Showing posts with label Art. Show all posts
Showing posts with label Art. Show all posts

Tuesday, July 8, 2014

We Rise, again and again and again and again.....

Just like moons and like suns,
With the certainty of tides,
Just like hopes springing high,
Still I'll rise.   ---excerpt from Still I Rise By Maya Angelou


Let me just say this blog break was unexpected.  Not to bog the blog down with details, I'll summarize the important stuff, the highlights thus far of the late spring and early summer:  

Mo and I have been 2nd hand shopping for furniture and just short of dumpster diving we've been out nearly every day scouting furniture for her new apartment for a new phase in her life.  (God be with us.) The furniture finds filled my studio and we ventured with her leading the way into painting with chalk paint.  


We'd go at nights to paint so we could  pull the furniture out in the hallway...(and the AC was out in the building, luckily enough, the nights were cooler and somewhat tolerable).  The other furniture pieces are still in storage.  A couple of dressers, a headboard, and a buffet left to go.

Mo's car completely died leaving 4 adults to depend on 1, ONE car (feels really retro, but we've adjusted quite well given the circumstances).  And she is now without a job related to her continued knee issues and asthma.  But being the hard-headed determined woman she is, she is rising.

The hub-man and I decided to house hunt for a rental and after weeks of looking we were 2, TWO, days late given notice to our complex and the best the apartment manager would do was to give us a 3 month lease because missing the date BY TWO days automatically locked us into a year lease.  And we came close to deciding on 1 of the 4 we had viewed...a 3BR, 2BA ranch, wood floors with a basement.  After five years of having a studio at Mellwood, I'm ready to bring it home and am envisioning a basement studio  So you see, looking for another place is the key. But as it stands now, October will be our deadline to move.

Somewhere in the midst of it all, I had 2 bouts with pneumonia but didn't require a hospital stay, but did do time home-bound with rest.  Also, several significant people in my life made their transition and passed on, a good friend who was my best friend in junior high; a neighbor, one of "the mothers" on the block I grew up on; and my God Mother who was my Mother's oldest, dearest friend, Ms Trudie Mae Wickliffe.  She was 98 and in her right mind.  (Thank you God for the blessings)

Ms Trudie and my Mother arrived in Louisville around the same time, sometime in the late 40's and worked at the Brown Hotel together while staying with a cousin of my Mother's who lived by the racetrack whose husband was a horse trainer.  They eventually moved out together and shared apartments sometimes with another friend, Grace.  But it was Ms Trudie, 14 years older than my Mother, who remained a staple in her life and later in my life growing up.  One of the most important affirmations I received from her when I as a young woman who left a marriage after just 1 year...she got me without me having to over-explain or apologize to what appeared as irrational to others.  She later gave her understanding of me wanting to live outside of marriage with my now husband (of the 28 years we've been together, we've only been married this last year).  It may not sound like much now, but back in the 80s, in my family, it was still a dramatic thing to do and cause for too much talk.  

Maya Angelou's passing was a moment...to have one so significant in my culturally relevant formative years leave this plane jolted my eyes to open to examine how i'm living and how I've used my talents and re-evaluate how to move forward.  I love this photo of her dancing with poet Amiri Baraka taken by photographer, Chester Higgins dancing on top of Langston Hughes' ashes buried under Rivers: African Cosmogram created by Houston Conwill (a native Louisvillian).  Now, the photo itself says JOY, but when I let all of the above just marinate for a minute or so, that JOY just intensifies and I start laughing out loud!  Living is a beautiful thing!



The last of May ended my time with the co-op gallery.  More of a financial move for me since my lower priced work is depleted and my direction is not to make more right now.  It is what has sold.  I do not want to devote my efforts to "what is selling" right now.  

The piece that had been in Form Not Function 2007, Negotiating Territory, was donated to an auction at Spalding University to help with establishing a scholarship for African American students.  But then a month later, I turn around and miss a deadline for a group exhibit of African American Women Artists at a local gallery.  Even though I have a tinge of regret, I have to believe that all things work toward good in my life and its okay.  

I'm still crocheting, but not as with much gusto since I'm no longer on steroids, and I missed a friend's birthday for which this shawl I have on my hook is for...but there is always Kwanzaa, Christmass, Valentine's Day, or any other day to celebrate just being.

Reading. I've been reading a lot and I simply must tell you about 1 of 2 books by Estella Conwill Majozo (sister to Houston, see above).  First, Sister,  Please, Can You Stand A Little Honesty.  A collection of sermons that Majozo has presented over the last 10 years or so to various faith-based audiences. Each chapter is a offering of faith-based and culturally relevant steps we can take to keep our souls intact and not just as individual women but in a community of women.  I don't know about you, but I require certain thoughts and feelings, as oxygen, that speak to me, my soul, in order to ward off the numbness that grows as a result of stress.  The offerings in the book, helped and will help me to facing forward, nurture the desire to spring high and rise.  I've been carrying the book with me when I go out and re-read parts at night before going to sleep.  The 2nd book I'll talk about in my next blog post.  It also holds personal meaning for me and my family.

And finally to ward off the melancholy that occurs when I'm unable to be in my studio space creating something, I've picked sketching back up...specifically sketching faces.  A face a day is what I'm doing and then I upload to my personal FB page.  




Until next time, peace....



Friday, May 24, 2013

The Art of Dating

Whew!!! so relieved that my mojo just took a short vacation!  Good actions breed good actions!  This mornring Peter and I headed to the Y (first time we're doing this together, say "ahhhhh"), then we left there and went to see the art work of G.C. Coxe at the Kentucky African American Heritage Museum.  There are only a dozen or so pieces from private collections but I'll be going back several times to study the work before it comes down in August.  It is such an honor to see his work hung together and I believe a first since his death in 1999.  This is my favorite piece, Totem Pole with Little People, (oil on canvas, 49"x64 5/8") because of the transparency and that the geometric figures in black represented "people" for Coxe in the same way the shape in the following photo represents people for me.  It made me feel in excellent company.


 
 
Below is the state of the dye session as I left it today...a screen with dried thickened dye and fabrics in reds and greens dye juice in plastic containers.

 
 
The other delightful treat was to go see Form Not Function exhibit!  I love every single piece in this year's show, but my vote for Best of Show would have gone to Units 27: Sunburst by Benedicte Caneill and my personal favorites were Letters to Myself-Page 2 by Denise Linet and Soliloquy I by Peggy Brown.  The exhibit doesn't allow photography but there is a catalog that accompanies this exhibit.  Will be making more trips to see this exhibit as well.

Saturday, February 4, 2012

Fred Miller, Visions in Metal

Fred is another Mellwoodian artist.  He is located in Bldg. B #302.


Karen Davis:  Tell us what you do and why?


Fred Miller:  What? My art is metal sculptures.  I primarily use aluminum.  I buy the aluminum in sheets, cut the needed pieces, bend and fit them, weld them together using a TIG process, and then finish them with a wire wheel to give a rough texture or with a sanding disc to give a smoother texture with movement.


Visions-in-metal


Why? Numerous types of relationships between both natural and manmade objects may encourage introspection.  By their very nature, these relationships have some impermanence about them.  While a sense of impermanence is minimal in very stable relationships such as that between a house and its foundation, others show a very pronounced uncertainty, kindle a meditative spirit, or induce an emotional reaction.  Contemplating the many possibilities of emotion or change, especially present in tenuous or precarious relationships, gives me a strong sense and appreciation of the present.  It is this feeling that I instill in my sculptures.  It makes life interesting, gives life value and induces in me a kind of meditative appreciation for the intrinsic worth of relationships, now, at this moment in time.


On the flip side, I also enjoy happy pieces that simply make me smile or feel joyous when I see them. Doesn't everyone like to feel happy?


KD:  What other mediums have you worked in besides the aluminum?  And if so, was the answer to "why" the same for those mediums?  What I'm curious about is whether there is something inherent about aluminum and your processes that induce the meditative/emotional reactions around impermanence and feelings of joy that you mentioned.


Visiona in metal 3


FM:  I have worked in other mediums.  I very much enjoy balancing rocks on top of each other so that they look like they will fall (have attached a picture of a few of them).  However it is not something that I want to do as a continuing art focus.  I have also worked in wood but for some reason I enjoy metal the most.  Welding is a very meditative process requiring constant and extreme focus.  When welding a long "bead" I can easily get lost in time.  It is only precarious in that it is easy to make a mistake and aluminum is regarded as far more difficult to weld than mild steel or stainless steel.  I think I enjoy aluminum because it has a natural bright shine to it that finishes well without painting, it is light weight so large pieces can still be easily moved around, it is strong, and it is challenging to weld.  It in itself doesn't necessarily lend itself to happiness, precariousness or impermanence; the pieces have to speak to that.  It is just something I enjoy doing.  


Visions in metal 2


KD:  Tell us about the "well" you draw from for inspiration and design ideas; and along those same lines, share how ideas go from inside your mind to a finished piece.


FM:  You are making this "little interview" very deep but I will give it a try.   Inspirations come from my life, past and present. I think about things that give or gave me joy and why that was.  Often it was a precarious circumstance or it might have been reflective. For instance, as a child I loved to run down hills and I think that love reflected the feeling of tremendous speed I felt while at the same time tetering on a disastrous fall. I have a few pieces that follow that theme (on the stage at Mellwood).   I have always loved to cross a stream by running across rocks that would make for a dry crossing, jumping from one to the next without a planned route.  That is also a precarious feeling that when successful, makes you happy to be alive. I have a piece that portrays this;  it is a child in the act of landing on a rock after jumping.  I tend to notice balances in nature (stable mountains vs rock slides; still ponds vs roaring streams, yoga poses that seem to defy nature or body flexibility, interactions among people that may be conflicts or very harmonious) and I try to put these thoughts into an art piece.  I love to laugh and to make people happy and a few of my "happy man face" pieces as well as my whimsical pieces reflect that feeling.  Sometimes the idea spontaneously lends itself to an art work, sometimes I have to think about how to portray that idea.  I don't know what else to say; life just happens.


 



Tuesday, January 31, 2012

Basketball, Art, and Breakthroughs

My weekends are anchored by little league basketball. Both of my grandsons, ages 3 and 5, are playing. Before it turned cold (although today it was 61 and sunny, reasons for it be damn, ya know I wasn't complaining!), I was taking the 5 year old to his bus stop in the mornings and after his bus arrived, I would keep on going (most days) to the studio.


I took much of December off and January's days were filled with more Nana duties in the day and evenings with the other 2 grand-delights.  As much as I love them, there is a very good reason for menopause...50something year old women should NOT have day in and night in care of small children.  But we now have daycare!!!!!!!! (and the crowd goes wild!!!!!!!!!!).  So now Nana and Papa just have the evenings with them. Ahhhh, much better.  


Last Friday was an art reception for Hope and Healing. Twenty-one artists donated work to a non-profit that serves women, men, and children who are victims of domestic violence and sexual assault.  I sent Urban Exodus (formerly Urban Egression) on "permanent loan".   (excuse the bad photography, it's the camera's fault ;D )


DSCN2958Carter and Anaya and my Mother went with me.  I could not have had two toddlers in tow without my Mama's help!!!  Here is Anaya saying "look look".  This is the only quilt she responded to...It is a Penny Sisto quilt.


DSCN2959Carter was going through the exhibit saying "wow, wow, wow".  It was mostly abstract work that he liked...the few he said he didn't like were realism in landscapes.  Here are snapshots of the two that "wowed" Carter the most.  


The ChitlinCircuit3The work on top was created by Keith Kleespies and my apologies to not remembering or being able to find the artist who created the work on the bottom.  


Negotiating Territory is now hanging in the newest gallery at Mellwood, The Kore Gallery.  It will be there until the end of March or April.   Lafta2


I'll be returning to some semblance of what passes for normal at the Studio.  I was there today for 6 hours...5 of which I hand embroidered 8 of the boats for a total of 13 completed...only 164 more to go.  I have to mentioned a breakthrough I had while stitching (Obama is going to beat the pants off of ANY republican candidate! okay, politics aside).  My breakthrough was this...I had been isolating embroidery thread colour within colour segments on the boats...and then I thought, why not use the thread across colour segments...use the thread to bridge the segments...here is my breakthrough in a picture:  DSCN2965



Friday, January 13, 2012

A day with angels...Lauren and Penny

Last Saturday I met up with Lauren for breakfast at Toast and after some great catching up conversation we drove over the bridge to New Albany, Indiana to see the Form Not Function Exhibit.  Just as we were arriving (and unbeknownst to us)  the end of the juror's gallery talk was going on and we were able to hear the last comments being made. Tomorrow is a family workshop on freezer paper screen printing from 10-12.


These are just my general observations from a first time viewing, but it appeared that fewer quilts were selected compared to previous years and that the lowest percentage was representation art compared to previous years.  I'll make more trips to the exhibit before it comes down in March.


After we left FNF, we went to The Gallery on Pearl where Penny Sisto has her latest solo exhibit, ANGELS.  I would have missed this if not for the mention by the Director at the Carnegie.  Penny has a diverse community inside of her and she expresses them so beautifully and hauntingly in her art.  She is giving a gallery talk tonight that I had planned to attend but the temps have dropped down into the 20s with a below zero wind-chill factor and Mama (meaning me) just can't cut it.


Penny honored me by using one of the fabrics I made at the Crow Barn as a background fabric for one of her Angels.  I didn't have a clue and would not have known if I hadn't seen the show.  Here is a photo:


Photo (4)


Photo (7)


Penny is among the angels in my own personal journey.



A day with angels...Lauren and Penny

Last Saturday I met up with Lauren for breakfast at Toast and after some great catching up conversation we drove over the bridge to New Albany, Indiana to see the Form Not Function Exhibit.  Just as we were arriving (and unbeknownst to us)  the end of the juror's gallery talk was going on and we were able to hear the last comments being made. Tomorrow is a family workshop on freezer paper screen printing from 10-12.


These are just my general observations from a first time viewing, but it appeared that fewer quilts were selected compared to previous years and that the lowest percentage was representation art compared to previous years.  I'll make more trips to the exhibit before it comes down in March.


After we left FNF, we went to The Gallery on Pearl where Penny Sisto has her latest solo exhibit, ANGELS.  I would have missed this if not for the mention by the Director at the Carnegie.  Penny has a diverse community inside of her and she expresses them so beautifully and hauntingly in her art.  She is giving a gallery talk tonight that I had planned to attend but the temps have dropped down into the 20s with a below zero wind-chill factor and Mama (meaning me) just can't cut it.


Penny honored me by using one of the fabrics I made at the Crow Barn as a background fabric for one of her Angels.  I didn't have a clue and would not have known if I hadn't seen the show.  Here is a photo:


Photo (4)


Photo (7)


Penny is among the angels in my own personal journey.



Wednesday, August 31, 2011

A Day at the Fair....

Its not the rides, cotton candy, or deep fried butter...its not the horses, music concerts, or 84,000 ton tomato...for me, its all about the exhibits.  I love seeing what people make, create, and collect throughout the state.


Last Friday, I spent the day browsing and even though I was there for 4 hours I can tell you it wasn't enough time.  When I got to the quilts the first quilt I ran into was from someone I use to be in a guild with.  Willie Pride, she had 2 quilts entered.  She buys all of her material from thrift shops and they are mostly men's shirts...she loves plaids!


DSCN2468
another Pride quilt below


DSCN2499


Below are some snap shots of things I saw and liked...


DSCN2463
aquariums exhibit...just loved the blueness of these fish.


DSCN2466
walking/hiking sticks (2 have been stolen)


DSCN2507
cake decor


and check out this cake meets political commentary


DSCN2510


DSCN2514 - Copy
antique fine china (it was the yellow cake set that wowed me)


DSCN2505
miniature kitchen in cross-stitch!


KY State Fair 2011
for Deb, my sister, you does heirloom sewing


KY State Fair 20111
art from recyclables (you might enlarge this photo to see the music conductor in coat hanger wire)


and art by LAFTA members


KY State Fair 20112


I was completely exhausted when I left there on Friday, so much so, that I was unable to make it to open studio for Trolley Hop.  I slept most of the evening and stayed in most of the weekend and Monday to recuperate...but it was worth it...where else could I see so much diverse creations in a public event under one roof???!!!!


And I made it into the studio yesterday and finally snapped pictures of my special gifts...so this will be a 2 post blog day! ;)


 



Monday, March 7, 2011

Lisa Austin, Artist Interview

DSC_1039
Lisa in her studio


Some weeks ago I spent a refreshing 3 hours in the Mixed Media Studio of Lisa Austin.  Artists who embrace Mixed Media with the pedal to the metal, full throttle down, give me wide-eyed fascination.   You see, they have serious collections of STUFF.  Unlike us who casually put together a mixed media piece simply because we can't bear to throw away pieces of thread, or buttons, or even the Dorrita chip bag...noooo, they collect serious STUFF! 


Lisa's space did not disappoint me...I hope you enjoy the interview!


_________________________________


Davis: Describe how your childhood as it relates to your art making and creativity? What were your influences?  And how do you think growing up in Louisville influenced you as an artist?


Austin: I had no influences growing up. In fact, my parents and family never encouraged creativity and made fun of it. I was not influenced by Louisville at all. I began to be influenced when I moved to New Mexico in 1977 and worked on a Navajo reservation. 


 Davis:  What are some of your memories growing up with engaging art?  When did the interest become a engaging one?


Austin: Going to the Speed museum with my boyfriend every time we could when we were students. He really encouraged my love of visual art. I did get a minor in art history but never took a studio class until I was 34.


DSC_1037


Wall of Inspiration  


Davis:  What led you to your choice of medium(s)?  And what/who were your influences in those mediums?  And how do they relate one to another, if so?  What other mediums have you attempted?  What does it mean to be a mixed media artist?


Austin: I was a studio potter for twenty years and got arthritis in my neck and had to retire from that. I hated having to do that because I was at the top of my game. However, I always knew I couldn’t keep dragging around hundred pound bags of clay much longer and always said I would quit when I was 60. It happened when I was 50. In the back of my mind I thought I would be doing fiber…it reminded me of clay, very tactile and flexible.  I love color but when I tried to work with fiber, I really missed the third dimensional quality, A LOT! I had been collecting cool stuff for years and as I looked around at the mixed media being done I knew I could do better, started and never looked back. I love Ed Klienholtz and Joseph Cornell. They make such contrasting things. Ed makes whole rooms and Joseph did small little boxes back in the ‘30s but they speak volumes. I had the great luck of seeing a Kleinholz retrospective at the Whitney several years ago when I was in NYC and I went nuts in there. I was talking to myself and running around. I did not look like a sophisticated New Yorker for sure. I saw the largest collection of Cornell in Chicago at the Art Institute a few years ago and was so disappointed. They looked dusty and beat-up.


Austin continued: What it means to be a mixed media artist is you get to be insulted a lot. I hear “I could do that” more than I care to and I think to myself “go ahead. You can’t.”  It is much, much harder than it looks. There are lots of people out there who get magazines and get “inspired by them” but I can tell who reads which ones because their work is often very derivative. But they think they can do it. The problem is: they frequently don’t do it well and there is not much very original about it. People who have junk lying around think they can too but usually it just looks like junk on a piece of plywood.


 Davis:  Describe your daily art making practices.  Include how your approach to design and what inspires you?


Austin:  I work almost every day on my art. At least five-six days a week. But I never stop thinking about it and being open to things that interest me. I keep a journal of words or concepts that intrigue me and I often turn to it for inspiration. I am always writing down new things in there. That probably comes from my background as a professional writer back in the day. I like to work with a theme since it makes sense to me somehow to work that way. My approach to design is really intuitive. I go with my gut and one of my greatest compliments was Jane Dunnewold asked me how long I had been a designer?  Then a graphic artist?  She was really surprised when I said neither. 


DSC_1035
only a smidget of the cigar boxes stacked and ready to go


Davis:  Artistically speaking, what challenges do you face and how to you (plan to) overcome them?


Austin:  I probably work slower than I want but that is because I am very particular about what I do, what I use, how it is done, etc. So it usually takes me a good week to make one piece. Rarely, does it happen quickly and sometimes I will tear it apart and do it over because I am not happy with it. I must like what I do first before I hope anyone else does. I have no plans to overcome this. It just is how I am. I do not want to make mass quantities of something so it takes more time.


 Davis:   Do you work in series? Or does each piece stand alone?  Share your reasons for either approach.


Austin:  Usually I work with a theme instead of a series. However, each piece is one of a kind. It seems to focus me. I would be even slower if I didn’t do it this way!


DSC_1032
the lazy susan method for button storage


Davis:   Share the milestones that mean the most to you as an artist.


Austin:  The first award I ever got many years ago as a potter. The first time I was in an international exhibit. The first time I was ever featured in a book.


Davis:  Whether it is the intent of an artist to become an entrepreneur, artists are thrown into the role the first time someone wants to purchase something they’ve created.  What advice can you share that speaks to the business side of art?


Austin:  I have several things I guess. One is: if you get “precious” over something and you can’t bear to sell it, keep it. If you are keeping too much then you are getting too precious about your work. Two: price what you think it is worth and then price what you want for your labor and consider what the market value is of your piece. Often they are far apart. If they are too far apart, you need to consider a more efficient way to work or else consider the fact you will have these for a long time until they sell. Three: if you are selling too fast, you are selling too cheap. Four: this IS a business, make no doubt about it and always remember that. Keep good records. Promote yourself. Be business-like and professional with your customers. Be on time and keep your word.


DSC_1033
frames hanging from the ceiling


Davis:  What are your future goals and what should we be on the look out for you in 2011?


Austin:  I have a show coming up in March at Tim Faulkner’s Gallery in Louisville that is called “The Art of Seduction” and it is vintage female nudes. I hope to start a wall hanging of my trip to Africa in 2006 and spend the summer working on techniques I have learned from Jane Dunnewold. I have half-screened stuff laying around that I have never washed. That is terrible but my knee replacement, this summer’s horrible hot weather, and then work has gotten in the way of my experimenting more with fiber. I am DETERMINED to work on that next summer so hopefully you will see more fiber work coming from me


DSC_1031touch the Buddha wall for inspiration


*******************************


Lisa's show, The Art of Seduction is hanging at The Tim Faulkner Gallery and will run through March 30th.  The opening reception is this Thursday, March 10th from 6pm-10pm, 632 East Market, 502.381.1314.


Lisa austin nude
Emma, by Lisa Austin


Lisa Austin's Website.


 



Monday, January 31, 2011

time...travelling

Yesterday we (Ade and I) finally got my supplies back into the studio.  The weather improved over the weekend but its predicted to turn nasty on Tuesday.  The studio is a 240 sq. feet of MESS! but it felt soooo good just to be in the space even though I wasn't there even long enough to take my coat off.  On our way out I ran into a new tenant, Don, and chatted his head off.  I'm a fairly reserved laid back person but there is something that happens to me when I'm inside Mellwood...I have these spells where I become a chatty cathy...when it happens I'm totally comfortable, but it always makes me notice myself because it is out of the ordinary for me.  Anyway, Don is a painter, who has a corner studio with wonderful natural light.  Mellwood has started a blog.


DSC_0708


I also made it to hear Jane Dunnewold give a juror talk (she juried the LAFTA exhibit there) at the Patio Gallery in the Jewish Community Center with Mo and Petra in tow.  It was a great crowd but not so much so that it prevented me from introducing myself.  I identified with her perspectives on art-making and I have my fingers crossed that this will not be Jane's last visit to Louisville.  She is teaching her second workshop today and tomorrow on lamination.  I didn't feel the need to take that since that is what I did last year at the Crow barn and that is what I've been doing since my return.  The exhibit itself is one of the most well selected exhibits I've ever seen and had me questioning my relation with colour...no answers...but it is a "bright" exhibit and I see my own work as "subdued".  But I'm always reaching for intensity in colour which I don't think I've achieved yet.


As for making a prediction to returning to doing what I do at either the basement or the studio, I'm refraining.  I'm going to try to be loose enough to go when the weather is less threatening to me health-wise and be satisfied with that 'til the season breaks.  I'm still collaging and sketching and working through some of the exercises from The Learning Curve Curriculum here at home.  Now that I'm home alone during the day I've been spending a lot of time travelling the 'net on all subjects that interest me, genealogy, furniture painting, junking, cooking, photography...whatever strikes my fancy for the day.   Here is a recommendation from my travels: The 1st Annual of Iranian Contemporary Art.   My personal favorites from this collection are the works by Hamed Behrozkar and Raheleh Filsoofi.


Peace,


"Art thrives in constraint but dies of liberty." - André Gide.


 


 



Monday, October 25, 2010

The Rent!!!!...is too damn high...

This piece was dye painted last week.  This is the fourth layer of over-dyeing.  In this picture it is still wet so I know it will be a tad lighter once it dries.  The effect is full of intrigue and mystery and I can see it paired with a smoky gray and a deep red for speaking to the root of turbulence that life sometimes holds.


DSCN1621


 I've been wanting to get that rich, saturated depth of colour that I see in some quilts.  I purchased a red piece of fabric from Nancy Crow and she said she dyed it 4 times with 4 different reds to get it. My piece batched over the weekend and I steamed it today and will wash it out tomorrow.


Last week I batched AND steamed to see if it makes a difference and I think slightly it does but since I was not doing a controlled test, its hard to say for sure.  I also was a little heavy handed with the dye powder too, again, not really controlled testing here.  I also think I need to get a tighter woven pfd to get the depth I'm seeking. 


Elmer Lucille reminded me that Ed Hamilton and Sam Gilliam along with Mr. Gilliam's older sister, Lizzie Miller, were in conversation last Thursday at the Speed.  It was 6 when she told me on her way out and I was still dyeing, so hurriedly cleaned up and made it over 15 minutes into the program.


DSCN1629
I wanted to introduce myself after the presentation...I know Mrs. Miller from my days of working as she stays active in her church and wider community organizations involving human services.  I really would have loved to have a photo with Gilliam and Hamilton but folks swarmed the stage afterwards and I was physically beginning to drag.


Sam%20Gilliam%20Carousel%20Form%20II%201969_jpg SamGilliamLightDepth
These pieces are huge by Gilliam. He said this came about from a question he was asked by a bar mate where he hung out at the time who asked him "why bother to stretch your canvas before you know the painting is good".  I recall reading that he kept wanting to get away from the limitations of the "frame" during his retrospective show here.


The other statement I took away from the presentation was the need for the artist to be larger than their art by getting about in the world in order for the art itself to have substance, the ability to speak to the human state.  He felt that installation work has gone on too long and most of it lacks substance.


Hamilton still resides here in Louisville and one question he says he gets asked frequently is "why he never left?".  His opinion is, "if the work is good enough, it will be found". 


I never want to be guilty of over-romanticising the past, but one of the things they spoke of and Mrs. Miller validated about the early years here in the 50's was the comraderie and accessiblitity of artist in the community.  I wasn't born until '60 but I grew up being able to identify, even if I didn't know them, artists, poets (who I would come to know) in the community.  Is it the same today?  Not really sure, but it doesn't seem so.  


*****************************************


I've been trying to upload this post since Friday...the problem was the browser...Peter switched over to IE9 which is still in beta and Typepad doesn't support it yet...I'm using Google Chrome and the problem is solved.  I'm so very much an end user...I just want the computer to work the way I anticipate is should, ya know?!  


Every day for the last 2-3 weeks I've woken up to a different resolve about moving from my current space in Mellwood...take the other space, stay where i am, take the other space, stay, other space, stay, yada yada and on and on.  IF I do decide to take the space behind me, it will not be until the end of November.  The Tenant's Council is promoting the Friday after TG and I wanted to stay in my current space for it.  


Today someone cleaning out there space gave me a great desk that was on its way to the dumpster.  I had to move stuff around to accommodate it and today I was like, moving around the corner isn't worth it.  I was whooped when I finished and I really didn't do that much!  I relaxed enough to clear my head and think about "whats next?" creatively which lead me to writing on fabric.  There is a November 1 deadline I want to meet but I'm not sure I'm going to meet this one.  I hate to blow it but my focus is split this week over items that require my attention outside of art-making.  


DSCN1632
The title of this post has nothing to do with what I've written...I just like saying it :).  I'm really tired tonight...sleeping in tomorrow is on the agenda.  Peace,


 



Wednesday, August 18, 2010

Chitlins', Art and Holiness

Yesterday I had to absolutely go into the studio...although I was there last Friday, it had been 3 whole days without being able to be there or in the basement workshop.  The longer I'm away, the more sullen and surly I become and then I am pressed to summon up energy in surpressing those feelings and behaviors in order to maintain some appearance of civility and sanity.  When ideas are calling me I see stitching, design, quilt possibilities EVERYWHERE...on buildings, dashboards, road construction, billboards, etc, and getting back into my space becomes a near obsessive CALLING.  After I left there yesterday to return back into the world, I felt like the best of me again and welcoming to interact with other human beings again. 


I worked on one of the studies I mentioned in a previous post.  A study that now has a specific vision.  A couple of years ago I was enamored with making silk paper.  Some time last year I started stiching on it just to see how it takes the needle and thread.  I've shown snippets of this particular piece before.  It keeps intriguing me but yesterday I knew the piece had found it's voice and I was listening.  This piece was talking to me..."order the stitches a little bit more Karen", "redo that line of stitches", "repeat the shape below", "take it down further"...and then from my own voice a phrase from one of my poems came to me while stitching and I knew it was the title of the piece...PRIMORDIAL WOMB.   When I picked this piece back up a few weeks ago I was working with the title of Amoeba and I thought the stitching would be a combination of hand and machine.  But yesterday Primordial Womb said all hand stitching and I chuckled at the idea of me doing "slow cloth".



DSCN1467
DSCN1469


While winding down I pondered what I was experiencing...a conversation, a dialogue, with something I was creating, something that many may view as an inanimate object.  From there I was led to how some cultures hold views that everything has spirit and everything is connected and when we, as artists, enter that realm and practice this belief, are we not entering Holy space?  Estella, my sisterfriend, wrote "poets mostly talk to God..."  I've read on blogs of visual artists and in conversations with artist-friends who speak of being in "the zone".  Personally, for myself, that zone is a communion with God and my time in the processes of creating art is an offering, an invitation for God to enter.  Even when I'm piddling (its a matter of showing up), even when things aren't working out (its an effort in maintaining belief), even when I'm doubting myself as an artist (its the questioning that leads to answers), even when my well seems dry and cracked (its the silence and space I need at that time for something fresh to enter). 


I was thinking of changing the name of my studio to "The Chitllin' Circuit" which I think is brilliant on lots of levels.  First, the space is housed in what use to be Mellwood Meat Packing, later Fischer's Meat Packing...the hogs where actually slaughtered there and the building is just a spit-throw's distance from the neighborhood known as Butchertown where historically, slaughter houses where located (they are all gone except for one).  When my children where younger and we would pull up behind a 18-wheeler of live cows (usually on Sunday evenings the trucks would begin lining up to unload) and the eyes of the cows could be seen peeking out from the holes, I would say to my children, you are looking at your hamburger.  I'm surprised not one of them are vegetarian but my point was to drive home the animal sacrifice that was made for them to enjoy their food.  I had a ceramics teacher in college who lived on a farm in Indiana and they raised the food they ate including meat.  He purposely wanted his children to participate in the slaughter of the animals so they would hold a deeper appreciation for what it took to get food to the table and not be ignorant to the facts.  Conceptually, this city girl thought that was kinda cool.


But I was talking about "The Chitllin' Circuit".   This was also the name that African American artists gave the route of venues mostly throughout the south that they could work in...months on end travelling from one spot to the next.  It was a difficult and hard way to make a living in the era of racial violence and segregation. As a cultural, historical, and geographical connection, I thought the name to be perfect.  But weighing my views on art and holiness, the current name will stay until a time, if ever, I can change it.



Friday, July 30, 2010

Standing Again

I returned to the studio last Friday for the first time since my father passed.  Being there gave me back the feeling of standing on solid ground.  I did a sheer lamination that put the be-bop back in my hip-hop.  I used the same Adinkra symbol for law, order, authority, balance that went into Crowbonics:The Scroll and screened the medium through the design in soy wax


Img039


The cloth underneath is a Jacquard that Peter brought back from Nigeria some years ago.  Not sure if it was made in Nigeria.  I'm recalling a documentary that discussed African fabrics being manufactured elsewhere.  Peter pointed out that the jacquard is much more valued than the adire cloth I asked for.  Adire is considered a "common cloth".  (Being the peasant woman that I am, that figures.) I will put some hand-writing/symbols on the jacquard.  I'm leaning toward this one being called The Songbook or The Hymnal.


I had "ummm moment" last Friday when I was in the studio.  Two of the coolest women stopped in and enjoyed looking at the work I have displayed.  One was a quilter from Columbus, Indiana and the conversation was uplifting and affirming.  I invited her to come down and dye with me when she thought she was ready to start.  I get pumped talking about my processes more than any other aspect of conversation about my art.  I'm really not set up or focused on selling from the studio, so when she asked me how much for one of the 6"x12" pieces, I shrugged my shoulders and said "make me an offer" or something in that vein.  And yeap, she thought it was just as strange reply as you're thinking it is right now.  I've been thinking about my response since and I know I need serious help to get to the business side of all this, but I've said it before, my energy is limited and what energy I have, I'm devoting to art making.  Its not that I don't value my completed pieces, I do, but its the process of making that is more relevant to my well being and it is a conscious choice. 


There is an organization here that supports artists with disabilities and I've spoken with them back in 2008 when I was looking for space still.  They've since moved and are closer to me and near Mellwood and I'm thinking I'll return before the year is out to see what marketing services are currently available. 


This week I've been pushing boulders up a moutain...in the midst of a fibro flare and yesterday was the worst I've ever experienced.  I had to use a cane to get up the steps.  It humbled me.  I had to miss a meeting I was looking forward to at the library for feminists artists.  Its so rare to be able to hold discussions about art making and what factors come to bear as I live trying to be the strongest me possible. 


Other than the lamination sheer, I spent time finishing up these postcards with beads.  I'm undecided whether to complete them as postcard art or small art only. 


Img043
Img044  --------------------------------------------------> this one is my favorite----------------------------------->



Wednesday, May 26, 2010

Crowbonics: The Scroll

Img023
detailed view (c) 


 


 


by Karen R. Davis (Karoda)


seamless_skin@yahoo.com



Louisville, Kentucky


2010


40.5 inches x18 inches



whole cloth with laminated sheer.


hand-dyed cotton; medium weight stabilizer; wool batting; Jacquard cotton; rayon , cotton, and metallic threads; polyester sheer; paper, textile medium; fusible web.



After hearing a 2008 NPR segment on the intelligence of Crows, I became captivated by the rich black birds and wanted to rescue them from their oftentimes less than favored status.  My intent to represent the American Crow for this exhibit was further shored up by the sadness of the absence of information on James Audubon’s mother which I surmised was due to her race, class, and gender.  I even went so far as to project Audubon’s love for birds and being in the wilderness as a spiritual restlessness caused by not knowing her.



Crowbonics: The Scroll is the first of what will be 3 pieces depicting the culture of Crows.  The Crows are the marginalized birds with their own values and ways in the world.  Those not privy to them, often see but do not understand. To the Crow, it doesn’t matter; they carry on, surviving and making their presence known through their distinguished song.



$2800


 


**********


 


There were 5 starts to the Crow piece before this became the one that felt completely right.  It would not have been possible without attending the Paper Lamination workshop at the Crow Barn last month.


 


I will not have time to photograph the full size until its return, but the detailed image is a good representation of the entire piece.



Wednesday, April 7, 2010

Basting

Img004


Basting, it has to be basting. When I ask myself what is the least favorite thing about quilting...I believe it is basting.  Its important but tedious...tonight I went with 505 temporary adhesive paired with saftety pens (pins?).  Quilting the stones is my favorite pattern for the texture it creates although here on the screen it looks flat...could be due to the circles not being tight enough, thread colour too close in value to the background, or that the middle layer is commercial felt instead of batting, or all of the above.  


This working intuitively with little to no pre-visioning on the outcome is working for me of late.  It might change again sometime and I might go cerebral at some point but just flowing when I am here in The Basement is working.   The painted fabric (above photo) is one that was eliminated from consideration for the Crows.  Its my aim to have this finished by the last Friday in the month for F.A.T. (Frankfort Avenue Trolley Hop) Friday which is designated as the Derby Hop.  I'm not sure if Mellwood will do anything special but I'm expecting that they will...a tenant's meeting is coming up next week and I'll get the scoop then.  I'm feeling a little gutsy (or just crazy enough) to hold a "Grand Opening" that night which gives me three weeks to plan.  I spent yesterday, pretty much all of yesterday, trying to recall how to create and merge layers in Photoshop in order to produce one mock 4"x6" postcard...if you click on the page heading for The Beauty of Holiness you can see what consumed me in time and energy....darn near an entire day squeezed into a 4"x6 piece of paper!!!!


Img005 
(sectional view) 12"x12"


Sorry, Ade, but I'm not going with Languid for a title.   Try again.


Peace...



Swatching it!

Well, well, well...look who is swatching!  The plan (here goes...) is to knit my grand daughter a sweater.  This will be my first knitted ...