DEALING WITH THE COLD

Finally, it is cold in South Carolina.  It has not been for long, and the length of the good weather at the end of last year was remarkable and unsettling.  Now over, we have to face the normal chill for a little while.

Our big chill is all my fault, not Glenn’s.  When living here alone, building this house, I chose not to include central heating.  The system I could have bought, it was the monthly bills that scared me.  And it is so moderate here,  I wondered about getting by with a gas log in one of the two huge fireplaces we have.   So that is what I did.

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It really has not affected us much.  There have been really only about four cold days where we did not care to go outside.  But outside is where all the appealing stuff exists, including our art work.  Creating my work is a pathway to feeling OK, and I need to do it.  Running will do that too, but running is tough in the cold weather as well.

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What work I have accomplished is changing.  Getting simpler.  Keep thinking about poetry and editing writing.  An image should contain only what it needs.  Nothing else.

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This piece is called  “Impulse”.  It is pretty spare, but the relationships between the lines are interesting.  I am using three legs in this series, lifting the window off the ground, and importing colors only through objects used.

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Chair legs, spindles and a child’s wooden block are the only recognizable images in the piece.  Other shapes are just odd pieces of wood we have around here. Yes, the piece leans in.  It seems to move.

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Other side.  This window has been several colors in its life time, and that is where the patterning is coming from on the right and bottom of the window.  It is so easy for me to reveal color; to apply it, the worst.

The piece above is entitled “Gravity 2.11.16” for the obvious reasons.  It is woozy in its stanze as well.  Space and time.  Unpredictable?  Maybe not, thanks to Einstein.

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Not a very flattering angle, but this image shows the depth of the piece.  You can see it is a visual cousin to “Impulse” as spindles and legs from the same chairs are used. Work tends to flow in this way.  If work is truly expressive of a temperament at a given time, examples will have common denominators.  Unless you are doing commission work.

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Above is a detail from a current commission.  Only thing in common with my work is the “waste” part.

INSPIRED BY MATERIALS

INSPIRED BY MATERIALS

 

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Ronald Reagan’s Egg, 1987        Lee Malerich, 2016

The making of a work of art involves searching in many ways:  searching your soul, your opinion, your surroundings.  And then organizing this information in the way it must be.  The best work takes advantage of an expressive shape, and sometimes moves it into a foreign context.  This is what I want to do.  Connect unlike things.  Connection is powerful; I watch my 22 month old grandson connect and sort and arrange often.  It is his work.

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Lots of materials are given to me.  Some I buy, but won’t pay too much.  It’s a game.  I always wanted to do this while still teaching, but never did.  Give each student the exact same group of materials, and have them put them together.  Set the compositions up in a gallery and view the relationships and connections between the finished works.  There, the artist exists.  In that indefinable space.

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My search for materials is always exciting.  It is with the odd inspirational shape that the pieces begin.  My windows are the canvas, only they have more than two dimensions.  See the blue legs above?  A great find from last Sunday.  Have to hold myself back from cutting in to them.  Must live with them for a while to make sure they end up in the correct piece.

Not many of the shapes in the works have I actually owned beyond as art materials.  The piece above, Ronald Reagan’s Egg 1987, contains an exception and a story.

 

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Ronald Reagan was in office at the time when he sent 249 other artists and me wooden eggs.  Five from each state.  We were to use the egg and work in our characteristic way to embellish it.  We were given two.  The exhibit was to accompany the annual egg roll which was celebrated each Monday after Easter on the White House lawn with children.

I was a stitcher at the time, and you can imagine my terror of having to do something with this surface.  Spray painting them both black first seemed to be a smart thing as a stitching frenzy began.

Ended up stitching on my typical surface, cutting the stitched part off the frame and gluing it in a certain area of the egg.  Then over and over again.  A satin-stitched egg.  Don’t even have a picture of the thing except in a flashy newspaper article done in “The State” on the five  artists in SC that contributed.  That was worth the trouble.

On a rampage through my studio for some elusive thing last week, I found the black egg that (laid) unused in a drawer.   A yellow sticker on the flat bottom read “1987”.  Raw material!

And an egg was currently a symbol/shape that I had been using, only the black egg was bigger.

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F. Scott, 2015

This piece featuring the wooden roadster sinking into a surface has two eggs in it: one representing East Egg from “The Great Gatsby” and one representing West Egg.  Just love it when the Universe provides the correct materials.

THE BEST OF THE LATE FALL

THE BEST OF THE LATE FALL

So warm here, the work in the barn has gone ahead way to the end of the year. For me, working all the time is the only way to stream innovations.  They jump aboard during creative play.  If play is not happening, they do not.  Innovations do not start in my mind.

For instance, the following.  Glenn had been complaining about the heaviness of my bases lately.  But my aesthetic has always formed around what we know about gravity.  My compositions are heavier or darker at the bottoms because that is what we expect in the world in which we live.

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Heaviness at the bottom of the piece anchors it as gravity plays on that mass.

So recently I tried this.

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Dancer, 2015.  Pulling the window off of the floor animates it.  Having the weight of the piece on three legs stabilizes it.

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True, this piece needs much more space to stand on, more than the former window-based sculptures.  And true, Dancer looks like it is going to flip.  It won’t.  I have been scrawling the names of the pieces in pencil, as at the bottom of the window above,  and then making aluminum name tags with the date and my signature, to the right of the word  “Dancer” above.  Signing the tag with a Dremel tool is not easy.  Sometimes spelling my name incorrectly, I just leave it.

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This is called “Escher Poem”  2015.  Not a surprising name with the bit of a staircase-like wooden construction that I found at the Goodwill Clearance Center.

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Of course, this is in no way as complex as Escher.  This is his work, loved and digested by me,  spoken in my visual language.  Bought 27 lonely legs for thirty bucks at one of those antique grocery stores with booths.  They are proving to be worth the big price.  Waste, you know.

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“Friends” 2015 is scrawled across the top here.  More of those fine legs are included.  This piece is made from a much bigger window, and uses larger legs.  Three of the largest.  It measures about 47″ x 31″.

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Animal friends, these are.  Colored wood is added to the supports for the panes.  I use the sander to take color away or lessen it on some shapes.  All is highly varnished.  Some gouging with the dremel is used on the little cat at the upper left.

 

LOUISE-MUSE

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Dear Louise, some of the pieces have more complicated bases and therefore are not as simple as those in the last post.

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Flood,  2015.  From the side, this piece looks fairly simple, and very different than most. It was created during the time of our recent thousand year rain in Columbia.

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Pushing the bases beyond any kind of norm is really fun.  So is using hardware in an unusual way.

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Male/Female,  2015

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In this piece shapes were composed on a plane to have enough diversity to anchor the window. Then the bookends were placed for added strength. Wooden figures found at the flea market populate it, a bent wood section of a chair encloses an alligator reaching for a shape at the top, while two croquet mallets without their heads frame.  The longest diagonal line is actually a hardened wooden vine from our woods.

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Above and below are two sides of a piece currently on exhibition (but to come back in ten days) for which I have forgotten the name.  It has a complicated base that contains the front two legs of a chair, plus the front seat base with holes for wicker.  A portion of that base with holes is also the crown of the piece.

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Confused, dear Louise?

JEEZ LOUISE

Some of the new work is more simple.  As always, more views of this work can be requested.

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Curveball, 2015   39″h x 23″w x 10″d

Worked a long time on this one.  Hoping less is more.  Spent time adding and subtracting, trying and rejecting.  I see this as if not one more or one less element should be included.  Haiku.  Maybe another view is in order here.

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The two curved parts which make up the base are from the same Captain’s chair.  Primary colors dominate.  The longer I have this piece the more understandable it is to me.  It sits outside of my usual composition.

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Animal Shadows, 2015   (still in an exhibition:  approx. same size as others; the crown makes it slightly taller)

Another thinly orchestrated piece.  The curvy loop is a metal tine from an old hayrake.  Perhaps influence from my husband’s work.  A bent wood chair leg makes up the crown.  Part of a find of an old wooden croquet set provides color here.  All gone now, it was a thrill to use those pieces that reminded me so much of my childhood.  Hardware from the window used in a different way fixes some shapes in place.

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Pattern, 2015   39″h x 23″w x 10″d

This piece is simple on one side, not so on the other.

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Had fun with the dremel tool making fake wood grain.  Another bent wood element is present here, along with a “chip” off my husbands old wooden scrub brush, repeating lines in a different way.

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Thinly Orchestrated, 2015    (on exhibition, similar size as others)

Fine contrasting colors of aqua and orange make up the base; most other elements are a washed gray.  The focus is a kind of crescent shape, repeated in different ways.

Lastly, dear Louise, an image of “Play” in situ.  Beautiful morning.

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POINT NUMBER THREE ON THE “INCREASE YOUR VISIBILITY” LIST

So I introduced you to my Etsy shop (1), and the previous blog published here will be a guest blog (2) on maybe two sites, one later this week.

The marketing genius that I am following to fame and fortune says that viewers want to see my studio, and how it works.  Gawd.  It is a mess.

We built this big barn, and at first it was simply going to be storage for my tile, which is mostly laid in the summer, Glenn’s studio, and storage for Glenn’s toys.  Trucks, cars.

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Above is a portion of Glenn’s studio, which was planned in the barn design.  The metal walls are in, baseboard heat installed which we never use.

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My area in the barn was never to be a studio, it was for the storage of tile, won by dumpster diving.

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You can see a bit of the tile on the left, on shelves.  These shelves are sixty feet long and go all the way up to the front of the barn.  This is the back left, and there is a garage door to let light in as well as high windows.  Glenn’s studio is in the front right of the barn.  I am second class for sure, and looking at this image, act like it!

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But not this chair.  It is totally first class, and is my studio chair.  I love it and found it in a dumpster. You can see where I sit above, behind the tilting window which still has its glass.

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I sit in the fine chair and stare at a plywood wall which has a piece in progress on it.  Above, we are looking at the side of a big piece, bigger than normal these days.  I do not take good care of my tools, unfortunately.  They are used so much, they are almost never put away.

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Here is the piece now in the studio, the object of my staring from the chair.  These window frames are BIG.  Bigger than normal.  The dark one measures 43″ x 33″ and the aluminum screen is 29′ x 25″.  The table legs are 21 inches long.  I have had trouble using these biggest windows, but last week figured the problem out.  With a bigger window, all the other elements have to be to scale.  Duuuh.

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This piece actually fell on the floor last night after a stupid move by its creator.  Good thing I have these pictures.

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The last evaluation happens upstairs in the gallery where the walls are neutral.  Now to go pick up the big piece off the floor.

 

LET’S START WITH THE BLOG

We are thick with work.  It must move.  And all ways of selling work, I hate.  Entering shows, paying jury fees, shipping work off on a little vacation and then back, usually the worst for wear, never again.  Paying a gallery half of the sales price, no more.  Craft shows??  NO.  I have done all this and it is a new day.

We have a gallery half-built.  Personally, inviting friends and acquaintances to come and look is just embarrassing.  Money sucks.  Really.

And then there is the tool of the web.  This is difficult too, thinking about “views” and “tags” and algorithms.  Very frightening.  I see what my artist friends are doing with this, and it can be good.

Yesterday I stumbled on a list of ten things to do to increase views in your Etsy shop.  I have one and have never mentioned it to anyone.  Totally unsuitable for this kind of blowing of one’s own horn, we will give it a try.

One point on list of ten things is to blog.  Well, I have a blog (obviously), and know how to do it.  What a perfect starting point.  Start with what you know.  The genius of the list says to talk about the work, show the space where you make it, all that.

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So here is work sitting on pedestals laying on their sides, reaching down the length of the gallery.  At this point, we have one screw in the wall to support hanging for photography.  It does not work for all sizes of this work made from wooden windows.

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Above is the gallery space in progress where the ceiling is partially in.  There are five windows, much like the ones from which I am making this work, down both sides.

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This piece is called “Green Square” and it is a deep relief projecting from the wall.  To catch the depth, I also catch a part of a window.  It’s always something.

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Only the side walls and ceiling on the second story of this barn have sheet rock.  In the front and back there is just space.  You can look down to the first story.  Definitely no parties until Glenn makes his proposed steel banisters.  Glenn had this little bar, and behind it is an old art fair screen from many moons ago.  I love what light does through the slats, but would never hang a work of art on something like this.  This must have been from Glenn’s high school years.

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Here is what the front and back walls look like.  Bare.  We are standing in Glenn’s studio looking up at the new gallery space.

Finishing off, here are more views of the piece called “Green Square”.

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Aside from the windows, the piece includes a printing block (the green square) a china cup and dowels.  Color exists here in the paint used on the windows in their former life, sanded in places and varnished to keep the history.

And my Etsy shop is  https://manipulatedrust.etsy.com .