Sunday, February 28, 2010

Women Artists Group Show at Van Buren Gallery


Saturday, February 27, 2010 was an historic day.  It was the first time my work was seen in a gallery since college.  Nice.

I didn't really expect anyone to come to the opening.  The weather here in the Hudson Valley has been atrocious and, and a result, the opening was postponed from Friday to Saturday.  There was snow, rain, ice and hundreds of thousands of people without electricity or access to the Internet (my major form of communication with the outside world).  I resolved myself to think that if it was just me standing in a room with a bunch of art, then hey - more wine for me.  But I was pleasantly surprised.  Dozens of people dug their cars out and braved the elements for what proved to be a fun and productive evening.  I really loved taking my "massage therapy hat" off for a few moments and being in the moment with the art and hearing what people thought about it.

I showed three pieces.  Pink Oval Head on Black Cat Body, Eleven Pillars and Boob Brigade.   I think the most interesting moment came for me while some women were looking at Boob Brigade and they were all comparing themselves to it - trying to find which ones they were.  People really related to this piece, and  in a way I didn't expect.  Awesome.

Please join me and Eileen Quinn, another artist in the group show on March 20th for our gallery talk.  She will be talking about her travels to Kenya and her resulting photographs, and I will be talking about my Art All Year project and announcing my solo show at the Van Buren Gallery later this year which will include another gallery talk about the year-long project.


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Saturday, February 20, 2010

Art as "fun"?

Against my inner critic's advice, I took a one-day encaustic dipping workshop at R&F Handmade Paints in Kingston, NY today.  I haven't taken an art class in, oh, let's say a (really) long time.  I had no idea what to expect other than some instruction on how to dip paper into wax, which isn't rocket science, but as it turns out takes some skill and practice. 

But what fun!  I had forgotten, or maybe never knew, how enjoyable learning a new technique can be.  It isn't exactly a new technique, either.  I've just joined encaustic artists going back thousands of years.  The first use of encaustic was to seal and waterproof the bottoms of Greek ships.  Damar varnish is one of the ingredients in encaustic medium and paint.  It is a resin collected from the same tree whose sap becomes amber when hardened over time.  Much like the amber entombs bugs and plants for us to see millenia later, so does the varnish compound fix whatever is within it - in the case of encaustic painting and collage; pigment and paper. 

Early paintings were found on mummies, and even after being buried for thousands of years, the paintings are pristine.  Its learning things like that which make me feel a connection to people throughout the ages via art.  Art is a connector.  The mummies and the artists who painted them and I are as directly connected as my table mate and I were at the workshop, as are my sister and I as I create work based around her memory, as are you and I, dear reader, as you take a look-see at a couple of my experiments.

Truthfully, I'm finding it a little difficult to write about this experience, I think because I felt so in the moment while I was working.  I'll just leave it at this:  This workshop was fun and it leaves me wanting to do more.

 
Untitled
9"x12"
Encaustic and mixed media on board


 
I Had a Very Itchy Back
12"x9"
Encaustic and mixed media on board

Figure Drawing at Unison

Yep - hold that thought.

Sunday, February 14, 2010

5,250 Massages Composite Painting #1

I figure that I've done something in the range of five and a quarter thousand massages so far in my bodyworking career.  Probably more -  this is a conservative estimate.  My body is used to tracing the outline of other bodies.  Here's how that memory manifested itself in paint.

This is the first real painting I've completed in a lot of years.  It feels really good to be back to it.

5,250 Massages Composite Painting #1
32" x 51"
Oil on canvas



 Detail

Monday, February 8, 2010

Its a bird, its a plane, its... The Flatiron Building?!

"Everything begins with yourself." - Carl Jung

There seems to be a recurring theme for me lately, and it isn't something I'm at all used to, although it is a tenet I've aspired to over the years.  Have no expectations, and then you can only be pleasantly surprised.  Well, OK - this might not be entirely true.  Unless you are a monk meditating on a mountaintop somewhere for a year or three, I don't think its entirely possible not to have ANY expectations at all.  I mean, I EXPECT that the sun will rise each morning.  I EXPECT that after I exhale, I will inhale again.  You get the point.

Yesterday, I spent the day with Brigid in Manhattan visiting an exhibit that she was excited about viewing, it being the intersection of Jungian Psychology and art, her two passions.  I didn't want to go so much as I wanted to see my friend.  As a matter of fact, I had turned down another invitation to see the same show a couple of weeks before.   If you're reading this, Cuzzin, I'm sorry - I love you and I'll see you another time, I promise.  The exhibit was interesting and Jung's images were easy enough to "read", although they did reveal layers of meaning, benefiting from us viewing them from different vantage points, spending some time with them and using our historical filters.

Perhaps my favorite part of the exhibit, incidentally, called The Red Book of C.G. Jung at The Rubin Museum of Art, wasn't the folio at all, but some quotes by Jung that were being projected on a wall by a settee.  They got to the heart of the matter, and how.
  • "Everything begins with yourself." 
  • "What will come to you lies within yourself."
  • "Understand yourself and you will be sufficiently understood."
  • "The wealth of the soul exists in images."
Eerily appropriate for me right now as I am rediscovering my love for art (it never went away, really).

So now what?  We digested some more of the Rubin's collection, as well as a tasty snack in their cafe, and it was time to move on.  Art is everywhere in New York, you know.  We didn't have any real plans - a couple of ideas, and that was all.  We never did happen across a gallery guide for Chelsea, so we didn't go gallery hopping as we thought we might.  MoMA and the New Museum both seemed too far out of the way if we wanted to stick to walking.  So after some shopping, we ambled over to Union Square, where some local artists had set up shop for the tourists.

Its about now that I should probably mention my recent infatuation with New York's Flatiron Building.  I spent some quality time in the library recently, looking for something... inspiration, company, quiet, time... and I happened upon this book about the Flatiron building.  Photos of it's construction and it's life with writings to accompany each image.  Fascinating to me, for some reason.  Still not sure why, exactly, but perhaps something about seeing the neighborhood change around the monolith, which stays the same.  It was on my short list of things I would have liked to have seen, but wasn't really expecting to.

OK - back to Union Square.  Union Square is the home to the Cooper Union, highly regarded as one of the best art and architecture schools on the planet, and just a short block away, some people trying to make their living as street artists, perhaps never having set foot in an institute of higher learning.  I give them a lot of credit.  They were all prolific, if not talented in a "high art" kind of way, and all had a sense of go-get-'em-ness, a little of which can go a long way.  So I kept happening upon images of the Flatiron building in their work and I bought a couple of small mementos.  OK - I know these things are made for tourists and that this building is famous all, but it has NEVER been in my consciousness before.  Now, everywhere I look is that Flatiron Building.  Its a triangle, you know.  And not an isosceles triangle either, as the name would suggest.  Its more of a right triangle.  Who expects a triangular building?  Buildings are square or rectangular.  But enough trivia - that's not my point here. 

Also seen in Union Square were some sidewalk artists, Felix Morelo, for one.  His "Felix's Faces" captured my attention.  How could it not.  Its like 30 degrees outside, maybe - and here's this guy with a piece of white chalk drawing and keeping count of a line of faces on the pavers.  Would I ever do such a stunt?  Hell to the no!  I'm looking to get inside at this point for a cuppa hot.  The last thing I would want to do to get my art seen is freeze my ass off outside making temporary chalk drawings.  But this technique is effective, isn't it - I visited his website, as I'm sure countless other passers-by have.  He's got charisma.  He's got chalk.  He got my attention.

Oh yeah - something hot to eat and drink.  Looking at art and strolling around the city can make a girl (cold and) hungry!   We looked at a few window menus and nothing caught our eye, so we headed north.  Walking and walking in the cold, searching for something comfy and vegetarian.  We finally decided on a pizza and specialty salad shop that was actually pretty good.  Just before we walked in, I looked up and  realized that I was in the shadow of the monolith - the Flatiron stood before me as it has stood for over a century.  I hadn't expected to actually see it and was giddy at my good fortune.  The light in the late afternoon of this clear, sunny day was beautiful and I darted across the square, de-gloved and shot away with my camera phone - I couldn't help but think about the origins of photography and the intricate photo set-ups that were once necessary to make an image with light.  Now I can just point my phone and *poof*.  I thought about ladies in long dresses with parasols standing where I was standing in my fleece-lined coat and horse drawn carriages in the streets where now the yellow taxi cabs zoom by.  I felt part of history for a moment... before my hand froze.

Being in NYC does that for me generally I think.  It puts me in another time and in another space, both figuratively and literally.  The mere act of being there seems to open doors and windows - not the kind I want to jump out of either, but the kind I want to let the fresh air in through.

  • "Everything begins with yourself." 
  • "What will come to you lies within yourself."
  • "Understand yourself and you will be sufficiently understood."
  • "The wealth of the soul exists in images."

Saturday, February 6, 2010

Art Openings: What's Behind Door 111?

I went to my first art opening tonight in a long while - actually, two of them.  First, I stopped by ASK, the Arts Society of Kingston, which, incidentally, I just joined.  More on that later.  The second stop was The Shirt Factory, also in Kingston.  They were two very different events, although I felt the same at both of them.  Pretty much the same as I've ever felt at an art opening.  What do I say?  Who can I talk to?  Will anyone talk to me?  Why are they looking at me?  Why aren't they looking at me?  It seems like all my insecurities come out at art openings, which is likely why I've avoided them all these years.  Good thing I didn't actually have any work on any of these shows - I'd have had some sort of attack for sure.

So why did I go?

I desperately want to get over this.  I want art just to be something I do.  A fact.  I don't want it to be this scary looming monster that might bite my head off and stab me in the heart.  That's what it still is, to some extent and I need to take that power away - take my power back.  I need to go to an art opening and be relaxed - like I am lying on the sofa doing a crossword puzzle or taking the dog for a walk.  I want it to be mundane.  Easy.  Boring.  Banal.  Friendly, even.  It isn't.  Not yet.  This is practice.  I put myself in a scary situation and will repeatedly do so in the hopes that if I do it enough times, it will become familiar enough that - well... what?  I don't know, but I want it to become, at the very least, familiar and not foreign.  (Truthfully, I think a little fright is probably a good thing, but not so much that it keeps me away.)

I joined ASK for much the same reason - so that art becomes fact for me.  I will attend openings and shows there.  I will show there.  I will meet other artists and like-minded people there, or at least I hope I will.  A few years ago when I opened my own business, I joined my local Chamber of Commerce not knowing thing one about being in business, but knowing somehow that a Chamber membership would be good for my business growth.  It was.  I have similar hopes for my membership in ASK. 

So... what do you think is behind door 111?

Tuesday, February 2, 2010

Déjà Vu

Yes.  I feel like I've been here before.  Well... I have been here before, kinda.  Turns out painting is sort of like riding a bike.  If you haven't done it in a really (really) long time, you might be afraid at first.  You might even think that you can't do it anymore.  You'll probably even feel stupid mentioning it to people.  Sure - your balance might be a little off and you might wobble a bit at first, but before you even realize it, *POOF*, you're riding your bike (painting), just like it was yesterday.

Nothing really "done" to show at this time, but feel like I'm finally *doing this* and it feels great.  That feeling's different though.  New.  Shiny.  In my younger years, I put the "pain" in "painting".  It was rarely a pleasant experience.  But now, I am finding joy in the process.  A combination of creativity, activity, relief, release, expression, time for myself...  Whatever the painting is about is perhaps another story, but I finally feel ready to tell that story again.  It'll be OK, Helen.