Archives for posts with tag: art

My studio is next to Art Papers, a magazine about contemporary art. The former Editor-In-Chief and Executive Director, Sylvie Fortin, told me that an artist should always, when contributing, donate his/her best work. (Sylvie, by the way, raced me to the hospital one time. It was when a masonite painting I was working on fell, severely damaging the muscle in the back of my leg. I also should point out that Sylvie does not drive. She drove my car, first wheeling me in an office chair to the curb. In addition, she put everything aside to get me there.)

She told me that, by putting your best work out there, especially when you donate artwork, you speak to your audience clearly. As clearly as you would if your work were in a gallery.

This is the piece I have donated to the Hambidge Auction. I posted it recently on Facebook. It is from my solo show “Afloat: An Installation”, New York. This piece is a collage, 5” x 5”, a collage done strictly with magazine pieces, no computer imaging. Or internet sources. It is framed in a white floater frame.

I also posted it in my online exhibition here on WordPress. Where it received the highest “site stat” rating. Which means it received the most “hits” on my blog. 
Even with the inclusion of my post about my friend and mentor, the now famous artist, Peter Forakis which also received very high stats. This piece aced that one.

It is kind of like that song from West Side Story: “When you’re a Jet, you’re a Jet all the way.” Everything matters. Or don’t do it!

I have to send an image to Ceres Gallery. It is to represent the work I am showing in the solo show for the brochure.

I hate to commit. The show is many months in front of me. And I may still be working on the pieces until they are sent to the photographer. After the photographs are made, it feels permanent. Website, my print books, future reference.

I remember one of my solo shows here in Atlanta, where I put a tube of cadmium yellow light in my purse. Then upon entering the gallery, where my work had been hung, I walked over to the one of my paintings I felt needing a touch up and I dabbed the paint on with my finger. Cameras and all.

In fact, there were a few wet oil paintings in the show for about two weeks. Until they dried. All because I worked on them, up until the last minute.

Another show, I used a ballpoint pen to touch up a collage. It was during the opening reception and people came rushing over to me, sighing when they saw it was “just me.”

Sending in an image (not this one) feels so permanent. But it will have to do.

Calling those 1 800 numbers to get a credit card balance from a store can be a debilitating experience.

I called the J.Jill Store the other day, asking them to send me an official plastic credit card. So as not to carry around the frayed, dog-eared business card with my card number on it. I do carry around this battered card and make purchases, but I thought it nice to have a real credit card. The kind that other people carry around.

That’s it. That is all I wanted. And the only way to get this was to call the number.

What I heard from the Customer Service (?) Representative on the other end was… oh, and I have to say, that getting to this person was a half hour ordeal. (To digress further, one time I was talking into one of those automated phone “service” devices and I slurped my almost empty Green Tea Frappacino and the recording immediately went into Spanish.) Therefore, you see how well the automated system works.

Back to the Customer Service Representative. She said something to the effect that since I was a valued customer, I was entitled to a special offer.

I kind of got excited about this, thinking that maybe I was entitled to some deeply discounted clothing in their Spring Line.

But what do you expect from someone who roboticly asks you, “Is there anything else I can help you with?” after you tell them you are hanging up on them?

The offer: By paying a few dollars a month on my bill, if I should become infirmed, lose my job or pass away, I will not be liable for any unpaid charges on my J.Jill card. For peace of mind, she said. I said I would get peace of mind if I wasn’t talking to her.

But that’s my peace of mind. Her point of view: J.Jill is always with me. Even facing an oncoming truck!


Day Eighty-Four/Image Eighty-Four

“Afloat” Image. Ceres Gallery. New York. Solo Show.

Our family lived in Pennsylvania when I was a child. And my brother and I would sing a song we made up as my father drove past the refineries in Camden, New Jersey. From the backseat, we would sing this dumb song, extolling the glory of these huge metal structures. Of course there were some gray ones, but I do think an attempt was made to beautify the environment with pink, yellow and blue ones. Big silos and smokestacks, all seeming to tumble over each other as we passed over the bridge. The pastel colors would disappear under our car.

I know now, these smokestacks and refineries dump pollution into the air. Smoke and gases and horrible stuff. But I think the early influence of folding this into my aesthetic, began with the smoke stacks of Camden, New Jersey, as it was then.

Day Eighty/Image Eighty

“Afloat” Image. Ceres Gallery. New York. Solo Show.

A plane landing on water. At night.

Almost a week ago, I had sinus surgery. The doctor “ordered” it pretty quickly. Was good because I did not have too much time to worry about it. He told me it would be in my best interest to get the procedure done, and since the three of us had already planned to attend a college interview for our daughter eight hours away, we were hurling down a super scary highway at night. We left at night because I attended an art opening of a group show I was in. The interview the next day, then back home after another eight hour scary ride. I started to get ready.

Two days later, I was on the operating table. Pretty uneventful except for the anesthesiologist. He was interesting.

He told me he loved being the calm one in chaos. I almost pointed out (and this was before the relaxing drip started blurring my thoughts) that my painting, which hovers between abstraction and figuration always has a grid or structure behind the abstraction to anchor it. And to calm people down when they experience the painted turbulence. But I didn’t go into this. He seemed very “normal.” And I did not want to come off as offbeat in such a tense, for me, out-of-control situation. Hairnet on and all my defenses down.

He told me he went to Georgia Tech to become a Scientific Engineer. Then went to medical school and became a Marine in the Special Forces. He performed his duty as an anesthesiologist while hearing bombs fly over and strike near his base in Iraq.

The structural grid I put in my paintings to still the abstracted motion does not compare to his calm amid chaos. Still, I felt a connection.

Day Seventy-Nine/Image Seventy-Nine

“Afloat” Image. Ceres Gallery. New York. Solo Show.

Asparagus. Used here like trees over the California Coast. How can an artist improve on the California Coast? I think I just did.

Day Seventy-Eight/Image Seventy-Eight

“Afloat” Image. Ceres Gallery. New York. Solo Show.

My daughter gets all dressed up for homecomings and parties. Everything is agonized over. Makeup for professional photographs done by a so-called professional makeup artist, only to be redone in the car mirror. Dresses tried on and captured by an Iphone from every angle to be reviewed and texted to her friends before considering. Hundreds of dresses to be hung up in the dressing rooms of many many stores. All nice, hip and trendy, smart, elegant, perfect, in fact. All fitting perfectly, but something not quite right each time.

Until the unanimous report comes in that alas! This dress is perfect (My daughter says, you have to be careful shopping with other girls because they will tell you a dress looks good on you just so they can look better than you at the dance. Her grandmother, who is ninety-two, agrees with her.)

I get tired of all her shopping and primping. Put raspberries in your hair, my daughter. You are only this young for a minute.

Day Seventy-Six/Image Seventy-Six

“Afloat” Image. Ceres Gallery. New York. Solo Show.

Ah Barbados! When our daughter was very young and could ride on our laps, my husband and I used to go to Barbados. It is very far east and is, in fact, in a different time zone. It is also very far south, near the equator. So the water goes counter clockwise down the drain and not clockwise as it does here.

Exotic differences. Real African food because of its proximity to Africa. Sugar fields with waving tall grasses and birds that sing beautifully at night. Our daughter and I had little watercolor sketchbooks where we painted in the landscape of Barbados. We used up all the blue in our paintboxes.

I look at these little paintings now and think of what a sweet time it was.

The almonds I am not too sure about. The kind of tree, not too sure. But in the collage above, are embedded memories of this magical place and time visited long ago.

Day Seventy-Five/Image Seventy-Five

“Afloat” Image. Ceres Gallery. New York. Solo Show.

Pink. Looks like an advertisement for a cosmetic company. I cut out pictures of cotton balls on the plastic of cotton ball bags. Bubbles, baubles and a pretty face. Fun. A flower in the middle.

How I love its superficiality and innocence! And, as an art form, I love the integration of colors and shapes.

Day Seventy-Four/Image Seventy-Four

“Afloat” Image. Ceres Gallery. New York. Solo Show.

This collage was the signature piece for my “Afloat” show. I used it on all eblasts, the brochure and the invitations.