Woodsy Weekend

It's been a long time since I've written anything here. I've been wanting to get back to this blog, but it's just easier to post a quick photo on Instagram. Yet, I want to get back to it so here it is.

A couple weekends ago, I spent time in the woods with my husband and dog. I am starting to think we have a knack for finding the best spots on Airbnb and VRBO. Sure, there are amazing $400 a night places that look like a dream, but the ones we find are way better than pictured and a lot less money.

Our actual back deck view.

We headed past the Golden Gate Bridge, which is always good in my book. I can't count the times I've said I could live in Marin or Sonoma County, which my husband laughs at. You'd understand why if you were familiar with Marin housing prices! They should give me a discount because, you know, my name :) This area has the best mix of ocean, forest, river, farm fresh food and seafood. Maybe all I need in the world.

I loved this corner of the cabin: a purple and orange cat painting with records (including Patti Smith, Sam Cooke, Leadbelly and George Harrison). Listening to records while painting and looking at the view in the first picture was pretty much the best way to spend the day.

With this painting, I wanted to keep it super loose and maybe even abstracted. I tried painting it once and realized the green chair was too big, so I started it over. It turned out way more detailed than I wanted it to be. I have been thinking about this lately.: how I want to keep things loose and wild, but they end up rendered and as they should be. Maybe I shouldn't fight how I naturally paint?

These Douglas Iris were everywhere

There were a million wildflowers out: Indian Paintbrush, Douglas Iris, yarrow, poppies and many more. We tried to go on the Chimney Rock hike in Point Reyes, but they don't allow dogs. I plan on going back next weekend since the hike supposedly has over 90 types of wildflowers!

So many poppies.

Pride of Madeira shrub

Ice plants in Point Reyes 

This was one of the prettiest places I have ever been. The water was a mix of blue and aqua, flowers in full bloom and waves crashing around. I love these kinds of "you can tell the earth is round from up here" views.

An imperfect photo of a perfect sunset in Stinson Beach.

We stopped in Bolinas for beach time and dinner at my favorite Coast Cafe. Then watched the sunset along 1 at Stinson Beach. Best weekend ever!

The Shape of Content

I brought two books with me on my trip to Iceland and Denmark: The Brief Wondrous Life of Oscar Wao by Juno Díaz and The Shape of Content by Ben Shahn. I realized when I got home that both books had black and red colored covers with white backgrounds, both were 'the fill-in-the-blank of' titles and I have been meaning to read both for years. Of course that's where the similarities end since one is a novel and one a sort of art philosophy book. I won't talk about The Brief Wondrous Life of Oscar Wao here since I am no literary critic, so you should just read it or look on the internet for reviews or criticisms of it. I will say I have been meaning to read it for ten years and was so happy to finally get around to it. I loved the way the story is told through text and footnotes and through different character perspectives. Also the cultural references, both Dominican and pop. The dynamics of this Dominican family are very human and imperfect, as we are. I found the story to read a little bit like one of Gabriel Garcia Marquez's family tales. 

What I am going to write about is The Shape of Content, a book that I have owned since art school, but never got around to reading until this last couple of weeks. It was written in 1957 but I found it to still be very relevant. You can read it yourself, it's pretty quick at 130 pages, but I hope that what I have here is a good enough highlight just in case you don't read it. Here, I will break down what I took away from each chapter.

Artists in Colleges

This one hits home because it took me years to break from the mould of art school. It can feel pretty restrictive and you get pushed away from your vision. I tend to rebel and do what I want, but they still got to me, haha. A big positive of art school is that it takes care of chapter 6, The Education of an Artist, in a big way. Getting to do screen printing, lithography, oil painting, pastels, ceramics, sculpture, book making and learn a huge variety of techniques was a pretty great experience and one that you may not get if you don't go to art school, especially in such a short amount of time.

"The university stresses rather the critical aspects of knowledge-the surveying, the categorizing, the analyzing, and the memorizing. The reconversion of such knowledge into living art, into original work, seems to have diminished."

He does note:

"I feel both art history and art theory are of immense value to the creative artist."

I know I learned a ton about the history and theories of art and it is constantly useful to me. I also realize that it has taken me years to break away from things I was told. 

 

The Biography of a Painting

"The critic within the artist is prompted by taste, highly personal, experienced and exacting. He will not tolerate within a painting any element which strays very far from that taste."

I absolutely love this. Every color we use, line we draw is either acceptable or unacceptable to us. We often look at art and love it or hate it. 

This makes me think of the famous thing Ira Glass said about taste, which is not exactly the same idea as Shahn, but somewhat related.

The Shape of Content

"An artist at work upon a painting must be two people, not one. He must function and act as two people all the time and in several ways. On the one hand, the artist is the imaginer and the producer. But also the critic..." 

 

On Nonconformity

"The artist may not use lines or colors or forms unless he is able to feel their rightness."

YES. This is so true. We use the palette we like, the subject we are interested in and the style that is natural to us.

"But it seems to be less obvious somehow that to create anything at all in any field, and especially anything of outstanding worth requires nonconformity, or a want of satisfaction with things as they are. The creative person - the nonconformist - may be in profound disagreement with the present way of things, or he may simply wish to add his views, to render a personal account of matters."

"It is because of these parallel habits of detachment and of emotional involvement that artists so often become partisans in its burning causes. And also it is why they are so likely to be nonconformists in their personal lives."

"The conservative, with its vested interest in things as they are, holds onto the present, gives stability, and preserves established values (and keeps banks open). The visionary, always able to see the configuration of the future in present things, presses for change, experiment, the venture into new ways. A truly creative artist is inevitably of this part of the society."

This chapter reminded me that to make great work, artists really have to push and not conform to society's standards. I have gotten away from focusing on my Etsy shop because it felt like I was making work for a certain group of people. I have rejected the idea of making 'art that matches the couch'. I recognize that I am in a bit of an in between stage and I am okay with that as I explore work that really does something.

 

Modern Evaluations

"How often do we read the critical comment that this work or that work appears 'labored.' And on the other hand, the calligraphic, the easily brushed style is highly admired; it has a free look about it. Extreme care is 'tight' and not good; extreme freedom is 'loose' and considered desirable. Art becomes increasingly free; it has freed itself from meaning in many cases, and freed itself of responsibility."

I find this so true in art I like. Basically, great art looks effortless. I love work that has a wonky or wobbly style, blended color or bold   and unique line work. Art that is too forced or formulaic isn't interesting to me. It takes artist's years to develop their work so it looks effortless. That effortless generally is their style and what makes their work stand out.

 

The Education of an Artist

"Begin to draw as early in life as possible. If you begin quite early, use any convenient tool and draw upon any smooth uncluttered surfaces."

"...never be afraid to learn to draw or paint better than you already do..."

"Draw and draw, and paint, and learn to work in many media."

"In college or out of college, read, and form opinions."

Ugh, reminding myself yet again that I need to work on developing my skill. And draw and draw and draw.

Ultimately, he says this on The Education of an Artist:

 Attend a university if you possibly can. There is no content of knowledge that is not pertinent to the work you will want to do. But before you attend a university work at something for a while. Do anything. Get a job in a potato field; or work as a grease-monkey in an auto repair shop. But if you do work in a field do not fail to observe the look and the feel of earth and of all things that you handle — yes, even potatoes! Or, in the auto shop, the smell of oil and grease and burning rubber. Paint of course, but if you have to lay aside painting for a time, continue to draw. Listen well to all conversations and be instructed by them and take all seriousness seriously. Never look down upon anything or anyone as not worthy of notice. In college or out of college, read. And form opinions! Read Sophocles and Euripides and Dante and Proust. Read everything that you can find about art except the reviews. Read the Bible; read Hume; read Pogo. Read all kinds of poetry and know many poets and many artists. Go to and art school, or two, or three, or take art courses at night if necessary. And paint and paint and draw and draw. Know all that you can, both curricular and noncurricular — mathematics and physics and economics, logic and particularly history. Know at least two languages besides your own, but anyway, know French. Look at pictures and more pictures. Look at every kind of visual symbol, every kind of emblem; do not spurn signboards of furniture drawings of this style of art or that style of art. Do not be afraid to like paintings honestly or to dislike them honestly, but if you do dislike them retain an open mind. Do not dismiss any school of art, not the Pre-Raphaelites nor the Hudson River School nor the German Genre painters. Talk and talk and sit at cafés, and listen to everything, to Brahms, to Brubeck, to the Italian hour on the radio. Listen to preachers in small town churches and in big city churches. Listen to politicians in New England town meetings and to rabble-rousers in Alabama. Even draw them. And remember that you are trying to learn to think what you want to think, that you are trying to co-ordinate mind and hand and eye. Go to all sorts of museums and galleries and to the studios of artists. Go to Paris and Madrid and Rome and Ravenna and Padua. Stand alone in Sainte Chapelle, in the Sistine Chapel, in the Church of the Carmine in Florence. Draw and draw and paint and learn to work in many media; try lithography and aquatint and silk-screen. Know all that you can about art, and by all means have opinions. Never be afraid to become embroiled in art of life or politics; never be afraid to learn to draw or paint better than you already do; and never be afraid to undertake any kind of art at all, however exalted or however common, but do it with distinction.

This book made me realize the holes in my art that I have been feeling lately, but I was not quite sure how to fill them.  Some things I want to do:

• I want to dig deeper with my personal experience and views in my work. I felt this before reading the book, since the start of the New Year, but reading it helped solidify my need to do so. 
• Nonconformism. Taking risks in your work or making work that is challenging or bold. Experiment. Make ugly stuff. Try new things. Learn from others.
• Keep improving my craft by taking classes and exploring new mediums.

I hope some of this was helpful for you too. 

Weekend 5/3/17

Field Tripping

I'm headed to Long Weekend in Oakland on Saturday for Alicia Dornadic's show New Words for Green. I am so excited for this show! Alicia makes beautiful work with a generally delicate touch. I have watched her work in Hawaii become more loose and bold. She joined us at the last Sofa Sketch and it was so much fun to have her there. I can't wait for this show!

You can follow her on Instagram.

Long Weekend is an awesome space too. I have not been in person yet, but from the internet, it looks like they have gorgeous art supplies and other cool stuff. 

Reading

I hate to be a buzzkill, but this article about parts of Australia's Great Barrier Reef dying is making me sad. When are we going to learn to change???

Seeing

Don't go thinking I sketched this! Suhita Shirodkar, urban sketcher extraordinaire did

A friend and regular at Sofa Sketch, Suhita has been capturing disappearing signs around San Jose. The site gives me a nice nostalgic feeling as I've lived here so long and know them well. I love her style between the freeness, accuracy, washes, line and color. A true master and total joy of a human, 

I love the illustrator Christoph Niemann. I recently mentioned the episode about him on the Netflix series Abstract. He recently went to the North Pole and made some paintings. I love how he only captures what is necessary. And you must check out this animated version on the National Geographic site.

Watching

• This video Karihwanoron: Precious Things, about a Mohawk immersion school in Canada where their language is spoken.

Ramblings about Libraries and Art 5/3/17

Earlier

When I was little I spent a lot of time at libraries. My mom would take us, we would grab stacks of books, speed through reading them and go back for more. I would write and illustrate my own books on crappy white computer paper and bound them with staples. When I got older, I loved heading to the spinning wire racks of paperbacks and selecting them. I would read Sweet Valley High, Judy Blume and other books that gave me a peek into what it was like being older.

As a teenager, I dropped out of high school my freshman year. Basically, my mom wouldn't let me go back because I ditched school too much. I "didn't want to be dumb" (my words back then) so I decided to read as many books as I could. I remember writing each title in hot pink ink on a piece of binder paper. I can't remember the total, but I know it was over 100 in the year between dropping out at 14 and starting at De Anza College the next year. Nearly all of these books were checked out from the library.

When I was 17, I worked at Super Crown, shelving and selling books. Then at Barnes & Noble for maybe three months. 

While in art school, I would always be on the 7th floor of my school library, carrying stacks of heavy art books down to the first floor to checkout. 

After art school, I got a job as a library page at my old school library. I worked 12 hours a week and taught art at two different studios. It was a lot of running around and hustling, but a good mix of work. Eventually I felt burnt on the art teaching and as I was driving on the freeway, a thought drifted into my head, "I'm going to be a librarian." 

When I went to apply, I found out about an amazing scholarship program through the Institute of Museum and Library Services. The Librarians for Tomorrow program was looking for students from underrepresented groups to become librarians. Studies found that patrons were more likely to approach librarians that looked like them or spoke their language. I received the scholarship, which covered tuition, a laptop, printer, books and other professional development. I was so grateful for this program. There was no way I would have been able to afford the degree otherwise at the time.

I graduated and the economy was on a downturn so I ended up having a hard time finding a librarian job. I worked in tech for nearly two years, as some librarians recommended I do that if I can't find a library job. I applied to libraries once in awhile over the years and then focused on art as I kept finding creative opportunities.

As an artist, I do so much research, so I use libraries, books and the internet a lot to inform my work.

Recently

I was contacted by a librarian from the Burlingame Library to see if I would like to exhibit my work there. I will be having a show in August. Other amazing nearby artists, including Kyle Pellet, Harumo Sato, Genevieve Santos and eventually Roan Victor (after she reopens her art shop and has time?), will be showing at this library. Around this time, I applied to a few part-time librarian positions.

Yesterday

In the morning, I had my first day as an on-call librarian. The library is a beautiful newer space and the staff is awesome. It sounds like I will be working on some really cool programs in addition to working the reference desk.

In the afternoon, I interviewed in South San Francisco and had what felt like a really great interview. I felt at home with my interviewers and it seemed such a great fit. They offered me the job, being a librarian in their new Makerspace. I will be doing all things creative there.

Today

This morning, I started my car and heard Michael Krasney talking about all that libraries do on Forum. The subject was too coincidental! This is also a great view on public libraries as illustrated by Wendy MacNaughton. Libraries are becoming community centers rather than just information centers (see this article). You can meet up and knit, sketch, learn a language, cook, learn how to buy a house, learn how to get out of debt, trace your family tree, learn how to talk to your kids about sex, 3-D print, even the South San Francisco Library gave a talk on Prohibition in San Mateo County at a local bar.

I love that I will be able to work on my art while working part-time at the Central Park Library and at the South San Francisco Public Library. Things seem to have come full-circle, given that I loved making and reading books as a kid, loved making art and it's coming together. 

While being a librarian, I feel like I will have more space to make crazier, bigger projects with art. I don't want to do art fairs, I don't want to sell a ton of art products, but rather work on art projects. I know the creative positions at these libraries will work so well with making art.

Here are projects I will have going now through summer:

• Book proposal
• Illustration work
• Private commissions (I have a few exciting ones lined up!)
• Original art for a show at the Burlingame Library later this summer

One last thing. Although I think what artists do is amazing and terribly necessary, I do feel like it can feel like a selfish or self-involved profession. I am so glad I will also be doing something where I can give back to the community!

Weekend 3/24/17

California can't seem to decide between sun and rain lately. Last week felt like summer with temps in the high 70's and we have been back to some rain this week. This poor state has needed it so badly.

For the last few weeks, I have been laying off social media and regrouping. There are just those times in your life when you need to do that. I have been getting a clearer idea of where I want to focus my art efforts and some include larger original work, special projects and teaching. 

Painting

Confusing and Absurd, gouache on paper, 2017

You may remember the start of this painting from last month's Sofa Sketch on this blog post. I worked on it throughout the month and ended up really happy with how it turned out, visually and also because of the process.

I started with the calathea plant in the lower corner and added imagery behind it. If I couldn't think of anything, I put it aside. In fact the first 1/3 of this painting felt frustrating and slow, but the last 2/3 went really well and felt easy. I worked intuitively, really getting in touch with how I was feeling in that time. I see a new direction with this work. It feels surreal, the colors are very deliberate and it also tells a story. At the same time, it reminds me of some work I did a few years ago. I think that is one exciting thing about art. You keep growing, but parts of the past still turn up in what you make. 

With every painting I learn something new about what I want to keep doing with my work. I am seeing a bit more darkness in my work. Life is like that, the light and dark. I am seeing more absurdity, which again is a part of life. There's a lot in life that is normal, typical and predictable, but as we know, life isn't really predictable and I feel this painting process conveys that. 

I was meditating more in February and digging into my subconscious. When I have done this in the past, I have made some of my favorite work. This work felt more personal as I expressed what was happening with me and around me. In February, we experienced floods in San Jose, something that never happens. Nearby in the Santa Cruz Mountains, there were mudslides, washed out roadsIt left many with damaged homes and/or property and in need. You can donate to the San Jose Victims Flood Relief Fund here.

I have a show coming up at the Burlingame Library in August. I'm excited about displaying this work in a library, where stories are everywhere. It also connects me to my previous career in libraries. I am currently working on some larger paintings for that show.

Teaching

Student art, before she finished the pupils, but gorgeous all the same

I loved how he painted his black cat.

I taught at The Dancing Cat last weekend. I'm brought some cat-friendly plants so we can add some greenery to our paintings since it's spring. I painted the painting of cat eyes and plants to promote the class, loving the transparent layering in the upper left palm. I had spilled some paint in one of the corners, which made me come up with the dark background. Originally it was just going to be one cat's body silhouetted behind the plants, but the eyes seemed to make sense with the darkness.

Hiking

Last Sunday I hiked with a good friend on the Cowell-Purisima Trail. It was one I'd never been on. There were wild bunnies at the beginning of the trail and we saw a snake, hawks and tons of wildflowers.

 

Seeing

For years I had assumed that Cirque du Soleil was some gimmick or something like that. When my husband and I were offered tickets, I thought we had to check it out. After going, it was like how could a kid who loved gymnastics/art not love this as an adult? Their acrobatics were so impressive to me! It totally made me want to learn all those acrobatics (yes, I know I'm too old). Luzia was Mexican-themed, which made me like it even more. 

Watching

I've mentioned the show Abstract on Netflix before. It's the show that will make you feel like you've done nothing with your life, ha. The most recent episodes I have seen are Tinker Hatflield - Footwear Designer, Es Devlin - stage designer and Bjarke Ingels - architect. The show beautifully tells the stories of visionary designers and gives you an idea of what it is like in their heads. I love how with all three of these designers they thought they were on one path and through work and staying in tune with things, they were lead down another path that lead to their life's work.

I thought this animated video of Georgia O'Keeffe was pretty great. And the same channel had the following paint making video. I have watercolor paint by this brand and it totally reminded me of the Mr. Rogers crayon episode.