no woman is an island

Maria sends an email… I will be back in town next week and was wondering if you have any of your work on exhibit right now. We have friends coming into town for a few days and I’m thinking of things for us to do. So if you were showing somewhere I would love to take our friends. One of them is an artist herself.

I invite Maria, Susan and Laura to come to my studio.

As you might expect  anatomy study surrounds us. We talk the body for a good while. Laura personally relates to the newest kidney drawing sitting on my table. Susan wants to know about materials – the paint and paper.  I understand she has worked in woodcut and now does linocut.

Do you have any prints, she wonders. This question always confuses me. Do people mean a reproduction like a giclée or poster? Or do they mean an original print? I’m a printmaker. I stumble with the words … I have real prints, I say.

Maria wants to know about one particular small print. I’ve only thought about anatomy lately so I have to stop, change focus and think … considering the content of the work, I find it amusing. I can tell Susan and Laura do too.

Self-Sustaining Confusion, MM – Collage and hand-painted print, 12 x 10″

Here it is, in a nutshell:
The title – Self-Sustaining Confusion – I find in physicist David Bohm’s book On Creativity. I write the phrase on a piece of paper and leave it on my work table. Weeks pass and one day the rest of the composition formulates while I listen to NPR.  A scientist talks about the brain chemistry at various stages of awareness (or lack of) and I hear things like 69 unfolded proteins and limited real-estate in the brain. And that’s that, I pull out a piece of copper and start drawing.

We talk printmaking and intaglio. This is a dry point.  I use a sharp-pointed tool to  scratch the image directly on a copper-plate (I love copper!). Can you see it? ↓ The process of both printmaking and collage tend to free me up, work flows more stream of consciousness.

About this print in particular – If I recall correctly I pull 15 prints, only 7 of them are worth saving. In general the drypoint technique won’t allow for too many pulls, the marks are too irregular.

copper plate with drawing on it

a few pulls of the print

Each image varies slightly. This one is the first image I collage and paint in the series of 7.

We talk about California (where they are from), the ocean, and the desert. We discuss raising chickens (I learn some things) and having fresh eggs (Susan does).  Of course I bring up making  egg tempera paint. They leave my home with plans to visit Frank Lloyd Wright’s (Taliesin West).

Ladies, I appreciate our morning together. Thank you Susan for wanting to take home Self-Sustaining Confusion. It’s the last one of that series. Enjoy it!

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The blog posts titled No Woman is an Island acknowledge the people and/or organizations who support me and the work I do.

string

According to String Theory, what appears to be empty space is actually a tumultuous ocean of strings vibrating at the precise frequencies that create the 4 dimensions you and I call height, width, depth and time.
Roy H. Williams

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Space, as of recent I feel like utilizing more and more. The challenge is the physical space around my work won’t always be the same. I’ll only have so much control over what I can and can’t do.

Today – lines want to move out into a bit of space. I spend the day drawing lines and laying out string. I enjoy it, it’s quieting. I think about fibrous tissue, and energetic line – two different things.

I’m not the first person to want to take a line off a surface, nor am I the first artist who wants to control space – maybe on some level we all want that. I don’t know.

It’s all just a thought now. Let’s see how things plays out.

3 sheets of prepared paper, 2 sides to each sheet – 1 bird, 4 cats and 1 rodent

“For thirty years people have been asking me how I reconcile X with Y! The truthful answer is that I don’t. Everything about me is a contradiction and so is everything about everybody else. We are made out of oppositions; we live between two poles. There is a philistine and an aesthete in all of us, and a murderer and a saint. You don’t reconcile the poles. You just recognize them.”    – Orson Welles (1915 – 1985)

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I never liked this first set of 2 cats that I painted. I thought them too sweet. Yesterday I was talking to a friend about polarities, after that conversation I knew exactly what I wanted to do to these small compositions that I was struggling with. It’s the same cat on the front and on the back, taking up the same area on the paper. Maybe I call it Two Sides to Every Story.

As of now, this first one is my favorite. It’s organic. It came to be, out of uncertainty. The cat itself is somewhat modeled after ROA’s work. I set up the skeleton in egg tempera and the cat in graphite, underneath is casein muscle structure. The background came about while I was trying to obliterate it.

mixed media – casein, graphite, gesso, egg tempera

early stage, casein under-paint

early stage, egg tempera

egg tempera

I guess I let go of the self-imposed set up, the idea of one side in pure casein and one side in pure egg tempera wasn’t working. I got another set of designs (below) and reworked them too. The graphite took so well to the prepared paper, how could I not use it. I brought in hard and soft pencils, an eraser, sand paper, a scratching tool, and gesso. And I mixed the casein and egg yolk. The cat above and the rat below, are pure and painterly egg temperas. But their other sides – mixed-media.

egg tempera

mixed media – casein, egg tempera, gesso and graphite

I began all this the first week of May after Carolyn brought me a sheet of prepared paper. The first 2 images in this post are that sheet, it’s the lightest in weight and the most flexible and was the most precious. I was going to paint cats – for the fun of it. Obviously I enjoyed the surface of the paper, and all the mediums. I pulled out all my longer and softer paintbrushes. I painted.

3 sheets of prepared paper – 1 bird, 4 cats and 1 rodent later, my studio is a mess. It’s too hot to have egg yolk lying around, it smells. I’m done for now with the experimenting, drawing a day or a week, thing. Time to pause, look – and reorganize.

once again…egg tempera

Somebody asked me about egg tempera this week…always happy to talk about my materials. You only need three ingredients to make the paint.

Dry Pigment

Egg yolk

* Want to know how to separate the egg yolk from the egg white?  Click here and  watch my exciting play-by-play video. Its sure to have you on the edge of your seat.

Water

If  you want to read a bit more on history and my process, click on an earlier post about my materials, including egg tempera titled:  egg and milk

what goes on and what takes place…my turn

The artist Monica Aissa Martinez (that would be me…)

Awkward. Doing it anyway.

Materials
←In my hand is a jar of cadmium red dry pigment.  I’ve had it since grad school.  Good quality pigments go a long way. I mix dry pigment with egg yolk, and make my own egg tempera. I give the how to, plus a bit of history, both mine and its, in an early post. I write about my framer who once gave me a duck egg, and an ostrich egg (gag) to try out.  And I tell you about my other favorite medium, Casein, yes…the protein. For more about my choice materials click → a little egg, a little milk.

And even though I use paint, brushes and canvas, I identify myself as someone who draws.  It may have something to do with the fact that I never took a painting class. And I teach drawing. Or it may have to do with the fact that I use line, and connect the ends to make shapes. Then I fill in with more line. I wrote about this too → Notes on Drawing and Painting.

My other materials are drawing supplies…pencil color, artist crayon, graphite and large rolls of Arches paper, along with smooth sheets of BFK rag (drawing and printing paper).

The Studio

Well come in…

My messy bookshelf…I bought it at least 20 years ago, from an estate sale in El Paso, for all of $12.00.  It’s crossed 3 state borders, it holds books and special stuff. Best investment I ever made. Books…reading…influence my daily work.  I get an idea from an event: personal or social…react, research, paint. Curiosity. Why do we/people/society/I do the things we/I do?  Who? What? and Why?…read, write, draw…reread, rewrite, redraw. Realize.

Current reading material Rollo May’s, The Courage to Create. So I’m interested in creativity.  I do wonder if there is any originality anymore?  Does something mean anything?  Is anything sacred? The media would have you think not.  I beg to differ.

The Work
I’ve written about my current work as it presents itself, take a quick view if you’re inclined. If you’re not…no fret, see the work in its completed stage next February.

The idea presents itself.

It continues.

Grounding down.

More grounding.

The trunk.

If you did look…fyi…it’s all completely different now.  No, the whole design is not resolved. It’s being finessed. And retitled. I’ll hold that info for a later date.
One of the things that I do most of the time, is make more than one of everything. I work things just a bit different in each instance, I want to know my options before I commit. This is probably how one new work evolves into a series, in my case.

Back to What Goes On and What Takes Place. ↓

In some larger way this is all about where we stand as creative creatures (and/or destructive).  In this case, we choose to create for the good of all of us. The creativity is in the form of a visual, an evolving idea, community, slow but steady progress, a process, a give and take that’s natural, mutually respectful, and consists of continual interaction. Given the political culture these days, I’m sure there’s a societal lesson in here somewhere.

4 different woman…

→Mary, who works with our dessert landscape, organic matter, and new media.  →Myself, who draws and paints the human figure with egg and milk. →Carolyn, who connects to (and connects us to) animals thru her graphite.  And →Sue, who takes all these subjects and more, and freely and deliberately abstracts them

…step out of their comfort zone, to work and share, and create a new experience for themselves and for you, the audience.

WHAT: WHAT GOES ON AND WHAT TAKES PLACE

WHERE: MODIFIED ARTS

WHEN: FEB 18TH – MARCH 12TH, ART DETOUR

WHO: CAROLYN LAVENDER, MARY SHINDELL, SUE CHENOWETH, MONICA AISSA MARTINEZ

We’ll continue to share process and progress here, as it feels right to do so.

I don’t want to forget the various other creative forcesinvolved: →Kim Larkin and →Adam Murray, who offer the exhibition venue, →Modified.
And The →Ted Decker Catalyst Fund. The Catalyst Fund will support documentation and marketing materials. (Take a moment to click on the link, and look at the faces of all variety of creative people the fund has supported.)

To see a quick listing of the all the posts connected to this exhibit, go to → Modified’ upcoming exhibition page.

You can catch more of my work…
Now, at the Mesa Art Center, The Store (prints).

August, An Invitational group exhibition titled, →Converging Trajectories: Crossing Borders to Build Bridges, curator: Ted G. Decker.
Fall 2010, a solo titled, Works. Central Arizona College, in the Visual Arts Gallery.

↓if you missed them, continue on to the previous 3 posts…to see each artists studio, materials and workings↓ or click on their names above↑

what goes on and what takes place, the fourth artist

The artist Sue Chenoweth

Sue introduced herself to me years ago, at an opening. She came in early, shook my hand, and delivered thoughtful commentary about my work. Generous. I knew who she was because people had pointed out her work to me.

I connect to her use of color, the way she fills (2D) space, her use of line, her media and recognizable abstractions. I especially appreciate a quality of freedom she represents. This freedom of composition is uniquely Sue’s.

Right Now
Sue’s work is currently filling up space at SMoCA. The exhibition runs through September. It’s an innovative concept which has her art hanging alongside some of the museums permanent works, in an installation titled, Spyhopping: Adventure with Sue Chenoweth. Intelligent and fun, stimulating to eyes and mind.

Skyhopping Exhibit

Skyhopping Exhibit

The Exhibition / What Goes On and What Takes Place
Sue brings lots of energy to our project. Natural, honest, active and reactive. If she doesn’t know what to do…she says so. When an idea comes forth, she shares it enthusiastically.  I wonder if she might paint this way too. I respect her nature…creative, and in the moment.  She has plenty of ideas for the upcoming Art Detour weekend, and how we might interact with Modified visitors.

When she’s not making art, she’s teaching at Metro Arts, or at Phoenix College. She’s in the middle of moving, when the four of us meet for dinner, to discuss working together.

Not unlike the rest of us, she has a home studio. I love it here, she says.  I must  have my studio at home because I work in little spurts… all day long.  5 minutes here…half hour there… I keep it going all the time, that way I get things finished and have an ongoing  relationship with the work.  It Becomes my days.

I feel the same way. I wonder about Carolyn and Mary.  There are pros and cons to having a home studio.

…some photos of her variety of materials and her new studio space.

I ask about the doll house. The doll houses were in an installation called ‘Hold your Cards’ I had at eye lounge a long time ago.  I ordered them off e-bay.  It is funny how I coveted a metal dollhouse like the one I had as a kid and then got a BUNCH of them.

Both Sue and Carolyn were present at the start of eye lounge. She says of the experience, I was not in the very first show, but became a member when they moved into the Roosevelt space.  I was a member with all the original members though.  It was a great group.  I feel honored to be a part of the beginning. I had the very first show in the new building.  I don’t think there was anyone in the east gallery.

At our meetings, Sue expresses she has no idea what she’ll be doing for the exhibit. I jot her words into the upper right hand corner of my paperwork. Unknown to me, Mary photographs the notes. The photo amuses me. Why did this strike me  as something to capture? Because truly, this is the artists dilemma, we don’t know, until we do…know. It’s also the human dilemma.

I imagine Sue will wait to begin working, because some pressure appeals to her. Consequently I don’t expect to get an image of a work in progress anytime soon. But I do!

I have NO IDEA what this painting will be. I just know it is the start of a new series, but also closely relating and advancing on the last Spyhopping series of paintings. I never ever show this early stage of a painting so this is a rare glimpse into the underpinnings of my work.

…one more thing about each of us…we’ve chosen to document our process and make it a part of the exhibition…though we wouldn’t normally do this…rare glimpse sounds about right.

New Work

She continues…I try to make each layer just as good as the last, so as one peers into a work, it works all the way through. This one is a bit rough yet. No under painting. Landscape that is real but not real. Fragments of life and process showing what it is like to live in our world.

 

close up detail

I ask about her materials. She answers quick… All gouache on paper SO FAR.
Working title? I have no title yet. Size? This is just a starting place. The overall painting (on paper) will be 48″ x 50″.

…I only get starting places to begin…. I have been affected by the oil spill but do not want to make paintings about drippy birds etc. I know the oil spill is the beginning. I am looking at artists Neo Rauch and Thomas Hart Benton. Regionalism and in a way Hieratic scale with Benton..Maybe that is the wrong word to use, but it fits for me. I am also looking at the mosaics of Ravena which I often refer back to them. I like the way color shifts in the mosaics. I am trying to paint like that in places in my painting. There is another fresco that I find interesting and that is at the Basilica S.M. Novella in Florence Italy. Called the ‘Allegory of the Church’ the details of ‘Vices and other sins.” Love the way the different scenes are partitioned off so it looks a bit like a doll house.

While I’m completing this post I receive an email from Sue….For the show I  think I am going to make vacuum formed mountains like model railroad mountains but about 19 inches tall.  Some way smaller.  They would sit on the ground as if they are peeking out of the sea.
Another email follows shortly...It is just an idea.  I have to see where I can have these made and IF I can have them made. I am so so glad that we have until Feb to finish the work.

It’s all just an idea;thought takes on form, and becomes experience. Interaction follows. It’s what art making is all about.

We hope through the documenting and sharing of our individual process, you get a sense of all that may be involved in art making. Creating the whole exhibit, is a collaborative project.  Exhibitions will overlap, work succeeds, work fails, visits to the art store, the frame shop (me), the printer (Mary), the mountain maker (Sue)… Life keeps getting lived, gardens get tended (Carolyn), studios get dirty and cleaned, photographs get taken, discussions keep being had, agreements, maybe disagreements, thinking, rethinking, writing, sketching, working and reworking, details come and go…

This is an idea in motion, generated by four women artists.

WHAT: WHAT GOES ON AND WHAT TAKES PLACE

WHERE: MODIFIED ARTS

WHEN: FEB 18TH – MARCH 12TH, ART DETOUR

WHO: CAROLYN LAVENDER, MARY SHINDELL, SUE CHENOWETH, MONICA AISSA MARTINEZ

I’ll sum this up next time.  I hope to include my work in the mix. Come back.

Click here to visit Sue’s website.
Read the New Times review of  “Spyhopping: Adventures with Sue Chenoweth” at SMoCA Proves Life Is Just a Game

*Sue Chenoweth will be giving a Hands-On  Workshop at SMoCA, on July 1st.  For more info check their website.

Modified Arts.Org

 

what goes on and what takes place…and another artist revealed

The artist Mary Shindell

Don’t even know where to begin writing. Let me warm up.
I met Mary in 2005. We had solo’s in the same month. We got together to stuff envelopes for a joint mailing. She dropped into my exhibit, and I dropped into hers. high above the, was the name of her show. Mary’s not only a current member, but also a founding member of  Five15. Her exhibition consisted of a series of mixed media drawings of Sonoran Cacti. I recall being completely taken in by the drawing. I returned several times to take in all the intricate, meticulously rendered detail, of her Saguaro’s. I knew instinctively, she was also a Printmaker.

Mary draws, makes prints and then some…

It was while visiting her most recent solo, that I realized I wanted Mary to be a part of this project. Initially, the idea was 3 artists, a triad. Mary would make it a 4-person exhibit, a square. What caught my attention… line quality, texture, engaging structure, use of material, and intensity in process. Her use of new media, computer generated imagery and LED lighting, was added engagement. I’d spent the better part of that Saturday afternoon last January, talking to Mary about her process. She’d experienced challenges in both the creating, and the installing of the work. Her husband Rick (Is a pediatric orthopedic surgeon. He’s made stainless steel benches and tables for some of the galleries. He also rebuilds classic cars…the latter, is my husbands input…) helped her to design stands for her sculpture, her son helped her with electrical wiring, various tech’s helped her with the fiber optics, and others with the printing. Mary had problems, solutions followed, sometimes creating other problems, for more solution. I remember thinking…it really does take a village.

No woman is an island. Mary works well in solitary mode, and clearly, with other people too. I admire this.  The artist is an intricate part of the community, and vise-versa.

Afterwards, I spoke to Carolyn. She was more than receptive. She talked about feeling a kinship to Mary, from her work in the local art scene, to her teaching residencies, and art making. The grouping of 4 women artist, for our project, was now complete.
Note: Yes, She is the 3rd artist I tell you about, but she is the 4th one to have come on board.

The Sonoran desert-scape is Mary’s most obvious influence. Right now the plan is 2D  and 3D work for this group exhibit. I’m drawn to the attention she gives her drawing, in its entirety. She sees, she puts down! Again, as I’d noted in Carolyn’s work, with Mary’s too, there is a quality to the mark making and a connection to time.   Her 3D work intrigues me not only because of the new media, but also as you’ll see, it’s a direct evolution of her drawing process.

Mary’s process focused in traditional drawing technique.  About the computer influence she comments,  I was seeking a method to assist in the design and production of large public art projects, I set about learning to draw digitally. The vector lines were so fluid and the potential for manipulation and combination so vast that I began devising ways to use the digital imagery in my studio work.

Her studio contains both a drawing area and a digital workspace.

In a not too surprising detailed manner, she talks about materials and gives us a peek into her process. Here goes…

Her materials, traditional in general are acrylic, ink, graphite, pastel and  (BFK) paper. In new tradition, add in a digital pen, a scanner, and scanned photos and drawings,  the occasional LED light and occasional use of styrene.

Note: In photo below, a CD in the lower left corner, on the cart. Remember our dinner meeting? (click here if you don’t) We all discussed music as a necessary studio element. Mary and I both listen to Leonard Cohen in particular ( of course…I’ve written about him too).

Mary mentions things she saves. The photo above is her used pen tips. These are like trophies, she says, I wear them out making little marks and I keep them around as evidence of my work.
I get this, I save all my used paintbrushes and the last bits of my drawing pencils.

About this photo she explains,  I am spraying symbols that I have made from Carolyn’s (Lavender)garden. Graphic designers use clip art or vector graphics to make symbols, mapmakers use them a lot. I cut up scans of my drawings and photos to make symbols. I can have hand drawn imagery in my digital pieces, it makes them more like drawings for me and puts the drawing in a new , less precious format.

…a few material/ process photos…

I ask Mary about the pretty glove in this photo. …my ‘pretty glove’ is something I wear to protect the outside of my hand on the Wacom Tablet. It is hard plastic and after a few hours it hurts, I can also slide on the tablet better with the glove on-I also use it when I am drawing on paper for long periods of time although I never had to use a glove when I only worked on paper so I think it is the plastic tablet that is causing the problem.

This is scrap from cutting out ink jet printed objects, and a Bougainvillea flower, that didn’t make the cut.

Finishing up our process and materials conversation she adds…But I still love the precious so I work on the drawing board on BFK with graphite etc, in a way I feel like I can spend more time on the hand drawn imagery. I didn’t feel that way at the beginning of mixing the two processes.

And so it continues…what more is in this file Mary?
Mixing the two processes…it’s part of her plan for this collaborative exhibition. Come and see what she finely generates.

WHAT: WHAT GOES ON AND WHAT TAKES PLACE

WHERE: MODIFIED ARTS

WHEN: FEB 18TH -MARCH 12TH ART DETOUR

WHO: CAROLYN LAVENDER, MARY SHINDELL, MONICA AISSA MARTINEZ, and one more other.

Stay tuned. One more artist reveal on the way.

Some links below…
Mary Shindell Portfoilio
Five15, Mary Shindell
One final note…Mary Shindell voted #89 of our top 100 artists by The Phoenix New Times. Click here for article.

Modified Arts.Org

what goes on and what takes place…an artist revealed

The artist Carolyn Lavender

At the conception of this collaborative project, two artist are clearly in mind.  Carolyn Lavender is the first artist I meet and speak with.  I’ve admired Carolyn’s art work for a long time. She’s one of Eye Lounge‘s  founding members. We met last October, when her work The Woods, was up at Modified. In fact, it had just come down. It was in her car. She brought it out so I could look at it. We took it into eye lounge and then proceeded to spend the rest of the afternoon talking…about the work, art, drawing, teaching…politics, religion…stuff. Carolyn’s direct, she’s intelligent and open, and had plenty to say. Shortly there-after, she invited me to her studio. I assumed it would be a quick visit but again, we spend the entire afternoon talking about her art and art making. She’s generous and patient with my curiosity.

The Studio Upon arriving, I walk through her National Wildlife certified wildlife habitat (did i write that right?) front yard. She’s in a regular city neighborhood and her yard is a declared wildlife habitat. Cool! As I move through the garden, I observe the attention to detail. Unstructured structure, abundant variety, beautiful,desert…fun. Unusual in this area. I meet her cats and her dog.

I enter the studio… I’m going to skip the part about the first art work I see…I’ll get back to it later …
A slow 180 degree turn, to take it in. Then another.

Flashback: To a few years back: I’d love an exhibition opportunity with [some specific] artists I haven’t shown with. Lavender.
Flashback, but come more forward: In her studio, hearing about her process and looking at her stuff, the work… I want to work with this artist.
Flashback: To various points in time, I’m waiting, for an invitation to exhibit with specific artists (here in the valley). It’s bound to come. Curator? Gallery Director? Waiting…waiting….patiently waiting…
Flash forward: To one afternoon when I have lunch with Ted Decker. I share my thoughts with him. He says something like, Why are you waiting? Do it! Create the exhibit…all of you. Call them.

Flash: Call, I do. Carolyn agrees to participate and to help make it happen. She’s the one who will eventually contact Modified Arts and propose our idea.

back to The Studio I’ve said this before, an artist studio is sacred space. I don’t take the opportunity to visit one for granted. I’m fascinated by the variety of objects that surround us. Her shelves remind me of carefully laid out still life’s. A scientist laboratory comes to mind, as do Joseph Cornell’s boxes. Eventually she brings out her personal journals and bags of collage cut outs (photo below), the bits and pieces…of her process. It’s private, it’s her own, it’s magic and as fascinating as the finished works.  She cuts out and files photos, magazines, invitation images…you name it.  These become reference for work and some go into journals. It’s this particular memory that will eventually bring the Process element, into the exhibition plan. She brings a journal to write in, and she doodles, at most every meeting we’ve had. Like her yard…I see this as unstructured structure.

The Work Entering her studio I first make (eye) contact with a tacked to the wall canvas that has on it a gridded composite of small, graphite rendered, animal heads. Hypnotizing.
We sit at her drawing table. I look at cut outs, they’re sort of hypnotizing too. I ask about the canvas, does it have a name?

She calls it Portrait. She says in a matter of fact manner, It will be a grid comprised of 200 4” portraits of animals, each of which is making eye contact with the viewer. (I noted that when I stood in front of it) In my mind they are the equivalent of human “head and shoulders” framed portraits. The drawing resembles yearbook photos, but of animals. When I decided on this piece I had, for years, been doing series of self-portraits. At one point I set animal heads on top of my portraits (image below). For me animals have an equal importance in the world and it seemed that this visual arrangement helped illustrate that. The animals were more interesting because they were paired with my images and my images were more interesting because they each had an animal head. Finishing her thought, she says “Portrait” is my attempt to draw attention to animals, in a piece that has only animals in it.

Untitled
Media: Gouache, Graphite, Acrylic on Rag Board
33″ x 22″

Untitled
Media: Gouache, Graphite, Acrylic on Rag Board.
33″ x 22″

Meticulous detail, is one quality that draws me into Lavender’s work. Is that graphite? 4B? 6B? The line work is so clean. I am using 2H and F [graphite pencils]. I’m surprised. I am able to get darks because the graphite reacts differently to the modeling paste/gel medium ground. I’m familiar with modeling paste, I use it, but not with pencil. I’m also struck by a sense, or connection to time, the marking of it, the passing of it. As I look, I wonder out loud, How long will it take to complete Portrait? I complete one head per day. I’m not surprised, I say to her. You’re not? Oh good, I think I’m slow.

I teach drawing, carefully observing and carefully rendering, requires time. The work, each head, is striking. 200…! Two Hundred brilliantly rendered animal heads.

 

Detail of 'Portrait'

Speaking of time, Portrait already has a story and it’s not even complete.

Carolyn tells me that Portrait was conceived of, and started, in 2006. I have never started and set aside a piece of art the way I have this one. I started it in my Tempe studio, but then I drove it to Illinois, planning to finish it during a 2-month residency. But I could not draw fast enough to complete it for the residency. Eventually she returns to AZ and moves out of her (Tempe) studio. She then doesn’t have a wall large enough to pin it to. In the meantime she builds her studio. It wasn’t until May 2009 that I decided to finish it for the October show (at Modified, when I meet her). But after a few months of working it was clear that I would not finish in time. So “Portrait” may be the most satisfying piece to finish that I have ever done.

The Showing I’m jazzed to announce Portrait will make its much awaited debut, in our collaborative exhibition…

WHAT: WHAT GOES ON AND WHAT TAKES PLACE

WHERE: MODIFIED ARTS

WHEN: FEB 18TH -MARCH 12TH ART DETOUR

WHO: CAROLYN LAVENDER, MONICA AISSA MARTINEZ, 2 others.

The working plan for all of us, is to show one large major work, and smaller supporting works, that led to it either  in content or form. You’ll see a few of Carolyn’s self portraits, as supporting works for the larger piece.  Many details have yet to be made.
Yesterday, as we talk about things, we come to the conclusion that our exhibition is a project. A Collaborative Project. We move along.

Stay tuned. Anther artist coming soon!

Click here for  Carolyn Lavender’s Work, Bio, and Resume

You can see one of Carolyn’s drawings, at a group exhibit, this month, May 7th – 21st. 21 Days: Group Drawing Show, now at Pravus Gallery, in downtown Phoenix.

working in pastel

preparing a value scale

This post results from a note a drawing 2 student, who worked in Pastel, sent me. He asks if I can tell him what the technical term for working with pastel is called, precisely. I’d referred to it as drawing [with pastel], during the course of the semester. A drawing teacher, could say this. After his experience with it, he wonders if it might be more technically correct to say painting [with pastel], or in fact, could he be sculpting. I loved the question. He knows, he says, he is not pasteling. I understand he’s put his whole self into the process and experience teaches him much.

He picked up freedom with this medium, that he hadn’t been able to find with marker or charcoal. When he draws with pastel, his arm seems to glide or dance across his paper.  I say to him his instincts / his feelings, in fact, are all correct. Any of the technical terms he uses, could be accurate.  He could be drawing, he could be painting, and yes, he very well could be sculpting, on a 2 dimensional surface, with the medium of pastel.

learning local value with pastel

He notes that whatever it’s called…he absolutely and joyously loves it. With that statement, I decide since my semester with him is technically over,  I can write what I really believe he’s doing.

I tell him he is engaging in joy, thru the medium of pastel, on a 2 dimensional surface (paper/canvas).
I humorously add, I think the Dalai Lama would approve. I believe he just might.

I choose to continue, and discuss practical things, because I feel one can never know enough about safety, especially when it appears, on all counts, he’ll continue using pastels.  He’s bought himself several Rembrandt sets. (He does use both regular and Oil Pastels throughout the semester. Most everything I write here is referring to regular soft Pastel.)

I mention the importance of safety while working with the medium of pastel. By its very nature, it creates dust. Too much dust is a problem, to the lungs especially. Pastels are made of pigments and a binder, and pigments can be hazardous, the dust, specifically. Cobalt and Cadmium are beautiful, the blues and reds, and are highly toxic to the lungs, and kidneys.  Inhaling or ingesting is not wise. Another pigment, Yellow Chrome, contains led, and can be absorbed thru the skin.  Metals like gold, copper and silver can do the same thing. Mask (nose and mouth cover) and gloves are important with continued use of pastels.

The other thing about working in pastel, is that it is not a stable medium. Artists tend to fix it with an aerosol fixative.  Caution should always be taken with any fixative.  If you don’t have a ventilation system in your work space, go outdoors to spray, and still cover your mouth and nose.

Probably if you’re going to be working large, and drawing for long extended periods of time with charcoal, you might consider covering mouth and nose.

setting a ground

careful observation

almost complete

My students assignment is to reproduce an old master.  This is his rendition of Vincent Van Gogh’s, Skeleton Smoking A Cigarette.
Don’t get me started on cigarettes….

I suggest when working with pastel (or any other art medium), to research the material. A good book to have in ones studio, The Artist’s Handbook of Materials and Techniques, by Ralph Mayer.  BTW, according to my copy, working with pastel, would technically be called painting…
I still think he’s engaging in joy. Approached with thoughtfulness and care, it could bring many long years of happiness.