Collaboration and Co-signing

I've read articles about women who began their artistic life past their 40s, 50s, and well into the Crone years.  Although I began way before those decades of my age, I am thinking over how my creative life has changed and wondering if it's post-cancer, over 55, or living with illnesses or some combination of all three.

Unlike some cancer patients, I couldn't engage in my own artistic endeavors and once again found crochet, following patterns created by others, as a way of staying calm and relaxed.  My own art is on-going decisions and questions and physically engages my whole body and being.  I gave myself a pass last year and was alright with that....but kinda imagined myself going gung-ho (I wonder where that term originated from) in my basement studio.  My days creating remain hit and miss as the basement is colder than I anticipated, even with a heater, and the lighting, even with supplements,  is sub-standard.  But I've been getting a little something done and thankful for an opportunity of a collaboration, I completed my first art quilt of 2016.  

THE COLLABORATION 

This collaboration really highlights the beauty of the internet and social media.  Some years ago I was interested in doing a group art project with a few girlfriends and was looking for short term art retreat spaces and contacted the owner of A.I.R. Studio Paducah.  The retreat didn't pan out but he became a reader of this blog and we became friends on Facebook.  Hi Alonzo Davis!  He was invited to create a piece with The Smith Center for Healing and the Arts...a Center he was familiar with...after we had a phone convo and looking over the call for the exhibit we knew this was something we could create as a team instead of the invited artist interviewing someone and then creating a piece based on the interview.  The medium that all the artists were given to work with was a wooden cigar type box.   Alonzo had the outside and I did the inside.

My process was first to flip through my sketchbooks.  I found this image based on a poem I wrote in the late 90s or early 2000s and the poem was based on an African folktale I read back in the 80s. Getting in my groove, I adapted the sketch several times, played with different ways to transfer the image onto cloth....

and the weather was unseasonably warm during this time too!  

The poem and the drawing illustrate the ability to change, adapt, camouflage if necessary for survival and growth ...my great-grandmother would say "if you don't change, life will sho' change you" and this was always co-signed by my grandmother and my mother.  My very good sistah-friend, Estella Majozo, use to say in reference to writing (and life) "it's all process, all process"  Living with chronic illness and then coming out of cancer has me co-signing with "Lord, yes!" to both of them.

After I mailed my small 8 in square piece to Alonzo and he mailed me back the photos of the finished piece, all I could think to say was I want to buy it now..:)

It was a beautiful experience with a beautiful outcome.

If you live in the D.C area, you should consider attending the opening and acquiring this piece....it is the only one that was the collaboration of work by two artists!

ALCHEMICAL VESSELS 2016

Knowing

I've always said there is knowing, and there is Knowing...actually many levels of knowing.  In preparations for the exhibit in September, I've learned some things:

1. For collaborative exhibits make sure everyone has in and has ownership.
2. In estimating time to prepare, figure it up and then double it.
3. In estimating cost, figure it up and then double it.
4. Know the gallery and clarify what work is un/acceptable.
5. Family...you got to love 'em.
6. I'm not ready for a solo exhibit.

There may be more lessons to come before it is over, but these 6 bits I've taken to heart and soul.

August has been all about hand and machine quilting.  I haven't been able to use the summer for any dyeing or breakdown printing or any surface design of cloth at all.

Minor but significant challenges have centered around how to hang a few pieces that are mounted to rag paper without running up the cost.  Joann's gave me an estimate on one for 110 dollars and that was without glass and with the 50% off.  I have come up with 3 other options but haven't settled on any of them.

Material Remains(c) hanging on the line in my studio

The gallery for Ron and me is owned by a religious organization and they prohibit nudity.  I knew that going in but my idea of nudity varies from what gets defined as nudity.  Here I am thinking "nudes" as the man/woman splayed full frontal for all to see.  Here is one of Ron's pieces that was eliminated.  One that I love a lot and just didn't figure in my equation of nudity.

Untitled by Ronald "UPfromsumdirt" Davis 

I'm going to offer it along with another one of his pieces that is more like a cartoon drawing which was also eliminated to The Kore Gallery.  It might be too radical for The Kore also, but I have a relationship with the gallery and I'm going to present Ron's work for their voting procedure.

What a relief!

The conversation across the nation is about weather in some form or another.  After a 10 day run of temps in the high 90s and over 100, it rapidly dropped along with the humidity causing scattered rain storms, but what a relief, I tell ya!

My hours in the studio are awkward. Today's hours were from 6:30pm-11:00pm.  I could have stayed longer but I had reached a point that I needed to rest and think about the 2 pieces I worked on this evening. When I push myself to go forward at the point of uncertainty, I usually flub it up.  These 2 pieces couldn't be any more different...

The top one being an abstract landscape. It is heavily layered with mixed materials and is evolving intuitively.  The bottom piece is Oliver Lewis, the first Kentucky Derby winning jockey in 1875.  I keep drawing him over and over in different ways using different media. (you can google him to see the reference photo I'm using)  With this piece I'm more conscientious by being more deliberate, moving with a slow hand, and thinking more about value, light and shadows.  When I ask myself which one is most representative of my spirit, I answer the top one...but as for the processes both are very representational of why I enjoy doing what I do.  And the transition from one piece to the other was a smooth one.

On Tuesday...

Missing more than 2 consecutive days from my studio results in discombobulation when I return.  So this week hasn't been as productive as I envisioned it would be last week.  I've finished the top for the Oliver Lewis quilt and am working on a 2nd quilt top (also of O. Lewis) that will be done in Dye-na-flow paint.  I applied No-flow to the cotton top today and hung it to dry.  No-flow prevents the Dye-na-flow paint from wicking on the cloth.

I pulled from my pile of unfinished pieces to audition threads for this piece.  The size is about 24" x 36".  I thought it was going to be easy peasy tight straight lines but after a closer look I'm thinking not....

the bottom is cut off.

This is wipe up paper towels collaged and laminated to white cotton.

auditioning threads

Auditioning threads

Auditioning threads

  To consider some wonky geometric thread lines I doodled and played around with color...

 Tomorrow is a health advisory due to heat and high ozone...Other than going to the eye doctor with Peter, I'll be at home tinkering with digital images.

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!

another Pride quilt below

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

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

walking/hiking sticks (2 have been stolen)

cake decor

and check out this cake meets political commentary

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

miniature kitchen in cross-stitch!

for Deb, my sister, you does heirloom sewing

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

and art by LAFTA members

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! ;)

 

What can I say...I'm just an elliptical kinda woman...

It all started yesterday...I was trying to get the idea out of my head onto a piece of cloth that I was trying to salvage and wondered what would happen if  I wrote with school glue directly on the fabric as the resist and then after it dried, spread a layer of jacquard discharge paste over it.  So today I scurry in to apply the jdp and this is what happened...

before

 after
Discharge paste doesn't discharge metallic fabric markers...a tidbit of info that means nothing at the moment but seems like it could come in handy down the line.

More layers are forthcoming, but I'll not try this again as the dp just bullied the glue and the glue dried overnight.  In the past I applied the glue directly to a silk screen AND for the time involved, because it takes a long while for the blue school glue to dry, (typically a day), I am better off using soy wax which dries immediately.  

And these...(ellipis are my favorite grammatical mark...signifying the long trains of fluid but focused for me thoughts that I edit out to keep readers from suffering through the dips and peaks in my mind.  I've considered trying to refrain from using them as they are in just about every post I write, but at this point, it feels more like my trademark).

are in the washing machine along with a few other pieces.  The one on the bottom is smaller than a fat quarter and I used my new favorite tool (toilet paper insert) as the stamp.  

Oh, oh...another conclusion I reached yesterday...for batching dye painted fabrics, I prefer steaming the fabric versus laying it out in the sun, has less loss of colour/dye.  I've been tracking this for the last 3 months.  BUT, the steaming creates a strong odor when it is immediately unwrapped and rinsed but dissipates very quickly under running water.  So I now put on a mask for gasses when rinsing out.

 

Lisa Austin, Artist Interview

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.

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. 

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!

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.

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

touch 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.

Emma, by Lisa Austin

Lisa Austin's Website.