Two From One

These were created last month and came from one piece. I tore the original in half. If I have a picture of the original I’ll post next time. Similar theme but now two quite separate pieces.

Incorporating more writing/calligraphy in my work.

new work since…

it’s been a while since I’ve posted but between my day job and my life coach certification program i’ve been busy BUT not too busy to make art and write. i’m at the mid-point of the certification process and several things are clear:

  1. my creative practice is key to my co-active coaching practice. i knew that intellectually but the certification process (we work on our inner life as much as we work on the techniques of coaching) has solidified that knowing.
  2. all i’ve ever wanted to do since i was a child is express myself creatively through making visual art and writing. that’s it. that’s the core of everything.

not that i don’t want to do other things. i do. i want my work in the world to be of service, and i want my creative expression to be central. does that mean i want to make art for money? leave my day job? i don’t know. but my inspiration today is, if i make creative expression through writing and art central to my daily life practice along with meditation many things, including my work in the world, will fall in line. i won’t have to make things happen. things. will. simply. happen.

experimenting writing in lower case. i do it in my poetry. it’s becoming a preference.

Narrative Themes

I have an idea to create a series of narratives based on themes, like the Seven Sorrows of Mary, or themed sequences, like the Stations of the Cross. Also to look closely at the gestures used in these paintings. I discovered a book called Gestures of Despair that examined shared gestures across medieval and renaissance art. Symbolic gestures were developed in part because, though few could read words they could easily read gestures. Gestures fascinate me. We forget how rich and utterly human they are.

I recently heard a woman who receives dialysis tell a story. One day, while in the hospital, alone in her room and in great pain, a nurse came in to check the machine–her brusque manner made plain she was very busy. She barely looked at the woman and didn’t speak, but on the way out, she stopped, turned around and went to the woman’s bedside. The woman’s voice broke as she described the nurse wordlessly, gently brushing the hair from her face, and for a moment cradling the woman’s cheek with her hand. I was in tears listening. An example of the power of gesture.

Breakthrough! (07.14.15)

Apologies for so many posts–catching up with the backlog. And I’m very excited about this breakthrough.

Working with a process suggested by my advisor, I took an image from my Macaulay Sketchbook (I name sketchbooks based on the the name of the book I’m drawing in. If it’s ledger, then the date it was created.) and developed images/words from that starting point. The initial image had no particular meaning, I was simply attracted to it. Images are set up in the order they were created. The last 2 images are monoprints that are (finally) outside the sketchbook.

Script above No 52-53: two mouths yawning in opposite directions

Calligraphy for No.58-59: a tableau a table a hungry mountain spewing spewing like a volcano but not a volcano just a table and a hungry mountain

Script for 2 anvils: a table a tableau ghost of a table a mountain an anvil a place of beating into submission the fruits of the earth

I’m excited by this process that offers a direction and way of working.

Getting Out of the Sketchbook (07.07.15)

I visited my parents in Bellefonte PA the last few days so behind in posts, but before leaving I made this image…

fighting monsters -collage and paint on paper mounted on board, 10x15",

fighting monsters -collage and paint on paper mounted on board, 10×15″,

Finally getting into the “flow of yes-ness” the place my advisor, Deb Todd Wheeler encouraged me to go.

One goal this semester is to continue experimenting and drawing daily in my sketchbooks (usually old books and ledgers), but another goal is to get work out of my sketchbooks, so, à la Tim Rollins and KOS, I mounted 2 spreads from an old ledger onto cardboard, then, using a work practice in the Dada tradition (will elaborate in later posts), randomly pasted two pieces of paper (the monster “heads”) and worked into them with ink, gouache and collage elements. Working this way also mimics the sketchbook environment so conductive to my creative process.

My actions weren’t totally random. I had an idea I would draw these monsters (images I began drawing when the US invaded Iraq), but this was a first attempt to transfer work out of the books and the result feels successful. So much fear and hesitation bound up in even trying this but I did it. It’s freed me to begin using the sketchbooks differently as well. More on that, and on discovering my links to Dada and Surrealism, in upcoming posts.