The last few weeks have been a whirlwind for me, I’m trying now, not very successfully, to collect myself. Between the move into a new space, multiple shows and now an inferno has set upon the City of Angels, I find myself quite discombobulated. Now that I have a semblance of internet (thank you Hotspot, whatever the hell that is), I feel less adrift.
To procrastinate, I’m enclosing a few images from recent shows, “Satan’s Ball” at Art Share LA and more recently, this last weekend’s “Fairyland”, my solo show at Ave. 50 Gallery.
A pleasant surprise was meeting the photographer Stephen Levey who took some excellent images of my work. I was quite delighted to see how he captured the moodiness of my figures.
I’ve tried for some time to capture my first “Temptation of St. Anthony of the Desert”, Stephen, seemingly effortlessly, snapped a great image.
The preparation for the opening of “Fairyland” was daunting, with packing up the old studio, moving into the new and all the details that go into a transfer from one place to another, I was rattled. Particularly grateful to Dan Fernandez who handled my installation expertly.
In the end it all came together and the opening was just splendid…hot as Hadesville , but splendid.
I was so touched by how many of my friends stopped in, in spite of a plethora of competing openings, in spite of the gallery’s rather isolated situation and in spite of the terrible heat. In spite of that , the support was thrilling. Thank you my friends, friends I’ve known for awhile and to the new ones I’ve just met.
Art making is isolated work but it is the community one finds that encourages and delights. I’m pretty delighted at the moment…in spite of fierce Apollo.
As what had been a very delightful sanctuary becomes barren and littered with bubble wrap and pugs , I wanted to make one last post from my creative home of the last two years. Although eager to settle into larger digs, I will miss this place (particularly its excellent air-conditioning ).
This is proving to be a busy moment in my life. The movers arrive this Saturday and that evening I have an opening , Satan’s Ball, a perennial favorite -I have five pieces in that show. I may be pooped after the move but looking forward to being part of the festivities at Art Share LA. Then my solo show Fairyland July 8th. Frantic, daunting, exciting.
I was delighted to be notified that my drawing The Rape of Our Mother had been accepted into the Brand 45 Annual National Exhibition of Works on Paper. I was particularly excited because the juror was Leslie Jones, Curator of Prints and Drawings at LACMA- my submissions were unmistakably drawings in that old fashioned way and I having her validation was important to me.
I had failed to mention that my painting Hadesville won 3rd Best of Exhibition at CEDARFEST 32, at the Lancaster Museum of Art and History, Lancaster, CA.
I was beaming with a goofy grin.
The day after the award ceremony Facebook rather magically reminded me of what the painting looked like a year ago.
This “memory” popped up.
And a year later:
Packing has produced some novel still lives that I am eager to figure into compositions for new paintings, this being the most successful :
I’m at the end of my packing , I receive the keys to the new studio tomorrow morning. Much more to do but very eager to get back to work, be it stitching, drawing or painting, perhaps a relief print of two as well.
June is proving to be a whirlwind month for me, four group shows this month, plus I am preparing for a solo show in July AND a studio move!
The following are the shows are lined up for June.
These are good problems to have!
Los Angeles Art Association & the City of West Hollywood are proud to announce Out There, a very special exhibition celebrating the LGBT experience during West Hollywood’s Pride Month festivities at Gallery 825.
In its 10th year, Out There is a key feature of Pride weekend, an annual event that attracts nearly half a million visitors to West Hollywood. Out There was juried by William Escalera and Francisco George and opens at Gallery 825 on Friday, June 9 and runs through June 16, 2017.
When: Reception – Friday, June 9, 6 to 9p
(runs through June 16, 2017)
Where: Gallery 825, 825 N. La Cienega Boulevard, Los Angeles, CA 90069
Crossing Boundaries:Engendering LGBTQ Identities
In celebration of Pride month across the nation, the Avenue 50 Studio takes great pleasure in announcing our upcoming exhibition in which the works of our LGBTQ artists are honored.
Featured artists include: Alex Constant, Ambre Aki Gonzales, Christopher Velasco, Efrain Torres, German Rubio, James Grey, Juan Solis, Leonard D Greco, Miles Hochhalter Lewis, Noel Alumit, Nora Rohman, Roberto Benavidez, Tiffany Syas, Wren Warner
CEDARFEST:32nd Annual Juried Arts Festival , jurors Nicolas Shake and Robin Rosenthal
Opening June 17th, 6-8 pm, show runs June 17- August 5 2017, MOAH:CEDAR 44857 Cedar Ave., Lancaster CA 93534
A beloved and feared instant summertime classic, this year’s Satan’s Ball is a powerful, cheeky, unapologetic embrace of the dangers, demons, burdens, and temptations that beckon to the more sinful angels of our nature with the promise of magic, mystery, spells and shadows.
As I mentioned, I am also planning a move to a new and larger studio. Exciting but daunting, here are a few snaps of the place . The current tenant hadn’t yet moved out on the day the husband and I checked it out. We were both pleased with the northern light and sense of space.
I finished my latest figure last evening, what I had heretofore been calling simply a rag-doll, I am now calling a stuffed painting.
He is called The Wodewose.
Greenmen (andGreenwomen), The Green Knight, Wildmen and the archaic form, the Wodewose, fascinate me. They are at once pure of heart and spirit yet unbridled, carnal, the embodiment of our bestial selves. No wonder they appear so frequently in medieval marginalia; amidst sacred texts, randy hairy beastie-folk cavort and beguile.
I’ve turned to the theme multiple times. After reading Simon Armitage’s excellent translation of “Sir Gawain and the Green Knight” I was hooked on the theme, a wondrously fascinating archetype; ripe for seemingly endless re-interpretation.
This latest work is in the round and I was able to more fully develop his fleshy-ness ( and hairy-ness thanks to some found faux fur).
I was inspired to employ the Wodewose-Wildman archetype because of the recent celebration of Beltane on May 1st. Rebirth, renewal, the “pagan” appreciation of unbridled spring. My figure has two ways of presenting himself in order to more fully keep in the step with the seasons.
The first being flacid Winter Dormant:
And thesecond, lively Spring Renewal:
“The Wodewose” will be part of my contribution to “Satan’s Ball”, a group show at Art Share LA that promises to be an:
“unapologetic embrace of the dangers, demons, burdens and temptations that beckon to the more sinful angels of our nature”.
I’m going to close with a few random images of Wildfolk that never fail to delight me. As I leave for Pittsburgh tomorrow and rain is supposed to be in order, I’m looking forward to a wild rush of greenery (and perhaps a few fauns).
I am happy to say that I have finished my latest figure for an upcoming group show here in the Los Angeles with a theme of “Bad Girls &Outcasts”. I’ve made about five pieces for the gallerist to consider and this soft sculpture figure is my latest.
As I continue on this practice of “painting-sculptures” I find myself more and more drawn to the possibilities of figures in the round. The making of these figures being immensely gratifying.
This particular figure was directly inspired by a relief print I had made before crafting The Magdalene. Perhaps its gimmicky but that print will accompany the figure when she is presented to collectors.
As with much of my work one thing leads to another, this small print leading to another more complicated and I believe, more successful print, of the same subject.
It will also be presented at the gallery.
The Magdalene has been a figure of fascination since my boyhood, searching out her familiar red hair and raw tears in countless museum visits throughout my life.
Her renunciation of worldliness in order to be closer to the God who left her behind stabs my heart every time. I’m of course playing loose with history and church tradition, but that is the emotional effect, one of abject abandonment, that moves me so deeply . In many ways, she reminds me of Dido and her awful lament.
Of course, at least according to Church tradition, she is ultimately reunited with her Savior , often depicted ascending heavenwards garbed only in her anchorite-wild hair. This visual tradition of presenting The Magdalene as a Wild Woman is also extraordinarily interesting to me. She is in effect the corporeal equivalent of the divine other-wordly Blessed Virgin.
That old trope of Virgin and (Redeemed) Whore.
This resonates for me in that it allows exploration of the Old Gods and the New and how we , as a society , have tried to synthesize these elements in a cohesive and manageable way. I love both the BVM and The Magdalene, but personally, I feel closer to the latter.
Following are a few (unattributed) images of MM that I treasure.
(this is I believe, her reliquary , at least that what my what I noted)
Below is info concerning the show, if in LA, please visit.
I am working on a series of pieces for an upcoming group show devoted to the maligned women of history , folk tale and myth . The show is called “Bad Girls”. There are plenty of so called Bad Girls to choose from and I’ve selected a few that have resonated over the years : Salome , Mary Magdalene, the three crones from “Macbeth”.
My studio progress which had been going well has been interrupted a bit ( even this post , ordinarily made from the comfort of my studio , is now made from my IPhone at my breakfast table .
My little dog Rose is very sick . We nearly lost her over the weekend and her recovery is arduous and fraught with worry . My time and my emotions are occupied with her recovery .
That said , I did manage to bring all the pups to the studio yesterday and put in a few hours . Rose’s whimpering abating , the anti anxiety meds kicking in allowing me some time to focus.
What I focused upon was the Mesoamerican moon goddess Coyolxauhqui, link below :
According to the legend this unfortunate goddess for reasons complicated by patriarchy and misogyny, is mutilated beyond recognition. Forever memorialized in the monumental disc bearing her image found now at the Templo Mayor museum in Mexico City . She is a powerful figure.
I worked rather feverishly yesterday as I knew my time was limited before Rosie became restless again needing my attention and the result thus far , is the corpus of the goddess found above . I myself was struck by the pathos of the being .
As usual with my dollmaking I hadn’t filtered my emotions for mechanics; the figure emerged on her own . And after I held her broken body and posted her image online , only then , over dinner with my husband ( the psychotherapist) did I realize that my Coyolxauhqui was in fact Rosie.
This should have been obvious , Rose has an amputated rear right leg and now a near lame right arm- she is essentially an invalid . That the doll is nearly life sized to my sweet pug is also an unconscious similarity.
I’m of course completely absorbed with Rose’s needs , we both are . David , a medical doctor’s son is particularly adept in assessing in a calm cool manner; but he has his own work , patients of the human sort wrestling with their own traumas .
As the artist with a more flexible schedule, nursing is for the most part, my duty . I’m so happy she is alive I am grateful to have this second chance . But it’s hard , she cannot eliminate on her own , fights me ferociously over her bitter pills and the whimpering, not consistent, but when she does whimper , it breaks my heart in half . Believing myself to be impotent , useless .
This is Rosie yesterday , a better day ( after a fraught night ) , shopping for new bedding and nursing paraphernalia. She loved the attention , her tail wagging with enthusiasm.
Today, after her follow up at the hospital ( it’s predicted to be a lengthy recovery , six months or so of this schedule), I plan to head to the studio and meet my other obligations to the show , my work and to myself .
The following images are of my progress thus far: Wish me luck.
After a rather arduous process I have at last finished my latest relief print depicting the “weird” sisters from Macbeth (actually any practitioner of ancient arts). It is for an upcoming show here in LA devoted to Bad Girls, and as witchery and pagan ways have beguiled me since boyhood (going so far as memorizing the witches’ lines from the bard’s play), I felt they were a worthy subject. I wanted to laud the women (and men) who have been maligned and persecuted in the past. I also wanted to, as in the middle sister, explore intersex identity. What I like about this print is that it recalls a stained glass window, a pagan stained glass window to ancient seers and prophets.
But I hadn’t anticipated such difficulty in the making. Perhaps it is a testament to my increasing skill in printmaking,but my expectations are now higher. And as with my painting practice, as I make progress, I also find myself more keenly aware of how to improve the work. In this case, after rather laboriously cutting multiple plates and running a rather sizable series of prints, after reflection , I just felt the print to not be up to par.
The cutting of the plate (s) above, and the enthusiastic running of sixteen prints.
And the lackluster results.
Having run the series on a Friday, by the time I returned on Sunday, the print seemed cramped and illegible. I have a high tolerance for density and visual information , but I found myself unable to read the image.
So back to the cutting table, the previous series essentially material for collage.
This new series is smaller (mostly because I have run low on good printing paper) , I was concentrating on making a sound image, not quantity. As it is, in a series of six, only half are in high enough quality to market. I had trouble with the density of black, too much “snow-flaking”, as in this blue version.
Given the small run and limited number of prints available, they are artist’s proofs. But I now feel confident that the next run will be a success. To ensure that success I may resort to a spell or two:
Thrice the brinded cat hath mew’d.
Thrice and once the hedge-pig whined.
Harpier cries “‘Tis time, ’tis time.”
Round about the cauldron go;
In the poison’d entrails throw.
Toad, that under cold stone
Days and nights has thirty-one
Swelter’d venom sleeping got,
Boil thou first i’ the charmed pot.
Double, double, toil and trouble; (10)
Fire burn, and cauldron bubble.
Fillet of a fenny snake,
In the cauldron boil and bake;
Eye of newt and toe of frog,
Wool of bat and tongue of dog,
Adder’s fork and blind-worm’s sting,
Lizard’s leg and howlet’s wing,
For a charm of powerful trouble,
Like a hell-broth boil and bubble.
Double, double, toil and trouble;
Fire burn and cauldron bubble.
Scale of dragon, tooth of wolf,
Witches’ mummy, maw and gulf
Of the ravin’d salt-sea shark,
Root of hemlock digg’d i’ the dark,
Liver of blaspheming Jew,
Gall of goat, and slips of yew
Silver’d in the moon’s eclipse,
Nose of Turk and Tartar’s lips,
Finger of birth-strangled babe (30)
Ditch-deliver’d by a drab,
Make the gruel thick and slab:
Add thereto a tiger’s chaudron,
For the ingredients of our cauldron.
Double, double, toil and trouble;
Fire burn and cauldron bubble.
Cool it with a baboon’s blood,
Then the charm is firm and good.
[Enter Hecate, to the other three Witches]
O well done! I commend your pains;
And every one shall share i’ the gains;
And now about the cauldron sing,
Live elves and fairies in a ring,
Enchanting all that you put in.
[Music and a song: ‘Black spirits,’ etc, Hecate retires]
By the pricking of my thumbs,
Something wicked this way comes.