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.

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

Ceramic Sculpture Culture

Last Thursday I attended a presentation by Ceramic Sculpture Culture, an artists' collective which works to promote the art of emerging sculptors creating narrative and figurative work in clay.  The collective's founders, Taylor Robenalt, Kevin Rhode, and Travis Winters, spoke to a full lecture hall of students, community members and faculty in the Arts Center of Towson University.  Mary Cloonan, exhibitions director at the Baltimore Clayworks, moderated the discussion following the presentation of the artists' work.   

"Can't Knock Me Down" by Travis Winters

Robenalt, Rhode, and Winters founded Ceramic Sculpture Culture in response to the challenges they faced building their artistic careers and selling their work after graduate school.   Each found the market for figurative ceramic work to be slim.  For marketing purposes, "ceramic" and "sculpture" have been two separate categories, and the idea of "ceramic sculpture" is a somehow unmarketable mix of each.  This points right to the "fine art" vs. "craft" distinction.   How is a gallerist to approach selling a work that, in content, is "fine art,"  but is made with a "craft" material such as clay?   To further complicate matters, many ceramic sculptors (myself included) reference traditional pottery forms in their work.  How are these pieces to be categorized for sale?  

Taylor Robenalt, from wallhangings series

After discussing their predicaments at last year's National Council on Education of the Ceramic Arts (NCECA)  Robenalt, Rhode and Winters decided to invite seven other ceramic sculptors to be part of a group to help promote each other's work.   Using social media and their shared contacts, the collective hopes to bring about a greater awareness and appreciation of ceramic sculpture to the art world and beyond. 

Presentation topics also included the challenges of continuing an artistic practice after graduation, artists' residencies, and approaching galleries to show your work.  Robenalt, Rhode and Winters took turns discussing their experiences and sharing advice.  

Kevin Rhode, "Realeyes"

The Ceramic Sculpture Culture collective has big plans for the future- including a website, juried shows, and even a book.  For now, check out their instagram page to see examples of their work.   Also, check back here in a few days for another post I will be sharing about some insights I had after the lecture.  

Links to check out:

Ceramic Sculpture Culture on Instagram

Taylor Robenalt

Travis Winters

Kevin Rhode

Mary Cloonan

Towson University