someone who documents

Have I taken pictures of the triplex that my husband, Christian is building - that I have been working on too?  Have I taken pictures (outside of my smartphone camera) of the quilt that I've been working on for 6 months?  Have I taken any photos of closing day at the gallery that I ran for the last 3 years and closed this past Tuesday? 

No. 

I've been adverse to stopping all this doing in order to take a photograph or two and now I have a blog with no posts for almost two months!  I've considered making a post every few weeks or so and then I have instead done something like: work on a landscaping plan for the triplex, make plans for our little Siga - the standard poodle puppy that is coming home with us once we move into that triplex, get a tattoo, meet with friends that I haven't met with in a while, etc. etc.  There are times in one's life when the need to document just isn't there.  There are times when the documentation comes naturally...  I'm looking forward to that time coming up again. 

For now, will a few smartphone photos suffice?  For now, a few brief statements about what has been going on? 

Update number 1: Christian and I have a little standard poodle puppy waiting to come home with us as soon as we are ready.  His name is Siga (pronounced, See-gah).  We've wanted a dog for most of the time that we have been together (a long-ish time) and now he is finally in our lives.  We met with his breeder Betsey Beineke in Parker about a month ago and we were suckers for this little guy as soon as we held him in our laps. 

Update number 2: The triplex is under major-construction-all-the-time-so-much-going-on so that we can move in by the end of May.  The last photo that I took of the exterior is so outdated, I feel weird about posting it here, so I'm not going to.  I will try to make a more comprehensive photo collage of how it all looks.  For now, know that our hardwood floors are going in, the drywall and painting is completed, the kitchen cabinets are going in, the bathroom tile is done and waiting to be grouted, the garage doors are on, etc. etc.  I worked on the landscaping plan for several weeks culminating in one big push in April to get it ready for a contractor to review the plan and give us a bid (now in progress).

Update number 3: I've been working on a quilt for 6 months - starting with design in December of 2013, dying fabric in early 2014 (many attempts at a blue and red that would really work - I believe I succeeded), cutting fabric in February and March, then sewing for all of April through... yesterday!  This quilt is really spot on for me.  I had to make one major design change once I saw the finished work on the bed, but I am very very pleased with the completed work.  For me, this is a soulful project, a blanket for our dreaming and sleeping that speaks to the light in our hearts.  It is definitely related to the drawings that I have been making that focus on the primary colors and platonic shapes in relation to me in my visions and dreams. 

 

Update number 4: Danette and I, after almost a year of knowing the day was planned, knowing our time to move on to other projects and new directions is now, and knowing that GroundSwell Gallery has truly benefited many artists and the art community...  after all of this, we finally reached closing day on May 7th.  Our last show with Karen Fisher was a good exhibition with 3 sold artworks of which 10% of the profit went to the Denver chapter of the Alzheimers Association.  We feel great about the show and we feel wonderful about the last 3 years of success we have found with GroundSwell Gallery.  Susan Froyd of the Westword included both Danette and myself in her "Another 100 Colorado Creatives" which shares with Denver it's own contributing creative hard-hitters!  Link to that interview here.

Update number 5: I started making bread all the time...  There is hope for high altitude amateur bakers like myself because of "Artisan Bread in Five Minutes a Day."  

Update number 6: tattoo.  More on that later. "When I look at it, I think of Modern Art... on you." - my acupuncturist, Diana said this, and that makes me feel good about my instincts for putting permanent ink on my skin! 

cut

In the midst of cutting around 900 pieces of fabric to sew, I remember how much I love doing repetitive tasks and zoning out on a sunny morning. 

It's okay I'm different now. I'm different now. I'm different now.

general feelings of shifting shifting
shifting habits and intentions
living and working
and not working
and shifting

I haven't written or shared anything in 2 months.  I realize that I am
a) more disinterested in the "art conversation" than ever,
b) more interested in making art and figuring out what kind of art I want to make,
and c) generally on a different path than 3 years ago.

When I moved to Denver in 2009 with my partner, now husband, Christian, we came with optimism about developing our own architecture/development project in the city and we came with intention to positively contribute and participate in the art community.

The latter was easily accomplished with GroundSwell Gallery - the project of the last 3 years.  I don't mean "easily" as though the work was easy, rather I mean that the intention was accomplished.  I gave it my all and we've got 2 exhibitions to go before I'll walk away from our good gallery.  I'm shifting.

The former, the architecture and development is in the works.  We've got our first project half way under construction and plan to move in late April.  (See right margin for a link to that project on Christian's website).  The desire to contribute our best skills and most quality standards of aesthetics and lifestyle - happening.

So here I am doing what I wanted to do, having fulfilled a dream, shifting the ways of my life...
The beginning of 2013 rocked my world having had a major shock with the deaths of my sister in law and her new husband and unborn baby...  the first half of the year is decidedly a true blur.  The rest of 2013 brought a realization that I don't need to run our altruistic gallery anymore, brought major change in the type of artwork and approach to art-making that I do, and much learning about letting go, grieving and stepping into the present.

I am shifted.  I am shifting.  The artwork that I now make is more about curiosity and discovery, self awareness and self care.  I don't know how else to describe it, but I promise to share more images of what I'm doing.  For our bed, I am working on a large quilt (I believe I've posted about this project), which speaks to the design philosophy of Anni Albers and also the relationship color has with us as dreamers.  I've been making many drawings that are directly related to visions from dreams and from moments of epiphany.  Because of the work I am doing with my psychotherapist, I realize I have visions, and I've become increasingly aware of the direct correlations between my visual mind and my life's narrative.  In all, I've made 7 drawings and I'll probably make more of what I'm calling the "Primary Platonic" drawings. 

The drawing board.

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

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! 

Anni Albers... again and again.

Anni Albers - Second movement II - intaglio print

I'm working on making a quilt for my bed that is at once my bed-spread and my artwork.  I'm unabashedly a person who likes to make all the "things" in my home count and mean something to my soulful-living-self.  At the start of this undertaking, I went back to my favorite textile designer of all time - Anni Albers.  Wife and partner to Josef Albers, she was also a student of Bauhaus, and the two of them came to the United States as part of the mid-century Jewish flight from Europe that so enriched our culture in more ways than most of the American public has any understanding for.  Both of them, through their teaching, design work, and art work made strong marks on the American aesthetic we take for granted today.  They did that through the framework of color theory and design theory that many attribute to Bauhaus, but Anni and Josef were truly unique voices nonetheless.  They integrated art with design in a way that significantly elevated public and private environments and culture.  Without going on and on about who they are - everyone should look them up, books listed below - I'll just share a few images of Anni Albers' printed patterns intended for textile printing.  These are the inspiration - through their aesthetic and theory - for my own design.  It is my intention to ride the inspiration of her design theory and art work to create a quilt that reflects my own soulful place in my bed (along with my partner Christian).  I'm dyeing the fabric now... process pictures are in order I guess, so I know I'll be posting about this project again.

 

Anni Albers - Triadic Series D - print

The sketch that I'm working with, color palette in progress:

Books:

Anni Albers : Selected Writings on Design - The fifteen essays gathered here illustrate Anni Albers's concept of design as the pursuit of wholeness.... (wow, seriously changed my work when I read this).

 Josef + Anni Albers : Designs for Living - this book was given to me by a mentor who gets me, Michael P. Johnson.  He pointed out that my husband and I have much in common with this dynamic pair and I am forever inspired by that comment.
 
There are SO MANY books on these 2 most influential artists/designers.

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. 

2 years and counting

GroundSwell Gallery, the gallery that Danette Montoya and I conceived in May 2011, has now been operating for over 2 years.  We had our 2nd birthday in May, celebrating aesthetically and skillfully advanced artwork by Denver's own artists; celebrating consistent and fair exhibition opportunities for professional rising artists; celebrating our own achievement as one of Westword's Masterminds for 2012; and celebrating all the positive and constructive relationships we've built with artists and designers, musicians and performers! 

The warm season began with color,

Andrew Huffman 4U2C, April 2013, yarn installation detail with drawing at back

with poignant, personal artworks by deep-thinking artists,

Jaimie Henthorn, Body Building, May 2013 and Evan Isoline, Poltergeists, June 2013

with new media exhibitions and with a new mural

alley-mural west of gallery, June 2013, Kevin Hennesy, Mario Zoots, and Ryan Ingersol

and currently continues with an exquisite exhibition of 39 local artists' postal collaborations - Exquisite Corpse : Stamped & Mailed.

please follow the Exquisite Corpse link above to see more images from the exhibition

To say the least, running GroundSwell Gallery for these few years has felt like a time-warp (Did that just happen?) and has pushed Danette and myself to utilize as many skills and as much energy as we didn't know we had.  We've realized that as artists running a gallery for artists, that we can provide a unique experience for those wanting to exhibit (as much as possible) on their own terms.  We've opened ourselves to the ideas of other artists, designers, musicians and diverse creatives and put our curatorial muscles to work.  The gallery makes us very proud of Denver artists.  The gallery has inspired us, taught us  many lessons and has helped us realize who we can be.

I am thankful for the history we've made so far with our 3,672 square feet granted to us by GroundSwell Cannabis Boutique.  All we did was get started...  and now our desire to provide aesthetically adequate and credible space for the art of Denver's own has been achieved... and then some!  I hope you'll visit (we're open every day) 3121 East Colfax Ave., Denver, CO, 80206.

I would like to extend heartfelt thanks to Danette Montoya, Don Novak, Christian Butler, Sara Guindon, Mario Zoots, Christy, Shannon and Mary of GroundSwell Cannabis Boutique, Susan Froyd, Mark Sink and to all the brilliantly talented artists who have worked with us! 

Tinnient Campana... public.

Completed throughout last summer, installed in 2 exhibitions last Fall and installed early January 2013 in Russel Christopher Hair Salon - Tinnient Campana. 

click on images to view larger

This sculptural installation of 99 bells engages the viewer's own sensory knowledge and curiosity.  To engage a bell is intuitive despite the Bell's ongoing antiquity and gradual obsoletion. 

The spatial relationship one has when near a bell is often magnetic as we are drawn to hear its tone and resonance.  Each bell is completely unique and offers the classically peaceful experience of hearing sound and feeling subtle vibration.

So thankful to Russ and Shannon to have this lovely black wall to install these bells.
Visit the salon to see the installation at 3221 E. Colfax Ave. Denver, CO 80206.
Tinnient Campana is available for purchase; if interested, please inquire.

gratitude

Today I received this treasure of a book from my dear friend Aris Gorges.  Aris' apprehending awareness for my art work and philosophy and his impeccable timing by sending this gift - soul stirring. 

For Aris, for Agnes: gratitude.

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.

For What it's Worth

Some of you know that I co-run and co-curate GroundSwell Gallery in Denver, CO.  The gallery's focus is to provide contemporary, local artists a place to exhibit without the risk of failing to pay our rent.  This means that we can show the work of artists who have never shown before, artists working in experimental media, artists making site specific installations, artists who don't want exclusive representation, etc. - let's face it, other galleries often deny these kinds of opportunities because they must have certainty around selling work to the audience they have worked hard to attract.  No one's to blame... but it leaves many artists sore about their lack of venue and unrecognized contribution to our city's art "world." 

With about 1 1/2 years of work toward making this gallery a valuable component of Denver's art scene, I find that the most perplexing issue we face is PRICE.  The monetary value of art from the artist's perspective, from the curator's perspective, and from the audience's perspective - these are all different numbers.  Despite not having to "worry" about money as much as other exhibition venues, we do have to deal with this issue because artists want and sometimes need to sell their work and the "audience" (sometimes) wants to be able to buy art.  On top of that, we truly want the public to have access to authentic (not made just to make some money), soul-stirring, beautiful, aesthetically intelligent, skillfully made ART in their lives, in their homes, and for the health of their hearts and minds.  (sound churchy?  yeah, this is my religion)  We may not always succeed at this, but that is what is at the core of our intentions.

Having said all this, I admit, my real intention is simply to do what I (personally) can do to support what I believe (described above) is GOOD ART.  That's all I want.  That's what I want with my own artwork as well - and I have little interest in participating in the art market* myself because, apart from some serendipitous opportunities based out of good relationships with like-minded people, the art market is a confusing, trend based shape-shifter and often aesthetically disinterested.

Even if I don't want to, I do participate in the art market with this gallery.  I want to have a broader view about it, some way to work with it, some willingness to understand some gist of it....
Beginning with Rebels in Paradise, Hunter Drohojowska-Philp's book on the LA art scene in the 1960s, I'm reading to gain depth of understanding around the value of art, how that value is defined and why.  I want to read whatever theories are out there regarding the art market and art trends.  This is not to stand in for some "Art and Business" course, nor is this an attempt at learning sales tactics.  I am simply interested in standing more firmly in understanding (or at least affirming my fear that this art market thing is just a hoax anyway). 

I just read Sunday Dialogue : What is that Art Worth? headed by William Cole's letter to the Editor (New York Times, 1.5.13)
Planning to read The $12 Million Stuffed Shark: The Curious Economics of Contemporary Art by Don Thompson.  
 
Any texts, blogs, articles or editorials are welcome - please recommend.

*I realize the term "art market" refers to a monstrously indefinable monster.

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. 

work in progress

click on this image to see full size.

...only a few thousand stitches to go.

Nina Bednarski, Craig Grabhorn, Mark Bystrom

Wood Thrush - Nina Bednarski

I recently visited Wisconsin to see a group of friends whom I admire and love from afar, though we used to be neighbors in Madison.  It occurred to me, having caught up with everyone about their doings, that I'd not talked about these friends on my blog.  Without further adieu - my friends making art and food and other beautiful things in and around Madison, Wisconsin:  Nina Bednarski, Craig Grabhorn, and Mark Bystrom.  There are more beautiful friends doing beautiful things of course, but I'm spotlighting these 3 today!

Pop Forest - Nina Bednarski

Nina and Craig are a talented artist couple designing and making awesome stuff for art, home, employment, etc.  Their home in Lake Mills, WI is virtually an Artists' Resort...  and I often wish to be there in their garden of fertile creativity or swimming in the lake nearby.  Nina now works on a contract basis so that she can focus on the work from her personal studio, so her primary output are her paintings on canvas and glass.  She's been working with bright, colorful enamel on glass for most of her art making years, creating beautiful scapes of natural botanicals and wildlife using a graphic style.  Her website is lovely and soon you can see her work at Madison's Obrich Gardens - a huge solo show for Nina running September 30 - Jan. 6.  I'm fortunate enough to have one of her Bird Heroes pieces gracing my own home.  Craig is also an artista mucho talentoso!

Mustache - Craig Grabhorn

Working by day as a designer in Trek Bicycle's apparel department, Craig creates incredible designs for businesses, bands, events, weddings, etc. with his cute but smart style.  He and Nina are starting up their own housewares design co. to be based out their own (named) Chalet and partnering with other craftspeople (ie: ceramicists, seamstresses, etc.) and I'm looking forward to the smart goods they've been talking about.  Craig's artwork emphasizes his personal themes and interests while expounding on his graphic style - you can really see the relationship between his art and design in looking at his poster designs. Craig has a nice blog where he talks about travels, gardening, the Chalet, and even politics (these guys are activists after all) - see Living Texture.

Poster - C. Grabhorn

 Craig and Nina have befriended my other good friend Mark Bystrom and the designer love spreads as they have worked to create a lovely look for some of Just Coffee Cooperative's awesome coffee!  Mark Bystrom, a dear friend and talented purveyor of fine food, fine liqueurs, infusions, and preserved fruits often gifts his family, friends, and the world with his constant creative output!

label design by Craig for Just Coffee

His work with Just Coffee often leads to good coffee, good design, and good partnerships resulting in products like Just Coffee's Early Bird Blend (for which I got to do the label design - see the old post about it).  Mark often sends gifts in the mail with examples of his genius like Raspberry liqueur, Peach Bitters, and a few pounds of amazing coffee.  Mark also works as a chef for the Farm to Table dining club at LightYears (West of Madison near Spring Green, Wisconsin).  It is a very very very good idea to make a reservation at LightYears for a dinner infused with French wisdom from co-founder Serafina Kent Bathrick.  Brilliantly prepared summer meals are served on a terrace overlooking a vista of rolling hills and neighboring farms. A good review of LightYears by Laura Murphys (see #11 on the list). Call 608 929–7829 for info, reservations and directions.  Seriously.

my liqueur collection from Mark

It's not enough - everything I've said here, but I've taken the time to write it because these people are doing genuinely good, skillful and honest work in the name of art and joy.  I love them and look forward to seeing them each year on our annual July trip to Wisconsin.  I wish them each the most and best happy returns for all they do.

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.

Commons

An Interactive Art Installation in conjunction with the Taos Contemporary Exhibitions at the Center for Visual Art
(965 Santa Fe Drive Denver, CO)

Friday, June 15

6- 8pm (maybe earlier...).

The Commons - that resource which is commonly owned and used.  This art work represents the source from which we draw and to which we add as an arts community. This art work happens by the power of your addition. 
One night only!

the Art speaks for itself

New York Times covered this controversial art work by Brett Murray of South Africa which was defaced by members of the African National Congress (A.N.C. - South Africa's governing political party).
See the Article here - it's worth a quick read
On the side of art, it's interesting to think of the defacing of artwork as the "finishing" work, and I wonder if Mr. Murray feels similarly as his preference is to let the art speak for itself.  I think the Goodman Gallery is awesomely bold as it states: “In this space, the A.N.C.’s right to condemn the work is acknowledged as much as the artist’s right to display it. This, the gallery believes, is democracy at work."  You can see the original painting and the whole satirical exhibit, Hail to the Theif II on Goodman Gallery's website.  It's enlightening.  Go see it.

pixel upon pixel upon pixel

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