Individual Expression

…there was a long time when I wasn’t completely satisfied with what I was doing…not that I didn’t think each collage was good, but they didn’t have the message…finally, when I felt I had the message, then I thought, okay, now.

~Hannelore Baron

Making art is like a conversation for me. As I work I converse with the piece and the piece converses with me. I hope to communicate my message through the work.

If I am lucky the work tells me what it needs. Once the painting or collage is complete, I hope the conversation continues between the work and the viewer, and on some level between the viewer and the maker.


Sometimes that awareness of the message, the conversation, can distract me from the elements that go into a work of art. The techniques, the design and the craftsmanship remain important, and I must remember that part too.


I’ve been trying to move to another level with my work, one with the message and the craftsmanship equally expressed. I have tried a number of ideas and approaches to my current subject matter. Each experiment has been worth while. I think I have found my direction, although I’m at the beginning of this series.

We make art because we have to! We have no choice but to express ourselves visually. We share our visions, our sensitivities, and our compassion. We share our agony, our wrath and our frustrations. Through our art we lay ourselves out on paper for all the world to see. When we exhibit our work, others can explore and experience our beliefs, our reactions, our biases, our loves and our spiritual beings. It takes special people to share themselves with others in such personal ways, and such people are called artists.

~Gerald. F. Brommer


These two small studies are satisfying to me. I can work from this place. The working title for the series is Story Line. The concept is solid and I know the message, at least at this initial level. More may be revealed to me as I work.





Mr. Brommer goes on to say of course our products have something to do with technique, decoration, craftsmanship, design and subject mater. But these are merely tools that help us create more effective art…help us communicate more articulately. What we express visually is what is within each of us, for that is the foundation and purpose of our art. We express reactions; we help others see more differently or more clearly; we assist in the recognizing of relationships. We explore visual dynamics and report on human events. We decorate surfaces and we express unbounded joy in the very act of creating. We create because it is an essential part of our lives. We cannot help but be artists…Regardless of the media, styles, size or subject matter, good art is determined by the quality and effectiveness of sincere visual expression.

Exploring Again

I am feeling the need to explore; specifically I want to explore shapes and line. While I am completing a few more Bone Prayer paintings, I have also decided to start in a different direction. I have been thinking of this new direction for a while. Today was the day to begin because I had some left over paint mixed up and needed a place to put it. Kurt had made me some birch panels sized at 12 inches by 24 inches, which is a nicely exaggerated rectangle. Paint plus panel equals a start.

I am showing you the very first layer of the many I am sure I will add to this piece. I am also showing you a page from my art notebook, where I tried out the ideas after I had already started the painting…I suspect this will be a series, and go in directions I don’t even envision yet. I like funky, loose drawings, so I did these with my non-dominate left hand.

I’m still working on meaning; vessels as a metaphor, and Joseph Campbell’s talks about the Native American concept of the “long body.” My stage in life where the view back to the beginning is longer, I think, than the view out to the future…. experiences poured in, and poured out, weathering and firing, the polish of time.

In the past I have made pots and bowls on a potter’s wheel, and woven baskets from natural materials I gathered. I used to dream about the feel of wet clay spinning under my hands. I have entered natural cathedrals of tall trees and moss covered under story in the rain forest while seeking cedar roots, and left them all there because the sense of place told me it was too sacred to touch…..Now its time to explore the same shapes in collage and paintings.

Out On A Limb

This is another scanned section of the Old Bones Painting, by Leslie Avon Miller

It takes a lot of guts for me to paint in nearly back and white, with a bit of grey, beige and brown. It takes a lot of guts to post paintings and collage on my blog that “break” so many design “rules”. It takes a lot of guts for me to follow this series along where it leads. I think my Muse has an astute wickedness about her, although she defies being defined or categorized. She is too individualized for that and she is fiercely creative and independent. And I think she laughs right out loud when I take delight and stand back from a delicious texture appearing on the surface of my work. She isn’t easy on me. And of course, I have to honor her, because I choose to and I know she has something to give me from all of this. I just don’t know what it might be.

I had a teacher in the 7th grade like that - Mrs. Smith. She really forced us to learn the parts of speech, and the elements of writing. She wasn’t very nice about it, and she was strict. She didn’t let us get away with “good enough.” It had to be correct. Remember diagramming sentences? Thanks to her, I have the skills to be able to write a decent sentence and to have the guts to also break those rules when it serves my purpose. For instance, the use of an occasional sentence fragment. For effect.

I have on occasion had the thought “I don’t use realistic subject matter, I don’t use color, I don’t use much contrast, I don’t use known, traditional compositions, and I don’t use much variety। I do use a lot of unity and texture। Could I make this any more difficult?”

It’s not like I don’t know the rules; I really do. I don’t know why the muse is leading me out on this limb….I keep thinking that this severely restricted color palette will run its course and I will move to something else, but the limb keeps stretching out before me….

I have been enjoying all the great comments and questions you have been leaving of late. So I’m going to address them in this post, rather than the pop up window of comments. After all, there is a conversational element to the enjoyment of blogging.

When I get to New Zealand and Australia with Kurt and Derrick as my traveling companions, I will definitely be up for all experiences including a secret sister Aussie initiation and a “chiko roll”, which I hope is vegan if it something to be consumed….

Mating and framing. What an issue. I had a 22 by 30 inch piece on heavy water color paper framed professionally once, and decided I better learn to do it myself. A local frame shop owner retired and we were fortunate to buy her professional (manual not computerized) mat cutter, her wall hung glass and straight edge cutter, frame tables, and other assorted odds and ends. The mat cutter lives in the mud room, protected by a cloth, and a barrier of empty cardboard boxes so no one sets anything on it. The space is too small to really use the cutter. The wall hung cutter is hung on the wall of the bedroom that was once the studio. I use it all the time to cut paper and mat board on the straight edge. The framing tables are in pieces awaiting installation in the new studio, which awaits insulation in the high ceilings and then drywall….in other words, I can’t really mat and frame yet, because the equipment is not set up. But yes, I yearn to mat and frame the small collage. The larger birch pieces, which Kurt makes for me, hang on the wall just as they are. Same with the gallery wrapped canvas he is learning to do.

Yes, there is an element here of rawness as well as darkness and light to the Old Bones and the Big Rocks. Thanks for putting those words to it. There is a lot of collage on the Old Bones piece. I don’t think there is any on the Big Rocks piece. Both pieces have been through a few incarnations in their process to be where they are today. As for textures; I have been creating textures for a long while now, and I pretty much know what I am going to get. There is an element of “accident” because it is not a tightly controlled process, which suits me, but I know which technique will give me which texture. And I do experiment and discover new things. I use a lot of acrylic paint, both liquid and heavy body. I use some water color, some inks, crayon D’arch, occasional pastels, graphite pencils, markers, and oil pastels (I love Sennelier oil pastels, as they are butter soft.) I have undoubtedly left out something in this list. Sometimes I use a lot of transfers. I put pigments on with a wide variety of techniques including my fingers, sticks of wood, bamboo skewers, rags, papers of many varieties and sometimes even a paint brush. I take some pigment back off with alcohol, sand paper, rubbing, more reverse transfers. Sometimes I work with my eyes closed, to get closer to intuitive gesture.

I don’t often varnish my work. I should explore that more. I know that Margaret had a list of how to do this at her blog, including spraying a mixture of mediums thinned down with water. I want to try that. That would keep graphite from smearing. Some times I put a mixture of cold wax and Gamblin Galkyd oil as the last layer. I have tried the faux encaustic recipe written by Golden Acrylics. I would love to find new ways to write on my work also.

I believe the Universe has great plans for us, and does smile on us. I think coaching helps us see, believe, and be brave. I love coaching. I love to be coached and the muse is clearly a fan of coaching. I believe that if you have read this whole post, you have read a lot! I’m off to the studio….the muse calls.

The First Question: Blog Reader’s Answers

Knowing, 6 x 6 collage by Leslie Avon Miller

I have been away for a few days. Looking over these answers again has been touching. As artists, it is clear that our creativity is a portal to something bigger than ourselves, to something of profound meaning and value. I just can’t synthesize these because every one is a precious gem. So here they are, in no particular order, and with a touch of paraphrasing. Breathe in the beauty, the soulfulness, and the exquisiteness of the connection each creative person has to their own creativity.

#1 What is it that you get back from your art?

Acceptance of myself and my art
Permission to just be
License to live a different kind of life
Balance in my life
A spiritual feeling
The older I get the more making art changes to meditation
Being in the flow
Writing is the greatest thing for me; it has taken on a life of its own
My writing resonates
Satisfaction
A sense of playfulness
It provides solutions
A coming together, a flowering
I make money
Validation
Impetus to keep making art
Enjoyment
An outlet for my creativity
The ability to solve problems
A sense of community that sustains me
Opportunity to learn new things
Sense of accomplishment
Calms me down
Teaches me patience
Teaches to accept and enjoy many forms of art
Outlet for expressing my emotions
Solace
A way to work out problem and to share
A great adrenalin rush
Feeding of the heart and brain
My brain becomes engaged
I feel blessed
A chance to express one’s deepest beliefs, joys and dreams
A way to get in touch with the visible world around me
Art and creativity is way to express myself in the world
Connections with others
A sense of purpose
A feeling that art is food and medicine
A part of my soul
A secret thought
A new color or texture
A surprise
Regenerative energy
Creativity creates a bigger pool of creativity for all of us
Art is the path to wisdom
Pure joy of creating
Deep satisfaction
Pleasure in completing a quest
The amazing sight of giving new life
Joy, clarity, fulfillment
Growth
Deeper understanding of my inner and outer life
Increased appreciation for the world
A constant dialog with the work
Gratitude to be alive

The First Question

Messenger 6 x 6 collage by Leslie Avon Miller, collection of Kathleen Botsford

This is my answer to the First Question: What is it that you get back from your art?
My art gives me something to strive for; being the best artist I can be. My art gives me something to ponder; what am I saying with my art? My art gives me technical problems to solve. My art allows me grow as a person. My art allows me to express myself in the world. My art makes me feel truly alive. My art compels me to get up early and work hard. My art gives me compassion for myself and others. My art gives me humility. And one artistic expression has lead to another, which is a gift I did not anticipate. My art has been a connection to many other like minded people. My art keeps me connected to the sacred. My art is a deep part of the meaning I experience in life. My art allows me to express my passion; for life, for art, for the process of being alive. My art lets me claim myself. My art piques my sense of wonder and curiosity. My art is something that is all mine and as such really says “I am here. And I love being alive.” My creativity allows me to accept myself, and be appreciative, instead of looking around and saying “if only I could have what she has.” My art lets me take my creativity seriously and makes me take myself lightly. And it is just so much fun!

I am going to a workshop this weekend, and will be able to check my blog for comments. Early next week, I will post a synthesis of your answers to the First Question. If you have posted answers at your blog, or you have not yet connected with me and want to, please let me know. The artists that have written or spoken with me have been thoughtful and fun to talk with. Most have reported gaining some insight into their own process. And the interesting thing is that the insights continue after the call or email. Once you open up a dialog with yourself about your art, you find your art has a lot to say to you!

Interview with Guest Artist Donna Watson!

Imprint mixed media collage by Donna Watson

Donna Watson

It is my pleasure to bring you an interview with one of my favorite artists, Donna Watson. I have had the opportunity to study with Donna on two occasions. I took a work shop with Donna several years ago. It was a brief version of her week long workshop. So when she taught again in this area about a year and a half ago, I took that one too! Donna spends a lot of time helping her students clarify their own unique style. I benefited from getting clear that I am a value painter; an artist who uses neutral colors. Donna encourages her students to attach personal meaning to the content of their work, to work in a series, and think about the statement their work is making. Donna kindly agreed to answer some questions about her art and source of her inspiration for Textures Shapes and Color.

You have been an artist most of your adult life. What has being an artist given back to you?

I have been an artist for 30 years. I began painting in watercolor, after completing a Master’s degree in deaf education and teaching deaf children for 4 years. But I do have early memories, as a child, of drawing and painting whatever was in front of me. So, I have always been drawn to artistic activities, whether it was making a wreath, or my own jewelry, or clothing. Whenever I saw something I liked, my first thought was always, “I can make that.” I tried many different mediums in my search for an outlet for my creative urges. I have read that first borns are driven to be high achievers, to strive for perfection. That sums me up pretty well.

What is the source of your creative inspiration?

Over the years, my studio has become a place of refuge---a sanctuary where my creative activities sustain and rejuvenate me. My goal is to evolve, grow and become a better painter (to my eyes and own judgment). One source of creative inspiration for me is when I find an exciting artist or new body of work. I love to go to galleries and look at art books--- and all sorts of artwork can turn me on--- pottery, quilts, assemblage--- can all be quite creative and inspiring. Our creative selves need plenty of sensory stimulation to feel inspired, and keeping an open mind can lead to new creative ways. I have been through a number of transitions, moving from painting transparent watercolor landscapes to my current work which includes acrylic, collage, and assemblage. I have figured out what I like and don’t like in my search for my own personal expression. I combine found papers, hand painted textured papers, fabric, or digital imagery with acrylic paint. I may also attach rusty metal, weathered wood and bones.

What one book would you recommend to fellow artists and why?

A book I would like to recommend is ART AND FEAR by David Bayles and Ted Orland.
On the back cover there are 3 questions: What is your art really about?
Where is it going? What stands in the way of getting there? These questions occur at each stage of artistic development and this little book is very helpful at answering them.

One of the strong elements of your work is color. Can you tell us about your color choices?

I love texture and subdued colors. Black and white is a huge turn-on for me. I also strive for balance and unity in my work. Content is very important. Currently, I am interested in the passage of time, and what remains. This may be the physical effects in nature or the psychological effects on memory or identity. With the passage of time there is a transience depicted with traces, layers and recollections. I try to take what is personal to me and make a more universal connection.

If you were to walk in an antique/junk store, what kind of find would be exciting for you?

I love textures, text, circles, dots, numbers, and letters. I take my own digital images of some of my favorite collections of bird nests, fossils, seed pods, rocks. I have an obsession with collecting things. I even love to collect unusual boxes to keep my collections in. There are so many things in an antique or junk store that would excite me--- old chart maps, old tool handles, rusty hinges, yellowed book pages. Because I am half Japanese, anything Asian would really excite me.

You have recently opened an Etsy store. What kind of work will you feature there?

My recently opened Etsy store is called Watson Studios. I have some very small collages on wood or canvas featured there. I also have a website at www.donnawatsonstudios.com.

My thanks to Donna for her sage guidance to her students (me!) and for taking the time to be interviewed.

MEMEs

These are tiny 2 inch by 2 inch collages, ready to send out for the MEME people. I have about 16 of them. More than being created, these were discovered in the studio and added to with additional elements. So Jo Horswill, Jeane (yes, you get one), Luisa, Dorie, I Love Black and White, Robin in Las Vegas, 13 Moons, and Ian please send me your mailing addresses. My email is leslie avon miller @ gmail.com (remove the spaces). Once I send these off to you I will move on to larger works.

I didn't know what a meme was either, so here is what wikipedia said: A meme (pronounced /miːm/) comprises a unit or element of cultural ideas, symbols or practices; such units or elements transmit from one mind to another through speech, gestures, rituals, or other imitable phenomena. The etymology of the term relates to the Greek word mimema for mimic.[1] Memes act as cultural analogues to genes in that they self-replicate and respond to selective pressures.[2]And a link to the weikipedia explanation: http://en.wikipedia.org/wiki/Meme

A link to my original MEME post is here:

I like this quote. It seems to me to be about speaking with our own artistic voice.

You learn the essential skills, how to manipulate
the brush and how to handle paint,
and you study the works of artists you admire.
After a while, though, you have to be yourself.
That's scary, but satisfying.

T. M. Nicholas

Work

My own work informing my own work is a concept I am exploring. While I love to look at all kinds of art, and do at every opportunity, I am beginning to explore my own work as a starting off place for new work. One of my goals as an artist is to develop and express my own authentic voice. I want to be the best artist I can be. Some times I see art created by other artists and I practically gasp for breath at the stunning image. Yet, I am craving the authenticity of my own voice.
Wasn’t it Andy Warhol who said everybody influences everybody? I am as influenced as everyone else. Yet there is some new energy coming. I can feel it. I am creating a space for this energy, and honoring it. This tiny piece is from a journal I started last year, which I think of as my Voice Journal. No rules. No expectations. Experimentation. Permission. How about you? Do you know your own voice? What are your creative experiments?