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

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.

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.

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.