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May 18, 2012

When I’m at ease, free of deadlines,  then before too long, the craft supplies come out.

The annual bead and jewelry fair was in Groningen last weekend, I thought I held back fairly well.  In one stall, there were about 400 (!)colours of size 11 seed beads to choose from! Here is a portion of my purchases, filling in the pink, hot red colurways. And a beautiful range of sage greens, metallic and frosted forest greens, as well as some misty greys and pearls.

fun at the bead fair

And below is a part of my existing seed bead collection.

Mostly tending towards blues, purples and aubergines

And what do I do when I’m let loose on all these gorgeous materials? Below, Evelyn’s necklace in progress.

Multi-strand necklace in progress

My aunt wears a lot of beiges and pastels. My sense of the colours was an antique, cameo feeling, soft golds and ochres, and shell purple and dusty pinks. I finished the multi-strand, then including some hand blown glass beads from Eastern Europe, made a separate strand to wear with it or separately.

Finished necklaces

Here below is my current project, inspired by bracelets I saw at the stall where I got my seed beads, for Dutch readers, Monique’s website is definitely worth a visit. I purchased the directions from her, I”ve never done this particular type of beadwork before and am enjoying the meditative work of threading this (late) mother’s day gift for my mother-in-law.

Some of the bracelets on display were fairly bling bling qua colour, I chose smokey blues, greys and irridescent blacks instead.

Tanny’s bracelet in progress

Detail

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All photos by Rende Zoutewelle

Well, it is an all-consuming project. I do have a life….I think. But I basically wake up and go to sleep thinking about which flowers fit where, color balance, leaf size contrasts etc.

Rende’s photos have captured some of  the atmosphere of the étalage (aka shop or oil painting studio) where I’m working on the instrument. It is a small space – not even enough to walk completely around the case. A new instrument like this needs to be kept at an even temperature and humidity to prevent drying out, so it is on the chilly side – about 15 degrees centigrade. I wrap up well before I go to ‘work’.

Despite that inconvenience, I do like having it all concentrated down here, the previous ones took over my entire attic studio. That meant I really couldn’t do anything else.

Johan said that with the sound board being painted, the instrument is starting to come alive.

As soon as it was brought here, I felt it already had a soul from the amazing amount of love and care that the builder, Matthias, had put into it, and from all the thought that had gone into it even before the case was built. Now that I’m adding my part, there is such a strong visual emphasis, it is hard to remember that

the real soul of this instrument lies in the sound it will make.

Anyway, it is a really cool project to be involved in. I have to slow down to paint each plant and animal portrait as if it were the only one. And one by one they are forming a whole painted songboard.

woodpecker attacks songboard

Definitely connected to the long tradition of songboard painting, and yet also belonging to the 21st century in the choices we’ve made, both visually and in content.  For example, Johan had requests for various flowers and other elements to be included which are personal symbols connected to his own life. For a few people, beside the aesthetic quality, there will be added layers of meaning to the things painted on the instrument.

When it goes back to Germany at the end of the month, Matthias will make the keyboards (there are two) and attach the strings. And then it will be able to sing.

Hanzeclavecimbel progress

January 28, 2012

Classic rosette wreath around sound hole

The above photo is from a previous instrument painted in 2007 (made by H.van Gelder). The ‘rose’ is not yet added, the rose is a metal, usually gold-leafed, emblem of the particular instrument builder.

Because of the labour intensive nature of painting the harpsichord, I’ve not had the time/energy to blog. But I’ve got everything set up and am painting now, so there is a moment to touch in.

The above photo shows a fairly classical treatment of the rosette wreath around the sound- hole of these 17th century Flemish harpsichords.

Johan, my client (and new friend), wanted a slightly different take on it. Indeed, the whole harpsichord is shaping up to be firmly rooted in the best tradition, yet entirely of this age as well.

As I mentioned before, there are at least 3 of us directly involved with the hands-on birthing this instrument (plus there are many more supporters of this project behiind the scenes): Matthias Griewisch, the master builder/creator: Johan Hofmann, accomplished harpsichord player, musician, and teacher; and me, Sarah, the sound board decorator/flower factory.  And each one has their craft and input. The collaboration is fun and inspiring.  (Johan on left, Matthias on right).

Johan and Matthias in Matthias's workshop

As far as we (and music historians) know, this instrument has never been replicated before. It is a world premier and won’t be unveiled until the Peter de Groot music festival in Holland  this July. It has some surprising, unconvenitonal details, so I can only give you tantalizing glimpses of the work process.

Where this is all leading to is that the rosette wreath is done. On this instrument it is flowerless. Johan chose for bay leaf and ivy. Here it is,  Compare it to the one above, it has a whole different feel.

Rosette wreath around the Hanzeclavecimbel

Photos of harpsichords by Rende Zoutewelle. Photo in workshop, Bert Kiewiet

Ex-shop and oil painting studio ready for harpsichord

In December 2010, Johan Hofmann a respected Dutch harpsichordist and teacher, contacted me about an exciting project. He was having a new instrument made by Matthias Griewisch. Griewisch is considered by some to be one of the best period instrument builders working today.  My part in this would be to paint the songboard full of flowers as is traditionally done with Flemish keyboard instruments from around the mid-1600’s. The image below is of an instrument made by Herwil van Gelder for Jan Dirk Immelman. I painted it in 2007.

harpsichord decoration

I am deeply honoured to be involved in this project. In August last year I went to Edinburgh’s Museum of old instruments, St Cecilia’s and studied the original, unrestored version of this rare double manual harpsichord.

Ruckers double manual harpsichord circa 1638 photo St Cecilia's-

Johan and I (and Matthias via Johan) have been brainstorming about this instrument for a year now- how it would look, what we wanted to keep from the tradition, what we could change to reflect the times we live in as well as Johan and Matthias’ aesthetic preferences. And of course my sense of how this would all influence the sound board decoration.

It has been a fun and exciting collaboration so far, punctuated by dinner out on the terrace here, a pastry-filled birthday meeting, and climaxing in Johan and friend Bert’s return from Germany yesterday and the delivery of the ‘case’. (The case is the upper body of the harpsichord containing the songboard- the strings and keyboard will be added later).

It is so beautiful. It is just so beautiful. (I’ve been listening a lot to Aerial by Kate Bush, these words should be heard as music, they are about 45 seconds into the video).

It/she/he already has a soul. Here is a picture of him/her under wraps, awaiting adornment with garlands, flowers and arabesques. This will take about 6-8 weeks.

More will be revealed later.

Under wraps

Thanks from ArtCalling

January 1, 2012

heart-angelsblog.jpg

I like practical, connected, and meaningful art. I am excited and inspired by the arts in healing and community art.  For the last years I’ve been committed to finding alternative paths for myself and other artists so that we have choices outside the traditional ways of exhibiting and exploiting art. I have done a lot of thinking about right livelihood in relation to art, so will be airing some of those ideas here.
Over the years my thinking has been inspired by other artists, writers and friends, and I look forward to sharing some of those sources.

Dear friends, with the above words in march 2007, I started this blog.
Looking through the past 5 years’ posts I’ve stuck pretty much to the original intent.  The main themes have stayed roughly the same.

Through airing ideas here and the dialogue that has followed, ideas have developed and gained clarity. Especially those concerning new ways to think about art and; the challenges of art and market.

I’ve shared my oil pastels, older oil paintings, and new craft work. Have shared my dreams and goals, my ups and downs, and generally let a little slice of my life show here.

I want to thank all of you who have been popping in here from time to time and especially those who’ve taken the time to comment. My life has been enriched by your thoughtful remarks and the contact with like minded-souls as well as those with other views.

Alpha, Michael monocle, Thea, Rachel and Phil have been the most active commentors.  Thanks so much folks.

13,037 people visited in 2011. Most of you are from the states, with the UK and Holland close behind.

The top referring sites in 2011 were:

Thank you.

In his’ Making and Connecting’, Gauntlett hits up against a basic dilemma- how to work with a gift in a market based society. How could a discussion of craft and art not touch this issue?

This upsurge of people making things and sharing them in on and offline communities is distinguished by a strong current of giving and sharing. Think of book drops,art  postcard crossing, many forms of guerilla art, etc. So much of this tendency is a reaction against the present system where the worth of things…(and people!) is determined purely economically.

So how do we reconcile this genuine desire to share our creative efforts outside an economic framework with the just as real need to earn a living?

Free platforms as exploited labour*

*(This subhead is a direct quote from the book).

OK, we have some new channels for sharing our art and ideas- YouTube, Facebook, Flickr etc. These are open platforms where, for no charge, with no credentials, and hardly any conditions, we can put our stuff out there.

Some people claim that You Tube, for example, makes gobs of advertising money off the millions of people posting and viewing videos there. Gauntlett has done some research and writes that it actually costs YouTube more to host the site than they are receiving through ads. (Based on 2009 figures, YouTube makes a bout $1.20 per video on ads per year and spends $3 per video to host the site).

We generally accept that no ads would mean no free sites.

He also says that most of us don’t care about the ‘free labour’ harvested by these sites because we want to share our work and we have ‘no thoughts of economic value’ except being glad that we don’t have to pay to share our creative work online.

Around a campfire

David suggests that the atmosphere in most of the open platform sites is like being around a campfire. Maybe my singing voice is beautiful and I could print out tickets and charge a fee, but that would completely change the underlying agreement of mutual sharing.

OK, fair enough. But then he goes on to rightly say, that in a society where everyone gets paid for what they produce, creative people should also get paid for their efforts. This is where it gets tricky.

Gauntlett cites the  example of the music business to illustrate this point. People seem to feel entitled to download music free of charge while most of the musicians are struggling to survive from their music. Some established bands or star status artists make good money from their products and tours, but they represent only a fraction of the whole profession. As a rule, it is the managers, PR people and other middlemen who are making big bucks off the musicians ‘backs. Gauntlett has a suggestion to remedy this. Read the rest of this entry »

If everyone is an artist….?

December 15, 2011

There are several points of discussion ,’Making is Connecting’, brings up for me. The first one is:

if anyone can make and sell their work on (and off) line, is everyone, then an artist?

If everyone is an artist, then, of course, no one is.
Not in the same sense I’ve been brought up to believe; that an artist is someone with a calling who devotes his or her life to learning to express themselves in their chosen craft/discipline. This almost always involves a rigorous path of education and then the required 10,000 hours of practice before one can even begin to make work of stature and relevance.

I think, though, that the ways to discern people devoted to excellence in their calling from the dabbler have been blurred. James Krenov acknowledged this in the last century and suggested that keeping  professionalism and amateurs strictly separate was the best way to honour the artist and leave the hobbyist to putter in their own domain. I apologise for sounding harsh, but for many years this is how I felt about hobbyists, even though in some fields, I am one myself.

Pro-Ams

Things are radically changing, though. In his book, ‘The Element’, Sir Ken Robinson cites the rise of the so-called ‘Pro-Ams’.  (partially  paraphrased)

This is a kind of amateur who works at increasingly high standards…the Pro-Am pursues an activity as an amateur, mainly for the love of it, but sets a professional standard. The Pro-Am uses his leisure not for passive consumerism but is active and participatory involving knowledge built up over a long period of practice.

While no professional in any field enjoys being undercut by people offering lesser quality work at cheaper prices, I actually welcome this democratisation of art and creativity because it frees us all from some very confining boxes.  Creative people are finding channels, not previously available to non-professionals, for sharing their work.  And professionals,too, get a chance to let down their hair and try out some other areas without the constraints of having to be perfect first.

Real Artists

I think there will always be a place for excellence and authenticity. There are simply artists who either reach such high levels of their craft that it communicates to whoever is receptive to it. Or they touch a nerve which the whole society is poised to express but hasn’t yet realized. And  in so doing give it a voice and a face.

And reluctantly I must admit, that maybe the distinction of the Real Artist might be passé.  Or it is expanding to include various degrees of commitment and expertise.

There is to my eye definitely a distinction between the talented crafter who at this moment is flooding Etsy with (extremely popular) owls, birds and vintage. And the artist drawing from their own experience to give wings to a vision.

More about art vs craft another time.