Friday, March 16th is The Observer Opening Reception, 5 - 7:30 pm

Arnot Art Museum, Elmira, New York

Tomorrow, Friday, March 16th, is the big day for the opening of The Observer!

We were there earlier in the week while Rick and his staff were finishing up the installation.

 They have done an excellent job of creating an unexpected way of presenting The Observer. 

It is not hung in a traditional eye-level, same-height, single-file way.  Instead, they have made interesting groupings around the room.  They are interesting to look at from afar but invite you to come in for a closer look.  It has a theater in the round feeling to it, which adds to the experience of viewing the images individually.

The opening reception is 5 to 7:30.  Children are welcome, but there will be adult only food.  Please stop by if you can!

The Arnot Art Museum is located at 235 Lake Street, at the corner of Lake and Gray, downtown, near the courthouses. 

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Turtle Cloud - Landscape Oil Painting

Turtle Cloud

18 x 24 Oil on Panel

Dropped off this painting at West End Gallery for their new show, Director's Choice, which opens this Friday, March 16.

It is one of my larger paintings ---of a simplified landscape, including a barn, and a voluminous cloud, which Lin, the gallery owner, thinks looks like a turtle; hence, the name.

Lin also chose The Princess and The Pea for her Director's Choice show.

Coincidentally, the opening for West End Gallery is the same night as the opening of my exhibit, The Observer, at Arnot Art Museum. 

I have fought with myself --internally ---for a long time, that I had to do one, or the other, not both.  Painting and photography, that is.  So, it feels good to be able to have the wonderful opportunity to have two openings on the same night!

Hope people will try to make it both.

West End Gallery, Director's Choice, Friday, March 16, 5 - 7:30

Arnot Art Museum, Ziegler/Blumer opening reception, Friday, March 16, 5 - 7:30

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Donation for Red Cross Spring Seasonings Fundraiser

Still Life

10 x 8 Oil on Panel

Today I am dropping off this painting at our local Red Cross office.  They will be having their Spring Seasonings fundraiser on Friday, March 23rd. 

In our area, the Red Cross is in constant need of funding to be ready for the floods, fires and other emergency assistance situations.  It is an important cause to support, by giving blood and money when you can. 

Tried giving blood without much success, so I like to give them something I've made for their annual fundraiser.  I started with jewelry, back when I was doing Two Sisters Studio jewelry, and then moved forward to photography, and now paintings.

I do think it is important to give back, and I do like to use my art work to help when I can.

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Artist's Statement for The Observer

"Peeking" from The Observer

Below is the artist's statement to go with The Observer exhibit at the Arnot Art Museum. It will also be in the companion book I am having made at Blurb.

Artist's Statement for The Observer

There is separateness in observing life as it happens, yet in the condition of being "outside," one can find inspiration, even comfort.


My work is is about storytelling without all of the blanks filled in. Each image has a story to tell.


The photograph itself is the touchpoint where my work as The Observer ends and your work as The Observer begins --- to create your own narrative.

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Exhibition in Progress: Delivery

Arnot's West Gallery Where My Exhibit Will Be Hung

All 36 pieces for The Observer are now in the hands of the Arnot Art Museum.  It was crunch time until the very end, but I got it done, and I am very happy with the work, and the many layers of learning that have come along with creating this collection.

The far wall, across the entrance, which you see when you enter the room is where the big graphics (title, my name, etc.) will go

The space for the exhibit is great.  It isn't too small, nor is it too big.  You will be able to walk in and "take in" the images as a group, then look at them individually.  There is a bench in the center.

 The door to the left is a cool alcove that has natural light coming in from outside and a view to the downstairs gallery.

This is the view coming back into the gallery from the alcove.

Rick, the Executive Director, and I talked about using the alcove as a reflection space, where a more in-depth artist's statement will hang, which you can read --or not-- and then go back again and revisit the images before you leave.

Delivering the photographs to the space -- we inventoried everything and lined them up along the walls

The walls are a warm neutral, and have some texture which makes black and white images which really pop. And I like the contrast in textures of the linen walls and more graphic photographs.  And the floors are wood and beautiful. 

More images lined up to be hung

I am looking forward to seeing what Rick has in mind for how to present the work within the space.  We agreed that the titles are needed to support the storytelling aspect of my work, but other than that, I am open to his design for hanging the work.  I feel that each image will work well on its own, or in any order, so  I am intrigued to see what he will do with them. 

The work will be hung between now and March 9, when the show officially opens.  The opening reception will be the following Friday, March 16, from 5 to 7:30.

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Photograph as Artifact

A new piece for The Observer entitled "The Priests"

As I get The Observer exhibit ready, I have been thinking about how the framed photographs are just objects, artifacts, that represents my "journey."

They are are the sum of my experience:  of exploring the initial idea, finding a meaty subject, starting the actual series, creating a working title for the series, then making the images with my camera, noodling the idea in my head, then selecting the images, pulling some in from the past, too, then editing them, working with them, creating a draft of a book to see if they "hang" together, then printing them small, putting them aside, coming back to them again, journaling about them (what am I really trying to say?), getting the final title for the series "right", then printing them again --bigger this time, asking trusted family and friends for their input, thinking some more, developing titles, selecting the "right" title for each one to aid the storytelling but not finishing the story, designing and producing and proofing the book, while making the final photographs, including matting, framing, windexing and reworking what doesn't look right even after it is all sealed up.

After all, a photograph is just a piece of paper hanging on a wall.

But it is the touchpoint where my work as The Observer ends and the "work" of the viewer as The Observer begins.

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The Observer Opening Push

This week is the "big push" to get my photographs ready for my exhibit, The Observer, at the Arnot Art Museum. 

I have to deliver them this coming Thursday, March 1. Just 4 days away!

The Arnot will hang the collection, thank goodness. And I am really looking forward to seeing how Executive Director, Rick Pirozzolo decides to present my work, since that is his expertise.

The dates of the exhibit are March 9 until May 4.

The opening event will be Friday, March 16 from 5 -7:30 p.m., along with Treacy Ziegler who will be in the next gallery. 

The hours of the Arnot Art Museum are Tues to Sat, 10 to 5.

The Museum is located in downtown Elmira at 235 Lake Street, at the corner of Lake and Gray Streets.

• Exit 56 from Route 17 / I-86 (Church Street).
• At the fourth traffic light turn left onto Lake Street.

Free parking is available at the rear of the museum building on Baldwin Street. Bus parking in rear parking lot (access from Baldwin Street) or metered parking along Gray and Lake Streets. Please enter through the front door, on Lake Street.

Directions (mapquest) can be found here. 

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On a Roll - "Yellow Tulips" Oil Painting

Yellow Tulips

18 x 14 Oil on Panel

Yesterday another painting sold at West End Gallery.  This time it was "Yellow Tulips," one of my larger paintings.  They said I am "on a roll."  I have now sold 4 paintings in the last month there.  That's pretty amazing for me, since I don't produce many paintings a year.  It is motivating to have your work sell.  Makes me want to get in the studio and paint!

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Bon Voyage "Midday Sun"

"Midday Sun"

shown in its arched frame.

Painting is 3 x 2, and Frame is 6 by 4.

I dropped off this little painting at West End Gallery yesterday, and they notified me today that it had sold in less than 24 hours.  That made my day, and my week!  It is always exciting to see your work shown in a gallery, but it is even more exciting when a painting finds a new home.  It's as though it has been set sail.   

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Perfectionism

Ellis Island Ladies

There are aspects of being a photographer who works in public which make the situation dicey (versus in a studio where the environment is controlled).

Weather and lighting can work against you but most importantly, you want to be incognito.

If your subjects become aware of your camera, they will change their demeanor and often look into the camera, just when you don't want them to.  I didn't want these ladies, deep in conversation, to stop.

So, you have to be discreet and keep your camera out of view.  Then, when you see "it", you go for it. Yes, it sometimes feels like I am spying.  But these are public situations.  I am careful to avoid being intrusive.

Some people say that you have to get permission before you make someone's photo, and get written legal permission to use it.  That is if their image will be used in a commercial situation, like advertising, which I understand.  That is not my purpose, so I proceed. You are fair game if you come in contact with me.

But I digress.  The real purpose of this blog post is the write about the trade offs between being perfect in a photo -- i.e., in focus, perfect composition vs. the content.

I wish the image of Ellis Island Ladies was perfectly in focus but it is not.

In the Observer I am going for content, so I am having to let go.  Ego and control.  Two of art making's worst enemies.

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More about "Wilson"

"Wilson" isn't just a rock.  He has a face.  He is looking at you.  He is observing you.

Who painted this face?  Why is this "rock face" there?  To entertain walkers going by?  To say a family with a sense of humor lives here? 

And I have given him a name:  Wilson.

The title of "Wilson" is a clue as to what I, as The Observer, saw.

But what do you, as The Observer, see?

This is the concept behind The Observer exhibit and book.

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Please see the previous post for more background.

Photographs are Memory Vessels

"Wilson"

It has been a long of week.  I have been going through my files selecting, and re-selecting, images for my upcoming photography exhibit, The Observer.  Over and over.  Putting some in and then taking some out.  Editing is hard.  Very hard.

Because photographs are memory vessels, it is challenging to find images that connect with viewer, independent of my own experience.

What do I mean by this?  Well, think about it, photographs trigger memories for us:  not only what we are seeing in the photograph, but where we were when it was taken, our feelings about the experience, that time period, etc. 

We like seeing images of our own experiences, but think about how boring it is to see someone else's family vacation photos.  We weren't there.

So, how do I as an art photographer create an image that says something interesting enough, is memorable enough, for the viewer to linger on it, to make a connection?

And how do I disconnect from my own experience of being there when I took it, and not let my feelings cause me to "force" an image into the mix?  

For example, I discovered "Wilson" on a walk in the neighborhood.  I wasn't out hunting for images.  I remember exactly where I was, how I knew to stop and take a photo (I do take a camera with me in my pocket or purse, just in case I run across something interesting), how I wondered about the family that made this rock and put in their yard, and how it reminded me of Tom Hanks' ball in the Castaway movie.

That's a lot of "stuff" that comes up for me when I see this image.  So, I have to try to look at it with fresh eyes.  Is a good image?  What is it saying?  Does it fit with The Observer concept?  Can I print it well?

In this case, the answer was "yes".  "Wilson" will be in the exhibit.

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My Upcoming Photography Exhibit at the Arnot Art Museum: The Observer

Upcoming Exhibit "The Observer"

This week I am busy working on my upcoming exhibit for the Arnot Art Museum in Elmira, New York.  It will be shown from March 9 until May 4, 2012.  It is called "The Observer"  and consists of approximately 40 of my photographs exploring the idea of the observer becoming the observer.

Today the prototype of the book I made at Blurb showed up via UPS and it looks pretty good!  The picture above is of the cover.

I made the book as a way to look at the work to see if hangs together.  So far, I have chosen 33 images.  Have about 7 more to pick.

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LIttle Gem: Hydrangea

Hydrangea - Little Gem

5 x 4 Oil on Panel

I had forgotten about this painting, which I completed last year about this time.  I was happy to see that it sold at the Little Gems opening at West End Gallery last Friday night.

Museum Notetaker (in the previous post) and Winter Barn (in the post before that) have also found new homes.

Back from a winter vacation, too, so I am refreshed and ready to do some new work.

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Museum Notetaker for Little Gems

Museum Notetaker

8 x 6 Oil on Canvasboard

Today I am dropping off this painting at West End Gallery, here in Corning, for their upcoming show, called Little Gems, which opens February 3rd.  Everything in the show has to be small, under 14 inches total, width and height combined.

As background, I saw this woman taking notes at the Tate Britain museum in London last March.  I thought it would be interesting to paint her, and her clothing, as well as the younger woman in the background.

They are having a shared experience in the museum even though they are absorbed in their own thoughts, i.e., they are connected to each other without knowing each other.
Subtle relationships happen in public spaces, like museums and libraries.  And I find them very interesting.
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Gift of a Quote

Received this quote today as a gift and thought I would share it.

If you ask me what I came to do in this world, I, an artist, will answer you: I am here to live out loud.  - Émile Zola

Emile Zola was a French writer, important in the naturalism literary movement, born in 1940, and died in 1902.   

"Winter Barn" Landscape Oil Painting

"Winter Barn"

8 x 10 Oil on Panel

Seems appropriate to post this painting today as we are finally getting our first real snowfall of the year.  I finished it earlier this week after working on it on and off last year.  The reference photo was taken last year about the same time last year when I was driving around the back roads.  It was late in the day, as the sun began to go behind the hills.  I was looking for something to paint with snow, because I haven't really painted snow before.  Not sure I captured the actual feeling of being there, but I am satisfied for now.  Time for this painting to find a new home.

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Makeup Paintings: My Second One

"Untitled"

16 x 20"

Here is the second painting I made using eye shadow.  It will be interesting to see what people think.

Name suggestions are welcome.

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Make-Up Paintings (Painted with Eye Shadow)

"Snowbound"

Painted with Eye Shadow Make-Up

Switching gears now away from posting iPaintings and on to other work I have been doing.

As background, I returned from Japan very inspired and open to trying new things.  For example, I signed up for a pottery class so I could learn to throw a pot. (Japan has amazing ceramics.)

But I also wanted (and needed)  to return to my old routine, which includes oil painting on Mondays with Lin. 

I was very rusty and out-of-practice, not having painted anything since early October.  Once you stop, you begin to doubt whether you can do it again.  Artist's block, fear, call it what you will. 

To chase away the demons, I decided I needed to warm-up by doing something completely different, and out of the box, so that I couldn't have any preconceived notions for how I should paint.

The morning before our painting session, I happened to clean out my make-up kit,  and I realized that here was the answer! Three pots of powder eye shadow, two grays and one warm brown. 

They were going in the trash anyway, so why not paint with them!

I dug out watercolor paper, my water color brushes, and some photo references from my box of ideas.

Armed with enthusiasm, I went over to Lin's and convinced her we should try this.  What the heck, if it didn't work, we could throw it all away.

A few hours later, we both had interesting paintings and were smiling!

I liked doing it so much, I made another painting the following Monday which I will post it tomorrow.

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"Snowbound"

16 x 20 including the size of the frame

iPaintings: Longitude and Latitude

Longitude and Latitude

iPainting

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iPaintings: Topography II

Topography II

iPainting

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