Girl: Exploded by Lauren Zuniga

 
Oklahoma's Lauren Zuniga is easily becoming one of my favorites spoken word poets.  I find her vivid metaphors give life to our current struggles with body/gender politics.  She will be performing at the Cantab Lounge in Cambridge, June 20.  It would be great to see her perform

"reThink INK 25" at Boston Public Library (Copley)

I arrived at the Copley BPL on Wednesday with the intention of working on a research paper and was delighted to see the new art installation in the main entrance of the Library.  I first noticed  the work of artist Ilana Manolson, "Terra Flow" and my attention was immediately absorbed by it.  Her materials of choice: "maps from Boston Public Library Norman B. Leventhal map center, root structures from [her] local neighborhood and the Arnold Arboretum, plaster and oil paint".  This work reminded me of the semester-long installation in the GardenLab.  Great to see that other artists are combining organic materials into their work. 

I was first drawn to the small islands of landscapes connected by branches that curb and create interesting forms within the negative space. They reminded me of continents.  After reading the artist's statement I learn that Terra Flow "represents our fragile connections in the face of rapidly changing ecology".  I'm not sure I would have reached that conclusion without the Manolson's words.  Regardless, I thought the work was aesthetically appealing and her combination of organic and made-made materials create a well-balanced composition.

I also like this piece by artist, Valda Zalkalns "Corn Prints and Bird Walks" 2008-2011 - monoprint, etching, and embossing on Hahnemühle paper.

"During the last several winters, I made 18' circles of yellow corn on the ice of the Charles River. Great numbers of ducks, geese, and swans approached and fled the circles driven by the primal forces of hunger and fear. After they have eaten all the corn, the birds fly away, leaving a circle chiseled into the ice with their beaks and feet. This inspired me to put copper etching plates on the ice to make “permanent” the chiseled marks which would otherwise melt away. The corn circles on the ice are the inspiration for the corn prints I made in either circular or free forms."

I feel her statement gave context to her work and helped me make sense of her marks.  Thinking about the process, made want to image the textures on the print.  I wondered if the scratches on the etching plate had successfully transferred  to the printing paper. I also enjoyed seeing  the  documentation of process.  I think the photographs can on their own.  I plan to return to the Library early next week and will like to spend more time exploring the other works in this exhibit.

ART ED REVIEWS

"I look into the dragonfly's eyes and see the mountains reflected behind me." - Japanese Haiku?

Danielle Magivney

I haven't seen Danielle's work since last semester's portfolio class when she was burning her images onto wood panels. It was great to see that she has not abandoned carving her ideas into pieces of wood as she is currently working with wood blocks prints.  Her work explores the "iconography of video game characters".  Of the prints she shared, the image of a female figure walking on a fallen branch over rushing water, stood out from the rest.  There were several prints (on various types of paper), each creating a new story.  Was this image a symbol for self vulnerability? Was this a statement of universal feelings of uncertainty?

Mantra - the deeper you go into your work/feelings (even the uncomfortable) the more it can reach others = deep human connection.  The better others will understand and feel your work.  -Dan Serig

Liz Perry

I have seen Liz's work and heard her ideas throughout the semester and its great to see it in a larger scale.  I am very impressed with her commitment to exploring the possibilities of masking tape as a material.  I like that her hallway installation was composed and set up like a treasure hunt.  The torn pieces of tape were clues sending me on a searched for her marks (on the floor, walls, ceiling and deep into crevices).  I really appreciated her successful attempt at transforming the space with her mark-making.   Someone commented on her ability to "train viewers to see how she sees".  I agree, Liz presents the material as clues, guiding the viewers through her perspective.

Laura DeLorenzo

I commend Laura for the amount time and effort, and the level of commitment she put into researching "Art Theft".  It was very clear that she feels strongly about this topic and has channeled this energy into her work.  Her work shows a strong level of craft  and command of the mediums she works with.

Understanding her feelings around art that has been stolen from the public view, I wondered what Laura's thoughts are in terms of the art own by Science and Art Museums that could be considered stolen from the cultures the objects came from (for example Egyptian objects taken from pyramids and burial sites; or objects taken from native cultures)?

ARTIST STATEMENT

“A line is a dot that went for a walk” – Paul Klee

Over the course of the semester, I have made a conscious effort to create opportunities to explore and experiment with new materials.  I have truly relished the quiet moments when I sat in my studio and allowed myself to play.  This play has become a source for meditative search without the pressure of conceptual development and execution.

From paper-making to learning about organic materials use for making inks and dyes to using projections of my photographs, I have enjoyed getting my hands wet with new possibilities. 

I have pushed myself in terms of working with scale.  The projection drawings have not only offered me a new way to interact with my photographic work, but also taught me the importance of training my whole body to work in unison with my hands.  Bending and twisting my body to accommodate my hands, these large-scale drawings demand that my entire body be part of the mark-making process.  The mechanical drawing on the other hand, has given me the chance to sit still and use subtle movements.  Lightly gripping the bamboo brushes and watching the walnut ink dance across the surface.  I truly enjoyed watching the wood grain swell with endless possibilities.

But regardless of the size of the surface I worked on and the medium with which I made these marks, I have found great richness and a form of medicine in this way of working.   Allowing myself to create and enjoy the process with no demands or expectations.  

-TAíNA Vargas

PHASE III: MiXED-MEDiA PORTRAiTS

March was also the 3rd year anniversary of my father's passing.  I thought making a portrait of him would be a great way to celebrate his legacy as a great father.  As I thought about how I would create this portrait, I realized that I have many photographs of him around my house, and none of my mother.  The thought of continuing to honor his life and not doing the same for her, would be unfair  / unbalance.  So, I decided to make two portraits.  It felt really good for work on these, and although I feel they're not quite finished, I really like how they feel.  I think from now on, I would like to work of both of their portraits, together.

PHASE III: PROJECTiON DRAWiNGS

For International Women’s Month, myself and two other community organizers hosted an event in Chinatown, which honored the grassroots contributions of Afro-Latina women in Boston.  The night included live music, poetry/spoken word, and dance performances.  My photography series "Women In Action – Reflections of Our Struggles" was also featured that night (the series' first public showing outside of portfolio class).  The work was well-received with words of encouragement.

Last semester I had mentioned wanting to make projection drawings of some of the photographs in the series.  I spent a few days working on these large drawings and included them in the showcase.

 
I felt it made sense to include the drawings in my Phase III/Final work because it coincided with my exploration of materials and scale.

More Images from Phase II

This morning I came into the studio with the intention of finishing some reading for my African Art/Lit/Philosophy class.  I began my reading and found myself distracted by the collage that's taking up all the space on my work table.  Unable to focus on my reading, I decided to set my alarm clock for 15 minutes and gave myself this time to get the urge to work out of my system.   Once I started working, it felt really good to just give into the work. I did another layer of black walnut and added some more pieces of rice paper.  I found myself hitting the snooze button and wanting some more time to work.  Finally after 30 minutes of hitting the snooze button, I plucked myself away from the work and resumed my reading.  I look forward to continue working on this piece.

PHASE II

Developing an action plan for Phase II was very challenging and frustrating process.  There were so many directions I wanted to follow, I became so overwhelmed.

On the one hand, I wanted to continue to explore the 1492 project I had started last semester in my Visual Language class (exploring Native American history since 1492 and understanding the current state of Native communities).  I also wanted to reach a better understanding of the American education system (particularly boarding school for Native children) and its active role in forced assimilation and cultural genocide.

On the other hand rested the reproductive battle happening in Congress.  Since the dismantling of Occupy Boston's base at Dewey Square, I had made a conscious effort to tune out media outlets (I felt my ability to do well in school this semester depended on it).  But no matter how hard I tried to ignore the news, some of it seemed to leak into my consciousness.  I kept hearing about the debates between U.S. Law-makers and  the female population, and felt some guilt for tuning out.

After much frustration, I decided to continue the exploration of materials rather than to focus on the development of a concept.   I continued to work with the black walnut along with some collage materials.  The more time I spent in my studio, just working without over-thinking, the better I felt.  And slowly allowed myself to just enjoy those rich moments of just "being" and breathing.

Beehive Collective

"True Cost of Coal" - Beehive Presentation - 2/27

Coal is the result of "millions of years of compressed decomposed organic materials".  In its natural form, coal serves as a natural filter for water trickling out of natural springs. 

I have been a supporter of the work produced by the artist collective for a long time.  I was excited to not only see documentation of their collective creative process, but also hear the stories and research guiding their work.

Over the years, I have appreciated their used of animals (rather than humans) in their narratives as it brings attention to biodiversity of our planet.  Also, the exclusion of text has allowed the messages in the Beehive's work to transcend beyond spoken and written languages.  

The Beehive's new poster addresses the current environmental crisis, a result from mountain-top removal in Appalachia. The meticulously detailed narrative walks us through a brief history of corporate coal  mining practices and their destructive impact on our environment.  The fast-pace and large scale "bio-destruction" threatens human and other  lifeforms with not only displacement but also great health risks.  In terms of its impacts on human health, the spread of toxicity  through groundwater and air pollution   has contributed to alarming cancer rates, respiratory diseases, and other illnesses among members of Appalachian communities.  

Calling attention to our "sick forests" and endangered ecosystems, environmental groups are urging immediate  bio-remediation  in order to heal our waters, air, and planet. Groups and organizations like West Virginia's "Dustbuster Sisters" and "Mountain Justice", and the Highlander Research and Education Center in Tennessee are making great community efforts to educate others around this critical environmental issue. 

*Images from http://www.beehivecollective.org/english/coal.htm

FELA! on Broadway: Revolution

It was truly a great experience to watch this performance.  From amazingly talented actors, dancers, and musicians to the visually stimulating set design and art work (murals, digital projections, costumes) this show was absolutely amazing.  I can say that thus far, this is the best theater performance I have seen.

I have been a fan of Fela Kuti's Afrobeat music for a number of years, and the more I learn about him as an artist/activist the more meaning his music gains.  The Broadway show offers a glimpse into the life of the Nigerian artist who became a threat to the Nigerian government.  Fela Kuti's music brought to broad daylight the corruption and abuse of power at the hands his country's leaders.

After watching the performance, I walked away entertaining the role of artists in society.  Is our job as creative individuals to entertain? to educate? to bring forth change?

I am very curious to learn about the role of art in other parts of  Africa in its quest for freedom from oppression.

MFA ViSiT - LOCATING MY WORK

Artist: Peter Busa, American, 1914-85

Title of Work:  "Birth of the Object and the End of the Object"

Medium:  Oil on Canvas

While searching through the American Wing, I came across this painting and was instantly reminded of some of my previous abstract work. I like the transparency of the layers and the intricate detail inside the fluid organic forms.  The combination of opaque and translucent forms gives a collage feel to the painting.  I also appreciate the playfulness within the composition, it makes me think of a relaxed hand translating the messages of a meditative mind. 

In terms of questions, I wonder what messages are contained within the forms,  waiting to be unlocked.  Could this be considered organized chaos?  Or perhaps a rhythmic dance, a ritual between the lines and shapes moving with great fluidity in search for harmonious coexistence?

Perhaps the biggest connection I can draw between this painting and my current work might be the "automatic drawing" nature they both posses.  My work this semester has been centered around the exploration of line.  Allowing myself the opportunity to "access to primal unconscious".  The nature of automatic drawings present little demands, allowing for meditative exploration of endless possibilities.

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Artist: Nabil Nahas, Lebanese born, 1949

Title of Work: Untitled, 2009

Medium:  Collaged paper on printed paper

"Despite appearance, a fresh canvas is crowded with all sort of detritus, and I have no difficulty in dealing with any of it." 

I was first drawn to the rich palette and the endless circular forms arranged in a web-like composition.  My eyes moved around the canvas, scanning the sculptural elements that appeared to push through and emerge from the dark background.  I found the heavily-textured surface irresistibly inviting and had to fight the urge to touch it.  The closer my eyes were to the painting, the stronger the pulsating urge in my hands to feel its energy.  I strongly felt the colors were meant to be seen with my eyes closed and fully experienced through my finger tips.  I thought perhaps if I could run my fingers through the surface, I would be able to decode the hidden message buried beneath the layers of paint.  

After noticing the two individual panels that made up the whole piece, I wondered if there were other panels missing.  The curve lines disappeared at its edges, were they  meant to imply continuation?  The bumpy surface reminded me of landscapes or was this  road map?   Where does it lead?  I am curious to know Nahas' process.  How are the concepts developed and how does he choose the materials to carry them out?

In terms of connections between Nahas' work and mine, I can see he also  chooses to work with a bright and bold palette.  I can also see some similarities in our use of repetitive circular elements and shapes.  I really enjoy looking at Nabil Nahas' work and would like to learn more about his process.  These are a few more pieces I came across while searching for the MFA Untitled piece.

Sunni Patterson - We Made It

I really like this poem...perhaps it will inspire some visuals.

Its always great to look back at photographs I've taken over the years and recognize the faces of people who were strangers then. Here's Sunni Patterson in the U.S. Social Forum Opening March - Atlanta Summer 2007

Black Walnut Ink & Turmeric

It's been really fun to work with the black walnut ink.  I really enjoy experimenting with different ways to mark the surface.   I found great pleasure exploring and just letting the process take me where it needs to.  No pressure.  No expectations.  Just curious exploration.  I really like the contrast between the rich browns and the bright turmeric.  I did not spend too much time exploring the turmeric as a drawing medium.  Instead of working with drawing tools, I thought of just covering large surface areas on the drawings I made with the walnut ink.  The turmeric is more a filler and a drawing material.

Automatic Drawing / Miro

Joan Miró - These paintings remind of some old color pencil drawings I made some time ago.  I'm not sure if I was familiar with Miró's work while I was making the drawings.  I will post some pictures of the drawings later. 

Automatic Drawing. "Automatic Drawing is a kind of yoga for artists. That is, it's the key to becoming centered, whole, and flexible."  Meditative line drawings... from my books to my clothes. I find myself drawing lines that connect with each other...ending and starting over and over again.  Spirals and straight lines.  I've learned that this type of drawing helps me remain focus when listening conversations (specially lectures).  This constant motion of my hand offers a soothing/calming effect to my body and allows my brain to be more alert.  It's great to know that this process has a name (other than doodle/scribbles).

Interesting information of automatic drawing process:
http://www.cjmorgan.com/automatic-drawing/automatic-drawing.htm#materials

 

 

more Black Walnut Samples