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Darel Snodgrass at WKNO fm was nice enough to have me on the air again this morning for his daily interview show Checking on the Arts. I was mostly there to talk about next week's Night Vision show at Playhouse on the Square (opening Friday, May 4th from 5:30 to 7:00), but I went in with a whole list of current projects, and we covered all of them. It's fun to go in and get to talk about what I do, when I spend most of my work time by myself in my house (except for my studio helper Mr. Darcy, of course).
And for a little bit of eye candy, here's a recent sketch of my new favorite drink that I haven't posted yet.
And for a little bit of eye candy, here's a recent sketch of my new favorite drink that I haven't posted yet.
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I realized I showed the two color prints here in process but didn’t update on the final layer. These are reprints from a year or two ago, but they haven’t been shown here lately. I finished the edition of the phlox (there are 30 in each edition, and I tend to print 10-12 at a time since they’re so complex), and I’ll have one more printing of the trees and lake when these are gone.
I’m also working on a new black and white print for my nocturne exhibit. I’m going to try printing it on a few different papers, but it’s pretty much finished as is. I had fun playing with the tall, thin format again. I did one this shape for my Sacre Coeur print a few years ago and really liked the shape.
I’m also working on a new black and white print for my nocturne exhibit. I’m going to try printing it on a few different papers, but it’s pretty much finished as is. I had fun playing with the tall, thin format again. I did one this shape for my Sacre Coeur print a few years ago and really liked the shape.
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I've been a printing machine lately. I've got shows coming, and I'm out of several popular prints, so I've been reprinting these this week. Each print is three blocks, so it's a three day process to print each, with overnights for drying in between.
I'm also doing way more typesetting than usual. I'm doing my first poetry broadside for Corey Mesler, who owns Burke's Books here and who is also a writer. It's a fun project for National Poetry Month, and the one I chose (he sent me a selection) happily goes with my nocturne show as well.
I'm also doing way more typesetting than usual. I'm doing my first poetry broadside for Corey Mesler, who owns Burke's Books here and who is also a writer. It's a fun project for National Poetry Month, and the one I chose (he sent me a selection) happily goes with my nocturne show as well.
It's nice to get a two for one. I'd like to do several more, so we'll see how many I can do before I leave my printing press for the next few months.
I'm also, very uncharacteristically, doing a little bit of job printing. I'm not in the business of wedding invitations and the like, since I'd rather make my own art, and I don't have all the spacers, and I'm an incredibly slow type setter. My letterpress fairy godmother gave me some spacers, though, and a couple of dear-to-me folks are getting married, so it seemed the thing to do. It's actually lovely to be involved when I care about the people. Makes it special.
I'm also, very uncharacteristically, doing a little bit of job printing. I'm not in the business of wedding invitations and the like, since I'd rather make my own art, and I don't have all the spacers, and I'm an incredibly slow type setter. My letterpress fairy godmother gave me some spacers, though, and a couple of dear-to-me folks are getting married, so it seemed the thing to do. It's actually lovely to be involved when I care about the people. Makes it special.
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I posted my small watercolor studies for these oils last week, and here are a few of the oils I’ve been working on from those studies and also from reference photos, which is a reasonably new thing for me. I spent years working almost purely outside, or working from studies done on site. I remember my painting prof saying that once you’ve put your time in, you learn how the light works (and how the camera changes it), and you can transition into working more from photos. It still feels a bit like cheating, but I do feel that coming to working from photos in my 40’s, with a couple of decades of on site work under my belt, made a big difference to how I would approach these pieces. I will say that the convenience is lovely, especially since I’m doing nocturnes. It can be fun to paint a bit in the dark and see what you get, but a whole show of inconvenient painting would be a lot. Now that the weather is beginning to get nice, though, I’m also itching to get back out with my watercolors when I have the time. A number of deadlines (seven commissions plus the show to hang in the next few weeks) are looming, but then I’ll get to go out west and paint a bit more whatever I feel like for a while. It’s nice to have that rhythm built into my life at the moment.
Here are a couple of the smallest oils for the show (about 10x13”). Now that I’ve got my “second tea” brewed, I’m going to get back upstairs to the easel and keep working on the new one I started this morning.
Here are a couple of the smallest oils for the show (about 10x13”). Now that I’ve got my “second tea” brewed, I’m going to get back upstairs to the easel and keep working on the new one I started this morning.
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I’ve been working away on a series of oils on paper for my May nocturne show, but I realized that I’ve been sharing sketches (and got distracted by the #100people and other sketch projects), so I’m slow sharing them here. I’ll go back and take photos and catch up, but in the meantime, here is yesterday’s small oil of the late, lamented Cleveland Street Flea Market.
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I’m working on a series of nocturnes for my spring show at Playhouse on the Square called “Night Vision.” I’ve been working from photos, since it’s hard, though not impossible, to sketch in the dark. And a photo lets me capture light at different meters so I have a little more information. But to keep myself from getting too tight, I’ve been doing fast watercolor studies before diving into the oils. They’re tiny and greatly fun. Here are a sample of the studies I’ve done getting ready for the show. I hope I end up liking the oils as much as I like these tiny watercolors. They’re fast and loose, which is a quality I sometimes lose when I’m more consciously working on finished pieces. It’s very good practice for me to do these.
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Here is a sneak preview of my Skyward show that opens next Friday night, November 3rd, from 6-8pm at Eclectic Eye (242 S. Cooper in Memphis). I'll have more than these, but I decided to put up the first batch on my website today.
I've been doing massive amounts of computer work the last few days, which is never as much fun as making art, but I did manage most of a new, small painting for the show next week as well. I've been working to get more serious about an email list. I've always collected them on my paper mailings lists at shows, but I have a printing press I'm in love with, so I haven't been that serious about using email. However, all of the book publishing/marketing emails I've been listening to lately (I'm thinking ahead to the Mr. Darcy book while I paint for the fall show) have really emphasized the importance of an email newsletter. So I've decided to join the 21st Century and dive in, at least occasionally, when I have shows or other important news.
If you'd like to receive an occasional newsletter, please sign up here:
I've been doing massive amounts of computer work the last few days, which is never as much fun as making art, but I did manage most of a new, small painting for the show next week as well. I've been working to get more serious about an email list. I've always collected them on my paper mailings lists at shows, but I have a printing press I'm in love with, so I haven't been that serious about using email. However, all of the book publishing/marketing emails I've been listening to lately (I'm thinking ahead to the Mr. Darcy book while I paint for the fall show) have really emphasized the importance of an email newsletter. So I've decided to join the 21st Century and dive in, at least occasionally, when I have shows or other important news.
If you'd like to receive an occasional newsletter, please sign up here:
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WKNO fm, Memphis's local npr station, hosts a daily arts interview show called Checking on the Arts. They are kind enough to host me to talk about my shows even when I'm not exhibiting in their lobby, but they certainly saved me space on the calendar for this show, "Autobiography," and Kacky Walton interviewed me last week. She and Darel Snodgrass both do serious homework for these interviews, look at work, read websites, and come in prepared to have a great discussion, which is a huge boon for those of us not professional at being on the air. I had a great time with Kacky, and I appreciated her kindness talking about this much more personal than usual work I've been doing lately. Here is the interview with some back story about the exhibition in case you'd like to listen.
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It took me all day Wednesday to get the show on the walls the way I wanted it (and to tape the radio interview about it, which I'll post in a day or two), and it took another two days to recover. But I'm really pleased with the result. The space is lovely -- high and clean with tons of natural daylight. It's a lovely space to have art. And it gave me a natural flow for the show, which has a bit of narrative element built in.
The show is open to the public at WKNO during business hours, and there will be a closing reception on Friday, March 31st, 6-8pm.
I'm off to dance and celebrate this weekend, but here are a couple more pieces that are in the show, as a preview.
The show is open to the public at WKNO during business hours, and there will be a closing reception on Friday, March 31st, 6-8pm.
I'm off to dance and celebrate this weekend, but here are a couple more pieces that are in the show, as a preview.
These are cedars from my recent trip to Washington State. They're tall and lovely and completely different from the red cedars of the south.
And here's another Washington piece. Deception Pass. The coast there is lovely.
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I'm hanging the show "Autobiography" tomorrow at WKNO, and it will be up for the month of March. There will be a closing reception Friday, March 31, 6-8pm.
As part of the preparation, I'm preparing an artist statement to go with the show, and it's been interesting to think about. This is a much more personal show than I have ever mounted, and the statement reflects that a bit. I've always been fascinated by other artists' self portraits, and it's exciting to get to show my own series at this point in my life.
Here is the statement I've written for the show:
I live a solitary life, which is not the same as a lonely one. This series of work examines my solo world in times of loneliness but also in times of fulfillment. My life is rich with art, music, canine company, and periods of romantic company, but it is still in essence a life lived alone. Society does not give us good images or models for women navigating life alone. There is tremendous pressure to couple up as the only truly appropriate state of being. The word "spinster" contrasted with the word "bachelor" speaks volumes. Society's image of women needing to be coupled ignores the demographic realities that at some point or another in their lives, women are likely to live alone. Women benefit from being able to find happiness and fulfillment within themselves. This exhibition portrays me in moments of varying success at that endeavor. I make art, dance, play music, and walk in forests regularly. Sometimes I do these things alone and sometimes in company.
I go for years without painting any self portraits, but I find myself doing them again when I am in periods of self examination, upheaval, or transition. Self portraits can feel like the most self-indulgent form of art, a feeling made only stronger by selfies, Facebook, and the proliferation of the appalling selfie sticks. However, they are a centuries old art form. Artists tend to make sense of the world around them by examining it and distilling it onto paper or canvas through the lens of their art. It makes sense that we have the same urge to make sense of ourselves in this literal and tactile way.
This show began with me looking at portraits by Odilon Redon, Edward Hopper, and Andrew Wyeth. It contains not only traditional self portraits but also scenes and places that are deeply personal to me.
One friend told me that the more particularity there is to any story, the more universal it feels. These paintings show me in my own particular world. What I hope is that they are personal but also deeply recognizable on some level to others. I want them to reach and touch and give a feeling of solidarity to others who are navigating solo or examining their places in this enormous, crazy, heartbreaking, magical world that we all live in and have to make sense of for ourselves.
As part of the preparation, I'm preparing an artist statement to go with the show, and it's been interesting to think about. This is a much more personal show than I have ever mounted, and the statement reflects that a bit. I've always been fascinated by other artists' self portraits, and it's exciting to get to show my own series at this point in my life.
Here is the statement I've written for the show:
I live a solitary life, which is not the same as a lonely one. This series of work examines my solo world in times of loneliness but also in times of fulfillment. My life is rich with art, music, canine company, and periods of romantic company, but it is still in essence a life lived alone. Society does not give us good images or models for women navigating life alone. There is tremendous pressure to couple up as the only truly appropriate state of being. The word "spinster" contrasted with the word "bachelor" speaks volumes. Society's image of women needing to be coupled ignores the demographic realities that at some point or another in their lives, women are likely to live alone. Women benefit from being able to find happiness and fulfillment within themselves. This exhibition portrays me in moments of varying success at that endeavor. I make art, dance, play music, and walk in forests regularly. Sometimes I do these things alone and sometimes in company.
I go for years without painting any self portraits, but I find myself doing them again when I am in periods of self examination, upheaval, or transition. Self portraits can feel like the most self-indulgent form of art, a feeling made only stronger by selfies, Facebook, and the proliferation of the appalling selfie sticks. However, they are a centuries old art form. Artists tend to make sense of the world around them by examining it and distilling it onto paper or canvas through the lens of their art. It makes sense that we have the same urge to make sense of ourselves in this literal and tactile way.
This show began with me looking at portraits by Odilon Redon, Edward Hopper, and Andrew Wyeth. It contains not only traditional self portraits but also scenes and places that are deeply personal to me.
One friend told me that the more particularity there is to any story, the more universal it feels. These paintings show me in my own particular world. What I hope is that they are personal but also deeply recognizable on some level to others. I want them to reach and touch and give a feeling of solidarity to others who are navigating solo or examining their places in this enormous, crazy, heartbreaking, magical world that we all live in and have to make sense of for ourselves.
