When I decided to pursue my MFA last year, I knew there would be times like this past month when I would just have to power through a pile of work and competing deadlines. Between client commissions and major projects due for school all at once, it was a bit of a manic May.
With a string of non-stop projects to kick off the year, I have been relying heavily on a core set of trusted tools and materials to keep things moving with minimal hitches. It's only through years of trial and error that a few of my favorite things have come to be.
The Phoenician Resort is an iconic luxury retreat in Scottsdale, Arizona. A massive multi-phased renovation has been underway, including a new three-story spa that opens this month. I'm so pleased that four of my pieces will soon be gracing the walls of this gorgeous property.
So pleased to see my work on the cover of Bath Life Magazine's Arts Section this month!
After running out of a coveted type of gold leaf from a supplier that is no longer in business, I've been getting up to speed on this material that is so key to my art practice.
As 2017 winds down, I am grateful. While it has been the hardest year of my life (one reason I am thankful it is over), it has also been one of unexpected opportunity, growth, and new beginnings.
This coming Wednesday evening and most of Thursday, the 6th-7th November, we're having Open Studios for my MA Fine Art program at Bath Spa University. There's all kinds of interesting things happening in our studios - if you have a moment, pop in! I'd love to see you there. Details below.
Back in 2015, my studio practice took a one-year exploratory detour into overpainted photographs of farm animals. We had recently relocated to the English countryside from Germany and I was captivated by rural living.
Initially, the farm animals grounded me to a new normal, and then the focus shifted to the animals themselves. They gaze at the viewer with undeniable presence and personality. My interest grew in acknowledging their existence as living beings, in the midst of large-scale farming.
The series of paintings born from this period, New Country, is no longer work that I actively pursue. The original paintings continue to be collected and I love to find ways to keep the series active, even if I'm not still painting.
Which is why I'm thrilled to share that two pieces from New Country have been selected for Compassion in World Farming's 2017 Holiday Card boxed set. All proceeds from card sales go to support this UK-based non-profit that works effortlessly in service of farm animal welfare. There will also be an auction for one fine art print each of the two images that were selected for the cards.
There's still time to order cards for the holidays, but you should hurry - the first printing sold out weeks ago but the online shop has been restocked with more!
Learn more about CIWF's mission, purchase cards and spread the word about a good cause!
I am very excited about a new project underway—and while I can't reveal many details (yet), I can start to share the process of creating something brand new. The challenge is to come up with a solution to use a large amount of my work in a cost-effective way. Original artwork is beyond the scope of the budget, yet we want to create something more unique and special than limited edition prints of the same piece.
Enter hand-embellished prints. They sit between original artwork and a straightforward reproduction, such as giclées (fine art digital prints). Using a reproduction print as the base, the work is then added-to or worked-into with techniques such as touches or washes of paint, spots of clear acrylic to create highlights or other mark-making on top of the print.
In the case of my burnt paper series, I have been testing ways to efficiently burn back into the paper print of an original, as well as create satisfying gilding effects that are cost-effective. Bristol Design Forge has been helping figure out how to use laser cutting to create a range of effects, from clean cuts that barely appear to be touched by heat, to heavier edges with a crispy effect (the latter being much to the owner's dismay, I think, as they pride themselves on getting as clean a cut as possible!).
The samples are off to the client next week, and with a little luck, I'll be sharing more on this project in the near future.
Spike Island is a fantastic art center in Bristol that offers world-class exhibitions, artist studios, creative industry workspace, and lots of rich public programming. It's a really inspiring place to be, housed in a former tea packing warehouse on the banks of the Avon River that winds through the city.
I got involved last winter by becoming an Associate and attending monthly art critiques—an informal, friendly gathering of mainly artists and curators to discuss our work. One of Spike's curators saw work from my Object (Im)permanence and Mending | Tending series at a crit (art critique where we share our work and get feedback on it), then shortly after that invited me to do a workshop on the ideas and techniques behind the work.
Last Saturday was our sold-out workshop, a packed house of all ages and range of experience! I was a bit apprehensive about how to pull this off, given the relative complexity of the concepts and techniques I use, and the wide range of needs to take care of in the room.
The whole experience was a joy. Everyone really dug in and engaged with the ideas, materials, and art. People created beautiful, meaningful work that portrayed personal and imagined stories from the images we worked with.
I was reminded once again - both in preparing for and facilitating this workshop - that my lifelong accumulation of skills does not end with one career (corporate/government trainer), but rather underpins and supports what I do now as an artist. Will I do more workshops like this? I'm not sure - I've resisted going down that path, mainly to focus on making my own work, but also because of burnout as a trainer. This experience was so fulfilling, it's caused me to be open to the possibility.
Two new pieces are winging their way this week to take up residence in a Mt. Nicholson Show Flat in Hong Kong.
These pieces are inspired directly from my very first and third works in this series, back in 2013. There was something very simple and innocent about Playing With Fire No. 1 and No. 3 that I enjoyed returning to in these two latest versions.
These new pieces are another example of scaling up and referencing earlier work. Clients often come to me with images of my former pieces, asking me if I can do something "similar to this one, only in these dimensions."
At first, I resisted the idea of just re-producing work to spec―is that really fine art? What I've learned is that they're all original! With flame and paper as the mediums, there is no way any two pieces will ever be identical.
As with any work in a series, there are subtle differences to be explored―the drip and flow of Chinese ink, a variation on gold leaf, what fire does to paper. So no matter the original model, this work truly has a mind of its own.
A big thank you to the team at James Robertson Art Consultants for the opportunity! And to Zed Al-Gafoor at Imagecentre in Bath for the beautiful images.
Our fourth group exhibition of the artist collective CKCK opened to a packed house and continues to garner great feedback and support. I couldn't be happier with the look and feel of the Stadtgalerie Bad Soden upon finishing our installation. Once again, despite having four very different practices, our sum is greater than each of us alone.
Our CKCK colleague Chris Kircher has more images from the show on her blog here.
Here's is an excerpt from our statement about the exhibition's theme:
While the larger context of global events is reflected part of their work, the time since their last group exhibition has been particularly challenging for each of these artists, as they have dealt with experiences such as serious illness, loss, dislocation, and trauma.
The work shown here reflects an unflinching choice to look directly at things, clear-eyed and honestly. It is in turning toward the difficult issues that they are illuminated and given space to be acknowledged.
At a time when a string of unrelenting crises challenge us as a society, what matters is how we respond. We are not immune from life's greatest tests, but we can choose how to navigate through and beyond them.
This exhibition is a story of grit, resilience, hope and love. The choice to continue moving forward with courage and compassion, in the face of everything.
My work for this exhibition consists of two sewn-paper series: Object (Im)permanence and Mending | Tending. I began both of these series during the 20-month period of my father's terminal illness and finished several of the pieces after he died in March. Sharing such private themes so publically - both in talking with people individually about the work and during my artist talk - has been part of coming to terms with this loss. The details remain private, but the themes are universal and people responded in kind.
The two-dimensional sewn paper pieces moved from the wall into the room, hinting at where this work might take me next. Likewise, the wall installation of torn and mended paper fragments took on a life of its own, transforming into something map-like, at a scale that reminded me of how moving my body in space to make art feels like home and something I want to do more of.
In the Face of Everything | Jetzt erst recht continues through Sunday, 24 September, with artist talks by Chris Kircher and Katja v. Ruville on that day at 4PM at the Stadtgalerie Bad Soden.
My exhibition at Galerie Uhn in Königstein, near Frankfurt, Germany opened with an enthusiastic gathering, highlighted by a classical music trio, reunions with dear friends, and a great response to my new work.
I also gave an artist talk on September 2nd, when I had an opportunity to discuss this work in public for the first time, using a Q&A format led by gallery owner Jimin Leyrer.
A very big thank you to Jimin and her family for lots of generous support and hard work to make this a great show, and to Ann-Katrin Sura for hosting a delightful gathering after the Vernissage.
There's also a brief article about the exhibition here (open the link with Chrome and it can translate for you).
The exhibition runs until 28 September.
Galerie Uhn's brochure for my upcoming solo exhibition just went out, a copy below. The work is all finished and framed, ready for the long drive to Germany in a couple of weeks. I'm renting a long-ish van for trek, as some of the work that I'm bringing for this show and our CKCK group exhibition is too large for my SUV. Shipping so much work is cost-prohibitive. Eurotunnel, here I come - oh, the glamorous life of an artist!
On Friday, August 25th I'll be at Galerie Uhn in Königstein-im-Taunus, Germany for the opening of my second solo exhibition with the gallery. I'm excited to debut my burned paper sculpture series, Playing With Fire, for German collectors.
So if you're in the Frankfurt area, we have lots of opportunities to see each other - I would love that.
In the meantime, I've got my head down working on pieces for both shows, plus commissions. It'll be a happy race to the finish!
Playing With Fire | Galerie Uhn | 25 August – September 28, 2017 | Vernissage: Friday, 25 August, 19:00 | Königstein, Germany
In the Face of Everything | Stadtgalerie Bad Soden | September 2 - 24, 2017 | Vernissage: Friday, 1 September, 19:00 | Bad Soden, Germany
After one of my many trips back to the United States last year, while my father was fighting cancer, I returned to my studio in England and started tearing paper. Then I sewed it back together. Tore some more. And kept sewing.
As my father's illness progressed and the trips back and forth from the UK to the US mounted, I sought solace in the act of repeatedly tearing and mending the paper fragments. Some of the paper and thread objects feature watercolored edges, others are taped and then sewn. Some are machine-stitched, others sewn by hand.
The work that has emerged from this repetitive action is a new series, Mending | Tending. As a close friend observed: “We mend what's been torn, and tend what we mourn.”
It's with great pleasure that I announce my second annual solo exhibition with lovely ArtTeaZen, a thriving supporter of local arts that also happens to be a fantastic café. This year I'm showing work from my New Country series of overpainted farm animal photographs - both originals and framed fine art prints.
If you're in the area, stop in for a cuppa, say hello to proprietors Andy and Clare, and get yourself a piece of affordable framed art, or splurge on an original - there are only a few from this series left.
New Country | ArtTeaZen, Langport, UK | June 1 - July 31
A recently completed commission afforded me the opportunity to play with scale, materials and process. The client, a fine art consulting firm, wanted a larger version of a piece they had already placed in another project. I'd not "replicated" my burned paper pieces yet, thinking there was little I could do to control the effects of fire on paper and therefore produce a similar result. Let the challenge begin!
Earlier this year, I developed a technique to help me accurately translate my sketches to scale. It involves using oversized prints of my sketches, which I then slice into pieces and use as templates for re-drawing the layers at the correct size. It worked well for a Connecticut coastline-inspired piece, so why not use the same process using my own work as the original drawing?
The approach worked nicely and helped to expedite an otherwise traditional, yet time-consuming way to scale-up using a grid system to transfer an image. But what I'm particularly pleased about is that, despite an accurate rendering of the original design, the new version is entirely unique and different from the first. There is happily still not much you can do to control the outcome when taking blowtorch to paper, or when working with materials that are 300% larger than the first time around.
There are several challenges when working at a larger size, in this case 72 x 48 inches. First is workspace. My workbench isn't large enough, so I had to improvise by using the floor and a temporary workshop set up in our dining room (not ideal). The other issue is my Burning Shed, an unfinished outbuilding where I do the things that can't otherwise be done indoors (burning, spray paint, etc.). The Burning Shed was maxed out at this size, so for larger projects, I'll have to find another solution.
Materials take on a mind of their own at this size, especially paper. As much as I flattened the rolled watercolor paper, once you hit it with the blowtorch, it curls and warps as the fibers respond to the heat. I'll continue to explore solutions to this effect, or just work with it - which is what materials are teaching me anyway.
Speaking of learning, this is the first project where I used variegated gold leaf for the gilding. Variegated leaf is a metal leaf that has been heat-treated, chemically-treated or both to develop patinas and unique discoloration. In this case, I love how the subtle coppers, blues, reds and greens add interest to veins of gold that would otherwise be too monochrome and flat for a design of this size.
Overall, I'm pleased with the outcome on this project, with clear ideas on how to continue refining the work, especially at larger sizes - which I hope to do more of!