Remnants of a Retreat

Jean Banas & Krista Harris pause for a critique: Last weekend, I was invited to attend a retreat at the Atlantic Center for the Arts by one of my favorite artists, most gracious friends, and mentor: Jean Banas. Jean is an energetic, accomplished action painter whose work never ceases to fascinate me. Twelve other gifted, supportive artist friends joined us, including our colleague, Krista Harris, from Colorado.

While at ACA, I produced some of my own work, but continued working on collaborations with some of Fran Gardner's tapestries. I am still finishing up the wooden boxes and boards on which I've painted my own work and will now install Fran's Gardner art on platforms that I have constructed. Another friend and art diva, Robin Moore, has suggested a name for this series of collaborations: I will be using her concept of "remnants." Here is Remnants of Past Lives:

Remnants of Evidence (below):

And, lastly, Remnants of the Journey:

continuing the dialog

As I mentioned earlier, Fran has sent me some of her exquisite stitched masterpieces, most on cloth and some on paper or without a material support. I've been puzzling over them, turning them over, examining both sides. Even the reverse sides of her samples are fascinating.

A friend of mine, "Scottye" Cohen and her husband, Larry, make wonderful art boxes in wood. A few months ago, I commissioned a box from them, with an inner window. I had been drawn to this concept by the art of another friend and accomplished artist, Audrey Phillips. But, unlike Audrey who seemingly whips out creations from highly imaginative worlds, I've been puzzling for months about what to put in the window of the Cohens' box. Since that time, I had ordered some unusual acrylics from a heretofore respected oil paint manufacturer venturing into a new medium. Well, when I spied two of Fran's stitched samples, I found my answer and incorporated the unique acrylic colors.

Here is what I've assembled. I think that this piece is getting close if it isn't already done. As I was painting the box (the overall dimensions of which are about 16" X 40"), I focused on the texture and line evident in two of Fran's stitched works. I kept touching Fran's stitches and glancing over at them from afar as I painted on an easel. I found the "reverse" side of one of Fran's little tapestries far more interesting than the "right" side and have decided to show the "wrong" side instead. For this Gardner-Zalisko collaboration, I was thinking of titling it Tree of Life.

throwing the ball (or fabric) into my court

After seeing Fran's marvelous collaborative pieces, I was prompted to ask her for some of her stitchery, much as she did with my huge linen sketch some months ago. I have the kernel of an idea, and can't shake it! Thanks, Fran, for mailing me those marvelous swatches while I was away and for giving me permission to take these down another road. I will be incorporating her sewn fabrics into my paintings for yet another spin on these mixed media pieces. I can't wait to try this out when I'm next in the studio....

color in different media

An artist colleague, Donne Bitner, recently introduced me to a new surface medium. It is apparently used by sculptors, but Donne recommended applying it to board. It appears to be extremely hard, tougher and less delicate than molding paste, gesso or joint compound. The resulting texture is fascinating. I created a few pieces using this technique, applying layers of acrylic, pencil and graphite atop the hardened surfaces. Here are two examples.















After doodling into these small pieces (they measure no larger than 12" in any one direction), I yearned to return to painting large. Working rapidly, I produced this large acrylic piece: again the jury is still out on whether it is completed, but I think that I'll let it rest for a bit.

Matter(s)

I love interesting words like palindrome (words or phrases that read the same backwards and forwards), or pangram (sentences that use every letter of the alphabet). So, like Pat, I'm being a bit influenced by an odd little book titled, Ella Minnow Pea, by Mark Dunn. I've been using titles for this series of pieces that refer to the ways people communicate, especially through spoken language and my interest has gone further into language itself. If you'll scroll back through the blog, you'll see some works in progress from around mid-summer. Here are these two pieces completed, they are:

Palindrome

and Pangram

In Palindrome, I couldn't decide which way the piece read the best and kept flipping the various parts around to see different views, and with Pangram, it appears that I used every material and technique available, each piece suggests the meaning of each of these quirky little words.

And finally, at long last, here is a piece that originally started with Pat (a large acrylic sketch on linen), I cut it up and stitched on a smaller piece, then I embedded it between two oil panels. A true visual conversation between the two of us. The stitchery is so delicate that it is difficult to see in this picture. Join our blog and send me a message and I'll send you an image that is easier to see in detail. (Not titled yet, but it has something to do with either long distance communication or two-way communication.)

Water

I have been spending some time in, on and near the water this past summer. My colleague Fran and her fellow professor, Lisa, introduced me to an author while in South Carolina. Carol Goodman captures the magic and allure of the sea and large bodies of water. Having completed The Lake of Dead Languages, which Fran loaned to me in June, I wanted to read more of Goodman's work and am now savoring The Seduction of Water. If you enjoy folklore or fairy tales, writing and have some familiarity with NYC and upstate New York (or want to visit there some day), you'll enjoy these novels.



In The Seduction of Water, Goodman weaves a tale about an author and part-time teacher, whose own mother (also an author) told her a bewitching tale about selkies before leaving her when she was ten-years-old. These "seal women" were credited with captivating men with their beauty and voices, transforming themselves between seals and women. So enchanted by her childhood fairytale, I painted To Lure A Selkie yesterday in our studio, but haven't yet decided what more needs to be done. Suggestions, anyone?

Person with a Braid--Cheryl Bogdanowitsch

Here I am once again putting a clay head on a log or branch, this one really seems to go with the log, the face with a singing mouth and the opening in the log. The braid was a lucky find, wish I had more pieces of wood like that.

expanding horizons

I'm newly returned from a workshop (i.e., session with my art coach, Steve Aimone) at New Smyrna Beach, FL's hidden gem: Atlantic Center for the Arts. This workshop focused on moving us yet another step forward in our process. I and eight other artists ventured forward and accepted challenges given us, absorbing the critiques of our colleagues and coach, pushing the envelope.

A few photos of different images from this workshop are attached. Once again, my work is in progress: these pieces may not look like this tomorrow. At one point, midweek and when I was nursing a bad sinus headache, an unknown child whose image had been haunting my dreams for more than two weeks was rendered into a large piece (about 50"). I don't know who she is, but she now exists on canvas...and my dreams of her stopped. After this day, I resumed a more playful method that I most enjoy in painting, incorporating language and iconography that are significant to us, to me and to our common history. A photo of me with the illusive toddler and other symbolic pieces is included here.

I have embraced a new road for myself in creating art. There is something very exciting about positive change.

Missing in Action

The summer is flying by and our show (in March) feels like it is zooming towards me in fast forward. I've finally gotten all the various parts completed and assembled on some pieces that have been hanging around the studio for a while. The "pieces" of these pieces are becoming more and more complex, I think of them as various voices having conversations.

Areas of the pieces are becoming highly decorative (I read several books by Carol Goodman this summer and in one she writes about the work of William Morris) so I started integrating this type of printed pattern in the stitchery sections. Here is one in progress.

The overall piece has six panels. Here is how they are configured (at this point), that could change.

And finally, I completed this very RED piece and I am quite happy with it.

art therapy

Art is life for me. It is my therapy, but also often my frustration. Have you ever struggled to find an answer to a puzzle or the secret ingredient in a tasty dish that you're trying to duplicate? It's elusive, but once you think that you've found the answer, you savor that small victory (at least until the next challenge comes along).

A case in point is this painting. I started the usual way: by writing, responding to music (in this case, some wonderful Ukrainian ballads about Spring and Summer love), and working into a compositional format. I thought of the luscious colors of June and July, and selected a limited palette. I started painting into my words, some of which were lyrics from Cheremshyna. Two colleagues in my communal studio felt that I was painting a bouquet, hardly something that I would normally paint. But they seemed to have something there, so I went with it. When nearly done, a few colleagues pointed out that the vase containing the flowers seemed to be "floating." Thanks to my pals and mentors, Melissa Mason, Fran Gardner and Peter Cerreta, possible solutions were developed and this painting resulted. Reluctantly, we have to brand it a "still life." But here it is for now: For You.

from the mouths of babes...

The past two weeks have been spent volunteering at local art camps in central Florida. As I have noticed in the past, I am learning more from these young students that I often can from an adult instructor. Their innocence and fresh impressions impact how I create my own art.

This past week, I displayed a newer painting of mine, Channeling Joan, which measures 54X42 on canvas, to an art camp student, who also happens to be multi-lingual and reads and writes Russian. As usual, I started with language and writing: in this instance, I wrote out an old Ukrainian church hymn, which focuses on doubt and faith, in inks and started painting into it, using my fingers and brushes, thinking of Joan Mitchell's work.

The student could read portions of the Cyrillic letters that were left exposed in this piece, but the astute camper's impression of the piece focused on the entire composition. "I see the face, it looks confused but happy." Perhaps it is time to retitle it Pondering Joan?

unpacking my thoughts

A few days before leaving for USC-Lancaster, I pulled out an unresolved older painting in storage. The gallery-wrapped canvas was narrow (48X24) and originally painted with a vertical orientation. A detail of the 2006 painting appears on the left.

When things don't work out, we paint into them. In this instance, I changed the orientation and my source, focusing on the theme of this exhibition. Playing with my materials, That's the Story of My Life emerged (depicted on the right), a few hours before leaving for South Carolina. I'm still tinkering with minor things in the latest painting. Like our lives, it too may morph into something different in the not-too-distant future. But for the most part, I will let it rest for now.

collaboration - last day

Fran and I produced some great work this past week. As we wind down, we've shared our thoughts, inspirations, drawbacks and strengths. Much of our respective art is still in progress and more photos are included in today's entry. It will fascinating to see where these pieces go. We welcome your criticism and suggestions here.

I've particularly enjoyed working side by side with Fran's gifted students and instructor Brittany Taylor. Fran's academic colleagues, all of whom are dedicated to the education of the adults in their community and state, shared their time and observations, stopping by the studio throughout the week. Special thanks to John Catalano, Dean of USC-Lancaster,and Van Richardson, Esq., who welcomed me into their academic and personal residences, respectively. I will enjoy the antique Ukrainian stamps gifted to me by the University's archivist Brent Burgin, who impresses everyone with the breadth of his knowledge of Catawba Indian culture and pottery. Professor Lisa Hammond provided her inspiring poetry and started this blog for us, photographing many of these images. And as for Professor Fran Gardner, she's a dear friend, colleague, educator and extraordinary artist. Words cannot adequately express my gratitude for all she's given me this week.

5pm Friday

Last hour of our week of work together, Pat and I have had intensive and focused work time and we have both had some struggles and some successes! It had been a pleasure having her to work with this week alongside my students and me. The students have enjoyed watching Pat "morph" her work each day, rapidly making both radical and minor changes until the piece "worked." Here is the beginning and maybe the ending of one very large piece of Pat's.

Our show title "Across the Universe" started with a common interest in a cruciform format, but has grown into a greater concept of crosses -- cross section of materials, processes, ideas -- in addition to a way to structure a work or make a mark. Here are a couple of pieces that I worked on. I focused primarily on stitchery this week and brought two pieces close to conclusion.

We have had great critiques, lots of interest from students, faculty and administrators all week.

A VERY special thanks to Lisa Hammond for shooting some really beautiful pictures and getting us started with the blog. She is an artist of many talents.

A VERY special thanks to my husband for the great meals he cooked for us so that when we got home the food was warm and delicious and the wine was chilled.

And a VERY special thanks to Pat for agreeing to take the long drive up to SC, set up in an unfamiliar studio, serve as a role model for my students and work these long wonderful hours together. I can't wait to do it again.

Fran & Pat Collaborate at USC Lancaster

Pat joined Fran's summer fine art class in June 2009 when Fran graciously invited her to stay with her family and paint in her wonderful university studio. Some photos of works in progress are attached to this posting. Can you believe the varieties of colors in our paints and threads?


In exploring the theme of their exhibition, A-cross the Universe, Fran stitched and applied her intricately worked fabrics to elegant oil painted wood surfaces. Pat painted on canvas pinned to the walls of the studio, writing, drawing and applying liberal layers of paint to her surfaces.
We would love to hear your comments and critiques of our works
in progress as we draw closer to the March 2010 exhibition.

Fran and Pat