What kind of artist am I?

Me, at right, deliberating. **

At the beginning of this month, I participated in a panel discussion on Provisional painting.  At the start, I was introduced as a curator and founder of GroundSwell Gallery and as a conceptual artist.  Albeit the moderator did hesitate around the term "conceptual," I found myself befuddled as my mind tried to respond to the larger issue: What kind of artist I am.

This is a familiar topic for me nonetheless.  Most people, upon discovering that I am an artist, ask me, What kind of artist?  Am I a painter?  Or... ?  Most people who are outside of the art community immediately wonder if I am a painter.  I'm amused by this initial thought: Artist = Painter.  I imagine this is a result of one's art education only reaching the middle school level, so familiarity with artists ranged from Monet to Picasso to Pollack to Warhol (MAYBE Warhol).  All painters.

Anyway, my response is usually that yes, I do paintings sometimes, but my art making and media choices are a result of an initial inspiration.  I usually have a vision that relates to philosophy or a personal discovery and that vision leads to a media choice that makes sense.  I just follow my intuition in answering the question, "How can I realize this vision?"  I don't consider myself an expert in any one media, but I do consider myself adept at many media and broadly experienced with various techniques and skill-sets.  Blahdy blahdy blahdy, is this person still listening?  Is what I am saying ringing any bells?  Maybe...  so, sometimes I do paintings.  Sometimes I make sculpture.  I've worked in performance.  I enjoy making large installations, site-specific and otherwise.  Right now, I'm making drawings on paper.  Another aspect of my work is that I tend to work in a very repetitive way.

In the case of the panel discussion, which was also about a vague matter (Provisional painting), I realized I was now talking to a group of people who speak the language of art, of media, of technique and the artist's practice.  These individuals had the background information on the subject and I felt compelled to answer this question more in depth.  However, I was also posed with the categorization of conceptual artist.  I began my response by saying that I had never actually considered myself a conceptual artist, but I could see why she, the moderator, might say so.  My work, being of different media and techniques from project to project, is often linked to a concept, which I describe alongside my work (examples: www.rebeccapeebles.com).  The concept from one project to the next may string along familiar modalities of thinking and working or similar goals despite varied processes toward reaching the goal.  So by the end of my dribbling, befuddled artspeak, I actually said out loud, "Well, maybe you're right.  Maybe I AM a conceptual artist."

No, that's not true.  How bizarre that I walked all around that self-definition-moment undecided, almost desperate to end the tail-spin, and then I just accepted the assumption.  So having given it some thought for a few more weeks, I'll say what I have meant to say for a long time.  I am not a painter.  I am not a sculptor.  I am not an installation artist.  I am not a conceptual artist.  I am not a performance artist.  I am not a print maker.  I am not a textile/fiber artist.  I am not an illustrator.  I wouldn't even call myself an interdisciplinary artist (although that vague term is perhaps the closest fit).

I am an artist.  That is all I am.  I utilize all of who I am and what I know and what I have as I need to.  I make art.
That's enough for me.
I'm certainly not trying to fit into any categories for catalogs or historical documents.  I could care less about my CV or resume.  I even think it's time to re-write my Artist's statement to say less about what kind of artist I am.
There's no reason for me to try to be the right kind of artist or make the kind of art that's popular.  I don't believe in making art for the market or even for an audience - those aims are destructively distracting from my art practice.
I make art for (first) myself and (second) for the love in it and (third) for beauty.

To the moderator of that discussion, thank you for helping me realize who I am not and therefore, who I am... as an artist.

**photo credit - Rebecca Vaughn

Moving Day

Today I moved my studio from a 120 sq. ft. room (our 2nd bedroom) to a 600 sq. ft. SPACE (emphasis on the "space").
snapshots of the 14th Ave. Studio (2 yrs of claustro-arto-phobia):

These photos were taken by cramming myself into the opposite corners of the room

and the new 4747 Studio ((sigh) take it all in):

As usual, these photos don't begin to convey the enormous difference this will make for my art making life.

My studio mates: John McEnroe and Bruce Price.  I am stoked.

Here's to a new adventure! 

I don't know what Art is.

I'm at home sick today so maybe that will explain my wild statement about not knowing what Art is in the subject line.  Or, maybe this is just an expression of Zen knowing and not knowing and I'm about to unleash some real higher thinking right now.

Unlikely.

I bring this up because I just read in the September 2013 of The Atlantic, Out is the New In : Why outsider art - dirty, brutish, and raw - is all the rage by Sarah Boxer.  From what I gather, in my experience as an artist and with running GroundSwell Gallery, the tendency with most artists is to do what they believe is their "art" and it's usually noticeable when the spark of authenticity is not there.  I'd say that meeting the artist and talking with him or her about the art is usually a good test to find out if this is really Art or not.  Sometimes I do come across folks who are making what I would consider to be decoration or very creative design projects.  Sometimes it seems an artist could dive more deeply into his or her art-making but is distracted by the notion of "reaching the audience," pleasing gallerists, or making works that are "consumable" or "priced to sell."  When it really comes to Contemporary Art Trends, it has nothing to do with, on the whole, what artists are making.  When it comes to Outsider Art today, we're all outsiders for the most part...  The insiders are handpicked by a few know-it-alls looking to make money right now.  This is, unfortunately, how our culture is defined now - not as much by authentic expressions in response to our time, but a framing of "culture" utilized to create a market demand.

Sarah Boxer's article expresses that many outsider artists were psychotic in some fashion, "madman," brut, traumatized, and others were just doing their thing, uneducated, but owning it and practicing art-making as an innate calling.  My favorite reference is to Bill Traylor, an African-American artist in Alabama "discovered" by a younger artist, Charles Shannon, who was enchanted by Traylor's serenity in his art making.  In this case and the case of the "brut," the artist is not driven by expectations, ideas, trends and money of the "Art World."

Oh my, that sounds attractive albeit a little isolated.

Then, the isolated artist (maybe he's psychotic, maybe he's a hermetic monk) and, more importantly, his or her artwork are discovered by someone of influence within the upper echelons of the "Art World."  The know-it-alls are enchanted by the never-before-known genius of this artist and see the art as a another get-rich-quick opportunity: "Oh, Auction House B just went nuts over Henry Darger's obsessive paintings of children!  The crazy sh*t this new-found artist makes out of mud and her own feces is going to hit the market like a firecracker!"

I'm starting to sound bitter, and maybe that's because for the lasts 10 - 15 years I mostly believed that any hardworking artist could make a living off of their ARTwork.  At this point in my artmaking life, I don't really think that's true.  Almost every artist I know has other work that supports them and they're lucky if that work is a healthy utility of their creative talent.  It seems to me, especially after reading Don Thompson's The $12 Million Stuffed Shark, that "Making It" as an artist has two very separate meanings.

Making It! option #1:  Make art in such a way as to brand yourself.  Make sure that people know what you look like or what your artwork looks like by creating an indelible propaganda with your art.  Often this entails tapping into the neuroses of our culture streaming out of popular media trends already driven by marketing tactics and economic models.  Hustle.  Get to know as many people hustling as you can - power in numbers!  Always be in the right place at the right time.  Get into publications, known-name-gallery exhibitions, museums, collections and make sure that you are international in your reach.  Then, there's a .0001% chance that someone in the Auction House arena will PICK YOU.  Yesssssss!

Making It! option #2:  Make art in such a way as to increase awareness, increase tactile and emotional intelligence, and increase truth and joy in this world.  Start with yourself.  It takes a lifetime of practice to reach a point where your artwork may affect the larger culture.  Attend to the inspiration that evolves out of your art practice and the life that you live with friends and family and work.  Pay attention to your dreams and to your intuition and make what you envision.  Make what you want to make.  This isn't a dress rehearsal - make what reflects who you know yourself to be.  If you can do this, talent or no talent (remember the outsider artist), there is a 99.99999% chance that you will die happy.   There is also a .0001% chance that someone in the Auction House arena will PICK YOU.  (...whatever...)

What I mean to say is,
No matter what an artist does, whether making art or making propaganda, whether making mud and feces sculptures, or making perfectly square black lacquered cubes, whether working on the inside or the outside, inside-out or outside-in, the chance of "making it" like a rock star is slim to none.  But, the chance of living a happy, fulfilled, self-knowing, wise and serene existence is pretty high.

I say I don't know what Art is because I see it as ephemeral and in flux.  I know that when I look at many works on the walls at museums, galleries, and in my own home, I understand the work to be "Art."  Sometimes I know nothing about the artist, sometimes I know more than enough.  I have tastes and preferences though even work that I don't aesthetically connect to can move me.  I know that when I set about to make art, I am either working from my own inspiration or I'm plagued by a sense of pleasing others.  When I think about Outsider Art and Insider Art, I realize that either can be Art, and that one or the other is being promoted by those in the Art dealing game.

Art Art Art Art Art Art Art Art Art Art Art

Remember that game where you say a word as many times as it takes to begin to lose meaning and seem to be an arbitrary sound coming out of your mouth?  You can do it with any word.  I think it could be important to do that exercise with the word "art" every once in a while so as to remember how arbitrary the word and it's attending subject matter really are.

Now, I'm going to go and look at some art at two different art shows going on in town.  Then I plan to head back home and make some art with 10 lbs. of leftover porcelain clay I've been musing over in my studio for about a year.

Let it be known that my opinions change and my knowledge is always being reformed. 

new to the collection

Currency Andrew Speer, oil and acrylic on linen, 16" x 20"

Thrilled to have a new painting in my art collection!  This work by Denver Artist, Andrew Speer, was just a part of GroundSwell Gallery's exhibition, Provisional.  Andrew's paintings, however provisional they may be, are refreshingly of the moment.  The title, Currency, may be as much about money as it is "the quality or state of being current."  This currency for me is the moment of release - when you've let go of the work and it's flying off to the sky though you still feel the energy in your heart and hands from making it.  Thank you to Andrew for giving rise to this feeling in me each time I pass near your work in my home.

ceramics for the summer

This Summer, I decided to take on a new installation project after an April conversation with Jordan from Denver's Forest Room 5 (Restaurant, Bar, Lounge, Night Club, and more recently - Gallery).  The offer was simple, they have a newer large room (I call it the tree-house) where DJ's play out to crowds and the walls are dedicated to monthly art exhibits.  I decided to do an installation that I felt could interact with this thematically rich space.  Henceforth, a plan to create as many bells out of porcelain as I could and figure out a way to install them along a long wall in the space. I wanted to continue work that addresses a concept I've been addressing in my work lately - cryptic or obsolete language, while also creating a piece that interacts with the "trees" at Forest Room. 

I talked about cryptic language in an earlier post about a drawing I made for the Exquisite Corpse project at my gallery, GroundSwell.  The idea of creating works that have a message though the message is not entirely obvious or understandable to most, makes sense to me as a way of avoiding a didactic or even trite nature.  I have a subtle irritation with artwork that poorly uses statements or words (so obvious, too moralistic, awkwardly immature, etc.), so I try not to use words in my work.  ...lately, I can't help myself as I realize I can make the message or the words only known to me and maybe a few focused, intent, or just in-the-know individuals.  This work is about the obsolescence of bells and their "language" of timbre and pitch, timing and number, but it is also about the constant language of "ring tone" in the contemporary bell or chime known as a cell phone.  It's a note that says, "oh yeah, remember these?" to my peers and also says to the chicos, "Hey kids, this is what a ring tone used to come from!"  I know bells aren't extinct, but...  you know, I just love bells and I think it's interesting that I love something that is now becoming a sentiment or nostalgic item of antiquity.   This artwork is titled, Tinnient Campana. 

So this summer, I worked on Tinnient Campana for daaaaays at the Art Students League of Denver (which is awesome) with Barry Rose (who really knows his stuff when it comes to ceramics) to make by hand as many porcelain bells and clappers (the piece that strikes the bell from the inside) as I could.  There are 108 of them.  I'm exhibiting 99 in groups of 3.  The purpose of installing a large number is to identify the proliferation of "ring tones" in our lives and the relationship to the origin of the ring tone. All 33 sets of 3 go on exhibit this coming Saturday at Forest Room 5 (2532 15th Street Denver, Co 80211).  I hope you'll take the time to drop by and see this new work before the end of the show on October 2. 

pixel upon pixel upon pixel

Working on a long-anticipated project to plot pixels for this double portrait jpeg.  First half first.

 "Disappearing, and other long term goals." 
Jeffrey King introduced this concept to us at GroundSwell Gallery as the central point from which his body of work would operate.  The work pictured above, titled as the show, is Jeffrey's quietly bold visual comment regarding our temporary status in our shoes, on this ground, standing, here...  With most of the works for Jeffrey's current exhibition (up through April 10), we are directed by elaborate "pointer sticks" to associate images with colors and shapes.  Maybe the colors and shapes indicate the arbitrary nature of things to which we attach ourselves.  The stylistically ephemeral drawings depict a place, a thing, a "Memento" of our existence, our memory - that to which we may attach meaning to ourselves.  King's choice of objects with which we self identify (speaking of our collective humanity from the artist's perspective) run the gamut, ranging from a "Have a nice day" smiley plastic bag to the icon of American architecture, Falling Water a building designed by Frank Lloyd Wright.  Working together, the framed drawings, pointer sticks and colored shapes create a sort of mind map that sets us off balance until the humor sets in.

We at GroundSwell Gallery would like to thank Jeffrey King for his outstanding work and work ethic. 

GroundSwell gallery is located at 3121 E. Colfax Ave.  We invite the public to visit the gallery Monday through Saturday 11a - 7pm and Sunday 12 - 6pm.

drawing dance - Tony Orrico

Tony Orrico tells about his work throughout this video by Becky Reamer, so I won't go into the details.  I will say, if I were a dancer...

James Llorca Garcia Marquez

A good Denver artist, James Llorca Garcia Marquez is leaving.  I'm staying, but I don't blame him, and I sympathize with his statements made in this Westword article about his departure to NYC.  I have 2 small pieces of his, tiny books, that I found while working at Hooked on Colfax, and I often feel grateful about the inherent generosity of having them.    I looked forward to seeing where this artist would begin to show in Denver and how he might grow.    Anyway, I'll miss this guy.

Composite, Physiognomic

I  too want Denver to start paying attention to Denver's artists and quit remarking on "how expensive" art is.   At least give these artists the honor of never knowing that you think the work is "expensive" - it is a matter of opinion after all - because art, when it is really art, is too important a thing to make such tactless remarks about dollars.
To James,
I hope you keep working.  Good luck and Farewell.

Takeo Hiromitsu

Matrimonial Kosmonauts mixed media on panel 17x43"

GORG mixed media on panel 14x14"

Prints and paintings by Takeo Hiromitsu are now showing at GroundSwell Gallery.  It's been a roller coaster of learning "how to do this gallery thing" with Danette, but I at least realize where the upsides are really up.  Month after month, we have these talented, serious, hard working artists bringing good art to our new(ish, 8 months!) space on East Colfax Ave, Denver, and the coming scheduled months bring more of them.  Denver's artists aren't dreamers.  They're doers.  The art is here and we're not the only space to show for it.  We hope you'll visit GroundSwell and see Takeo's work in our bright little gallery.  Take time to look at the details, see the narrative of this "self exist(ing) to connect with the cosmic creative energy that has churned time."  Mr. Hiromitsu's paintings and prints reconnect us with the chaos and fury of living that ultimately settles us out as we find our flow.

bigheadsmallcrown Lithograph print 25x20"

Takeo Hiromitsu
paintings and prints
on view at GroundSwell Gallery
Through February 7, 2012

3121 E. Colfax Ave.
Denver, CO 80206

GroundSwell is open
Monday - Sat. 11a - 7p and
Sundays 12 - 6pm

for more information or a scheduled viewing, please email:
rebecca@groundswelldenver.com
danette@groundswelldenver.com 

Rozie Vajda at GroundSwell Gallery

What a fun month at the gallery with the complex and beautiful characters created by Rozie Vajda.  Each marionette with it's own detailed expression, components, and stage is an example of Rozie's true investment into the whole creation of personality and placement.  We are honored to show this work and we welcome you, if you haven't already, to visit GroundSwell Gallery during this heartwarming season - open through January 10, 2012. 

GroundSwell Gallery is located at 3121 E. Colfax Ave. Denver, CO 80206 (Bluebird District). 

Open Monday - Saturday 11am - 7pm, Sunday 12 - 5pm

“I like to think that some of my work at least will stay in the present tense.”

Ellsworth Kelly at the Boston Museum of Fine Arts.  Not his usual paintings, but his wood sculptures.  Just wanted to link to this NYTimes Article including some statements from Kelly himself.  I am especially interested in artists like this who are interested most in remaining in the present tense.  This image is of Spectrum V, 1969.  I remember seeing this on a visit to see art somewhere in the world...  Anyway, I remember loving it. 

City Smiles

Today an Open House at City Smiles Dentistry, 100 Spruce Street, Suite 100 Denver, CO 80230.  Everyone is invited from 5:30p - 8:30p.  This is a great chance to see what Chelsea Mayer, DDS has done to build out a beautiful new dentist office that all who care about design and good space can really enjoy!  She smartly requested good art curation for the office and I reached out to local Denver Artists.  The result, the best dressed Dentist office I've ever been to!  I'm honored to work with the artists:
Sara Guindon
Sandra Fettingis
Rob Mack
Shayna Cohn
Debbie Clapper
Alan Kitchen
Paul Langway
Bethany DeMarco
Derek Keenan 
Jared David Paul

Rozie Vajda at GroundSwell - through Jan. 10

I call this a successful art opening.  The highly detailed and exquisitely constructed characters that are Rozie Vajda's marionettes now grace GroundSwell Gallery.  I am so proud to curate with such a talented and hard working artist!

Please visit the gallery before Jan. 10, 2012 to see this incredible show. 

Below, please find Rozie Vajda's artist statement. 

"I work with found objects. Some discarded, some given, others forgotten, all rediscovered and repurposed. I help these treasures discover a new life with new companions in a new story.

My studio has a floor to ceiling collection of these found, gifted, and salvaged treasures and art parts collected over a lifetime. Chosen for the emotion as much as the aesthetic, in this show can be found roots, twigs, and seaweed, accordion parts and the keys to my first car. When these parts make their way into my art, so too do the people, places, and experiences they represent.

In these most recent pieces, my explorations with assemblage art, doll-making, sewing and felting have come together in a whimsical way that surprises and delights me. With the pull of a string these characters come to life with motion and dance."

-Rozie Vajda

3115)| +! |(3121 East Colfax Ave.

MAD KING  In Transit  2011

Running the gallery at GroundSwell with Danette Montoya has been immensely enjoyable for me in the months since we opened in May 2011.  I find that I have more fulfilling and inspiring conversations with artists around Denver than I would have thought available to me.  I happily do this work and I'm inspired to keep on with my own art work.

The current show at the gallery with MAD KING is definitely worth a visit.  GroundSwell is open daily from 10a - 7pm and this show runs through November 8th.  If you're like me, you may find yourself brightened by MAD KING's layered patterns, colors, textures and characters.  I especially invite those interested in enriching their visual promotion and representation materials with the skillful and soulful imagery of this artist.
http://www.madkingproductions.com/

Finally, I want to share, through pictures (below), the happenings between 3115 East Colfax and 3121 East Colfax (GroundSwell).   Artists working this week, and pictured in the first photo here are Denver's own Max Kaufman and Nice One, Denver native, now working from Chicago. 

Max Kaufman and Nice One work out the details of what will be a very large mural on the side of GroundSwell Gallery and Cannabis Boutique

newest stencil in the past month

This wheat pasted painting appeared in the past month as well.  We're into that on our unpainted brick wall, but the stencil to the Right is totally inconsiderate of the brick material.  Boo.  Also, see left, part of Paul Langway's mural from last Summer on the low wall bordering the alley.

"Own Your Soul, Monster."  We're especially into the painting, being not the expected xerox, and the poeticism of this wheat paste.

In closing,
Thank you Denver Artists.

ART by CRAFT at REDLINE

I  am honored to show my work, Migration newly formatted as a stand-on-it's-own sculpture piece, at the Denver Handmade Alliance's Art by Craft exhibition this coming Saturday!  The show runs through October 16th and coincides with a craft Market held on Sunday Oct. 9th.  Exhibiting the work of the artists listed below, Art by Craft explores craft-based mediums in fine art.  I hope you will consider visiting!!

Migration (detail), Rebecca Peebles

Art by Craft Exhibiting Artists:

Adriane Horovitz & Marc Horovitz 
Andrea Thurber
Becky Wareing Steele
Beth Wood
Dea Webb
Hope Morgan of Haunted Sparrow
Lara Nickel
Martina Grbac
Pamela Webb
Patrice Washington
Rebecca Peebles
Sandra Fettingis
Sarah Wallace Scott
Vanessa Gochnour

303

Laney McVicker of 303 Magazine wrote an  article about myself and my work.  You can see "The Hol Sum Art of Meditation" article on 303's site for the Fall Fashion Issue 2011.

I'm especially grateful to Laney for quoting me when I said about my art work, "Really, it's just a practice of working toward something beautiful or peaceful."  This is true for me.  I am most accurate as an artist when I'm creating work that offers beauty and opportunity to rest in one's own peace.