Self, with a capital "S"

To live creatively is a choice. You must make a commitment to your own mind and the possibility that you will not be accepted. You have to let go of satisfying people, often even yourself. 

-Jessica Olien

This year has been a year of throwing off the urge to satisfy others' expectations and norms.  Even though for most of my life I have been doing or working at doing this (Public school in the 90s - "Be yourself!"), there is a lingering code of "right vs. wrong" that causes tension within my Self.  Dealing with this tension is an important thing, but I also see it as a diversion from the living and realizing that is particularly me.

Jessica Olien's writing on Slate.com about the acceptance-or-not of the Creatives in our culture is a message that highlights the root of this tension I refer to.  Read the article here.

My wish for the world is that we can self-realize.  Creative or not, consider who you want to be (I think this comes from knowing who you really are), and be that person.  No time to lose.  Never too late.

Self, graphite + colored pencil on paper, 2013

newest

(detail)
from my newest drawings and interdisciplinary work referencing simplicity and clarity - Primary Platonic.

This is a retro-self portrait.  Myself when an infant, wrapped tightly in primary colors and platonic shapes - the most basic and simple elements of form and color. 

This is part of an exercise with my artwork to meditate on basic self-understanding and self-knowledge while putting intention toward simpler and clearer thinking and experience.

moment momentum

Drawing for my Dad titled Moment Momentum.  (click on it to see it larger)

My Dad's leaving in about one week to hike the Appalachian Trail (a.k.a. The AT).  The trail has been measured as 2,180 miles and runs from Springer Mountain in northern Georgia to Mount Katahdin in N. central Maine.  He planned to walk it last year and got 8 days in before a bone spur in his heel stopped him in his tracks.  This year has been a year of healing and he's decided (again) to hike the trail.  I am very proud of him and imagine that the experience may be profound (profoundly difficult, profoundly beautiful, profoundly boring... who knows but those who've walked the trail?).

hiking with Dad and Erin ca. 1988

During the summer when I was growing up, I used to hike little sections of the AT, day hikes, with my Dad.  One of  his two side-kicks on the trail (my twin sister Erin the other), we spent glorious hours in the Blue Ridge Mountains of Virginia.  I remember the smells of earth, pine, mountain springs, I remember the routes of repeat hikes, the overlooks, the waterfalls, and the wildlife.  We would ride home in Dad's truck, scuffed, dirty, tired and happy.  When in college, I ventured on longer hikes and sometimes several days on the AT.  I no longer live on the East coast, but I often conjure memories of those beautiful, soulful places.

I'm imagining my Dad in those places.  My heart is full of love and wishes for health and fulfillment for him on this trip.

I sent this tiny drawing to him today as a talisman for my wishes and my love during his long walk.

About You

About You, Rebecca Peebles, 22" x 30," graphite, pen & colored pencil on paper

For the June show at GroundSwell Gallery (where I curate with Danette Montoya), we hosted a group show under the concept of Exquisite Corpse drawing.  Most versions of Exquisite Corpse drawing projects incorporate the rule that each artist participating has no idea what the other artist(s) are doing. The rules for our version also included that each artist creates a drawing using the same media and must utilize pre-drawn "starter marks" that connect each drawing to a left and a right drawing (see images).  I decided to participate with the project because I wanted to get in on that "surprise" feeling of putting all the finished work together to see what it all looks like, and of course I like to draw.

 The task of drawing "whatever I want" seemed simple at first.  Then the anticipation for the unknown drawings on left and right...  I had to put aside my tendency to plan and just let loose with the drawing. The only control I seemed to have (or thought I had) was effectively using those "starter marks" drawn from my margins across to anothers' margins.  I tried to think of them as bridges to another drawing.  Anyway, the drawing was satisfying work.  I felt explorative with the media that I wouldn't usually combine in one work.  I enjoyed placing my mind upon the irrationality of Surrealism and Dada (the art movements which originated Exquisite Corpse drawing) and letting go.  My drawing, titled, About You started with drawing my hands (seemed like a good place to start) and ended with a sensual and dynamic drawing.  I couldn't help but to footnote (in sign language) the main line from the Divynals 1990 hit song, I Touch Myself: "When I think about you, I touch myself." 

Putting all 16 artists' drawings together was, as expected, a delightful surprise.  Each juxtaposition of drawing to drawing was uniquely interesting and unexpected.  To see images of the works (each including some of the left and right "neighbors"), please visit GroundSwell Gallery's website.

 "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...

new concepts, learning at Matter, & my art collection

Most recently my artwork focuses on  2 concepts.  Initially, a concept of color theory regarding the juxtaposition of colors and their co-effectual relationships related to the teachings of Josef Albers.  Secondly, a concept described by Sri Sathya Sai Baba and variously found in other religious, spiritual, and social teachings.  I find that the words can seem dogmatic and I resist the urge to share, overtly, what the concept or dogma actually is.  On the other hand, what may be a life-time task, I do wish to take on the concept as a filter for my spoken words and also my own thoughts and I do feel compelled to make art about it.  Here's how I understand it:  Upon speaking, one may consider first passing the words through 4 doorways.  Each is a question of the thought, and if each thought can respond affirmatively, then perhaps one's speech better serves self and others.  It goes like this:  

Is it True?

Is it Kind?

Is it Necessary?

Does it improve upon Silence?

Looks like rainbows, the drawings are a practice of both concepts - color relationships and social clarity. 

click on the image to see it larger.

This past weekend, I had the opportunity to do another piece referencing the latter.  I participated in Rick Griffith's printing workshop at Matter Studio, wherein we learned how to use printing presses and typeset and were challenged to create a design for print.  I did a print about the 4 doorways and also a print quoting Haruki Murakami from his book, The Wind Up Bird Chronicle. "All you had to do was sit still for ten minutes, and you could see this amazing variety of grays." the 4 doorways shape and the "cloud" shape I designed to be made into printing blocks set alongside type.  One of my workshop-mates, Michelle, had a set of modular type that she intuited I might like to use, how very thoughtful and true, so the 4 doorways print uses those (outside of the modular purpose - re-imagining the modular elements as letters themselves).  The Murakami print uses lead-type 42pt Helvetica. 

I loved working with Rick at Matter and using his presses this weekend.  I love the work that I did.  

Last comment:  Below, a drawing/paper-cutting by Brittany Gould (Denver artist) that I recently collected entitled, Over Charleston. 

it's worth it to click on this image and look at it larger.

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.