The Object as an Image

Over the summer, I made some cyanotypes while visiting my grandmother. She owns kitchen utensils that were passed down to her by her own mother. A couple may have even belonged to her grandmother as well. These objects are beautiful in their own right.

Although they are still being used, they hold for me memories of my great-grandmother and her cooking. They also bring to mind issues of legacy and inheritance. Not only do these objects symbolize the values of hard work and devotion to family that was the legacy my great-grandmother passed on to my grandmother and the rest of her descendants, but they are also imbued with memories of her recipes, mealtimes and holidays spent with family, and a tangible symbol of her touch and labor.

My goal is to incorporate several of these images into my quilted collage work. I will also experiment with using them as part of a wall collage, that will draw connections between my hand photographs and hand shell sculptures.

Landscapes

I've been considering ways to merge this body of work with the leaves. So far I am working towards building a small collection of objects. that when exhibited together, will build a narrative of a specific place and time. The objects in these collections will either directly appeal to or reference each of the five senses. Since I focused on memories of my grandmother's back yard last semester, it seems like the most natural place to start off this semester. I plan to branch out, exploring different places and stages of my life. Last semester, I sketched ideas for the topographical object paintings and sand paintings from memory alone, so there was a lot of room for artistic license. This resulted in the paintings emphasizing the formal qualities of  landscape, becoming more schemas of a generic creek and ravine than the actual place I sought to depict. Since my goal is to be more specific and direct with content, I enlisted the help of some satellite imagery to get a better sense of the actual landform. This way I can show details of the tiny plot of land that is close to me and the larger context it belongs to.

Reflecting on 2nd Residency

The last two weeks, I've spent a lot of time thinking about the 2nd residency and what it's going to take to move forward. One thing became evident very early on, even before the first critique. Although I feel a lot of progress was made with the technical aspects and conceptual ideas surrounding my sand paintings, continuing that body of work in its current form is not very high on my agenda. I plan to explore paper as a medium more in the current semester; in the form of papier-mache embellished objects, cast leaves, and possibly biomorphic forms. I feel paper is a fascinating material to work with because it comes with a history and it has a physical memory. Paper begins its life as a natural, living object and is intentionally transformed in form and function. I believe this transformation is echoed by my artistic process. I also appreciate paper for its tactile qualities and versatility.

The Unreliablity of Memory

"Time and memory are true artists: they remold reality nearer to the heart's desire."

- John Dewey

Candy Colored Creeks

It's been a while since I last posted. The end of the year brought a whirlwind of activity which culminated with my second residency. I have a lot of finished work to share, thoughts and feedback to process and plans to make for my future studio practice.The Candy Colored Creeks are a good place to start. This series began as an attempt to merge my sculpture and painting practices and also process childhood memories. Over the course of the semester, I used imagery inspired by my grandmother's backyard and experimented with different ways to use color, surface, texture and form to create objects that symbolize my experience in that landscape as an 8 year old. I'm happy with the direction the work is going in and feel that there is a lot left for me to explore here, which I fully intend to do. 

After several conversations during the residency, including those with my previous and current advisors, Laurel and Kamrooz, my plan is to explore the following:

• Think of each work as a time capsule
• Build a specific visual and tactile language to depict memories.
• How can I synthesize sensory experiences to build narrative?

• Can I use tile format to build content?
• A square foot is a very specific unit of measure used to depict space, can I use this format more deliberately to tell a story?
• Is square format necessary? If not, experiment with different formats and scale.

• These works belong on the wall rather than a pedestal or table, but I need to determine why I feel that way.

• Experiment with working in a way where process/material is more transparent.

Lollipop Trees

Lollipop Trees #3

This week I've also been working on new forms for the Lollipop Trees. I just finished two. The first one is 15 inches across and the second is 19.5 inches across. So far, I think these forms are a huge improvement over the first which was built on top of a square plane of Masonite. I hope they will hold up during the process of papier-mache and painting. I hope to finish a couple more forms so that I can complete all of my papier-mache at once early next week.

Lollipop Trees #2

Candy Colored Creeks and Lollipop Trees...an update

Lollipop Trees #1 with pours and dots completed

Last week was a little short but progress was made on four of the painted object pieces. I finished pouring dots on the lollipop tree piece. This week I plan to wrap this up by adding a pattern to the flat area to the right of the composition. As I look at this piece now, I find myself feeling it should already be complete. The squared-format of the picture plane seems to take away from the overall composition. I've already started cutting out new shapes to build a form that doesn't depend on a square plane as a base.

Finished texture on Creek #4

An in progress shot of glazing on Creek #3

A detail of the completed glazing on Creek #3

In the last post, I talked about building up texture on two forms. I finished the texture on both forms last week. I also started staining the first one with layers of glaze. I started with a layer of green, then alternated layers of blue and green with some yellows in the highlights. Overall, I ended up with 7 layers. It is a little darker than I intended but I feel that I have enough depth now to add the final, bright green pour. This week the plan for the second form will be to glaze it in a similar fashion. Using what I learned from the first one, try starting with light washes and do not add dark hues too soon. 

More bead patterns on Creek #1

Finally, the beads again. I'm really going to push to finish at least one side this week. That's a pretty optimistic goal but I'm sticking to it.

To recap, my painting goals for the week are to...

• Finish lollipop trees
• Build 2 new lollipop tree forms
• Finish 2 candy colored creek glaze paintings
• Build 3 new creek forms, slightly smaller, without relying on a square plane
• Finish 1st half of the beaded creek painting

Candy Colored Creeks and Lollipop Trees

I've been spending the majority of my time working on the painted objects this past week. The lollipop trees are nearing completion. After laying on several layers of under-painting, I started working on layers of poured paint over the trees. The underlying structure has too much depth for me to control the pours with much accuracy. As a result, I was pretty much stuck with whatever happened. At first this was highly frustrating, then I decided just to go with it. Removing the tape allowed paint to run off of the trees and pool wherever it ended up. The pattern that emerged after the pink pours was very interesting so I decided to stop there. Feeling the need to experiment even more, I started adding layers of dots on the flat surfaces at the top of each form. The original impression/memory that inspired this piece involved watching the wind blow through the trees behind my grandmother's house. The way the light shimmered off of the vibrating leaves gave me a sense that the trees were alive and breathing. My goal was to create a static object that embodied that kind of kinetic energy. At the moment the plan is to complete the dot layers, then add some texture in the form of a grass pattern in the negative space on the right side of the composition.

After 1st 2 pours

After 3rd pour

Building up dots

A detail of pooled paint

I completed and gessoed two forms from a previous post. This week I worked on building up the surface texture a bit. These two pieces will be monochromatic. I plan to cover one with layers of stain to emphasize the surface texture. The other will be finished off with a pour on top of the stain. I also worked on making a new piece.

This will be the 3rd form in the series

A detail of the 4th in the series

New piece to papier-mache next week.

Finally, the beads....not much new to report with that piece. Still pushing forward. I'm starting to vary the size and color of the beads more; creating a patterns of concentric circles within the overall pattern.

Painting More Landscapes

I've finished the first piece in the series of object/painting hybrids I've been posting about. Although happy with the result, there are still a lot of things I want to try. In previous weeks, I was concerned about how these pieces connect with my other work. The subject matter, the creek/stream motif, is a reoccurring theme in my paintings and sand work this semester. In these paintings, I've incorporated colors culled from popular culture, toys and memories from my childhood. Both the paintings and sand work also emphasize making, process, repetition and attention to surface texture. 

In reading *Notes on Camp by Susan Sontag, I discovered an affinity between my work and her description of Camp art. I was particularly interested in her observation of Camp having the tendency towards "decorative art, [...] texture, sensuous surface and style at the expense of content" (278). Although I would argue that my work is not quite free of content, I would agree that form outranks content. Sontag goes on to say that, "Camp introduces a new standard: artifice as an ideal, theatricality" (280). This statement perfectly encapsulates my goal of presenting nature as artifice. 

I really like the interplay of light and shadow on the first painting. In fact, I plan to use one of the new objects to further explore monochromatic painting. The bead work on the 2nd painting is moving very slowly but so far I'm happy with its development. I've been building up layers of color on the lollipop trees painting and will eventually pour layers of glaze on top of it. I have two new objects to gesso today and one new object ready for papier-mache. The next step in this series will be to build objects that will be organic in form and not limited to the square format that I've been working with.

*Sontag, Susan. “Notes on ‘Camp.’” Against Interpretation and Other Essays. New York: Farrar, Straus and Giroux, 1966. 274–292. Print.

Painting Landscapes

Leaving the topography of the form white draws attention to the interplay between light and shadow. I think shifting the direction of the texture might create some interesting, unexpected patterns.

So a month ago I was really excited about these object/painting hybrids. A couple of weeks past and I finished the first set of forms and found myself ready to start painting. Then I ran into a problem. I realized that although I brainstormed and sketched the forms, I did not have a clear idea of what the finished, painted work would look like. I knew I wanted to do something with surface texture or pattern, but I wasn't exactly sure what. I was very happy with the forms themselves but once I started working on the underpaintings, not so much anymore.

I think I reached a point where I was overthinking these pieces. Since the concept behind them is rooted in childhood, I figured that I should try to recover a sense of play. I've resolved to work intuitively, which is something I normally reserve for my sculptural work. I immediately started building some new forms so I can try a different approach on each of them, working my way through the problem.

Started building some new forms to play with.

Finished the 3rd form and ready to paint.

Covering the first form with beads.

I like how the bead's iridescence gives the illusion of cloth.