Showing posts with label inspiration. Show all posts
Showing posts with label inspiration. Show all posts

11.29.2010

The Strange Things that Christ Holds Together

 Below is today's entry from an Advent devotional put out by our church here in Durham, All Saints Church. Advent devotional guides are such a great way for me to slow down and to pay attention during this season. I especially appreciate that All Saints had invited artists to create visual works to accompany the entries.  I hope you enjoy this short reflection I wrote and a new piece I created for this Advent season. You can find the entire booklet online here.

"The Strange Things that Christ Holds Together" 

 This art piece is made from a strange family of elements: beeswax, sticks, string, a book page, some pieces of a dress pattern and gold oil pastel.  In much the same way that strange events and characters combine to form the story of Christ’s birth, so these art materials form a cast of “characters.” 

Layers of hot wax have been painted onto a board. Embedded in between these layers are bits and pieces of a dress pattern. Together they allude to the mysterious pattern that God lays out for us. His Word, symbolized by the beeswax, secretly but certainly holds all things together inside that pattern.


Sticks appear as a reminder of Jesus the Vine Dresser and the Root of Jesse. From both this Vine and this Root we receive our real sustenance. String is tied and stretched in a cruciform pattern.  Pages from an old Bible re-tell four narratives. John leaping inside of Elizabeth’s womb. An account of the Ascension. The wild birth of John the Baptist. The incarnation of God in Bethlehem. These stories remind us of the fantastical elements in the events surrounding Christ’s comings and goings. All these events are incredible and, across the board, un-expected. Surely we can only expect God to enter into our lives in a similar way—mysteriously entering when we least expect him, appearing, then disappearing, leaving us open-mouthed but always disclosing his everlasting love for us. God uses such strange and wild ways to accomplish his purposes. He fills people long empty. He astonishes us, as the Gospel writers might say.

Gold marks the center of the panel. This symbolizes the kingship of Christ. It is a kingship that appears at every point that we allow him to assume a place of preeminence in our lives.


Why did I make this piece? I did it to remind myself, despite my sometimes feeble faith, that all these things are true. His mother, for example, was a young woman like me, like many, who did not expect God to come in that way and at that time.  While I wait for Jesus to answer my prayers—and to answer prayers that I have yet to even pray—he is at work in all kinds of unexpected ways. If I only look for him to come in the way that I want him to, then I miss all the mysterious, beautiful ways that he is already present. I need to remember to wait for him. I need to trust that, like the string threading itself throughout this art, he holds all the strange, often puzzling parts of my life together, and the frustrating parts too. When I do trust him, I find that my heart is filled with gratitude. Some days it is filled with wonder.

11.27.2010

Innocence


"Innocence is not the prerogative of infants and puppies, and far less of mountains and fixed stars, which have no prerogatives at all. It is not lost to us; the world is a better place than that. Like any other of the spirit's good gifts, it is there if you want it, free for the asking, as has been stressed by stronger words than mine. It is possible to pursue innocence as hounds pursue hares: single-mindedly, driven by a kind of love, crashing over creeks, keening and lost in fields and forests, circling, vaulting over hedges and hills wide-eyed, giving loud tongue all unawares to the deepest, most incomprehensible longing, a root-flame in the heart, and that warbling chorus resounding back from the mountains, hurling itself from ridge to ridge over the valley, now faint, now clear, ringing the air through which the hounds tear, open-mouthed, the echoes of their own wails dimly knocking in their lungs. 

What I call innocence is the spirit's unself-conscious state at any moment of pure devotion to any object. It is at once a receptiveness and total concentration. One needn't be, shouldn't be, reduced to a puppy. If you wish to tell me that the city offers galleries, I'll pour you a drink and enjoy your company while it lasts; but I'll bear with me to my grave those pure moments at the Tate (was it the Tate?) where I stood planted, open-mouthed, born, before that one particular canvas, that river, up to my neck, gasping, lost receding into watercolor depth and depth to the vanishing point, buoyant, awed, and had to be literally hauled away. These are our few live seasons. Let us live them as purely as we can, in the present. "

- Annie Dillard, Pilgrim at Tinker Creek (pg 82)

9.21.2010

Cartographers and Carriers

Microscopic eye candy!

During the home residency I conducted in June, I worked on some pieces in the new Cellular Series. Below is the finished version of one of those pieces. I have titled it Cartographers because it is mostly about the cells of our body and their ability to follow a map to do their particular work. I imagine our bodies as a busy hive of perpetually moving pieces. We walk around carrying all that activity and we don't even have to think about it most of the time. It's quite incredible to think that I will never really see the inside of my body; I'll never see with my own eyes what my cells look like; I can never hear the noise that must be made when everything is pumping and pulsing and moving around in there. It's a whole internal world that makes me into me, but it's also a complete mystery. I have absolutely no control over what happens, or does not happen, on any given day inside my body. But I have to trust it to make me walk and see and eat and think. It boggles my mind a bit, and I like how small it makes me feel.

Cartographers: Cellular Series 2

Below is the other piece I worked on during that concentrated studio time. It's still giving me some problems, but I think I know how to fix it. "Simple, simple" is what I keep telling myself. I'm still mulling over some ideas for titles, so I don't have one nailed down yet. These pieces have proven to be very hard to photograph because they are so subtle and foggy in spots that the camera just wants to blur everything together. Any thoughts on how to get some sharpness?? 

Cellular Series: 3

I've been hatching an idea that includes tiny paper-mache forms embedded in to wax. I can't wait to have some space and time to finish the next pieces in this series. Hopefully this week and next will provide a little more time than the last few weeks and I will have some new things to show! 



Cellular inspiration!

7.09.2010

Home Residency: Day 4

Here's a progress report in pictures. Still more work to do, but no one ever said making art was easy!

Line drawing warmup

A.M.

P.M.

New Piece: A.M.


New Piece: P.M.

This beautiful lady visited me on my coffee break. A muse perhaps?


7.07.2010

Home Residency: Day 2



Yesterday I took a quick trip to the Raleigh Museum of Art. I am teaching a children's camp there next week. I wanted to spend some time preparing for the lessons and checking out the offerings.

The museum just re-opened, after an extensive renovation and expansion, so I was excited to see the new space. The new building is really beautiful: a clean metal structure with lots of windows and natural grass landscaping. It reminded me a bit of the aesthetic of the Chinati Foundation in Marfa, Tx. The ceiling is full of skylights and the space is filled with plenty of light. Natural light in a museum makes for a wonderful viewing experience.

While the collection is small, they have a nice broad representation of everything from functional African art; to huge Robert Motherwell paintings; many sculptures by Rodin; two large Henry Moore pieces outside; some wonderful religious paintings from the 12 and 13th century, and a lone Picasso. It was a lovely two hours of looking, learning, and paying attention.  Here are some highlights:

Ledelle Moe, Congregation
2005-2008, concrete



This is my favorite piece. I love that each of the heads has a unique face, and that they are all facing in different directions. The slight variations in color come from the different colors of sand found in all the places the artist cast the concrete. I so enjoy the look of clusters of similar objects; calm but not monotonous. This is the kind of piece you can stand in front of and look for a long time. In fact you could look at it every day and not get tired.  Its simple aesthetic pulls you in to examine the details and discover the surprises in each face. 


Alison Saar, Tippy Toes
2007, wood, cast bronze



Anselm Kiefer, Untitled, 1980-1986, 
Oil, acrylic, emulsion, shellac, lead, charcoal, and straw on photography; mounted canvas; with stones, lead, and steel cable; in three parts. 



Juame Plensa, Doors of Jerusalem I, II, & III
2006, resin, stainless steel, light




These pieces are just amazing to stand under. The figures glow in this delicate ghostly way. The first thing you experience as you walk through the museum doors suggest a solemn invitation to quiet yourself. They sort of remind me of a sphinx, or an oracle. I almost expected them to open their mouths and intone some prophetic statement upon us all. I think it's quite wonderful how objects this large can be made to seem light, but not airy, not like they could float away, but more like a soft white blanket settling down upon you.  





Patrick Dougherty, Out of the Box
2009, red maple saplings

All the wonderful movement in this piece feels like the beginning of a storm. Pressure and wind and sound and water all swirling together waiting to drop. I loved looking at it and feeling its weight. My eye just roved and flew all over. I felt like I could get swept right up into it. It would be wonderful to eat underneath these lovely, lively lines, but I don't know that I would be a very good dinner companion.  I might forget to talk to whomever I was with!

6.22.2010

Bill Woodrow and Sidonie Villere

Rack - 2000
Canvas, wax, bronze, gold leaf, wire, glass. 
63 x 15 x 15 cm


I am incubating a new series. Part of my process is to look at a lot of images from other artists with similar aesthetics, or who are working in similar materials. I have been envisioning pieces in wax and gold leaf, with line drawing and string embedded. I am curious to see what actually comes from all this ruminating. In the mean time here are some images of work from two artists who are inspiring me:


Bill Woodrow is a british sculptor, printmaker, and drawer. His pieces remind me quite a  bit of the work of my friend Shannon. Her interest of honey comb shapes, books, sticks, and all things bee, line right up with these beautiful pieces.

Cell - 1997
Steel, wood, fabric, wire, wax, glass, paint. 
260 x 216 x 155 cm

Honey Flower - 1997
Bronze, paint. 
94 x 44 x 20 cm

Closed Book - 2005
Mixed Media
165 x 67 x 64 cm

Open Book - 2005
Bronze, paint. 
160 x 73 x 79 cm

Winged Box 2 - 1998
Wood, wax, steel, canvas. 
86 x 60 x 40 cm




Sidonie Villere lives and works in New Orleans. She also teaches, curates, and is involved in some large sculpture projects. I love her use of texture and space, and her quiet palette.  




Untitled Triptych
Acrylic, gauze, wax, plaster, liquid gold, leaf, string, nails on plywood.
25 x 36 x 2 "



Untitled
Mixed Media
41 x 30 x 2 "

Untitled
Mixed Media
42 x 61 x 2 "



Untitled
Acrylic, gauze, nails, wax, oil, pencil, war, paper, mirror, wire, muslin on plywood. 
24 x 24 x 3 "

Untitled
Gauze, metal wire, canvas, wax, oil, liquid gold on gesso board. 
18 x 24 x 2 "

Be inspired, friends!

5.27.2010

Texture



A mountain lake has to be one of my favorite types of places. Something about the combination of water, mountains, forest, and beach provides such amazing visual texture. When I was at the Grunewald Guild I visited the Wenatchee Lake State Park twice. I could have taken pictures all day! Here are some texture shots that are inspiring me in my work.