Showing posts with label arting. Show all posts
Showing posts with label arting. Show all posts

Saturday, March 28, 2015

An Instagram Ode to Lace

Y'all, I have MAJOR lace obsession. 

https://instagram.com/p/0QN6QVNyWf/

I love lace. 
Like, really love it.

I love the texture when it's printed on. 

https://instagram.com/p/r7Sodmtycm/


I like sewing it together to make big patchwork sheets of lace. 

https://instagram.com/p/0pxgvENyX3/

I especially love dirty and old lace.

https://instagram.com/p/0sxDtBtyZ8/
Frankly, I can't understand why there isn't MORE lace in the world.

When Good Artists Go Bad

I think every "professional" artist who opts to make their studio work the focus of their career - as opposed to choosing a more understandable path, like teaching - has heard some variation of how they don't have a "real" job.

A customer, who thinks they could make your work just as well for half the price.
A family member, who thinks you should grow up.
A child, who says mom or dad don't have a job.

My inner optimist doesn't believe that these people are trying to be hurtful (well, except for that jerk customer, but that's another post); they just don't get it. It's a different way of looking at the world and employment from them. It's more comfortable for them to be in a different field, or to have a boss instead of being the boss AND the sole employee. The world of a working artist isn't something they covered in Home Ec after you took your career aptitude tests, or even in your professional development course in college (if you were lucky enough to have one). So they don't understand it. It may concern them, because they care about you and your success. I really don't think they're trying to be hurtful.

But then there's another set of individuals. The individuals who should know better. The individuals who by all rights should be identifying with you. The individuals who you should be able to sit down with over a plate of cookies and have a bitch session about all the people who think you don't have a job if you're a working artist.

The OTHER ARTISTS who say these things.

Seriously, what is UP with that? It's a strange phenomena that I personally have encountered several times now, both directed at myself and at other artists. Where does it come from? Fear? Jealousy? Societal pressure to conform?

I think the answer is resentment. With maybe some fear thrown in. Because something I've noticed in my encounters with this strange mentality is that it often comes from artists whose careers didn't follow their ambitions; artists who wanted a creative career, but something stopped them. Either they found it too hard, or maybe they got sucked into a "day job," that became their career. Maybe they were told one too many times that art only belongs in the realm of hobby, and they came to believe it. However it happens, I believe it breeds a resentment against artists who are able to make a go of it (or at least try to). Because, at least in my experience, their words hold a lot more bitterness than those of non-artists. And they get so angry about it too.

A small compare-and-contrast, based on my own experiences:

My mother (with whom I am fairly close) and my sister (with whom I frequently don't get along with) have both, at one point or another, questioned my career choice (and further back, my college major choice). My mother has been known to frequently ask, "But what are you going to do for a job?" My sister was surprised to hear that people make a living selling art work at festivals and fairs. But both always spoke in tones of concerned curiosity (I use the past tense because they finally "get it" now...I think...).

An older friend who, at one time, aspired to be a theater actress and director, and currently works for the local government organizing community events and teaching community theater classes. Another friend, close to my own age, who aspires to be a musician and recently quit his job, in theory to pursue music full time. The former at one point denounced me as being completely unrealistic, with no idea how a "real job" or the "real world" works and claimed I was trying to get her fired with a suggestion I made to a problem she was having. The latter recently lectured me about how hard it is to make music, that I don't understand that he can't just "sit at a canvas and make something appear." (In the interest of full disclosure, that diatribe of his was the motivation to finally write this blog article, but not the sole inspiration)

What I can't convey well through text is the vitriol in their words. The first, now former, friend's hateful look and nastiness in her voice. The second friend's insistence that I can't possibly know anything about making music (I admit I'm not musical, but I married into an extremely musical family) and that I can't compare creating music to creating visual art (my husband, a writer and musician himself, disagrees). It's dismissive. And to add more insult to injury, these individuals frequently are bewildered as to why this would be offensive! Cue a round of "you shouldn't be offended just because I completely dismissed you and your work as somehow illegitimate." Which is just as frustrating and hurtful as the original insult.

So here's my eternal question: How can we fix this?

How can we support artists, all artists, so that no bitterness breeds in the first place? Is it even possible to fully support artists in a society a where art is frequently cut from school programs, despite evidence that it improves tolerance and critical thinking skills? What are other artists' thoughts on the solution here?

Sunday, May 26, 2013

Monotype Mania

What better way to pass the day between fights with a screen, than monotype? Although to be honest, I don't know how I feel about these.

Saturday, May 25, 2013

Printing Madness

Dear Gojo,

Roses are sometimes red,
Violets are...violet.
I love the way you smell,
And the ink from my hands you take all of it.

Tuesday, August 21, 2012

Monotype portraits

I've been strangely drawn to doing portraits in monotype lately. It's not a process I was familiar with before this past semester, but it was the preferred method of my printmaking class's TA.




If etching and lithography are like drawing, monotype is like painting. It doesn't have the reproducibility of other printmaking methods - you only get one. You take flat, thin, non-absorbent surface (either an etching plate or plexiglas) and work onto is with ink using more or less whatever you want. Alternatively, you can create a subtractive image by inking the whole plate and then wiping away with a rag or brush or what-not. I started out having a lot of fun with the latter, but I've been leaning more towards additive or a combination of both.



I'm digging the re-work-ability of monotypes too. Once they're dry, they can totally be gone back into with another medium. Colored pencils have been doing it for me; the juxtaposition of painterly wiping with precise line work feels kind of satisfying.





And I don't know why, but I keep doing these Victorian Death Portraits! I find the darn things immensely fascinating to look at it, and a lot of times I'm banging out some monotypes while I'm waiting for a plate to etch or a print to dry enough to add the next color, so I guess it's a natural gravitation.


Friday, December 23, 2011

I'm so hardcore, I go to school during winter break.

I do, actually. It's nice, I'm working side-by-side with a friend and a handful of our professors, making work and having fun.

It's something I need to keep in mind when I enter (re-enter?) the professional art world. I feel like a communal studio space is ideal for me. Maybe it's because I have been in school so long, but I feel so much more productive when there are other people working around me that I can talk to, bounce ideas off of, laugh with. There are definitely times I like working alone, but I think I prefer to work around other people the majority of the time.

Besides the instant feedback, it's nice to see how other people work. I know I have my own routines and rituals when it comes to working and it's fascinating to see how other people work too. For example: I have one tote bag, easily slung on my shoulder, that houses all of my paints, mediums and brushes. I purposely keep it to this one bag, so that I can easily take everything with me. When I go to work, I dump out my bag and spread everything out so that I can see all my tubes and grab what I need easily. It's not just painting either; in general I like to spread out while I'm working. I don't take up a ton of space, but I like having room.

The friend who's also working at school over break is nearly the exact opposite. She has a good-sized suitcase of all her painting supplies; it weighs a good 50-60 lbs. When she sets up, she just lays open her suitcase and grabs things out as she needs them. Compared to me, she uses up little space around her.

Just observing and absorbing those little differences fascinates me for some reason. Probably in part because I feel like I'm constantly developing my own studio practices and habits. But I suspect all the good artists spend their lives developing and re-evaluating and tweaking the way they work.

Thursday, December 15, 2011

Annnnnnd, that's a wrap!

So today officially ended my first semester at Cazenovia.

I really believe that almost all things happen for a reason and I can often see how drastically different my own life would be if things didn't happen the way they have. But damn it, I wish I hadn't had to waste the last few years before coming to Caz. I'm still loving this place. I feel like I've been thriving these last few months, artistically and personally. Yeah, if I'd gone 4 years ago, it'd be totally different...different students, different point in my life. One of the professors I've become close with wasn't even teaching at Caz then. But it's still frustrating to feel like I wasted those years.

Although I guess I didn't really. If I hadn't had a miserable year at Oswego, I wouldn't have gone back to OCC. I might not have become as heavy an activist, and I definitely wouldn't have met some people whose friendships I value very much. I wouldn't have been there when my baby mama went into labor, and thus I might have missed my goddaughter being born. Ahhh, see? Everything happens for a reason!


I'm going to enjoy my month off though. In no small part because I'll be spending a goodly chunk of it at school working with some of the same people, professors and fellow students, who made this semester so awesome. Use of studio facilities for working on projects with far fewer people than usual about and no deadlines? Yes, please!

And boy, do I have projects planned. A month probably isn't long enough to do everything I want to do. But I've got steady babysitting through break and nice arrangement with one of my professors, so I should be able to crank work out. It'll be doubly nice because I won't be away from home until late at night.

That was probably my only real issue this semester; trying to balance being a mama and being an artist and student. There's this documentary I keep hearing good things about called, "Who Does She Think She Is?" I really need to see it. It's about women balancing being artists and being mothers. I want to know how others do it. How do others parent and art at the same time??? This is a great mystery to me...I guess I'll figure it out eventually. I mean I kind of have to, right?