this we have now

This we have now
is not imagination

This is not
grief nor joy.

Not a judging state,
nor an elation,
nor a sadness,

Those come and go.
This is the presence that doesn't.

-Rumi

Remembering 10.10.10, and remembering our wishes for our lives and our love.

Landscape of Love, 10.10.10, photo: Charlie Smith - Awen productions

[Again and again, however we know the landscape of love]

Again and again, however we know the landscape of love and the little churchyard there, with its sorrowing names, and the frighteningly silent abyss into which the others fall:  again and again the two of us walk out together under the ancient trees, lie down again and again among the flowers, face to face with the sky.

-Rainer Maria Rilke

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.

Westword's Mastermind Award 2013 - Visual Arts

Just as thankful as I can be to work with such an extraordinary lady, Danette Montoya.  We started GroundSwell Gallery in May of 2011 with a good intention, love for art, and willingness to work hard.
We wanted to use the opportunity that GroundSwell Cannabis Boutique provided - a sunlight filled empty room - to provide a gallery space unlike any other we knew of in Denver.  The idea was to work pro-bono to create a niche for artists looking to show their work without the hype of convincing anyone that their work is easy to sell.  We didn't intend to make a profit, so we wanted to afford the opportunity to show for installation, performance and nontraditional/new media.  On top of that, we knew this kind of gallery space - beautifully lit, good location, and professionally managed was what many up-and-coming artists of Denver (and surrounding areas) needed in order to exhibit their work with integrity and confidence.

Danette Montoya & Rebecca Peebles (photo: Bianca Bourgeois)

Today, we were announced as one of five winners of the Westword's Mastermind Award for 2013!  "Recognizing that artists need not just creativity, but money to help things go — and grow — Westword started the MasterMind Awards program in 2005, to honor the city's creative geniuses in the categories of literary arts, performance, multimedia, visual arts and fashion/design; we've inducted a new class every year since." 

Danette Montoya (photo:

Bianca Bourgeois)

Wow.  We are so pleased and honored to receive this distinguished award and to stand amongst some of the most wonderful people we know in Denver's art community.  With big hearts, we look forward to using the award money to increase the potential for the many artists scheduled to show with us in the months to come!  Thank you to our peers.  Thank you to Westword for this amazing program, which  affirms so many hard working hours and efforts.  While I'm at it, thank you to GroundSwell Cannabis Boutique and all those affiliated with it's existence - we are deeply grateful for your contribution to Denver's cultural wealth.  Lastly, another huge thanks to my partner, Danette - I can hardly describe what a phenomenal partnership we have.

light

 In light of recent tragedy and sorrow I've experienced along with my husband and family, I would like to focus on the things in life that help me remember all the goodness that persists in the world.  I found this video in some old files of images and video taken while in Italy and Spain in 2009.  It's not complicated, a video showing people in a train station as a train arrives.  I like watching the video the same as I like watching people.  I feel better for it. 

near Flatirons (Boulder, CO)

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.

The Old Man and the Sea

by Ernest Hemingway.

I'm old enough to say, I'm surprised I haven't read this book yet.
I happened upon several books while working on my cross stitch (thank you Audio Books!) and one of them was the Nick Adams Stories, a collection of short stories by Hemingway.  The prose is so calculated and clear and the story is fortifying yet unsensational.  I have only the phrase: "I love this."

So, I'm looking up all the Hemingway there is, and I'm starting to work through it.  Beginning with the Old Man and the Sea.  It's a short read and I'm half way through and I don't want to not read it.  It's the same clarity and precision and the same wholesome humility.  The Old Man is the sort where you feel compassion aching in your chest, but you're not sure you'd be willing to be there with him. 

His knowing of his craft and of the sea are so hermetic and also familial, he seems the fanatic, though he's the most grounded.  He knows that about himself. 

Hemingway has the coveted self-knowledge and entails a freeness of living that I have wanted myself.  Selfishly, I'm getting back to this book now...

There are several classical illustrations by C F Tunnicliffe and Raymond Sheppard.
So nice to look at.

October and November

I got busy.
busier than normal and then I had to decompress after all the business.

Most of October I did one of 3 things: Worked at Pablo's coffee where I always work on the weekends, worked weekdays at the Museum of Contemporary Art Denver where I do install on contract a few times a year, and worked on a large cross-stitch.  I also spent a few days with my amazing, artful friends, Nina and Craig who visited from Wisconsin and I also did the work of GroundSwell Gallery because we had another opening (as we do every month).  Here are a few notable pictures from that time:

MCA's Postcript show up through Feb. 3, I helped hang the many grid layouts

Lindsay St. Antoine opened at GroundSwell Gallery Nov. 10,  I bought this painting.

field trip to Clyfford Still Museum with Christian, Nina and Craig.

Pablo's Coffee...  mmm, latte.  I can sling a lot of lattes in 5 - 7 hours

This is the project that it's been all about for the last 8 months.  Showing one more week at Redline Gallery for the Art by Craft exhibit. (click image to see full size)

The month of October was especially important for completing this cross stitch project.  Spending Time, a double portrait of my husband and myself created from a photograph that I took and then pixilated.  Each stitch recreates the image pixel by pixel.  Formally, this work nods to early American needlework and the tedious work of commemorating family through stitches.  Conceptually, the sustained work of cross stitching over 8 months, spending time with the image of us together, builds to a meditative practice.  I felt the work became compulsive as the deadline for the Art by Craft exhibition neared, though I doubt it would have been so, had there not been a deadline.  This piece is immediately very personal to me.  Maybe that's obvious, but unlike other artwork that I have made, I feel more protective and private about this.  I want it to be as simple as it is and as monumental as it is without elaboration.

Also installed at this exhibition, the Tinnient Campana installation (previously installed at Forest Room 5 in September). 

Tinnient Campana also on view at Redine through Nov. 29 (click image for full size)

This artwork refers to the proliferation of ring tones without bells in modern culture.  The bell itself (like latin and other obsolete forms of communication have done) is gradually becoming a lesser known object or tool for communication.  Lovely in tactile forms and unique resonances, I wanted to make the bells for this installation out of adoration for the antiquated object and recognition for its outmoded-ness highlighted by our dear cell phones.  Tinnient Campana literally means, ring the bell, and our unknowing of that meaning may leave us hesitantly reaching for the bell as though to ring it, unsure of our intuition.

This installation is difficult to photograph because it is about 25 ft. long in total.  Eventually, my website will be updated to include best images.

Last note:  Because I needed to get back to it, a thank you to Mark Bystrom for noting that my blog has been ignored since early September.