Making good work takes time. Visual memories, ideas, and sense of direction for the work all need to cook in the brain for a while before hitting the canvas.This new series, both in process and visuality explores the rustic, primitive aspects of nature while being connected to the humanness of wanting to experience order in something unknown, beautiful, carefree, and even scary. Its colors are layered with shadows, revealing only a few, hopeful and beautiful bright spots. The series reaches just the right balance of dark and light, minimal and textural. It is both where I am from and where I am headed.
Read MoreHOW I SEE IT
I’m sitting here typing from my office at home. The window next to my desk overlooks Oso Bay, which is small and somewhat churned up regularly but the sun rises just across and when you catch it in just the perfect light, which can happen several times a day, the view is breathtaking..or better said…makes me feel like I can breathe deeply and easily. I have always appreciated a good view. There is something extremely hopeful about looking out over a seemingly limitless horizon. It gives me a feeling of freedom, hope for the future, and like there is always something more to come. That feeling, that itch of always wanting more..of wanting to discover, is what feeds my creativity.
Read MoreThe Think About Sketchbooks
The Think About Sketchbooks
There is something inherently captivating about artists’ sketchbooks. The first sketches I have a recollection of were those of Leonardo DaVinci. As a child, I was obsessed with reading encyclopedias among other reference books and finally came across his story and sketches on one of those long days of sitting in a chair soaking up new information. Although known the world over now, his preliminary “doodles” for projects like the flying machine and the Mona Lisa were first developed in a personal drawing book. His sketchbook was where he drew and studied the world around him. On those pages, his innovative and subversive thoughts came to life long before anyone else ever saw them.
The sketchbook of an artist is a deeply personal account of lines, images, and ideas. Some of these will make it into public view and some will not, but all contribute to future work. The sketchbook is the beginning of a dialogue. It is the introduction to conversations between the artist’s mind and the page. It is the first glimpse of the playing out of ideas, which once only existed in the mind and then come into existence on a page.
For the Art Lover
No matter what kind of art you appreciate, chances are, your favorite artists have all kept a sketchbook at some point. Some artists give these up over time but many continue the use of the sketchbook as an important part of their art practice. For the art lover, the sketchbook can serve as a window into the artist’s mind. It is a showing of all the various ideas ruminating before the larger projects begin. For the art lover, sometimes the sketchbook can connect the dots between disparate images and ideas, which are later manifested in larger paintings. It can answer some of the questions we have about the artists we love and their processes. When writing about the sketches of Abstract Expressionist Cy Twombly, the Met Museum says “his rhythmic glyphs and flowing lines evoke a range of associations, including graffiti, children’s doodles, mathematical formulations, and exercises for learning and refining script. The wiry, inimitable forms lack perfected regularity and instead allude to the physical and mental fatigue that comes from the acts of writing and of creating art”.
While Twombly’s sketches were not exact in reference to his later created paintings, there are artists who do what I would refer to as miniature versions of their work and later paintings are simply larger, slightly changed depictions of that sketch work. Two examples of artists I love who exemplify this kind of sketch work are Heather Day and Lari Washburn. Their intricate sketchbook work is a highly detailed practice of paintings to come.
For the Artist
Artistically speaking, each artist decides what the sketchbook means to the art practice. Some don’t keep a sketchbook while others use a sketchbook daily. Abstract Artist Ashley Mary keeps a sketchbook of mini collages she is planning to make into large paintings. Eva Magill-Oliver not only creates mini paintings in her sketchbook art but she is extremely effective in photographing them and using them in her social media presence.
For me, it’s about trying out ideas, color combinations, lines, and marks, which may later become a part of a painting or drive a series. It’s a sort of hashing our of ideas….an inner dialogue expressed in a tiny book. Mostly, it’s a way to express creative thoughts when I’m not in the studio. In short, my sketchbook pages are a version of creative notes I keep so I can go back and reference ideas. Many get discarded but some make it into the work. They are an integral part of my creative development.
What a Sketchbook Can Mean to You
Whether you are an artist creating sketchbooks and/or an art lover interested in delving into the mind of an artist you admire, there are many artist’s sketchbooks and commentary available online for viewing. You can find an excellent list of some of the best sketchbooks here. Additionally, consider keeping a sketchbook of your own. Even if you aren’t an artist, you can plan creative projects, write down or draw ideas, etc. It’s sort of a visual and textual reference point for what’s going on in your brain. Just remember, you don’t have to be DaVinci to create a compelling sketchbook. Draw and write down your ideas, paste scraps of material or clippings…whatever inspires you. It’s an excellent way to keep track of ideas and learn to exercise your creative brain. Remember, great ideas and creative inspiration require daily practice. I would love to hear what you are working on in the comments. If you are interested in my sketchbook, you can check it out here and follow here for the latest.
Under Construction: The Pangs of Change
Construction zones have always perplexed me. I will go out of my way to plan an alternate route so I can avoid all the dust, driving close to workers, and having to make sense of all the crazy signage, which almost never seems to be adequate enough to describe what we are supposed to do as we move through. I remember several years ago, my significant other and I moved to a new place on Ocean Drive and we were particularly excited because it was close to all the places we frequent downtown and we could enjoy a pleasant drive down Ocean and Shoreline with a water view on our trips to the office and other errands. I appreciate the little things like that. Unfortunately, shortly after we moved, a massive construction project on Ocean began and we could no longer take that route, at least not with any efficiency. Needless to say, we were annoyed even though we had often complained about how much that area needed better roads, traffic signals, and markings. Unfortunately, this is the price of change. City planners are charged with the task of taking a city into the future and that can mean we might all be inconvenienced by some of the changes which need to happen in order to gain efficiency, make upgrades, or take away the old and bring in some new. Sometimes things just need an overhaul and there is no convenient way to go about it. Change isn’t easy.
In 2017, I officially set out on my artist’s journey and it has been non-stop ever since. I’m not complaining about that. Contrarily, I’m thrilled to have come into some pretty amazing opportunities early on which got my work some recognition and led to other opportunities. As a result, 2019 was both exciting and exhausting. In 2019, I did at least four shows I needed to travel extensively for. This means, producing the work, packing and shipping it, then planning the trip. There is so much more to the art business than just producing work and shipping it. The artwork must be photographed and cataloged, promotional materials for the shows need to be designed and ordered, the ‘hang’ must be planned and everything required to install the work must be organized to make the install easier. At the same time, my daughter gave birth to twins and needed my help. Around mid-summer, I began to feel burnout, and like I had just been producing art for shows but not actually developing it. I felt like I needed to press the ‘reset button’ on my life and my creative process.
I have a desire to produce good art, and I want the quality of what is produced to get better with each collection of work. The work should be in a constant state of evolution. It should explore new materials, techniques, and perspectives. That goal requires time and distance from the public. It requires meditation and self-care. It requires a dedication to creating for the sake of creating. This act helps my brain to function even better in all the other aspects of what I do. To this end, I did not submit to any shows for the Spring of 2020 in hopes I could take that time to explore my work and locate my physical, emotional, and mental centers. It was time for serious self-care.
In early March, just as COVID19 hit, I moved my studio out of the dining room and into a space downtown. For several weeks, I did not go there but still managed some preliminary works on paper from home. I’m not quite where I want to be in resetting my life but I can definitely feel a turning point in the work. For much of March through May and even June, I was outraged by the lack of handling of the pandemic situation and social injustices perpetrated on people of color. While the outrage continues, I’ve managed to pour it into my work without thinking about actually showing the work.
Just as the commotion in my life in 2019 caused me to rethink things and try to find new perspectives, I believe what we are going through as a nation has caused many to slow down and re-evaluate what is truly important to them. Silence on these issues is no longer acceptable. My true hope right now is that we are ‘under construction’. This is a time to embrace the inconvenience of overhauling our government, the criminal justice system, and how we think about things in general. COVID19 is changing our world immensely. Some of us are adapting and others are struggling with it. It is time to look at our personal lives and social systems with fresh, more enlightened eyes….to do away with world views which are keeping us from moving forward. While doing that may cause discomfort, be inconvenient, and annoying, this is how real progress is made. As a nation and as members of the human race, we cannot afford to sit idly by and allow these times to simply pass as we get swept up in wanting normalcy again. We must work to transform ourselves. Only then will we advance.
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Until next time…embrace the change and go with the flow. Good things are going to happen.