A New Day- Engage!

Always heed The Picard.

Dear Reader, when last we convened, you were kind enough to read “2020 Transparency: An accounting,” in which I measured my progress thus far against last year’s goals for educating myself and advancing my art career. In this time of sickness and social isolation, however, it seems almost quaint to write about getting out and about in the art world. I am truly fortunate that those I Iove are in good health, and do dearly appreciate that this has allowed me to pursue my enduring fascination. I am writing today, though, with the firm belief and experience to know that it is important to proceed (however remotely) regardless.

The virus has demanded that everyone make adjustments. My “normal” job through the year is as the nanny to my sister's kids, which allows me the opportunity to make work in my studio while they are at school. Recently, of course, we have switched to the “summer” schedule, and, since my sister works long hours at a hospital, my practice has shifted more to research, writing, and doing whatever I can online while the kids are at “virtual school” for two hours. In that time I've learned that there are plenty of ways to engage with the art world, and to educate oneself while social distancing. The following is an account of some of my activities, and then what I plan to do to keep the ball rolling. With that, I do hope you and the people you love are well, and wish you all the very best, and that you may find a way to continue your art practice as well.

This week I finished my applications for the Baltimore Artist Retreat, as well as a Rauschenberg grant. The retreat, which is offered by the Robert W. Deutsch Foundation here in Baltimore, would provide professional development and networking opportunities to Baltimore area artists – free of charge! (The Deutsch Foundation also offers a variety of opportunities to local artists- to learn more about them, click here.) Professional development? Networking opportunities? Yes, please! One thing I've learned about life is that nothing happens unless you put your coat on and go outside. In this case, I'm merely extending a virtual handshake to the Deutsch Foundation, but, (fingers crossed!) they will accept me into the retreat. Just applying for the retreat was an educational experience, as you are asked to clearly state your artistic practice, your goals, and your experience of community. Going through this process allowed me to see how my practice has grown over the past year, and renewed my desire to connect with other artists in our community.

I applied to the Rauschenberg Foundation because they offer emergency grants for artists to cover medical expenses. Earlier this year I had to have an unexpected surgery- and while I am so fortunate to have completely recovered, the resulting medical bill has put a strain on my finances. This, coupled with the fact that my part time teaching at the Baltimore Clayworks has been put on hold, really got me thinking about doing everything I could to satisfy the debt. Even if I don't receive the grant, applying for this was an educational experience, and at least somewhat empowering. The Rauschenberg Foundation also offers a variety of grant opportunities- (to learn more about these- click here)

Detail of “Discovering the Deepest Mirror,” from my Alice in Wonderland inspired pieces at the Baltimore Clayworks show…

Feeling invincible with my newly updated artist statement and resume, I began to search out other ways to connect with the art world. Because I subscribe to email notifications from a number of art galleries, museums and calls for entry, I started with my email. And poof! Here was a message from Create! Magazine. This magazine is run by artist/ curator/ and “art boss babe” Ekaterina Popova. In addition to the showcasing artists' work in the magazine, she curates an online shop, PxP Contemporary, to market and promote artists' work. She hosts her own podcast, “Art & Cocktails,” curates shows for New York galleries, including Field Projects, and hosts artists' work on her instagram. In the letter, Miss Popova, “Kat,” encouraged artists to stay positive during this time, and reminded everyone that it is free to submit work to the Create! Magazine blog. Perfect! Free is just my price point, and it would be amazing to be selected for the blog. The magazine has cultivated a large following, and is chock full of savvy art world observations, artist interviews, and helpful career tips.

Next, I researched other grants for which I might be eligible. Prior to moving to Baltimore to become “the aunt/nanny,” I was represented by a gallery in New Orleans, and had had some success in receiving grants from Creative Capital and the Louisiana ArtWorks. One thing I’ve learned is that grantors and grantees are just like any other relationship- in a good one, both parties are fulfilling each other’s needs. Finding this “fit” requires time and research. A great place to start is the Artwork Archive's Complete Guide to 2020 Artist Grants and Opportunities. It lists many artist residencies as well. (However, because it is problematic to get time away my nieces and nephews, I generally just focus on grants)

Writing a grant, (or at least completing the requested information from the granting foundation) requires a fairly significant time investment for both artist and grantors- therefore, I do my best to make sure not only that I fall within the requirements of the grant, but withing the culture/aesthetics of the granting institution. Each granting institution is different, and aims at supporting a specific kind of art, artist, and/ or stage of an artist's career. Additionally, even though I may technically be eligible for a grant according to the guidelines, I always read the granting agency's mission statement, and review the list of past grantees, if available.

For example, at this point in my career, I would not apply for a large grant, or one that I know has been awarded to very well established artists. While a case could be made that I should pay the fee to apply, (usually about $35) in the hopes that the curators, grantors, decision- makers, and the like, might get to know my work, my strategy is to apply for smaller grants, in the hopes of actually receiving the grant- therefore building a stronger resume, or “pedigree,” as I once heard a gallery manager say. While I am not keen on comparing my art career to dog showing, I understood her point. Most grant giving organizations would like to see that another grant giving organization has deemed you acceptable before awarding a grant. As you may imagine, this can cause a rather frustrating chicken and egg scenario for artists- however, I am nothing if not hopeful. But I also do my research.

Additionally, I can divine the aesthetic taste of the organization, or jurors of the grant, by looking up the work of past grantees. If I see that the work of most of the past awardees is in no way similar to mine, I usually just move on. I like to operate under the belief that the world is big enough to support all kinds of art- however- I wouldn't consider it a valuable use of anyone's time, (or my application fee) to apply for a grant where I know my work just doesn't appear to “fit.”

Detail, “Hovering Parents” from my Votive Rabbit Wall Series. To see the full picture, and more of these wall pieces, please click on my Etsy page here

Lastly, I updated my website and Etsy pages. I had recently photographed a bunch of smaller pieces, but hadn't found the time to upload them yet...

So. How to keep the ball rolling? I'd like to take a bit of inspiration from Ekaterina Popova's letter, in which she reminded everyone of the healing power of art, especially in times of trouble. It's tempting to want to shut down when things become stressful, heck, even when there is a change to the routine. Focusing on negative things is like creative Kryptonite- my plan is to just stay engaged.

I brought some clay and tools over to my sister's house. Although the kids much prefer to be playing outside, playing video games, or doing perler beads, it's worth a try.

I can take advantage of all the new virtual tours of famous museums available now (Click here to link to a list of 12 world famous museums, or discover your own- you can even virtual tour the Vatican Museum!)

One from my Votive Rabbit series of architectural tiles, to see more, please visit my Etsy page here

I can read articles about ceramics in the artworld (I just read one here from Artling- in which a resident of the Baltimore Clayworks, our very own HaeWon Soon, is listed as one of the 13 ceramic artists changing the face of the art world!)

I can interact with other artist friends on instagram, and show them some support by liking and commenting on their posts.

I can continue to make my work- just small enough that it can be expeditiously cleaned off my sister's kitchen table, and hardy enough to withstand a trip in the car to be fired at the studio when the time comes.

One from my Venus of Willendorf series- I made a variety of Venus pieces for the Women of the World festival- to see this and more Venus works, please click on my Etsy page here

And so, dear reader, I hope that this account provided some resources that you may enjoy as you craft your own time away from your daily routine. We are, each of us, searching for new ways in which to be of service to ourselves, our families, and our communities. I'll be thinking of you, and wishing you all my best, Eileen.

Shamrock-aggedon: A St. Padraic’s Day Accounting: or "Tree Monts from the Outset"

Dear Friends, when we last convened, you were kind enough to read “Who inspires you? Baltimore Clayworks shows the work of Educators and Innovators - My review and the powerful art of Kimberly Canfield”  Today, on this most auspicious of days, as the bright green clover peeps through the damp and and darkish earth, I would like to share an accounting of my progress of the last three months.

In January, I laid out a plan of action designed to increase my productivity as an artist, and member of the art community.  I endeavored to design an aspirational, yet achievable plan that I might return to during my occasional bouts of directionless wandering.  In the tradition of the sisters of the Immaculate Heart of Mary, I am performing a self examination. In it, I will be grading the goals I set out in my post “The 11 month plan, “Kondoing” the studio, and Festina Lente.”  Each goal for this first quarter will be judged as a “pass,” or “eternal shame.” All in good fun, I assure you, but no need here for graphs, colored pencils, and most of all, excuses!

January goals:

PASS! -  “Research and apply for grants and shows that may be receptive to my work. (I find a lot of information about these opportunities on the Bmore Art “Calls for Entry” page)”  I applied to the ArchEnemy Fine Arts Open Call, but was rejected. I did additional research for quite a few grants and galleries, but I talked myself out of applying, mostly because, (if I’m supposed to be totally honest here) I decided not to pay the $30 a pop entry fees)

PASS!-  “Make a high-relief press mold of my votive rabbits to “mass produce.” Experiment with versions that hang on the wall, and that would stand upright on a table.” Done!  

PASS!- “Continue construction of large clay slit gong (approx. 4 ft”) to add to body of work shown at Clayworks in Fall of 2018”

PASS! -Continue teaching at Baltimore Clayworks

Style goals- Gandalf on the Misty Mountain

February goals:

ETERNAL SHAME -”Make a linocut of votive rabbits and print a small run on high quality paper.”  I bought the linoleum block, and even a brand new Speedball ink set, but have not finished the print

ETERNAL SHAME - ”Complete construction of large clay slit gong.” I’d say we are about ¾ of the way completed

PASS! - ”Research images and references for new series of “identity shields”- 8 to 12 clay shields that can be worn, and will be able to hang on a wall.  These shields will bear the marks of battle, and be adorned with faces and reminders of one’s identity” I actually have one shield ready to bisque!

PASS! - ”Research galleries in Phila for show of shields for 2020” I’ve had my eye on the Paradigm Gallery, as well as the gallery at The Clay Studio.  

PASS! - “Find community meeting to attend. - get out and about!” I attended  BmoreArt’s “Connect + Collect” (Click here to read my review) I also attended several exhibitions, and some meetings at the Baltimore Clayworks

“Did you do this?” Patrick, as remembered by his Irish Wolfhound, Ceann

March goals:

ETERNAL SHAME - “Make small face and mask studies in preparation for large faces on the front of the identity shields.” I’ve made one mask, but one mask does not constitute a “study.”

ETERNAL SHAME (sort of)  - ”Sell small works at Greater Goods Market at the R house garage” Decided to pass on this month’s market in favor of the Baltimore Faerie Fest on April 13th. Have yet to pay the booth fee.

PASS! - ”Research and attempt to meet with artist with similar tone of work, to learn how they moved forward, and steps that I can take that I may be missing.” I’ve met several already through my gallery jaunts- learned that I should try to do an artist’s residency.

PASS! -”Find community meeting to attend.”  Attended the closing reception for “Keystone Clay: East” and discovered the work of a wonderful new artist.  (Click here to read my review)

As we come to the close of this quarter’s self assessment, I am reminded of the green card stock report cards we used to get in school.  At the bottom of each card was a space, about four and a half inches wide, and half an inch tall, labeled “teacher comments” It was always the first thing I looked for- just hoping to read something nice that might take the sting out of the rest of it. While I won’t be making any self complimentary remarks here, I did want to include a note on a new project I’ve started that wasn’t part of my initial goals.  

This weekend I will be interviewing my first guest on “Art + Whiskey,” a new podcast/ youtube series.  In it, I will be talking and drinking whiskey with artists and curators about creativity, the business of art, and best practices for artists.  I am also hoping that we can delve deeply into the content of these artists’ works, and how working as an artist creates a context for being in a larger world.  In this way I am hoping to fulfill the tagline of the project, “Drinking with Meaning.”

While self-assessments are never fun, I am grateful to the sisters for teaching me their version of this process, as well as instilling a healthy fear of self delusion.  Making this accounting of the places where I’ve failed to live up to my own expectations has given me fresh motivation to get things done. It also feels like a “mini New Year” in a way.  After making this assessment, I can let go of the failures of the past, and simply move them forward into the “to do” column. Luckily, with 14 days left in the month of March, I still have a little time to chip away at some of my eternal shame!

What's a targe? And why does it have a "bouche?" or, Researching for Meaning

Dear friends, when last we convened, you were kind enough to read “What's up with the Warren? or Sumerian votive figures, patrons, and my thing about rabbits,” in which I detailed the inspirations for my rabbit votive figures.

This week, I am forging ahead with a new body of work! I am at perhaps the most critical stage of this process; that is, research and references.

Now, while that sounds about as exciting as a rainy Tuesday, let me assure you, dear reader, that it could not be farther from the truth!

Imagine yourself astride a painted white horse with a silver mane. It is late afternoon, and the sun, slanting through the leaves of the broad oak trees, gathers with the dark in dappled pools. To your left, a boisterous crowd, clad in purple and yellow sashes, gasps and falls silent. Sweat races down your forehead, but it is impossible to wipe it away without gouging your eyes out. Your hands are iron wrapped claws, strapped to shield and lance. Your body, your horse, your mind are just the meat of an impossible machine you must hurl forward. The sweat stings your eyes, and the world falls back into a sea of colors- green, purple, yellow and then… red. He has arrived. You look down to the back of your shield for the last time to Saint Christopher, protector of those about to die a violent death, and whisper a prayer. Horns! The Red Rider lowers his lance. The joust has begun.

Such was the story I heard from a 15th century German shield I came across while perusing the Metropolitan Museum of Art’s website. I am beginning a new series of ceramic shields, and am interested in the way armor simultaneously protects and asserts one’s identity. I also wanted to know more about how shields were carried, how they attached to the body, and how they looked when they were not in use.

This intriguing “targe” is one of “The Seven Shields of Behaim,” made to protect the body against the force of a lance during a joust. It has a concave shape, designed to accommodate the torso while on horseback. In the top left quadrant, a space has been cut out to fit the rider’s lance. This space, known as the “bouche,” (a French word for “mouth”) was on the rider’s right side. The body of the shield is made of wood and leather.

On the front of the shield, there is a young woman in green, posing with a rearing black goat. The goat’s hooves float to the right of the young woman’s face- the lower half of its body dissolves into yellow and black stylized flowers. In the foreground there is a yellow shield, adorned with the image of the top half of the rearing black goat. On the green lady’s right side is a scroll, inscribed with “HAB MYCH ALS ICH BIN,” German, for “Take me as I am.” There is evidence of additional words, possibly referring a motto at the time, “Take me as I am, thou false world.”

Shields such as this were decorated with a family’s coat of arms, mottoes, and other meaningful symbols. Interestingly, the shield of the vanquished jouster was sometimes relinquished to the victor. When this happened, the new owner of the shield would either add their own coat of arms and symbols to the existing design, or even partially or completely cover the earlier painting. In this way, the shield became of record of the families involved in the tournaments. As tournaments fell out of style, the shields, with their many layers of paint, were revered as emblems of a family’s standing within a community. They were retired and hung flat upon walls and on ceilings.

I wanted to make my own set of shields as a way to explore my identity, especially in relation to the I was raised in, and the cultural expectations I served. My previous work with the votive rabbits touches upon this concept, but in a quiet and introspective way. The votive rabbit sculptures are all shown with arms protecting their sacred space: the best part of who they are. In this new series of shields, I am recalling my own battles with a larger world.

It was inspiring to read the scroll upon the 15th century targe, “Take me as I am.” As usual, I find that artists before me have encountered problems not unlike the ones I deal with today. I especially appreciate the sentiment behind this motto. I can imagine the person who lived by it to be rather forthright- pragmatic, but at the the same time putting the world on notice that they will not be swayed by its demands. The meaning of the motto fits perfectly with the function of the shield to both protect and assert the rider’s identity.

The images on the shield itself seem to assert this idea as well. In a rather “meta” way, the goat depicted on the shield next to the green lady, is then also depicted on the yellow shield in front of her. The artist has placed the top goat on equal, if not superior, placement to the woman in the frame. By placing the same image upon the yellow shield, the artist is letting us know that the identity of the family is a strength.

So why make a series of defensive weapons out of clay? Clay shields would surely shatter upon the first strike of any lance. However, I like this idea of the fragile nature of our identities. We build them up, only to have them be broken. And they probably should be broken. Challenges to who we believe we are help us to evolve (hopefully) into better people. Like the painted shield that bears the marks of each successive battle, we are essentially the same form, but continuously remade by our experiences.

I have the first shield nearly finished, and am planning about eight or so more. If you find the ideas behind the targe fascinating, as I do, you can read more about it in Helmut Nickel’s article, "The Seven Shields of Behaim: New Evidence": Metropolitan Museum Journal, v. 30 (1995). (Click here for a link to the Museum’s website, where you can download the article.) Nickel also details the challenges of restoring the shields. On a shield that has been painted many times over, with each successive layer representing an important historical period, which layer should be kept, and presented to the public as “restored?” The art restorers were faced with many thought-provoking (and sometimes maddening) choices!

What's up with the Warren? or Sumerian votive figures, patrons, and my thing about rabbits

When last we convened dear reader, you were kind enough to read my thoughts about art and collecting in “Bmore Out and About: my evening at Connect+Collect at the Motor House.” After the discussion, the event concluded with an opportunity for artists and art collectors to socialize. While enjoying a delicious whiskey concoction from the Showroom Bar, I was delighted to meet one of the patrons. He took one look at my card and remarked- “You have a thing for rabbits, don't you?

Suddenly I could see him imagining what he thought my home must look like- the walls covered in pink bunny wallpaper, every square inch festooned in collectible rabbit figurines, soft green carpets like a bed of tasty grass...and me, featured on CBS’s Sunday Morning in the “quirky people” report, where Mo Rocca marvels in hushed tones “Look at these people! They’re crazier that you!”

No, dear reader, I wouldn't say I have a thing for rabbits at all.

I started to explain to the gentleman that the shape and gesture of the rabbits were inspired by ancient Sumerian votive figures, that their functionality has deep resonance in my own art practice, that I feel a connection to the artists who created the figures from so long ago...

The patron smiled and nodded knowingly.

“Care for another drink? he asked.

Me: (Sigh)

And therein lies the humor in attempting to explain the origins and social relevance of your art in a crowded bar.

The following is an attempt to clarify the message I convey to others about the body of work that I have come to call “the warren.”

Last year I started making small rabbit sculptures, which also functioned as incense burners. I had come up with the idea after researching some ancient sculptures to share with my Handbuilding with Clay students. I hadn't seen the Sumerian votive figures since my first art history class in art school. Back then I saw them as oddly funny, somewhat creepy versions of the “Sound of Music” singers. With their stiff posture, tightly clasped hands, and inordinately large eyes, they appear eager, ever watchful, and awaiting your next command.

Upon further research, I read that the ancient Sumerians built small, one room temples to house their gods and goddesses. The temples were quite literally regarded as the dwelling place of the god or goddess on earth, and, as such, only an elite group of clergy would be allowed to enter to perform rituals, or service the gods’ needs. Barred from entering, well heeled worshippers commissioned figures to act as the physical representations of themselves in the temple. The artists who created these figures chose to represent the devotion of the worshippers by posing them in a gesture of perpetual readiness. Eyes wide, almost cartoonish, (think of Scrooge McDuck when he sees a pile of cash) they want only to bask in the gaze of their deity.

The idea of these representational devotional figures is very familiar to me. Growing up in the Catholic Church, I was surrounded by images of worshippers in poses of adoration. Stained glass windows, paintings, and sculptures lined the walls and halls of the church and school I attended.

I pondered. What if I were to turn this idea of devotion inside out? What if the sacred space were within? Where the deity resides inside the figure, indeed is the figure?

I altered the gesture of the Sumerian figure from one of servitude, to one of reverence and protection. One viewer remarked that it is similar to the gesture that one makes in the “holding the ball” form in Tai Chi. While the gesture of the rabbits was not derived from Tai Chi, it is a fitting comparison. Tai Chi practitioners focus their energy with the intent of moving and balancing it, (and themselves,) within a space. This energy could also be described as one’s essence, or life force.

Detail, “The Wedding Party” Clay, underglaze, glaze.

I changed the figure from a human form into a kind of rabbit/ human hybrid. I wanted my subject to be as close to the natural world as possible. I chose rabbits because of their iconic and complex history in many cultures, and because of their exaggerated eyes and ears. All rabbits have the eyes of prey- that is, they are situated on either side of their skulls so that they can see a predator coming from nearly all sides. I positioned the eyes of my rabbit figures to face a bit more forward. I wanted them to come across as autonomous- powerful and independent actors in their own lives. At the same time, each has within them a hollow- one that harkens back to home, to self, to a tender space that needs protection.

I made a space in the back of each figure for a cone of incense to be lit. The smoke from a lit cone of incense floats up into, and curls around the figure. A small wisp comes out of the hollow the rabbit caresses. While rabbits have no need for ritual, it is a human act of remembrance and honor to light a candle, or burn incense. I wanted my hybrid figures to be functional in this way, to tie them to their beginnings as servants, but also to remember their own connection to the sacred within themselves and others,

Detail, “The Wedding Party”

Before I knew it, I had made 10 figures, and was still in the process of making more.

“Your rabbits are multiplying.” said my studio mate. She was curious to know how many I had planned on making, and possibly to see if I would continue to clutter up the studio with all of their bunny parts. I hadn't planned on anything, really, but answered, “At least a few more.” and then blurted out “And then I'm gonna make a giant one!”

“Hmmm.” she nodded.

“The Wedding Party” Clay, underglaze, glaze

And so began my “warren.” Since then, I did indeed make a giant votive bunny, as well as quite a few more small rabbits, a medium sized rabbit-urn, a dozen or so clay “paintings” and several rabbit tiles.

After building so many of the three dimensional rabbits, I yearned for immediacy that drawing provides.

I remembered how Patty Bilbro, one of the talented resident artists at the Baltimore Clayworks, drew onto the surface of each of the vessels she created. I loved the gesture and freshness of her figures, and wanted to see if I could create that same spontaneity by drawing into the clay itself - somewhere between a sunken relief tile and an etching. Soon I had made quite a few of these sketches in clay, and the story of the rabbits evolved further. They started to appear in family groups. Some were caught in the middle of arguments. Others were captured in a quiet moment of reflection. There were wedding portraits

Earthenware plate, by Patti Bilbro, 2018. Check out more of Patty’s work here

“The Family” Clay, underglaze, glaze

“The Wedding Party” Clay, underglaze, glaze

Today I am still experimenting with this method of exploring the subjects of “the warren.” Not sure how many more I will make, but the thoughts and ideas behind the rabbits continue to hold intrigue for me.

So. Now that I’ve had a chance to explain myself- I’d like to ask you a question, and I’d like an honest answer.

So, here goes…

“Do you think I have a thing for rabbits?”

Monumental Votive Rabbit, Clay, paint, H 36 in. x W 14 in. x D 16 in.

The 11 month plan, "Kondoing" the studio and Festina Lente

Dear reader, since we last convened you were kind enough to read my thoughts in my last blog post, entitled “The New Year's Gift, or how Sometimes a Nuisance can lead to a Minor Epiphany.” You might recall how, after spending 3 days sick in bed, I rose, Lazarus-like, to the epiphany of the importance of order, cleanliness and structure in one's home- and how I subsequently de-cobwebbed and decluttered my way into a renewed sense of hope and possibility.

Since then I have been eager to apply the same zeal for order to my art practice. I started off the year “Kondoing” my studio: organizing everything so that I could readily see what materials I had available. I recycled about 50 lbs of clay, and prepped it for use on a new piece. I swept and scrubbed the floor.

But, while organizing my studio space is a great start, it will take a bit more to develop a plan for my art practice for 2019.

I start by looking back at what has been big year for me - art wise.

In 2018, I started teaching Tilemaking and Handbuilding classes, participated in my first ever art fair, and had a solo show in a beautiful space at the Baltimore Clayworks. I began a series of small tiles and sculptures to sell at the Greater Goods Market at the R house garage, and moved into a larger studio space- ideal for making more complex work. Lastly, I joined the the Equity, Diversity and Inclusion committee at the Clayworks.

And while all this is good, I don’t feel as if I’ve even scratched the surface of what I could be doing. I listened to an interview today on WYPR with Tom Hall and acclaimed classical violinist Jennifer Koh. In it, Koh asks” How am I serving my larger community? How am I serving my artistic community? How I am I serving my art form?” I think these are the right questions to be asking oneself, and are especially helpful in crafting a plan of action for the new year. To this, however, I would also add, “How am I serving my family?” While I feel that I am the most actualized version of myself, my “best” self, when I am making art, my art practice alone does not currently provide enough income to sustain my family. One of this year's goals then, must be to increase the amount of income I can provide my family through my art practice.To this I will also add participating in opportunities to serve my larger community, my artistic community, and my art form as well.

So - lofty goals indeed! And just what does it mean to participate in “opportunities to serve my larger community…?” I don't know about you, dear reader, but I really can't begin anything, much less accomplish anything, without breaking tasks down into mini-tasks,- and most specifically delicious and bite-sized mini tasks, like the “Cheetos” of achievement.

The following is a proposed plan for my art practice for the next 11 months. Mapping out the year like this does give me a sense of orderliness, as if Marie Kondo herself had folded and stacked my life into neat little compartments. It is not without some anxiety, however. Like everyone else, I struggle to meet the demands of work, family, and my own aspirations to become a successful artist. I am hoping that taking the time now to map out my goals and priorities will actually facilitate my progress- or, as my father might say “Festina lente.”

Janurary

-Map out goals for 2019- haha! - done😀

-Research and apply for grants and shows that may be receptive to my work. (I find a lot of information about these opportunities on the Bmore Art “Calls for Entry” page)

-Make a high-relief press mold of my votive rabbits to “mass produce.” Experiment with versions that hang on the wall, and that would stand upright on a table.

-Continue construction of large clay slit gong (approx. 4 ft”) to add to body of work shown at Clayworks in Fall of 2018

-Continue teaching at Clayworks

February

-Make a linocut of votive rabbits and print a small run on high quality paper.

-Complete construction of large clay slit gong.

-Research images and references for new series of “identity shields”- 8 to 12 clay shields that can be worn, and will be able to hang on a wall. These shields will bear the marks of battle, and be adorned with faces and reminders of one’s identity

-Research galleries in Phila for show of shields for 2020

-Find community meeting to attend. - get out and about!

March

-Make small face and mask studies in preparation for large faces on the front of the identity shields.

-Sell small works at Greater Goods Market at the R house garage

-Research and attempt to meet with artist with similar tone of work, to learn how they moved forward, and steps that I can take that I may be missing.

-Find community meeting to attend.

April

-Visit Philadelphia to research galleries to show new work.

-Sell small works at Baltimore Faerie Faire.

-Make a high-relief press mold for a second series of my votive rabbits to “mass produce.”

-Begin construction of Shield series.

-Find community meeting to attend.

May

-Sell small works at Greater Goods Market at the R house garage.

-Continue construction of Shield series.

-Begin to assemble all of the photos I have taken of my work over the past few decades (did I just say decades?)

-Find community meeting to attend.

June

-Finish Construction of Shield series.

-Sell small works at Greater Goods Market at the R house garage

-Organize photos of work according to date, tone, general theories.

-Attempt to find a mentor to help push both work and career.

-Find community meeting to attend.

July

-Glaze shields.

-Reflect on past work, through photos, and begin to organize thoughts in words, through essays.

-Further push search for mentor.

-Find community meeting to attend.

August

-Glaze and fire all shields.

-Assemble structural elements to hang shields.

-Continue to work on essays, reflecting on past work.

-Further push for mentor.

-Find community meeting to attend.

September

-Assess where I am in terms of finding a place to show my work. Make a harder push. Visit more galleries.

-Continue on essays reflecting on past work.

-Make a high-relief press mold for a third series of my votive rabbits to “mass produce.”

-Find community meeting to attend.

October

-Sell small works at Greater Goods Market at the R house garage

-Possible Solo show at unknown Philadelphia or Baltimore gallery.

-Continue on essays reflecting on past work.

-Find community meeting to attend.

November

-Sell small works at Greater Goods Market at the R house garage.

-Research galleries in the larger markets. NYC, L.A., etc. Plan a trip to one of these cities.

-Find community meeting to attend.

December

-Prep essays and pictures for an art book, including works and thoughts up to this point.

-Research how to crowdfund to create an artbook.

-Set date to launch crowdfunding.

-Make definitive plans to visit galleries in the larger markets.

-Sell small works at Greater Goods Market at the R house garage.

-Find community meeting to attend.

“The New Year's Gift, or “Sometimes a Nuisance can lead to a Minor Epiphany”

“Jesus, P___, You’re going to get everyone sick!” screamed Fiona.  

Indeed, P___, ( whose identity here is withheld)  had arrived for our Christmas revelries with eyes rimmed with red, and green snots festooning every sleeve.  He lay on the break room couch, surrounded by a sprinkling of dirty snow colored tissues and several beers.

“I’m fine.” he grumbled.

And so began my strange and unexpected New Year’s gift, and the subject of this blog post.  

The day after Christmas I developed a fever. As my body waffled between burning and freezing out the germs,  I lay in bed, dreaming that I was travelling to Panama, then to an iceberg with penguins, then Madagascar, then the Swiss Alps….For the next three days,  I watched Netflix, re-read Sherlock Holmes stories, and snacked on the occasional piece of Christmas chocolate.

I truly can’t remember the last time I did “nothing” for three days.  I imagine that not many other folks can either. Like myself, many of my artist friends have a regular job to make money, then spend as much time as humanly possible trying to “make it” in the art world.  

This leads to a feeling of never having enough time, especially to accomplish your artistic goals.  Even worse is the feeling of guilt when you do decide to occasionally spend time with friends. Shouldn’t you be spending every possible minute working  to become a master of your medium, to poetically convey the joy and mystery of the human condition, to conquer the business of art world in all its dark vagaries? (sigh)

Toward the end of the third day, I rose, Lazarus-like, and threw off my bed clothes.  Although still not fit to be out in public, I felt a (feverish?) desire to clean and rearrange the bedroom.  I had really been wanting to do this for weeks, but had always opted to go to the studio instead. Being sick gave me the perfect excuse to stay home.  And why not? I was lucky enough that my employer had taken some time off during the holiday. It would be now, or (possibly) never.

Fortified with a wee bit of “medicinal”  whiskey, I started with the ceiling. The cobwebs I had studied while lying in bed, under my illness induced delusion of being Sherlock Holmes, were dismantled with one swish of my broom.  I dusted the the trim around the windows, wiped off the blinds, and cleared off dresser. I rearranged the furniture into an attractive and easy to clean “U” shape, that made the room look two times bigger. Feeling warm from the whiskey and exercise, I gazed upon my half-completed room.  Suddenly my world seemed awash with possibility! With the ferocity of a machete wielding hunter, I dispatched anything that disturbed the new and unbroken horizon of my ordered universe.

When it was all done, I stood back and felt the peace and tranquility of walking into a bedroom that was clean and organized.  I couldn’t believe how good it felt, and how long I had been denying myself this basic comfort.

There are things in life that one knows intellectually - say, for example, that it is good to make one’s bed in the morning.  That a calm and uncluttered environment promotes calm and uncluttered thoughts. That, conversely, a dirty and disorganized environment produces anxious thoughts, and a feeling of insecurity.  It is quite another thing however, to know something “in your bones.”

My New Year’s gift, courtesy of P____  and some airborne illness, was the realization that how I lived at home reflected how I thought about myself in the world.  On some level I must have decided that a clean and lovely room was the mark of one who “had their act together.” Coming home to a sloppy room every night just reinforced the fact that I did not. It took three days of being confined to my room to realize this “in my bones.”  While I certainly did not relish being sick, I am sincerely grateful that I had the experience because it provoked in me a minor epiphany. What if I were to just settle in, and start organizing my space- like if I actually had my act together?  Yes, it would take some doing, but I could already feel the positive effects of having a clean bedroom.  What if every room became a place of calm and refuge?

The day after my minor epiphany I awoke with a fresh fever.  Clearly, the dust and exercise worked against the whiskey, proving too much for my defenses- but I didn’t care.  I watched an episode of Marie Kondo’s “Tidying Up” on Netflix, binged an entire season of Monty Don’s “Big Dreams, Small Spaces,” and made plans to organize the rest of the house.  

“Knowing in my bones” has become my personal euphemism for maturity.  I am hopeful that these fresh lessons will aid me in the inevitable challenges throughout this new year.  

Next up, the kitchen!

“Discovering the Deepest Mirror- Sleep” large clay tile from my 2018 show at the Baltimore Clayworks

“Discovering the Deepest Mirror- Awake”

“Discovering the Deepest Mirror - Aware”

New studio space? Yes, please!

Dear Friends, I've moved into a new studio!

I'll still be with all the amazing artists at the Baltimore Clayworks, but this new space is much larger than where I've been. It gives me the room to tackle some creative challenges I just can't wait to sink my teeth into!

Plans include a new series of "Wonderland" sculptures and wall pieces, as well as a run of tiles.  I'm making the tiles as a way to help support my larger work, and the cost of my studio. They'll be available soon on my website, as well as at one of the Greater Goods Markets at R House.

Lastly, I'm really looking forward to welcoming friends at my first "open studio" soon.  But for now, I've got to get working!

Writing a Travel Grant

Goal this week is to complete a travel grant to view Maya ceramics in Mexico City.  While the competition will be daunting, it will still be a good exercise for me to refresh my resume, portfolio, and such.  Can't win if you don't play!

P.S. Would love to talk to anyone who has been...will send out a message on fb:)