Aqua Art Fair: Miami Bound

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I am so pleased to tell you that this painting, along with several others, is in Miami with Hang Art, where the Aqua Art Miami Fair begins this evening.

I created large pieces for the fair- the above painting is 36 x 48 inches- and while I was painting and building up the layers I was thinking a lot about the balance between simplicity and complexity. My goal was to find an efficiency in the complexity. These paintings have a bit less layering and more breathing room.

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I found that stripping away some of the busyness made every mark count more. Then I made sure I went over the top with one element, whether it was glitz or scale or luminescence.  I’ve also been falling in love with what’s been happening in the background with the graphite, and I didn’t want that to be lost. As a result, the atmospheric stripes are more prominent in these paintings, and I’m really liking it.

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If you, or anyone you know, are in Miami this week looking at art, stop by the Hang Gallery room at Aqua! They’re showing work of gallery artists who’s work deals with light and reflection, and I think it will be a fabulous showing.

Potential

IMG_3481 That’s a tall stack of potential. I’m so excited to dig into this bundle of mini-panels. They measure just 6 x 6 inches. Fifty of them. When I first started writing this blog in 2008 (has it really been that long?!), I started a similar project. I’d taken a break from working with encaustic and wanted to start again. How to incubate the new ideas I had in mind?

We had a piece of smooth plywood leftover from a house project, so I asked a friend if he’d cut it up for me on his table saw. The result was 36 eight-inch panels to experiment with. Over the course of working those 36 panels, my ideas were tried, edited, and developed. A whole body of larger works grew out of that series of tiny paintings.

I’ve been drawing experimentally this past year, and am continuing on these panels. Silverpoint and water media on gesso. I’m going to gesso all of them today, and work on all fifty at the same time, rotating around as intuition dictates, and see what happens.

This is a wonderful way to explore a new medium or idea, to play around without committing very much space or time or materials. I highly recommend this approach. Last time I did it, I went from this….

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To this…

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To this…

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I just never know where it’s going to take me.

Ebb and Flow

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I’ve been sensitive to the rhythm of my work lately. More so than usual. I think it’s because I’m pushing out in a few directions beyond my habitual territory—photographing more, drawing, experimenting with new mediums—and it’s uncomfortable. Starting something new is exciting, yes, but it’s also emotionally difficult.

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An idea is only a beginning, and what follows the initial rush is usually heavy with failed attempts, self doubt, resistance, and moments of profound lethargy. Sometimes, if I am persistent, this awfulness is followed by hints of something good. This stage is filled with intuitive changes of approach. If I keep going at it, the cycle of thought and action come together with integrity, and a new direction emerges. Then I know it’s time to get up and run with it. Until then, it’s a bit like wading through deep mud.

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These ups and downs…I’m starting to embrace the idea that this is just part of the ebb and flow. Adding new things to my creative practice also shakes up my routines, and I find myself re-negotiating my work rhythms, both energetically and emotionally. For instance, I have to be rigorously honest with myself about the difference between procrastination and giving a certain work some space to settle or develop.

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When I’m trying new things, procrastination turns into a proper noun. Meet Procrastination, capital “P”. It takes a lot of self-honesty and dedication to have any kind of creative practice. Add fear and doubt to the mix, and Procrastination, and it’s evil twin, Resistance, become my constant companions. So I am daily having to tell them to piss off. I’ve got work to do.

 

Latest and Greatest

It’s been a while since I wrote here in this space, but I wanted to share a few upcoming events with you… the first is a brief artist talk I’m giving this Sunday:

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This is very casual and fun, a quick thing to drop into on Sunday afternoon. If you are in the area, come by and say hello!

The second announcement is that I am teaching a second 3-day class this year at Wax Works West. In my classes, I focus on control, layering, and transparency, and my students have a lot of time to practice and work in the super supportive environment that Judy and Wendy provide. I know this seems that this is really far in advance to be announcing this but my prior classes have filled fast, so if you are interested in joining us, don’t hesitate- check out their website schedule.

Maybe I’ll see you soon…
Lisa

 

Keepers

ReallyGoodPaintingThat’s my husband’s commentary up there. Love it. Is it a keeper? I think so.

Someone a long time ago gave me this advice: when you develop a body of work, pick out at least one piece to keep for yourself, for your own collection. I haven’t always felt that I’ve had the luxury of taking this advice, always feeling a bit desperate about having enough work to satisfy the requirements for a show, or fretting that keeping the “best one” will prevent a sale…

But really, the best one? That’s such a subjective thing. So often, a painting that I’m not so sure about, or the one I think is too minimal, or the one that makes me a bit uncomfortable- that’s the one someone loves.  So you just never know.

So I’m just not going to worry about it anymore. I’m keeping this one for myself.

A Good Mess

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There is, I think, loads of potential in being up to one’s elbows in a good mess. I’m not talking about the kind of mess visited upon you on a late Sunday afternoon when the last thing you want to do is clean up, but a weekend of neglect and fun and living has resulted in sticky mugs adhered to the coffee table and muddy shoes piled by the front door, dirty dishes in the sink, and wild tumbleweeds of dog hair blowing gently along the floor (ahem)…let’s call that a lazy mess.

No, I’m talking about creative mess, which is another thing altogether.  Well, it still might result in a pile of dirty sticky coffee cups, yes, but it’s also evidence of being busy and productive, of being in the moment, caught up, and just going with it, not stopping to worry about it. There is a kind of bravado to it.

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My studio cycles through this state several times a year, the sedimentary clutter building up until I don’t even remember what’s at the bottom, everything covered in a fine coat of graphite and glitter and paint. And where did I put that scraper?!

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Things, I admit, can get a little dysfunctional at the tail end of it. Then I’m ready to take a few hours and sift through, wiping things down, putting things away, rediscovering things, rearranging, scraping wax off most surfaces, shepherding spiders out the door.

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So, this is a different kind of potential, isn’t it?  Like a deep calming breath, a pause. The potential of a clear workbench, organized paints, the windows washed, and the graphite found. (Still need to whitewash that wall, though!)

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Ready for the next mess.

Looking Forward 2014

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This morning I walked past my open green waste bin and the discarded flowers that lay at the top caught my eye.  I threw them out last night and they were rained on a bit.

If my last post was about looking backward, this one is about looking forward. January has been such a lovely month.  I don’t really do new years resolutions, but I usually do a big studio clean, take inventory of my life, and make some plans, set some goals.  That sort of thing.  So in that spirit, I’ll share some of my thoughts/aspirations for 2014:

  • Steer myself out of ruts, and try new things.  Small things, certainly.  Large things, hopefully.
  • Draw more.
  • Stay present.
  • Take some road trips with my son.
  • Read more books.
  • Slow down and notice beauty in unexpected places. See above photo.
  • Write more.
  • Experiment more in the studio.

Looking forward…