Everything Old is Nude Again

show poster

Old ideas can still stand naked in the light of a new day

What? Is tradition dead? Are the audiences for all-things-old-school mere cobwebbed shadows of the past? Thanks to a cycle of nature-induced and human-brewed disasters over the last decade or two and the sullen worldwide economy that has followed, every arts org and artist worth any salt has been kvetching and querying endlessly on the questions. At last glance, I haven’t noticed that fiscal fears and convictions of doom have done much more than renew what is, honestly, the eternally pessimistic or at least worried conversation of artists across the galaxy to its current iteration. We’ve always been convinced we were going to Hell in a Kardashian Kollection handbag.

That said, I notice that as ever, those who were operating opportunistically or on a whim are shimmying down the lines and flinging themselves bodily off the stern while the determined and/or stubbornly stupid prefer to let yet another wave of direness smash on by overhead and cling to Happy Thoughts. I share just enough DNA with Pollyanna to blissfully stick with my intended life-as-artist (meanwhile always keeping an eye peeled for safer income sources to support my habit).

The whole idea of dealing with insecurity by dumping the one part of my merely mortal skill set that gives me the most challenge and joy is ridiculous. Similarly, the last thing I’d contemplate is throwing out the foundational tools and techniques that press me to be more able and artful in my work. So while I’m always hoping to put my own spin on things, I’m happy to do so by retooling the classics: still life is–despite its cheery French name–not dead; landscape can be bland or it can open a window into enticing new worlds; and if the time comes when we lose interest in admiring ourselves enough to keep making marvelous artworks featuring the nude figure, I guess I will have to pack up my pencils. And no, despite my fling with “colorizing” myself in grad school, I’ve never lost my love for good old black and white and I’m currently going through a big spree of graphite-only stuff yet again.

This piece is an older one, too, but if you notice that it’s from a poster illustration for a production of ‘Arsenic and Old Lace‘ you’ll see that I chose to apply the old-fashioned approach of a still life to a long-known play’s promotion in what I hoped would be a slightly new and surprising twist. The idea was that people seeing the poster around town and thinking it at first glance a bland image would on approach find it a happily unexpected thing after all. I flatter myself that the number of posters that were subsequently stolen and required replacement before the production opened indicated some success with this surprise element. My life has certainly never lacked for elements of surprise for me, so why not share it with others.

Growth Spurt

Shades of Remembrancedetail of oil pastel drawing (face)

Mural detail

I’m going to see if I can’t put up a post every day for a while now. Some days I’ll just post an image or two (old, new, any medium) and other times, if actual thoughts or ideas occur to me I’ll make a supreme effort to get them into text before they vanish utterly like so many puffs of pixie dust. In honor of that concept, today’s drawing post is an older piece that represents a period of welcome growth that was spurred by my disappointment and frustration when I met with my chief studio adviser in grad school after a counterbalance of deadly dry time left me with little to show her beyond a handful of insipid scrawls that were mere ghosts of old ideas rehashed. In response to her admonition to ‘try something different’ I had a semi-hysterical bout of throwing out baby, bath water and tub all in one fling, deciding that the desperate measures I desired were a school of opposites. I’d been drawing 16″ x 20″ and smaller fussy (and excruciatingly slowly executed) surrealist still lifes in graphite pretty exclusively, and the exclusions came to include imagination and fun as I spiraled into frustrated ennui.

My solution: work large, explore a multitude of drawing media, work faster than is comfortable, draw subjects unfamiliar and intimidating, and quit critiquing unproductively midstream. It’s one thing to make small adjustments along the way, another to be immobilized by constant critical interruptions obsessing on the imperfection of my technique and execution–practicing past which was really the whole point of my doing graduate studies, after all. The result was that in the same several weeks it had taken to do the previous sad-sack batch of four or five drawings, I filled a gallery with walls about 5 meters in both directions from floor to ceiling with drawings, any one of them filled with greater energy and sense of adventure than the previous set combined. Not necessarily championship material every time out, mind you, but the mere act of pushing my productivity was a healthy kick in the keister for this would-be artist.

It’s entirely possible that my family and friends would have appreciated my taking a slightly less exaggerated approach to the change-up, since it resulted in massive amounts of large-scale (including a number of up to 9′ x 15′ and 4′ x 20′ murals) works that led, at the end of their assisting me with the installation of my thesis exhibition and lugging said works hither and yon, to whispers among them wondering why I hadn’t opted more kindly to become a skilled miniaturist. Or found less overworked relatives and friends, at least. But in the end they were all incredibly supportive and enthusiastic about my starting to learn how to manage my life in art production, and I learned perhaps the most important lesson I’ve fallen into yet, which is that the Muse requires equal ass-kicking; inspiration rarely happens without the regular pressure of constant and assiduous practice. If I think I’ve gotten to the point of needing no more practice to improve, I’ve clearly lost my last brain cell and should just lie down and rid the world of some ‘surplus population’. The mass-production approach to making art is, while a great boost via mere numerical odds to the number of possible “keeper” artworks, also an expensive enterprise, one that made me a much more devoted recycler in the process, to be sure.

Still, I wouldn’t trade this one essential atom of wisdom for all of my other education–anything worth learning and doing is worth practicing. I’ve had fallow periods aplenty since then, of course, but when I get the itch I know full well that the best way to scratch it is to dive back in and practice on a constant and vigilantly pursued basis. So many have written and spoken so eloquently of this in the past and continue to publish brilliantly on the topic, but until I stumbled on the experience in my own naive way I had no real appreciation for the power of this one prized truth.

This mural is one of several of the 4′ high by 20′ wide oil pastel on paper pieces that were part of the big life-changing project I tackled in those enlightening days of yore. This post is the first of my attempts at every-day blogging to bring the next degree of change to my life as an artist. Onward!

mural of faces

Oil pastel on paper, 4'H x 20'W

Tetched by Texas

As a Seattle native, moving to Texas two years ago was far less culture shock than I expected. Yes, it’s decidedly a new planet, but hey–it’s a friendly one, dadgummit. We’re in a university town, so it’s got great used bookstores and welcoming watering-holes and a hint of Bohemia around the edges, and while the new terrain is ocean-free here in the north part of the state and the closest I’ll get to mountain hiking nearby will be if I sneak up a water tower to survey the rolling flats, it’s countryside with its own kind of beauty.

Still, having family and friends visit us here is a fine excuse to explore a little of the legendary Texas and larn me some wild-west history along the way. Naturally, I find I’m inclined to play with the yarns of yore in my imagery as well, so I shall present you with a glimpse of the same herewith.

Trick roper & longhorn

Lassoed by the Lone Star

A Truly Happy Day

This is an easy one to celebrate.

My beloved had a successful outpatient set of surgeries this morning and was declared clean of the cancer at the end of it and came home with me by suppertime. In honor of the newly mended end of his nose I present a nose-centric artwork:

BW peering guy

I Smell a Happy Outcome

Second great thing about the day, though equally superb: my beloved has been my husband for lo, these fifteen years now, and I delight in the arrangement as much as I did in the first moment of it. Lucky, lucky me. Happy anniversary, R.

I celebrate the latter by posting a poem that, while ostensibly about dying peacefully, is really for me about joyful repose, the sweet state in which I find myself suspended in my marriage. Much preferable to dying at this point in my existence, to be sure, though if I kipped out in the next twenty seconds it could at least be legitimately said that I had lived a full and fantastic life. I’m fortunate in being one of those rare creatures content to go on living as long as I possibly can but aware always that what I’ve already had is more than many can ever hope for in quantity and quality of happy life episodes and an incredibly loving, supportive and cheering cloud of family and friends. Sign me out as the Richest Woman in the World. Sorry, Oprah and Queen Elizabeth and all of you other wannabes!Clouds and poetry

In which dying can be a metaphor for easeful bliss . . .

Reminds me of . . .

My brain seems incapable of seeing things exactly as they are. Sometimes that’s seriously irritating! More often, though, my analogous-patterning style offers me ways to make sense out of the world or at least get full value out of its confusions. Case in point: I seldom see an image (existing–taken from the real world–or invented) without mentally comparing it to or pairing it with one or more things that seem similar in some way. The way might be strictly visual; shape, color, texture, pattern or design similarities are an easy connection to find between separate things, especially unlike things.

Mt Rainier and a busted, rusted truck window

Related? Poles apart?

So often there’s striking insight into previously unimagined commonalities between the subjects of the imagery. More often yet, it’s easy to find and/or read into them insights about myself. While I would never claim to be an exotic beast, I find it’s intriguing to learn more about human nature by both extrapolating and differentiating from self.

Vintage appliance and mountain foothills

Is everything I see a Rorschach test?

It also stirs my creative juices just to see what little surprises pop up when I’m viewing and sorting and playing with all kinds of images. Yes, even (perhaps especially) ones I’ve made myself and never quite plumbed entirely. Among other things, this means that if I ever get bored I have only myself to blame. I should be able to find plenty of amusement in the visible world, and when my old eye-bulbs rust out on me, have worked my way over to the tactile and the voluminous and the aural and other such realms. Surely there is enough joy in finding relationships among humans, but as it happens there’s a universe of pleasure on top of that to be had by sussing out the relationships between non-human marvels.

Pick-Quick, barbering liniments and the watershed law

Signs of intelligence from the universe?

Inspirational Moments

Digital collage of brains, hands and other fun stuff

Ooh, I just thought of something!

There’s nothing more scintillating than having a bout of true inspiration. But it’s so ridiculously rare in real life! That’s what good work habits and persistence are for. Me, I am decidedly against hard work and persevering in general–but I have at least learned that not only are those the only ways by which I can summon the muse if I don’t happen to have a boatload of inspiration dumped on me at random. Further, I’ve discovered that the actual process, the journey, can be a pleasant one if I let go of the assumption that labor is inherently nasty and only the end product makes it worthwhile. After all, if that’s the case, and the product turns out to be a disappointing flop, then I really feel like I’ve wasted my time in Sisyphean grinding. So I’m learning to find my fun in smaller increments and take all possible pleasure from the everyday parts of being who and what I am. It’s my amygdala, and I’ll spoil it as much as I please.

Out of the process-as-entertainment approach sprang a new medium and form for this artist in the last year: learning to play with my digital images as collage elements [thank you, Photoshop]. The image here is from a series of such experiments and represents a little of both my artistic and my mental processes, appropriately enough. I didn’t throw any pencils into the mix, but you can see that I’ve not entirely shaken old habits by learning new ones.

Et in Arcania Ego: Weird is Good

I like weirdness. Eccentricity, outsider thinking, silliness and the bizarre–I’m generally repelled by danger and anything remotely aggressive, but I have to ‘fess up and say that my own differences from the so-called norm are not just habits and hints of wilfulness but also deeply ingrained and naturally occurring parts of who and what I am. Yes, I am weird.

But I’ll also say that “weird” is simply, for me, an equally comfortable name for being unique. Every norm is only an average, each with plenty of exceptions to prove and/or flavor the rule. While I’ve grown into embracing [most of] my quirks and distinctions, it isn’t always easy being a quagga in a world of pretty ponies. I woke up again today from a dream I’ve had since my memory began: the details vary, but it’s always about being in a group of people, all earnestly working on some project, and having the leader and my peers try in one way and another to steer me to do it Right and not as I’ve been doing it–even while they all assure me that they approve of and appreciate the excellence of the different thing I’ve been doing. This will sound mighty strange to anyone whose life has gone ‘as planned’.

Wildly convoluted brain-waves

Welcome to my synapses

Those with any little anomaly (physical, mental, or other), however, might sense something familiar.

It was only as an adult that I–having grown up in the Olden Days long before “dyslexia” entered the common parlance, and then as something rather negative or at least problematic–realized that I have a nearly magical variety of dysfunctional characteristics that come under that broad umbrella. My worldview is shaped by all kinds of tweaks that mimic but do not match the ordinary: lexicographically, to be sure, since I have the ability to watch words and letters move around a page in ways that if amusing are not necessarily conducive to fast and accurate reading, so I’ve always had to read rather slowly, and about four times over, through anything to feel I’ve grasped its essence. Despite this sometimes frustrating methodology, I’ve never disliked reading, only been surprised over the years to be classified as reading ‘above my grade level’ if it took so much effort to keep up with expectations.

Along with dyslexia of the most obvious sort I can lay claim to numeric, directional, spatial, and temporal experiences that stray from the ordinary a great deal. Numbers play around on a page just as actively as words and letters. There have been times when I was able to surprise my math teachers with the expected answer to relatively complicated computations, but only after I learned not to admit to the process by which I divined said answer, as it bore little relation to the assigned progression from Q to A but was rather intuited. I have no inner compass, so don’t try to guide me to your cozy home with Left and Right and North and South, let alone Up and Down. I do understand what those concepts mean, but they have no relation to locations in my own being other than perhaps as niggling desires. I can you tell whether I’m located right next to the baseball diamond or up in the cheap seats, but not how to get from one to the other (without flying) nor can I experience the action of the game much more vividly from one point or another. And don’t get me started on trying to discern the details of the play: if it happened quickly enough, I have to mentally freeze the moment of action and stare at the “snapshot” in my head for a while to figure out how, where, or if the ball crossed the plate and what the batter and catcher did about it.

This is all a (perhaps appropriately) convoluted route to informing you that I don’t see the world the way other people see it. But honestly: does anyone? If each of us is genuinely unique, then any norms we’ve posited should only serve as starting points for communication and coexistence, not ends in themselves. I’ve been told countless times by well-meaning Professionals and advisers that if I wish to succeed or gain acceptance in my field (whether as artist, writer, teacher, or any other labeled category of mortal being), I ought to work at fitting in better. It’s always couched in friendly terms but boils down to my being too hard to categorize, define and package because my interests and personality (and therefore my work) wander too far afield and are tangential, at best, to expectations.

My answer at last is Vive la Difference! I’ve spent more than enough of my first half century thinking I ought to redesign myself to please the common demand before realizing that I’m really okay with being uncommon. And I sincerely hope that everybody else not dwelling directly on the dot of Normal finds his-her-or-its contentment and delight wherever and however possible. In that lies endless possibility. Especially if one has the attention span of a gnat, as I do.

A Story in It

Shadowy figure in hallway

Behind what is perceived is What Might Be

My interest in reality is limited, it’s true. What intrigues me about life–my experiences and my thoughts and perceptions about them, the places I go, the things I learn, and the people whose lives intersect mine–is far from merely fascination with the truth of them. It’s just as much about the unseen and unknown, the possibilities inherent in the facts, that inspire me. Every reality seems to me to contain infinite potential storylines for those with open eyes and imaginations. It’s why I seldom make predetermined images in my own artworks, but instead follow where the developmental processes take me, just in case there’s a much more exciting or provocative or ridiculous or even beautiful possibility than in the concept with which I started. Most of the time I don’t even have to start with a concept–there’s so much delightful stuff just waiting out there in the wide world wanting to be discovered that every breath, every corner turned, might lead to the revelation of who that shadowy figure in the hallway ahead is and what lies beyond the light-filled doorway ahead of him. I’m pretty sure it’s going to be worth following him–only telepathically, of course–to find out.

Drawing Conclusions

Much of what I share on this blog is likely to be my artwork (drawings, paintings, photography, digital images, mixed media work, and so forth) and writing. Here’s a sample of my graphite drawing, from what my fans know as my ‘fish and pencils’ period. As in so much of my work, the fish and pencils, both individually and in conjunction, became thematic merely because they interested me and kept me entertained as objects themselves, as subjects to be drawn or rendered, and as a bonus, as agent-provocateurs by the mere eccentricity of their coinciding in images. That, in fact, is thematic in my life as well: the falling-into or happening-upon that leads me to link previously unrelated thoughts and items and creates the flicker of initial interest that takes me down yet another tangential path.

I said it, and I meant it.

I’ve promised myself for a very long time that I would take the responsibility to blog on a regular basis. Many have encouraged me to get my Stuff out into the world–enough hiding and hoarding of artworks and ideas. As an almost supernaturally lazy person occasionally tormented by bouts of tremendously productive creativity, I’ll admit to having built up quite a stash of art, writing and assorted projects that might indeed entertain or inspire someone else. If they don’t, at least I will have had here the release of sending my creations, my offspring (some of them quite off) out into the wider universe. I’m just egotistical enough to think there will be some others who find me as entertaining as I find myself. And so I begin.