This is the work I showed a detail of in my last post. It has gone through extreme changes and finally developed into this image that I am now going to stop working on and let be. In some ways it’s an awkward piece and I felt it was trying to tell me something, so I wrote about it. Here’s the print/painting/collage:
And here’s the writing, be it prose or poetry:
Now the fragments of my sharp childhood become pieces of old paper, old carved imprints cut and torn and glued to something stable so I don’t whirl apart. I glue and paint and ask the pieces what they are, how can paint and print relate, how can the parts talk to each other–easily or not, like I do when awake in the dark unable to move. Here paint moves, the print says something in a language I can’t quite place which is good because it’s like a dream, beyond my intentions. And in order to hold this uneasy work together, I frame it in a strange landscape, so it doesn’t fly away yet but shows its strange self perhaps howling at the sky. Something or someone sees. That’s what matters–some consciousness even in sinister times and the beauty, the possible beauty of colour and an awkward curved or straight line.
Old and new, what’s become of the fragments falling through air–old voices and hands, dried petals and leaves, paper flowers, old garlands and sea shells falling lightly to earth forming sand out of lives once lived, the sand on which I walked as a child collecting spiral shapes kind enough to place my dreams in, the sand that I and this work are becoming even as summer passes into fall.
I’ve been working on another piece that combines part of an old linocut with gouache paint. It’s been a tough one in terms of design. I’ll post it here once I finish it. Yesterday I said aloud while working: “I should just throw this against the wall.” After that I made some progress! Here’s a detail of the work:
Meanwhile I’ve also started writing again. Years ago I wrote often, but had mostly stopped except for keeping a journal of daily events and dreams. Now I’ve returned to writing as a way to slow the loss of nouns as I age. I find that writing longhand helps me.
This week I recalled an excellent book I used to refer to when I facilitated expressive arts groups. It’s called PoemCrazy by Susan Goldsmith Wooldridge. It’s a very lively book, beautifully written, that offers many, many ideas about writing poems without getting hung up on trying to define what poems are or are not.
I got out the book and am using it to give me jumping off places. Here’s something I wrote the other night that began with the author’s talking about names.
I will write myself into a new name, the other side of Lily, a blue shadow under pines in a night forest where the luna moth flies and I sleep, a bear of a dog by my side. I am covered with needles not of my grandfather’s, but of trees who wish me no harm as I wish them none. It is here I die each night, ready for my last, happy to awaken to the sun and the tiny birds stirring the air with song. Here I am no outcast. I am on the other side of war.
This is another one of the recent pieces I’ve done, again combining part of an old linocut with stamps and gouache paint. This is the first work in which I included stamps that I printed right on the board.
It took me a long time to see what might be emerging in the work. I saw the central fish first, but much of the piece was unformed for quite a while. When the green and pink fish finally emerged, they reminded me of childhood paintings.
As I work, I’ve started paying attention to light, dark and medium hues. I learned to focus on this in textile courses I took when I was doing fibre art work. I find that photographing the work on my phone and doing a quick edit to a black, white and grey image helps me see what’s going on and not only be caught up with the colours I’m using.
Here’s the full work plus a close up:
P.S. My apologies to the birds who don’t want to be ignored!
I had a great time at the reception for the Printmaking Show at Gerrard Art Space where I met some of the other artists and saw some excellent prints. After that and before going to Montreal for a sweltering!!! but great week, I finished a piece I’ve been working on that’s a continuation of the old and new theme.
In this one, I painted loosely with acryl gouache in bright colours–another experiment with the new colours and paint I’m learning to use. I had intended to glue parts of an old print to the board, but that didn’t feel quite right for this one. Instead I took several old stamps I’d made years ago, slathered them with the paint and printed them randomly on the gesso board itself. I liked the unknown aspect of this–I realized that parts of the stamps would not show up or would blur and was interested in seeing what textures they’d create. I first used this process in another piece I’m still working on and want to do more of this in the future.
This painting/print is unlike anything I’ve done. It reminded me of a fantasy forest and looks to me like a design for wallpaper or fabric. Here’s the whole piece and a close up to show some of the stamped images.
The Printmaking Show at GAS–Gerrard Art Space–in Toronto that I’ll be in begins this week. If you’re in the area, do drop in. I’ll be at the reception Thursday night the 28th from 6 – 8. Click here for more information.
Detail from The Search linocut.
I learned yesterday that at least one of the three prints I submitted to BIMPE X–the Biennial Miniature Print Exhibition–has been accepted for the show. The organizers received over 700 prints from 300 artists. Around half were selected by the jury. The show will open in late September in Vancouver, BC.
I’m interested in seeing which of my prints were selected. I’ve talked about the process in several posts. Changes is the most recent one.
Here’s the prints I submitted:
Here’s my most recent work. Following the work I showed in my previous post, I looked through some linocuts I’d made in the early 1970’s. The one you see below is part of a larger print I made by carving free style with only two shapes in mind–the round and the long ones. I have another large chunk of the original print that I plan on using in my next piece.
I cut the 12 inch square piece of linocut in 3 inch squares to be able to adhere them neatly to a gesso board. That left interesting spaces here and there where the sides did not line up exactly. I then began painting using acryl gouache without a preconceived plan. I decided to paint some of the seams with marks that, for me, symbolized sewing on cloth or stitching skin together, leaving scars, of which I have several. I enjoyed the process of making this piece–it involved times of slow thought and consideration as well as ones of trial and error and intuition. The piece reminds me of a landscape or garden.