metal - anything that revealed to me a history or a past. These revelations were very much unknown as far as any details were concerned but the physical presence of the object spoke of some type of past or part of their story, if you will. I cannot resist collecting or giving meaning to these objects. It is as if their voices are crying to be heard and through the art work, I can give them a platform with which to speak for these objects each have something to say. They speak with quieted voices, subtle references to the things of the past. There story is partially unknown just like my story is partially unknown. I adopt them to give them significance, to give them a place where they are cherished, to give them redemption through the act of creation.
The selection of these objects is a very intuitive one for I know immediately if I will use the piece within a work of art. I may not know exactly how or when I will use the piece but I do know if I will use it. The pieces are then chosen, selected and transformed within the work of art. Something about the physicality of the surface, or the color or texture of the object draws me to it and I select it for my studio. Their voices are not silenced but given new meaning through the creative act. Within the selection process, I find myself seeing the preciousness of the object for it is not something that should be discarded but listened to and heard. The object becomes cherished for it is sometimes a reference for redemption and sometimes it is a type of self portrait. This personification of the object helps me create the symbolism that I use within my art work. The integration of the object into the art work completes the adoptive act. The work houses and gives the object its new context and its new meaning and validity.
Well, it's getting late and I've talked enough! So until next time, take care, enjoy, and God bless!
Saturday, March 14, 2009
Mar. 14, 2009
I've been again, talking to some of my artist friends about reclamation, transformation, and redemption. These are especially important concepts to me since they pertain to my work using found objects, especially rusted metal (as of late). I find these objects in many places - even in my kitchen. In addition to finding metal, I have been cutting off the tops and bottoms of cans, burning them to give an aged appearance and incoporating them within my art work. I was thinking of how ordinary and unimportant a cut can lid is and how this particular piece of metal has the most humble of existances.
The idea of reclamation has within it a component of restoration or at the least - recovery. But inherent within it is that the object has a certain sense of value or worth - something that can be redeemed or is worthy of redemption. That is seen through the eyes of the artist. These objects have been selected, chosen, found precious - even treasured for not all objects are collected and used within the art work. They have been adopted in a sense for something that is chosen is deemed special and worthy even when it might not have the appearance of worthiness. I'm not sure why I gravitate toward the metal at this point. Possibly it is a creation of man, something that represents the creativity and ingenuity of our species, a monument of sorts. But these monuments have flaws for they will not last forever. Even when they are made of materials that suggest strength and solidity, they decay over time. It is usually with such decay that the value of the objects is lost and that is what is restored or recovered within the art work.
The transformation from a decaying, worthless piece of metal to an object of beauty is contained in the redemptive act of creation. It is through this act that the nature of the object is transformed, given new meaning and significance. And with this new meaning, new appreciation and awareness of it can occur. It becomes something other than itself for it has been given a new purpose, a new life if you will. The character of the object changes, it converts from something that is discarded and possibly ugly to something that is valued and beautiful. This adoption, this reclamation, this transformation, and this redemption of a simple, humble object mirrors the redemptive act of our heavenly Father. That is one of the reasons why creativity is so powerful and art itself is so powerful. It becomes a window into the heavenly realm and reflects the grace and care of our Lord.
Well, that's it for now. Until next time... take care, enjoy, and God bless!
The idea of reclamation has within it a component of restoration or at the least - recovery. But inherent within it is that the object has a certain sense of value or worth - something that can be redeemed or is worthy of redemption. That is seen through the eyes of the artist. These objects have been selected, chosen, found precious - even treasured for not all objects are collected and used within the art work. They have been adopted in a sense for something that is chosen is deemed special and worthy even when it might not have the appearance of worthiness. I'm not sure why I gravitate toward the metal at this point. Possibly it is a creation of man, something that represents the creativity and ingenuity of our species, a monument of sorts. But these monuments have flaws for they will not last forever. Even when they are made of materials that suggest strength and solidity, they decay over time. It is usually with such decay that the value of the objects is lost and that is what is restored or recovered within the art work.
The transformation from a decaying, worthless piece of metal to an object of beauty is contained in the redemptive act of creation. It is through this act that the nature of the object is transformed, given new meaning and significance. And with this new meaning, new appreciation and awareness of it can occur. It becomes something other than itself for it has been given a new purpose, a new life if you will. The character of the object changes, it converts from something that is discarded and possibly ugly to something that is valued and beautiful. This adoption, this reclamation, this transformation, and this redemption of a simple, humble object mirrors the redemptive act of our heavenly Father. That is one of the reasons why creativity is so powerful and art itself is so powerful. It becomes a window into the heavenly realm and reflects the grace and care of our Lord.
Well, that's it for now. Until next time... take care, enjoy, and God bless!
Saturday, February 14, 2009
Feb. 14, 2009
Hello - it's been awhile since I've written in this blog. I've been busy with grad school work as well as teaching my college students - something I love to do. I've been thinking lately about my process of creating works. It really is a ritual for me - a sacred act - something I've stated before. I have a difficult time explaining what happens during the course of creating.
I begin with finding the metal, bones, or whatever found object I'm using. Sometimes it is aged when I discover it but other times, it's aged by me. I burn, tear, scratch at the object - whatever works to age it. I want the object to show something of its past whether that past has been processed over long period of time or a shorter one. But at some point, the object shows this aging and it begins to speak in a beautiful visual language. This is the part where I have a hard time explaining just what I see. It is very personal and intrinsic. Something exists within the colors, the edges, the actual material of the object that excites me. It is then I decide to join it with the wax and create an object of art.
Once the object is ready I work with the borders of the paper or wood to see if the two will work together. That can take a while to find the right combination but once it happens, I can see how it will resolve itself. I then begin to stitch either on the paper or through the wood if that is what I see as a resolution to the piece. Some pieces have the stitching completed before I paint with wax and other pieces are stitched afterwards. I can't control all aspects of this process for once I begin to paint the wax onto the support, it begins to have a life and direction of its own. I feel that I'm more of a facilitator at this point. The colors and layers of the wax combined with the stitching and the object begin a dance if you will that is wonderful to witness as they join in one statement. Sometimes the wax covers the object but other times it remains as it is naturally. The stitching creates a wonderful texture that reminds me of a journey, a constant presence within the piece. The stitching is sometimes metal thread and sometimes it is other material such as rafia grass. I love the combination of the man-made with the natural. It is how we exist in this world.
During the painting process, I meditate in a very personal and quiet way. Some talk about the painting process as 'being in the zone'. That for me is my deepest type of prayer. I'm drawn into the materials and how they work together. It is as if I'm working with contemporary relics - relics of our existance here on earth but these relics are not exalted like the relics of religion. These relics are the discarded remnants of our being which need to be transformed into something of beauty.
Once the materials and object join together completely, the work is finished. It is a place of rest and satisfaction, not a place of uncertainty for me. The work (and this will sound funny) will speak and let me know when it is finished. It is a wonderful feeling - something I don't experience anywhere else other than the studio. It's great!
Well, again, thanks for putting up with my rambling. Until next time - take care, enjoy, and God bless!
I begin with finding the metal, bones, or whatever found object I'm using. Sometimes it is aged when I discover it but other times, it's aged by me. I burn, tear, scratch at the object - whatever works to age it. I want the object to show something of its past whether that past has been processed over long period of time or a shorter one. But at some point, the object shows this aging and it begins to speak in a beautiful visual language. This is the part where I have a hard time explaining just what I see. It is very personal and intrinsic. Something exists within the colors, the edges, the actual material of the object that excites me. It is then I decide to join it with the wax and create an object of art.
Once the object is ready I work with the borders of the paper or wood to see if the two will work together. That can take a while to find the right combination but once it happens, I can see how it will resolve itself. I then begin to stitch either on the paper or through the wood if that is what I see as a resolution to the piece. Some pieces have the stitching completed before I paint with wax and other pieces are stitched afterwards. I can't control all aspects of this process for once I begin to paint the wax onto the support, it begins to have a life and direction of its own. I feel that I'm more of a facilitator at this point. The colors and layers of the wax combined with the stitching and the object begin a dance if you will that is wonderful to witness as they join in one statement. Sometimes the wax covers the object but other times it remains as it is naturally. The stitching creates a wonderful texture that reminds me of a journey, a constant presence within the piece. The stitching is sometimes metal thread and sometimes it is other material such as rafia grass. I love the combination of the man-made with the natural. It is how we exist in this world.
During the painting process, I meditate in a very personal and quiet way. Some talk about the painting process as 'being in the zone'. That for me is my deepest type of prayer. I'm drawn into the materials and how they work together. It is as if I'm working with contemporary relics - relics of our existance here on earth but these relics are not exalted like the relics of religion. These relics are the discarded remnants of our being which need to be transformed into something of beauty.
Once the materials and object join together completely, the work is finished. It is a place of rest and satisfaction, not a place of uncertainty for me. The work (and this will sound funny) will speak and let me know when it is finished. It is a wonderful feeling - something I don't experience anywhere else other than the studio. It's great!
Well, again, thanks for putting up with my rambling. Until next time - take care, enjoy, and God bless!
Saturday, January 10, 2009
Jan. 10, 2009
I've been having a discussion with a friend involving aesthetic perception and speaking a language that goes beyond words with our art. We were talking on how difficult it is to define the aesthetic moment - that moment when the spirit of the art, touches the spirit of the viewer. How does one define the language of the spirit? I don't know exactly but that's what is stated within a work of art. Stated may not be the correct word to use... it is a visual language, one that words or definitions cannot describe. I think that there is a subjective quality within a work of art that speaks to the spirit. Yes, there are the elements and principles of art and design that when arranged evoke a certain response but I think that there is something that goes beyond the formal elements that helps to create a deep level of response or reaction. Why do people respond to visual art in such viseral ways? Why is someone moved to tears or is speechless when standing before a painting/drawing/sculpture? There are emotions, feelings, yearnings that are brought forth when viewing a work of art and these are very real and valid. It is touching something within the spirit, something that instinctively knows how to respond to it -that needs to respond to it. Of course, not every work of art elicits such a response and not everyone will respond the same way to a work of art but at some point, art moves people.
Why is it necessary for humans to create? It is necessary for it is a part of our nature. We are the only creatures on the planet who create - the rest of the animal kingdom does not create like humans do. It is intrinsic to the human condition. I truly believe that it is because we are created in the image of God and and share His creativity. When we create, we share in that creative force that has been given to us - all of us. While not everyone is an artist who paints, draws, plays or creates music, sculpts, writes, dances, etc..., everyone has the creative ability within them. Just look at the cave paintings and sculpures from ancient history to validate this point. They were not 'trained artists' but the creativity came forth in painting, clay, weaving plus other art forms. The idea of art wasn't even a concept then, it was just something natural for our ancestors to do. Craft is what we term it today for ever since the Renaissance the idea of fine art has seperated the two catagories. But within the craft distinction, they had the language of the visual. The idea of realism and abstraction were evident. Even within the customs of many different peoples around the world, craft such as weaving, basketry, painting were symbols of the spiritual. In some cultures, abstraction was the depiction of the spiritual. So these ideas are not new or belong to just the 'Fine Arts'. It is a language that has been around since the beginning of our creative being.
Why is the visual so powerful? I believe that it is because art is a spirit to spirit communication and it resonates within our being (the same could be said for other art forms but I am talking specifically of the visual arts today). As I stated previously, we were made to create and I think the visual engages our imagination in a unique way that is intrinsic to itself. It communicates so much within a short amount of time - in an instant we can receive the power of its message. As trite as it may be, the old addage is correct, a picture is worth a thousand words - and more because it speaks a language that is its own.
Well, that's enough for today. Thanks for bearing with my rambling.... until next time, take care, enjoy, and God bless.
Why is it necessary for humans to create? It is necessary for it is a part of our nature. We are the only creatures on the planet who create - the rest of the animal kingdom does not create like humans do. It is intrinsic to the human condition. I truly believe that it is because we are created in the image of God and and share His creativity. When we create, we share in that creative force that has been given to us - all of us. While not everyone is an artist who paints, draws, plays or creates music, sculpts, writes, dances, etc..., everyone has the creative ability within them. Just look at the cave paintings and sculpures from ancient history to validate this point. They were not 'trained artists' but the creativity came forth in painting, clay, weaving plus other art forms. The idea of art wasn't even a concept then, it was just something natural for our ancestors to do. Craft is what we term it today for ever since the Renaissance the idea of fine art has seperated the two catagories. But within the craft distinction, they had the language of the visual. The idea of realism and abstraction were evident. Even within the customs of many different peoples around the world, craft such as weaving, basketry, painting were symbols of the spiritual. In some cultures, abstraction was the depiction of the spiritual. So these ideas are not new or belong to just the 'Fine Arts'. It is a language that has been around since the beginning of our creative being.
Why is the visual so powerful? I believe that it is because art is a spirit to spirit communication and it resonates within our being (the same could be said for other art forms but I am talking specifically of the visual arts today). As I stated previously, we were made to create and I think the visual engages our imagination in a unique way that is intrinsic to itself. It communicates so much within a short amount of time - in an instant we can receive the power of its message. As trite as it may be, the old addage is correct, a picture is worth a thousand words - and more because it speaks a language that is its own.
Well, that's enough for today. Thanks for bearing with my rambling.... until next time, take care, enjoy, and God bless.
Thursday, January 8, 2009
Jan. 8, 2009
Well, my daughters are going back to their different schools tomorrow which makes me a little sad. I love having them home.... We'll get back to 'normal' soon but it's always a little hard when they leave.
I've been working on the horizonal format with my work and instead of creating 'totems', which has been interesting, they are looking and feeling more like books. I've been stitching pieces of thai bird's nest (tbn) paper together and then cutting the stitching open in order to see inside the 'book'. Inside the 'book' is another piece of paper that has metal pieces glued onto it. I'm finding, at least for myself, a mystery within the book by covering the metal. The metal pieces are not very visible, you really have to look inside to see what they are. That doesn't bother me because I'm trying to achieve that mystery, that ellusive quality that collage sometimes offers.
With one of the 'books' I'm using gold and iridescent white for the covers and red for the inside. The combination of colors evokes for me a sense of heaven and humanity. The stitching is with raffia grass which gives it a fun texture. I haven't decided which colors to use for my next book; I have a feeling it will be a darker one. I'm drawn to the darker palette although I do love the metalic colors.
I use metal lids from food cans for my work. I age them by burning them and then rusting them in salt water, although not every lid is rusted at this point. It hit me tonight that these lids are a very humble object - something that people just throw away without a second thought. Fr. Bill Moore, SS.CC. spoke at APU last summer and mentioned how he uses materials of the lowest denominator and I realized that these lids fall within that catagory too. The redemptive act of transforming these lowly pieces into art is so similar to what God does in our lives - when we let Him. The creative act itself joins with the creativity of the Maker of the Universe. Not that I would equate myself or any other artist for that matter as equal with the Creator, but engaging in the creativity that we've been given as humans mirrors that of the Father.
I'll post pics of them as soon as I get a good photo of them. I'm sending one of them with my pieces to APU for review from my committee. Hopefully, they will like them. I'm fascinated with them right now and find them engaging. I haven't forgotten about the totems - I have some of them in the works as well.
Well, that's it for now... take care, enjoy, and God bless.
I've been working on the horizonal format with my work and instead of creating 'totems', which has been interesting, they are looking and feeling more like books. I've been stitching pieces of thai bird's nest (tbn) paper together and then cutting the stitching open in order to see inside the 'book'. Inside the 'book' is another piece of paper that has metal pieces glued onto it. I'm finding, at least for myself, a mystery within the book by covering the metal. The metal pieces are not very visible, you really have to look inside to see what they are. That doesn't bother me because I'm trying to achieve that mystery, that ellusive quality that collage sometimes offers.
With one of the 'books' I'm using gold and iridescent white for the covers and red for the inside. The combination of colors evokes for me a sense of heaven and humanity. The stitching is with raffia grass which gives it a fun texture. I haven't decided which colors to use for my next book; I have a feeling it will be a darker one. I'm drawn to the darker palette although I do love the metalic colors.
I use metal lids from food cans for my work. I age them by burning them and then rusting them in salt water, although not every lid is rusted at this point. It hit me tonight that these lids are a very humble object - something that people just throw away without a second thought. Fr. Bill Moore, SS.CC. spoke at APU last summer and mentioned how he uses materials of the lowest denominator and I realized that these lids fall within that catagory too. The redemptive act of transforming these lowly pieces into art is so similar to what God does in our lives - when we let Him. The creative act itself joins with the creativity of the Maker of the Universe. Not that I would equate myself or any other artist for that matter as equal with the Creator, but engaging in the creativity that we've been given as humans mirrors that of the Father.
I'll post pics of them as soon as I get a good photo of them. I'm sending one of them with my pieces to APU for review from my committee. Hopefully, they will like them. I'm fascinated with them right now and find them engaging. I haven't forgotten about the totems - I have some of them in the works as well.
Well, that's it for now... take care, enjoy, and God bless.
Sunday, January 4, 2009
Jan. 4, 2009
Well, I've already been busy with things of the new year. We're going to take down the Christmas decorations this week - I hate doing that - the house is so pretty with them. I'm getting ready for the last push to create work for my thesis show in July.
Grad school has been difficult - I would expect it to be so - if it wasn't I wouldn't be getting my money's worth! But it has also been one of the most fruitful and beneficial times of my creative life. If any of you are thinking about continuing your education and pursuing a MFA - go for it. I have so enjoyed the intensity and fellowship of being in a small group of artists working to achieve the same goal. The friendships that I've created during this program have been wonderful and the artistic comradery - both from the student and teacher perspective - have been equally gratifying.
The work I'm creating now is based on the totem idea, like Grace Totem and Weighted Down. I've been stitching Thai Bird's Nest paper (which is a wonderful paper if you haven't tried it). The stitching is reminiscent of a visual journey, one that is open to interpretation. These stitches are then covered with wax leaving them obscured. My concern is not so much that the viewer know that they are there directly but that the textures and presence of them is felt within the work. I like to play with things that are hidden and revealed and covering the stitches with the encaustic does just that.
I'm also playing with the format of the totems, changing it from a vertical one to a horizontal one. The idea behind them is similar but the final outcome might not warrant the name 'Totem'. I'll have to see how it develops. I love to work in an intuitive manner, not planning out everything in the beginning but letting the ideas flow as the piece develops. I've discovered that the artwork speaks and helps me to finish it.
Well, that's it for now. Until next time... Take care, enjoy, and God bless.
Grad school has been difficult - I would expect it to be so - if it wasn't I wouldn't be getting my money's worth! But it has also been one of the most fruitful and beneficial times of my creative life. If any of you are thinking about continuing your education and pursuing a MFA - go for it. I have so enjoyed the intensity and fellowship of being in a small group of artists working to achieve the same goal. The friendships that I've created during this program have been wonderful and the artistic comradery - both from the student and teacher perspective - have been equally gratifying.
The work I'm creating now is based on the totem idea, like Grace Totem and Weighted Down. I've been stitching Thai Bird's Nest paper (which is a wonderful paper if you haven't tried it). The stitching is reminiscent of a visual journey, one that is open to interpretation. These stitches are then covered with wax leaving them obscured. My concern is not so much that the viewer know that they are there directly but that the textures and presence of them is felt within the work. I like to play with things that are hidden and revealed and covering the stitches with the encaustic does just that.
I'm also playing with the format of the totems, changing it from a vertical one to a horizontal one. The idea behind them is similar but the final outcome might not warrant the name 'Totem'. I'll have to see how it develops. I love to work in an intuitive manner, not planning out everything in the beginning but letting the ideas flow as the piece develops. I've discovered that the artwork speaks and helps me to finish it.
Well, that's it for now. Until next time... Take care, enjoy, and God bless.
Friday, January 2, 2009
Happy New Year!
Happy New Year and welcome to my blog. For those of you who don't know me, I'm an artist, an artist who works with wax and who collects. I collect rusted metal, bottle caps, sticks, bones, feathers, rocks. I like finding these little treasures and bringing them to my studio. The collecting is a ritual, a practice, something that is intrinsic to my nature. They remind me of a journey, a life’s journey, the history, the passage, and the end of it. The surprise of finding these objects engages my imagination and inspires me to create.
These objects are also discarded, thrown away without value. They are weathered, worn, and
aged. They show the passage of time in their appearance – the whitened smoothness of bone, the discolored and torn borders of cardboard, the subtle color changes of browns, rusts, and yellows with the broken and bent edges of metal. They speak the language of what once was; they speak the language of time passed. It is through this language that I give value to these objects. I engage them through my art while my art transforms them (hopefully!) into objects of beauty.
The work I create is with encaustic pigments (pigmented bees wax with damar resin). I am fascinated with the way the wax melts, moves, and submerges with itself as the heat is applied. I love how the wax sinks into the layers and the illuminosity of it. I can't get the results with any other medium. I find the combination of the natural wax and the man made rusted metal significant to our modern existance. Making art is something that I not only love to do but is something that I must do. It is a sacred act for me, like a prayer or devotion.
Well, that's it for now. Take care, enjoy, and God bless!
These objects are also discarded, thrown away without value. They are weathered, worn, and
aged. They show the passage of time in their appearance – the whitened smoothness of bone, the discolored and torn borders of cardboard, the subtle color changes of browns, rusts, and yellows with the broken and bent edges of metal. They speak the language of what once was; they speak the language of time passed. It is through this language that I give value to these objects. I engage them through my art while my art transforms them (hopefully!) into objects of beauty.
The work I create is with encaustic pigments (pigmented bees wax with damar resin). I am fascinated with the way the wax melts, moves, and submerges with itself as the heat is applied. I love how the wax sinks into the layers and the illuminosity of it. I can't get the results with any other medium. I find the combination of the natural wax and the man made rusted metal significant to our modern existance. Making art is something that I not only love to do but is something that I must do. It is a sacred act for me, like a prayer or devotion.
Well, that's it for now. Take care, enjoy, and God bless!
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