Before trees
March 19, 2016
Working on the sampler for Jude Hill’s online course I’m following (well, dipping into) is giving me insights into how I work generally. The idea here is to weave some fabric strips together as a base, and then work on the grid formed by the strips of cloth.
I chose the circle as a uniting theme, but the tree wanted to be there in the middle, and when it appeared, the work stopped being an exercise and connected with my heart.
Someone once commented that I should stop working in all those little rectangles in my art. But this way of working speaks to me, is actually a part of my personal visual vocabulary. I realise I feel most comfortable within defined spaces where I can play with edges, defining them, letting them fade, overlapping. And each square a little story of its own. If you look at Jude’s work, you see her breaking out of the grid repeatedly, but it is there as a strong basis to the design, holding all the separate parts together.
You can see in the next images, how I like to work. I used an old painting(shown upside down) below.
On the painting below, you can still see part of the neck of the greenish bottle (far right) showing if you look carefully. And other areas have been painted over letting parts of the background show through. Using an old painting as the background determines the palette a bit, and some of the movement.
But I got stuck fairly quickly on this one. It was too familiar and I wasn’t learning much by continuing with it. Using prompts from Flora Bowley’s book, mentioned in several previous posts, I decided to risk ruining/losing what I had in order to find something new. So I turned it upside down and treated it like a background.
Ah, trees again, they just wanted to be there. To orient between the old and new versions, look for the yellow sun on the painting above, and now you’ll see it peeking through behind the big tree on the left.
Here is a later stage.
So, for me, the textile work at teh top of the page, and painting are intimately related. They are both about layering, not planning overmuch, following where the work seems to want to go, and being patient with all the twists and turns on the way.
Painting adventure
December 16, 2015
There is a lot of movement happening in my life, and it is reflected in my painting. I’m leaving old ways of seeing, and familiar approaches, and embarking on ‘The adventure of a lifetime’ (A plug for Coldplay’s new single YAY!!). The freedom I have in inventing when working in oil pastels has finally transferred to paint. I’m working in acrylics because I like layering and they dry fast.
I won’t take you on the complete journey, but this particular stream started months ago. I have mentioned that I do collages for relaxation and processing of any issues up for me. I always really like them, they surprise me and are fresh. So this one, with the painting by Alexey Kvaratskeheliya at center stage inspired me to try an oil pastel painting using the same kind of little shards of concentrated colour as Alexey K.
Which resulted in this piece:
Working with colour in this way feels very natural to me. (This piece is in our currently running show at Scherer design store. In a few days they will have our exhibit announced on the site.)
I wondered if I could work this way in paints, but it is different when you can reach for one of 121 concentrated oil pastel colours, or you have to mix them yourself and keep using clean brushes to apply them.
But one evening I took a little piece of cardboard, and intuitively began working in small colour areas. That freed me up to take another step- I took all the leftover colours on my palette and made a background on a previously painted canvas with the partly dried paint and palette knife:
Then I painted over it intending to work into the result below, but I like it so much I’m leaving it as is.
The next two happened around the same time:
They are both painted in acrylic over previous paintings, taking cues from the background and at the same time evolving their own unique forms.
This method of working really suits me. I work messily and spontaneously on an already painted canvas and things just happen.
Gee that Flora Bowley book mentioned in the last post must really work, I haven’t even read it yet and my work is undergoing a major reorientation! 🙂
All of the preceding are quite small format- around 30 x 30 cm. Then I retrieved one of the fairly free paintings from this summer where I was trying to lose form, and painted over it. The tree emerged, and I worked into it some, but not much. It captures the energy I need most to connect with now as I face major surgery tomorrow. Hopefully I can bring it into the hospital where I can see it.
Why artists need to play
August 16, 2015
I’m revisiting Shaun McNiff’s excellent book, ‘Trust the process’, first read 5 years ago. The subtitle says it all, ‘The artist’s guide to letting go’. Last time I read it, I experienced his thoughts as a confirmation that art making is completely separate from business. The posts I wrote on it reflected that. But this time around I am gaining so much from his deep understanding of creative processes, writing as well as painting.
One eye-opener for me was his suggestion to see the creative process as involving all of you. Therefore, you can kick-start visual creativity by, for example, moving your body, and taking cues from those gestures to make marks. I did this today, starting out by dancing to my favorite Andreas Vollenweider CD. I had some good quality smallish watercolour paper and the dancing led quite naturally, still moving, to making rhythmic strokes on the paper with watercolour crayons. Very quickly the paper and tools became too small to contain the gestures I was making, so I ended up on newspaper sized paper using large crayon blocks and ecoline inks with big brushes. I liked the wax resist effect, but soon I was combining charcoal, watercolour sticks, crayons and ink.
IT WAS FUN!
McNiff says you need to draw on a different set of evaluation criteria to review this kind of work: look at it for spontaneity, freshnesss, rhythm, whimsy. Work in series, let one image lead you to the next, and look at the whole body of work for signs of certain gestures and forms that you might want to repeat or expand upon.
I think you could do this to blast through blocks in any medium. He suggests starting out with notecards and making series of drawings (poems, writing ideas, dialogues, dance moves) on those. But if you want to work big like I did, you can still move from one to the next fairly quickly. Don’t correct or critique while you are working, just keep going and enjoy the process.
I don’t know where what I did this morning will lead, and I don’t care. It brought me straight back to my creative roots that was very moving. There was a sadness there for how I usually hem in my creativity to fit certain ideas I have about being an artist. Working this way was freeing, and I will revisit it and see where the process leads me.
McNiff’s ‘Trust the process’, is highly recommended for aspiring artists and certainly for art veterans like me, who can always use ways to loosen up, but also practical suggestions for further developing their work.
Mega bubbles, yarn bombing, and other useful activities
August 7, 2014
Photo Rende Zoutewelle
This is me playing. It could turn into my new art form – it requires only soap, water, air and light. One has no control over the colours or forms, and it is extremely ephemeral.
You can’t interpret it, you can’t put a price tag on it, you can’t sell it, and you can’t market anything but the equipment used to make it, (which I happily leave to others), or I suppose you could charge for being a performing bubble artist.
As I practice it more, I’m discovering that it really is a skill. You have to be aware of the humidity, and be alert to every nuance of breeze and wind.You can regulate the forms somewhat by opening and closing the loop at different intervals, and can do virtuoso bubble blowing by trying to blow one bubble inside another. When I do it on the street, it makes most motorists slow down and smile – equally important on our road where people constantly abuse the 30km speed limit.
I’ve also been up to some yarn bombing. It was a good way to give some love to a dead tree at the end of our front garden, and once more, bring a smile to the faces of passers by going slowly enough to see it. The first crocheted mandalas started to curl,
so I took them all down and treated them with a fabric stiffener (Modgepodge), and now they hold their shape. I’ve sewn the felt leaves by hand, and our neighbour children helped me place some of them.
In order to try to slow down some of the traffic coming through our village, the province placed some cement obstacles up and down the road. One is so close to our garden, I decided to extend our garden onto it and make it an edible green spot. Unfortunately, despite careful care and watering, the plants (nasturtium, strawberry, lettuce, violas) pined away there, they didn’t like the traffic, the direct sun, the fumes? Who knows? So now I’ve got some hardy geraniums on there to see how they do.
Painting has ground to a halt for now. I’m writing, though, not sure if there will be an end product.But with luck it could consolidate into a book on many of the themes touched on here and on tendingtime, my other wordpress blog.
Transition and tending time
May 10, 2014
I just want to mention that I have 2 other WordPress sites.
Tendingtime is my transition blog- the story of my personal reflections and experiences as I navigate a period between life phases, professional identities, and lifepurpose. At first I chose to locate it away from artcalling because it really wasn’t about profiling as a working professional, but rather a more vulnerable venue for musings when moving away from a particular professional identity.
I also still meet prospective customers who want to see what I do, and was not quite ready to publicly reveal my profound sense of alienation from previous design, illustration and calligraphy commissions and deadline work on this blog.
Anyway, I paint regularly, teach and write, and am involved in some activism locally, so it isn’t as if I no longer work.
Now I am more certain of the kind of work that beckons me, I am less concerned about coming across as less credible to the aforementioned type of customer. I sense that my future work will take the form of collaborations with other artists and creatives in a similar phase to my own, and that once and for all any kind of professional posturing won’t be demanded of me.
So maybe I will in time, move tendingtime over here. It is an increasingly important part of my life and reflects honestly where I am on the subject of alternative paths for the arts. This last subject is why I started artcalling 7 years ago.
My other wordpress site, Artwell, contradicts nearly everything I just wrote, and is a showcase for my work. As well as being a gallery for my current oil paintings, I see it as a document of past achievements which I am proud to share. There is calligraphy, harpsichord decoration, oil pastel drawings, etc.
I wish Tendingtime had more of a readership. Having been spoiled on this blog with over 200 followers last time I checked, I’d forgotten how long it takes to build up a readership without being on Facebook or Twitter. What excites me though, is that that blog is connecting me to others with a similar philosophy and experience. Those are such rich connections and I am grateful for them. Rather one of those than 100 of the ‘I follow you will you follow me?’ kind.
So please go over to Tendingtime if you are interested. I am also using that blog to document walking ‘The Pieterpad’, my 480 km journey (in phases) from the northern to the southern tips of Holland.
Writing process blog tour- good struggle
April 3, 2014
This is being reposted with new material, featuring the next writer, Laura Burns.
Thanks to Cat Lupton for inviting me to take part in a writing process blog tour. Different bloggers talk about how and why they write, and it is a kind of online relay. The idea is to create a continuous chain of writers.
Unfortunately, the people I asked couldn’t participate, so one of the forward branches ends here, well not entirely. This is a bit late, but Laura Burns is carrying the baton from here. I came across Laura’s work some time ago and knew immediately that this kind of artist is breaking ground for an entirely new kind of engaged art. She is a writer and performer interested in responding to environmental crisis. Her work spans performance storytelling, poetry, movement practices and visual arts. She is interested in the intersections of orality and text, movement and writing and mythology as ecology; she is currently looking at the ways in which re-connecting to our bodies might affect re-connecting to the earth around us. Her post will be up at her blog on April 7th.
You can also follow some links backward and pick up a new branch forward.
Try these: Emily Wilkinson , and Jeppe Graugaard.
Or sideways*.
We’re following a model of answering 4 questions concerning our writing process, here goes:
1 What am I working on?
Aside from regular blogging, and the occasional guest blog, there is no active writing project on the table at the moment.
For the past 10 years I’ve had a book in the works about the emergence of new art forms in times of transition. I keep hitting unsolvable problems so have shelved it for now.
2 How does my work differ from others of its genre?
Since I’m a visual artist who also writes, my primary focus is art and it is hard for me to judge how my work does or doesn’t stand out from other non fiction writing. I’d like to think that my unique mix of life experiences and the issues I care most about combine to create an individual voice.
3 Why do I write what I do?
Usually there is some kind of urgency when I sit down to write- there is question or issue up for me that I want to get clarity on. Or I write to digest new material that has come to me through someone else’s writing.
I also write to share my inner thoughts in the hopes they may help someone else gain insight on similar dilemmas.
4 How does my writing process work?
A lot of my writing is easy, I just, ‘stare at the page until little drops of blood form on my forehead’.
No, seriously, I seem to have two modes of writing- Flow, and Struggle.
My book, ‘Chocolate rain, 100 ideas for a creative approach to activities in dementia care’ was written in a continuous flow over 18 months. First thing in the morning, I simply sat down to write for an hour or more, and the book emerged with very little revision. However, I have to add that this productive period was preceded by attempts spanning 5 years, to try to find the right tone. But as soon as I found the balance between ‘too academic’ and ‘too personal’, the book just about wrote itself.
The good kind of struggle is part of every creative process. You hit a wall, get pushed beyond your comfort zone, solve it, and come out the other side with a sense of achievement.
But there is also negative struggle. In recent attempts to progress with my book on the arts, I’ve become intimately acquainted with this type of internal battle. No matter how much discipline, optimism, or hard work you throw at the page, you stay stuck. It is like quicksand.
I’ve been learning to discern between the constructive and the negative kinds of struggle, and to disengage from the latter.
I understand now that writing can’t be forced, and things will fall in place when they are ready to. I’ve realised that despite the willingness to turn up at the page,( surrounded by copious research notes and outlines), if I haven’t connected with the soul of the book or its reason for being written, nothing I can do can make it progress.
Occasionally an idea comes to us that is so far outside our current frame of reference, we have to fundamentally change before that idea can take shape through us. So I’m experiencing that the writing process can be a sort of alchemy that transforms the creator as well as the material she is giving form to.
* (And if you are interested, I just ran across a past post of mine, ‘Why posting every day might not always be such a good idea’, inspired by Jonathan Harris, which addresses some issues related to blogging, story, creative process, and living our lives publicly on the internet).