Why So Difficult to Write an Artist Statement and Bio?

What goes into an Artist Statement or Biography? And why is it so difficult to actually write them? I need to write one of each for an upcoming show. It sounds so simple when others say, "tell why you do what you do, and how you do it". Finding words for these things isn't always easy. Why do I do it? I have to, I'm compelled. How does one write about a compulsion and have it sound romantic? I guess it's a more positive compulsion than some others I can think of, so why not romanticize it? I'm working on that.

The biography is another story (literally). What does one say about oneself in two or three paragraphs that lets the viewer know who you are as an artist? What if I don't know myself? What if I just like making stuff and sending it out into the world? I guess the difficult part is pulling it together into something that makes sense to someone else. When it comes to my creative self, she's a little bit skittish. She doesn't like being tied down with words. She likes her hands in the "stuff"! So I'm attempting to reign her in enough to get a sentence or two out of her. Wish me luck!

A 60 Year Celebration

Today is my parents 60th wedding anniversary. We celebrated last Saturday with a reception. Family came from all over. It was the first time in many years that all four of their grandchildren and both of their great grandchildren were present at the same time.

I keep thinking about the longevity of this relationship and the partnership they have formed over these many years. There's an interdependence that exists between these two, who have complete trust and reliance on each other. They make a good pair. Not many can celebrate this milestone. (Perhaps that's why I could find nothing in the stores to say congratulations on 60 years. No cards, no napkins, no invitations.)

Aging is not for the weak, they tell me, and I laugh at the irony of that statement. But as I watch them move through their daily lives, and experience the many losses that come with age, I also witness a grace that has come upon them. One that gives thanks for the abilities that remain, and the gift of still having one another in this life.

For all this, I am very thankful.

Inspiration

What inspires each of us to create? It's probably different for each person. For me, it's usually something found in nature, but it can also be an emotional experience, a cause that I believe in, or the plight of others.

Lately, it's about texture. A camping trip to a friend's ranch in Eastern Wyoming has provided much to think about. The first photo is looking up from the bottom of a slot canyon where the water has carved the rock. The visible swirl patterns mark the path of rushing water over the centuries. It's hard to imagine as this is a fairly dry climate - high plains, but when it runs, it runs quickly. The canyon is only about 50 yards in length, and tells a long ago story.

The smooth texture of the rock as it's been carved is wonderful to feel while walking in. It narrows to about 12 inches in some spots, even narrower at the ground forcing one to "walk" on the sides pushing against the rock with feet and hands to move forward.

Then there's pine bark. What wonderful pattern and shifts in color! Different pines have different bark. I found this one to be most interesting.

Now I just need to see what happens when I start playing with art stuff.

The Blank Page

It's a frightening thing - the blank page, the blank canvas, the blank anything, if one is expected to fill it with something. As a mixed media artist who sometimes writes, I have been intimidated more than once by the blank, white canvas/page. What is there to do when you stare and nothing comes? I suppose it's a common thing for those who compose, whether using musical notes, images or words. It's nice to know I'm in good company, but it's not a comfortable place to be.

There are discussions about when to stop - how do you know when a piece is finished? But what about how to begin? Sometimes, if I can just make the first mark, or cut a piece of fabric, or put one sentence on the paper, I have a place to begin. The first mark can be quite intimidating, however, especially if I let that old inner critic have a say; or if the fabric was pricey, it can be anxiety producing to make the first cut.

Make a mark, then another. Write a word, then another. Make a cut, then another. Off we go. Still, I'd like to know how others deal with the beginning.

What's in a Name? (more on titling art)

In posing the question of whether all art needs a title, I was hoping to generate conversation. It did just that and I'm appreciative of everyone's thoughtful responses. They were somewhat varied, but most agree that art should have something that identifies it, whether it's a full title or an identifier such as "color study: blue and orange". I also read several articles I found on the internet regarding the subject.

According to Robert Genn, author of The Painters Keys, http://www.painterskeys.com " . . . titles serve to confirm what's seen but also to add knowledge, insight, and a glimpse into the author's mind set." In keeping with Genn, Holly Huffstutler's article at http://www.helium.com/items/1422709-titling-an-art-work-for-greater-meaning stated "art can be imbued with greater meaning with the addition of a title" and discusses how a title can capture the viewer and draw them into conversation about the work instead of dismissing it. She sites the example of Marcel Duchamp who took a urinal and placed it in a different context and titled it "Fountain". Both authors are worth the read.

The conversations are convincing. One should have some type of identification for each work of art. How else will you know which is which, after all? One wouldn't want a list of works with "Untitled #1", "Untitled #2" etc. That would be boring.

The title of the work in the photo is "Blooming". The title of the piece from yesterday's post is "Stormy Seas".

Does Art Always Need a Title?

I've been thinking about titles and art work, and wondering if it's necessary to title everything. I know there are many untitled works hanging in galleries world wide, but the majority of my work is titled, and today, I'm wondering why I find it necessary. The meaning of every work of art is decided by the viewer. I suppose if the artist wants to lead the viewer, a title might be helpful, but I wonder if even then, a title really makes a difference.


This is a piece I just completed, with full view and detailed. It's hand-dyed cotton with thread, paint, iridescent gel medium, and dyed cheese cloth. I have not titled it. I'm wondering what others see in it, what thoughts and/or emotions are evoked in the viewer. I look forward to comments, and think I'll leave it untitled. At least for now.

Nature's textures

Isn't this grand? Birch bark has such wonderful irregularities. The textures of bark fascinate me. I'm gathering a library of photos of textures so I can begin to explore different textures with my art. The woods and trails around Greenville provide excellent subjects for photography.

Walking through the woods here has been wonderful. Yesterday as I walked the path, along with the wonderful textures, I noticed the steady hum of bees all around. The honeysuckle is just beginning to bloom. It wasn't a soft humming either, it was as if I was in the middle of the hive. To stand still and listen, while breathing in the sweet scent was magnificent. A treat for the senses.

Today is the final studio day. I will use the time to explore some new materials.

Greenville Arms, Greenville, NY

The confusing part is that there are three Greenville, NY's, each in a different county. For someone from the Midwest where spaces are fairly open and distances between things are spread out, it's a different experience. The Greenville Arms was originally built by William Vanderbilt as a summer home.

It's a beautiful place, which served as a private home until 1952 when it became an inn. The hospitality is top notch and the setting wonderful. There are hiking trails nearby, which I have taken advantage of, and will again later in the week.

The studio is in the carriage house, where there is plenty of light, room and electrical outlets. An important piece for an artist who uses a sewing machine to draw.

It is now the beginning of the second day of the workshop, and the sun is shining beautifully. I am anxious to get to work.

Catskills

The drive to Greenville was beautiful and virtually no traffic. We arrived at the Greenville Arms around 3:30 pm. Wonderful place with lots of character.

Today we will finish setting up the studio and preparing for the workshop. Studio space is great. It's set up for any type of media and lots of electrical outlets.

I plan to walk some today and see the town and surrounding area.

On the way to Jamestown

Today we decided to change our route and get off the toll road and heavy traffic. Left I90 at Erie, PA and finished the day in Jamestown, NY. I saw this flowering bush at a rest stop. I'm not familiar with it. Perhaps a mountain laurel, my traveling companion said. Not sure, but it's quite beautiful. So much inspirational countryside and visual stimulation.




Jamestown is a wonderful place. The downtown is fun. This is Lucille Ball's birthplace. The photo at left is painted on the side of one of the buildings. Many references and business names connected to Lucy and Desi here. We took a little drive through most of the downtown area. Would like to spend a little more time here one day.

Tomorrow we will reach our destination, the Greenville Arms, in Greenville, NY.

Looking forward to more beautiful countryside. So many shades of green, so many different types of trees and plants. A visual feast along the way.