seen from China
seen from United States
seen from United States
seen from Netherlands
seen from India
seen from United States
seen from TĆ¼rkiye
seen from United States
seen from Germany
seen from TĆ¼rkiye
seen from China
seen from China
seen from Germany
seen from Denmark
seen from Germany
seen from Malaysia
seen from United States
seen from Netherlands
seen from Netherlands
seen from Maldives
Starting point
A year of selling a house, buying a house, and moving cross country kind of put me in artmaking purgatory. And I wondered how to jump start my studio practice againā¦or whether that was even the right question. I recognize that I work best when I am researching a theme, writing about it, drawing a bit, reading; but I have been questioning the motivation behind what I see as my, sometimes,ā¦
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Raw materialsāinfluences and ingredients
Raw materialsāinfluences andĀ ingredients
Ā Ā Ā Ā Doodling from my sketchbook Finding ideas and processes to explore a new ideaāthatās what Iām thinking about these days. Itās about mapping intimate geography: reappearing patterns, personal space, favorite symbols, and the passage of time. A lot of stuff. I want a sense of rawness and spontaneityā¦and obscured meaning in the work I create. So far Iāve been working with paintings on canvas,ā¦
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Silence and art
I was thinking about the relationship between making art and silence and looking for some insightā¦so, Iāve been reading the book Silence by Robert Sardello. Really, more like wading through it. Iāve been puzzled by the reviews and comments that are included in the bookās foreword. Based on those comments, I supposed that the writing would be straightforward and would easily lead me into aā¦
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A Tapestry
Continuing with the 100DayProjectĀ and my focus on continuity and connectivityā¦ From what I have been reading in a variety of books, and from my own experiential evidence, I want to try tuning into the landscape hereāhave an openness to what is around me when I walk or when I stop to listen and look. Ā And then I want to come back to my studio and āoozeā it out into an art workā¦as if I could shedā¦
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100 Days!
Crumbling arroyo wallāblocks of dirt fall,Ā widening the wash Iāve signed up again this year for The100DayProject. Actually, Iām a little behind in posting, but not in thinking. The launch was the winter solstice, December 21st. Iāve been reading, reading, reading, and trying to sink into understanding a relationship between hope (a suggestion for the project), the span of time between the winterā¦
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artistic drive to make a good piece for a critique an entire class will see and engage with: nonexistentĀ
artistic drive to make ytp: coursing through my veins. pulsating.Ā
Where to go? What to do?
Where to go? What toĀ do?
Doodling with maps in mind
With the pandemic still in full swing, I feel like Iāve come to a full stop. Lack of motion. Lack of motivation.
Iām having a hard time figuring out how I want to express my ideas about mapping. Iām intrigued by maps because they seem like a ticket to a different reality. They suggest that there is a perceivable route to be taken, A to B, and that there is informationā¦
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A segue (I love this word)
Mapping the strata XVIII
I thought I needed a way to reinvigorate my Mapping the strata series. I donāt know how other artists regard their work, whether they are content to explore a particular genre or theme throughout their career, but I felt like I was becoming a little predictable after Mapping the strata XVIII. I needed a new way of considering my intent and interestā¦and a new way ofā¦
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