2020 Transparency: An accounting

Dear friends, when we last convened, oh, back in April, you were kind enough to read "Printing the Three Sisters or, How I Made This: Fun with Speedball Linocuts.”

And then- I slipped away without a word. You might call it the French leave, or my in my case, the Irish exit…

My good friend Kathleen, however, took me to task.

“You know you can't just stop-you set out all those goals publicly- which I couldn't believe you did that by the way- but now you have to say what you did and did not do.”

As usual, Kathleen was correct. I had made promises to both myself and others about what I would be doing through it the year and also to reporting those activities in the blog.

"Oh don't worry I said, there"'ll be an accounting.”

There's always an accounting.

So, in the spirit of redemption dear reader, I offer you this post, such as it is, as a fresh start- a part of the journey just a little farther down the road. And as always, I do appreciate your company…

So, 2019, how did I do? Picking apart my goals, achievements and failures for the past year is both instructive and frustrating. Mostly, however, I do feel grateful for the opportunities and experiences that came to me all on their own. I am also aware and doubly grateful for the fact that being present, and in a sufficient state of health and comfort to write this post, is a privilege and achievement of itself. That others have not been so lucky, that fate alone chooses those upon whom she will smile or spit, and that it is the responsibility of every person to live as fully as possible in spite of their troubles- well, these are what should serve as my signposts along the way. Carpe Diem.

The following is brief recounting of my adventures this year, followed by the assessment of where I could be improving. I've kept this post limited to my art and art related activities, as there is no post long enough to accommodate the ridiculousness that ensues from my non-art related shenanigans. Hopefully you will find it interesting enough to come along…

What I have done:

-Sold my work at the R House market on a handful of Saturdays

Here I learned how to sum up my work in one sentence to interested passers by- and from there had a lot of interesting conversations. I also gained a whole new respect for the folks that run pop up shops everyday; after loading up, setting up, engaging with customers all day and then breaking down, I was exhausted!

-Completed a commission to make a set of three horse and rider sculptures in honor of Three Kings’ Day.

I also decided to expand the scale and scope of this commission on my own- this decision cost me some time that I would have devoted to other projects, but I feel like I needed to do it to make it worthwhile for me as an artist.

Doing the research on clothing and horse tack appropriate to the period, finding out more about the religious and cultural significance of Three Kings Day in Puerto Rico, and studying the many variations that other artists have made was all encompassing. It took me a month before I felt like I really had an idea of what these sculptures could mean to my client and their community. I then had to ask myself how I could contribute to that tradition with my own version, which I hoped would accurately reference the tradition, but also bring something new, contemporary, and engaging to my audience.

Another two months was dedicated to drawing horses, and making small versions of my planned sculptures, called maquettes. I was even able to try out some new techniques, and practice my armature building skills.

The Three Kings’ sculptures

- Taught “FUNdamentals in Handbuilding” classes at the Baltimore Clayworks, where I met some awesome people.

I am especially thankful for my students- each time I teach is another opportunity to create a new experience- to present information that excites people to want to know more-and to introduce new skills that they can use to develop their own voices as artists.

- Made Christmas gifts for my large extended family.

I made nearly 50 pieces of work- sculptural vessels, and sets of mugs, espresso cups, platters and presentation bowls-and I got lots of thumbs up!

Detail, one of the set of 4 espresso cups I made for my father in law

-Made independent films with my husband, Miceal O'Donnell.

Mostly I work as the cinematographer and production designer, but this year, I directed my first short film. "Good for Goodness Sake" stars Aaron Henkin (from NPR's Out of the Blocks) Vera Takemoto, and Ada Smith. It's a morality tale about a young girl who takes revenge on her cousin at Christmas. It played at the Charm City Fringe Festival’s rough cuts screening at the Creative Alliance in September.

On the set of “Good for Goodness Sake,” Yours truly, Vera Takemoto, Aaron Henkin, and Ada Smith

-Was asked to be a part of the Mythic Show at Community College of Baltimore County in Catonsville.

It was an honor to be included along with the other artists in this group show, and so inspiring to see the work that curators EmilyAnn Craighead and Nicole Buckingham-Stern selected. I must also say that the way these curators presented my work in the gallery taught me a thing or two about how I would like my work to be presented from now on. They took great care in mounting my sculptures in such beautiful glass cases, as well as expertly lighting the show. They really set the stage for my pieces to have maximum effect. My work has never looked better!

One of my pieces, “Premature Cull” in the Mythic show at the gallery of the Baltimore Community College in Catonsville

-Designed the set and made the props for my husband's short film, “Sea Monster,” hopefully coming soon to a film festival near you!

What I have not done: or, (better yet), what still needs doing

There are several areas in which I have fallen short of my goals, but I would venture to say that this is not necessarily a failure.

For example, one of my plans this year was to complete a body of work that explored the idea of identity and transformation. I would accomplish this through making at least 8-10 ceramic shields and totems, with accompanying drawings and small works. As I was about to glaze the first shield, I accepted the commission for Three Kings Day, and turned my full attention to making these pieces my best work ever. I wanted to go above and beyond my client's expectations- and that was definitely going to require some extra work on my part. I also had never sculpted horses before- so before I even began sculpting a maquette, I had to take some time out to study horses- their proportions, their expressions, and the types of saddles and tack that the Three Kings might have used. It took a month's worth of sketches before I was confident in their structure and horsey ways.

Detail, one of the Kings as he sees the star in the East

I then had to figure out how to best construct these horses and riders. When you take a look at horses, it's really a miracle that they can support all of their weight on such spindly legs. I had to plan my armature and construction carefully so the sculpture would not collapse under its own weight. I made three smaller versions of each of the three horse and rider sculptures, and then experimented with using dowels and paper to keep my sculptures from falling over while I was working on them.

One of Kings I modeled with the traditional costume of the Taino, an indigenous culture of Puerto Rico

Fulfilling this commission took me until August- nearly 4 months from start to finish. This brought me right up to the time that I needed to start pre-production on the short film. We shot the short in early September, and then I started teaching again at the Clayworks for the fall semester. The end of September is when I usually start making gifts for Christmas for family and friends and…

Detail, one of the Kings- I chose the green and gold colors to honor the colors of the client's hometown. This king, weary from has travels, has just about given up- his horse, however, knows better.

As of today, I'm still at only one shield, but I have finally begun work on the rest. While I enjoyed doing the commission, and definitely used it to increase my skills and experience, I learned that I need to carefully consider the time that special projects such as these take my attention away from the work that I set out to do.

I also learned that I really enjoyed directing, and will plan to do it again this year.

The “still needs doing” column is long. I didn't get out to visit many shows, or attend community meetings this year. I also still haven't created a sustainable source of income from my art- a longer term goal which requires my dedication to attending to the “business” of art.

So, while this is in no way a full assessment of my progress and failures this year, I do hope it serves as some measure of accountability, as well as an acknowledgement of the wisdom of my friend Kathleen. I count myself very lucky indeed to be able to even have such pursuits.

I do hope that your year, dear reader, was fulfilling and delightful to you, and that you feel excited about what this new year will bring. I appreciate your interest in hearing about how I navigated my art practice this year. I'm ready to make 2020 my best year yet- and don't worry- I will keep you, and Kathleen, posted!

Me and my (unglazed) shield

Printing "The Three Sisters" - or, How I Made This: Fun with Speedball Linocuts

Dear friends, when we last convened, you were kind enough to read “Baltimore Clayworks offers a dazzling variety of work in Keystone Clay: West exhibition- My review and "digging deeper" into the work of Andrew Castaneda.”

This week, in order to fulfill the plan I set out for myself in the beginning of the year, I created a linocut print with my new Speedball Super Value Block Printing Starter Kit.

I wanted to explore the idea of the votive rabbits a bit more, but in a new way- one that, frankly, was less time consuming than making sculptures, but which still allowed me to (literally) dig into the material. (Click here to read more about my votive rabbits) It is this tactile quality, abundant in forms of printmaking like woodcut, or linocut, that I find particularly appealing.

“The Three Sisters” Clay, Glaze- another iteration of my votive rabbit series. This is a roughly 6 in. x 8 in. ceramic tile that can hang on the wall. I made a mold of my original, then created a few more- including a few that have backs so they can stand alone on a shelf or desk top.

Many famous sculptors have incorporated printmaking as part of their art practice: Picasso, Louise Bourgeois, Giacometti, Leonard Baskin, just to name a few. In addition to being a lot of fun, making prints has always been a way for artists to provide a less expensive, yet still handmade, piece of an artist's work. Also refreshing is the short turn-around time between carving a block, and creating a finished piece of art. While sculptures can easily demand months before they are finished, some prints can be created and executed within a day. Perhaps this immediacy is another reason why printmaking has been particularly appealing to sculptors.

More versions of my votive rabbits. “The Wedding Party” These are freestanding clay sculptures that also function as incense burners.

Before getting started on my own design, I thought it would be a good idea to revisit the work of some of my favorite printmakers. Gathering inspiration is the first step in my creative process. While I knew that my print would be an image of one or more of my votive rabbit figures, I wasn’t quite sure how I would compose the figures within the space, or “frame” of the block. I also wanted to look at examples of the types of line and textures great printmakers create to define areas of light and dark.

Detail, “The Wedding Party”

Step 1: Gather inspiration

The works of Kathe Kollwitz are masterful examples of composition, and of using light to define a form. In her powerful woodcuts, Kollwitz places her figures within the frame for maximum emotional impact. She is acutely aware of the path the viewer’s eye will take, and has even manipulated the space around the figures in such a way as to express their innermost being.

In “Hunger,“ the gaunt figures seem to have just passed through a brief moment of light from within a swallowing dark- we have this one chance to witness their horror before they disappear again into nothingness.

“Hunger” by Kathe Kollwitz, woodcut

In “Frontal Self Portrait “ we see an entirely different use of the figure in space. Here, Kollwitz has placed the face so large within the frame as to make it monumental. The effect is of a serene confidence- placid but unmoving- a woman who has navigated the shoals of life, and through their lessons has become a rock herself. (For an interesting sculptural reference, See Olmec colossal head)

“Frontal Self Portrait” by Kathe Kollwitz, woodcut

Kollwitz portrays the quality of light in both of these prints in different ways as well. In “Hunger,” she draws the effect of a single, but powerful, overhead light onto the figure of the little girl. The form of the little girl is broken down into the most extreme abstract shapes of light and dark, emphasizing the desperation in her eyes, and this precarious moment in which she is suspended between life and death. The other figures are nearly disembodied by the blackness, rimmed by the light from a distant window. The hand that clutches the man’s throat could be his own, but could just as well be the hand of starvation, reaching up to collect him.

In “Frontal Self Portrait,” Kollwitz draws the effect of two diffused light sources, one overhead, and one to the viewer’s left, to show us, in great detail, her careworn face. The marks she created here to portray her face are more subtle and nuanced than in “Hunger.“ These marks overlap and create many layers of texture, appropriate for describing the many years that have been written upon her face.

Lastly, I really appreciated Kollwitz’s ability to break down light and dark into rather sculptural shapes, as well as the way she distorted traditional proportions of her figures for emotional impact.

Stage 2

Sketching my design

My initial sketch of “The Three Sisters” I changed the design a bit because I wanted the composition to be a bit more dynamic. In the initial sketch, all three figures are front and center in the frame, and create a stable (triangular) composition.

While I am no Kathe Kollwitz, I can still aspire to utilize some of her techniques in my own work. For my linocut, I wanted an image with three votive rabbits within the space of the frame. I’ve drawn my votive rabbits many times onto clay tiles, but all have been much larger than the 4 inch by 6 inch block included in the kit. Another important consideration in sketching my design is the fact that all of the marks I make onto the block will appear white. My votive rabbit figures rely on a rather simple gestural outline- that means I have to cut around everything else other than the (rather thin!) lines that describe the figure.

Stage 3

Carving

While I was familiar with how to create a linoleum cut from my school days, the kit came with a new kind of carving block that I had never used before. The 4 x 6 “speedy carve” block was pink and floppy, and felt like a pencil eraser. Would it be better than the old style block? The Speedball Starter Kit also came with a linoleum cutter with three interchangeable cutting tips. The tips are made of metal, and have a “v” shape. The widest “v” tip can carve out large swathes of linoleum. There is a more narrow “medium” sized cutting tip, and lastly, the small, the most shallow and narrow of the three.

The Speedball lino cutter. The bottom of the handle serves as a handy carrying case for the cutting bits. I did not know this, (there were no directions in the box), and I almost went back to the store before I realized that I could unscrew the bottom of the handle!

I used the back of the “speedy carve” block for a test carve. The cutter ran through the block like butter. It was amazing how smooth and easy it was- not at all like the exercise in blood letting that cutting through the old linoleum blocks were!

Step 3

Preparing the paper to print

I’d purchased a lovely sheet of traditional printmaking paper from the art store. It had a creamy, beige color, a soft texture, and the edges were beautifully frayed. It only came in a large size, roughly 24” x 36,” so I knew I would have to re-cut the piece so that my 4 in. x 6 in. print would have an appropriate border. If I were doing a very complex print, I would have either selected, or made, a piece of paper that would offer the right sized border for my print. “Cutting” a piece of handmade paper doesn’t involve scissors. In order to approximate the look of the frayed edges on one side of the sheet, I used a ruler to tear the sheet into smaller pieces. I then rubbed my fingers along the edges I had torn to fray them a bit more, so that they would match the frayed edge from the original sheet.

Step 4

Inking

The kit came with a small tube of water based black ink, and a brayer. The brayer looks like a small rolling pin attached to a handle, but it is an important tool in making a successful print. It helps to spread the ink out evenly over the surface of the block, so that there will be no blobs of ink that will sink into the carved areas. This is important since these carved areas will appear white, or the color of your paper. Too much ink here could potentially bleed into the recessed areas of your block, and ruin your design.

The kit did not have an ink plate- (just a plate that you can spread the ink out upon), so I used an old plastic clipboard. I spread a bead of ink on the clipboard, then rolled the brayer back and forth over it until there was ink all over the brayer. I knew I had loaded enough ink onto the brayer when it made a tacky sound- (see vid!) and the ink formed tiny ridges on the plate.

Then I rolled the brayer onto the surface of the block, several times, in both vertical and horizontal directions. When it seemed like there was an even layer of ink on the block, I placed the brayer back on the ink plate, and picked up my paper. Carefully, I positioned the paper over the block, and then gently rubbed the pad of my fingertip over the surface. (There is a tool called a burren that is traditionally used for smoothing the paper over the carving block, but I do not have one, and my fingertip would just have to suffice.) The goal here was to make sure that the paper came into contact with all of the surface areas of the block, and that there was a good transfer of ink to the paper.

Numbering and signing my print…

Step 5

Pulling the print- the Trial Proof, the Artist’s Proof

After smoothing my finger over all the areas of my design, I began to gently pull the paper off of the block, checking for any areas that did not pick up enough ink. I found a corner that I must not have pressed; the ink looked a bit lean and spotty where it should have been completely black. Because I hadn’t pulled the paper off all at once, I was able to roll the paper back down on the block, and press those areas again. After pressing again, I pulled the paper off and - success! There was a great transfer of ink to the paper. I set the newly made print aside to dry on my table.

This first print, or trial proof, is the first time an artist gets to see what the print really looks like. After inspecting their proof, sometimes artists will make adjustments to the design. After looking at my proof, I found that there was a small area near one of the rabbit’s ears that picked up a bit too much ink. I went back into the block with the smallest gauge cutter, and removed a bit more.

After a few more adjustments, I decided I was satisfied with the design. I then made an “artist’s proof.” The artist’s proof, usually labeled “AP,” is the standard by which all the other subsequent prints of that particular design are evaluated.

Step 6

Printing Multiples

Even though there is potential to do a large number of prints with this process, most fine artists make a limited number, usually under 100. After the 100th print is made, the block is “retired.” Some print studios will even strike the block, that is, to make a slash mark against the design, to prevent the block from being used again. While this may sound dramatic, there are several reasons for making these limited runs. One is to protect the quality of the artist’s work. Linoleum blocks, like other types of printing plates, will eventually start to wear down with use. This can affect the sharpness of the image, or the richness of the dark areas, and result in a print of inferior quality. Another is to protect the value of the prints themselves. While prints are often offered as an affordable option for collecting a piece of an artist’s work, making an unlimited number of prints would devalue their worth. I decided that I would do a “run” of 25 prints.

*Just a quick note about the “Speedy Carve” block. While the Speedy Carve block is super easy to use, it does have the downside of not being as durable as the traditional linoleum block, which is mounted on a thick piece of particle board. How many great prints can one make on the “Speedy Carve” block before the image starts to degrade? Not sure. But it seemed to work just fine for my small run.

The finished product

Step 7

Numbering and signing your print

Traditionally, prints are numbered and signed in pencil at the bottom of the image. Why pencil? I haven’t discovered any clear answer. However, some of my professors have said it is less distracting than an ink signature. Others do not sign their prints at all, but work their artist’s mark, or signature into the design of the print.

Since I am making a run of 25 prints, the first print after my artist’s proof is written as 1/25, the second is 2/25, etc. This is written just below the image, in the left hand corner. This lets the viewer know that this particular print is one of 25 made. I’ve written the title in the center, and signed my name on the right.

AND…

On to the next challenge!

I will probably do a few more linocuts in the coming weeks, but I wanted to mention that the linocut is just a small corner of the metropolis that is “Printmaking.” Etching, engraving, collograph, woodcut, lithography, screenprinting, aquatint… these are just a few categories of printmaking for you to discover! The techniques used can be as varied as the artists who use them, and the possibilities really are endless.

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.