Complex Notes, Artist Statement

Complex Notes, Artist Statement

 

Here is the artist statement for my upcoming body of work, Complex Notes. These works will be available through Aesthete Fine Arts after April 16th.

In the wake of the pandemic, following a period of social distancing, there seems to be a collective call for regrouping, both socially, and internally. The last two years have felt less linear, less predictable, and less hopeful than many years before. In painting these works, I thought about different emotions that may be familiar in this time, and have tried to express them as a kind of place, often using figurative references as a way of depicting that place within a body.

 This collection of painted works explores relationships between emotions, body, and land. Where self-portraits often depict the physical form, these paintings serve as explorations of the inner self, painted in tandem with practices exploring the subconscious. However, the word “subconscious” seems to conjure an image of something other than human, whereas, the idea of soul seems to be more connected to the idea of personhood and personality. These works are influenced by the body, but they strive to depict the essence of a person, through reaching to the subconscious, or in my preferential wording, the soul.

Rather than self-portraits, I like to think of them as soul portraits.

Bodies are complex places, and today more than ever, they live in a complex world. Minds must grapple with unprecedented concerns, such as the climate crisis, unpredictable health issues, political uncertainties, and a host of unjust situations for many. Not only are these predicaments a reality; society is also becoming more complex, more fast paced. As a result, it seems that life itself is a cacophony of calls for time, resources, emotional energy, and rapid adaptation. Life is overwhelming. In response, things that are slow and old seem to shine in a new light. What nourishes the soul becomes a priority, in a culture that has discarded use for even the idea of one. This motivates me to create these soul portraits, reaching far beyond traditional tropes of the human figure, into the abyss of the subconscious.

When I painted these works, I considered the complexity of existence: untold numbers of barely noticeable nuances of perception converging, influencing all experiences of life. Reality itself, channelled through a series of filters, mediated by senses, contextualized by a long list of determinants, simply is what it is. In considering the variables that flow together to make this life all that it is, it seems right to consider the experience of human existence a constellation, a composition, or an epic. Through this body of work, I propose another metaphor through alluding to land. Merging themes of body and land into a single composition, I aim to tether the experiences of human and earth back together, as the separation between the two has always only ever been an intricate illusion. 

In creating these works, I considered the complexity of perception mediated by senses, as I worked with elements of chance, detail, rhythm, and transparency.  Each of those adding their own character to the work; converging contributions for the greater whole to ponder. Each work is at once a landscape, a body, a soul, and this is to say, these are always only ever one and the same.

"How Can I Be of Service?"

Yesterday’s artmaking happened at the house of someone I don’t know, and who wasn’t currently there. My friend is housesitting, and I went to spend some time with her. It’s been a busy week for both of us, and we needed some time just to sit. It was good fun to visit the pristine home of a stranger I’ve never met, and imagine what kind of a composed and thought-filled person she must be, based on her belongings carefully arranged in the living room.

We played some Bach to fill the silence that sat comfortably between us, friends of twenty years. For friends like us, silence can be a deep comfort; when no words need to be mentioned, why bother talking?

 I was happy to introduce my friend to my Wednesday practice, What to Make of This. It’s a simple thing, really. I just take out something I can hold in my hands, on my lap. Something that isn’t painting. I shift the attention away from the mental gymnastics of abstract painting, seeking out a more methodical, relaxing form of making, and then I listen, usually to a podcast. I’ve been exploring the idea of listening as activism- or maybe the precursor to it. I’ve been focusing on three elements of my life that I’d like to grow in: Cultural humility, ecological justice, and poverty awareness.

So as I usually do, I chose a random episode, this one being An Unbroken Grace from the Emergence Magazine Podcast, read by Fred Bahnson. It was a tribute to the nature writer, Barry Lopez, who passed away from cancer in 2020. A beautiful tribute to one who was undoubtedly a beautiful human. A question he often asked was “how can I be of service?”

At one point in his life, he considered becoming a monk, but then he chose the path of a writer.  It was apparent he believed that the art of story, not just any story, but good, soul nurturing story, was a deeply necessary act of service to the world.

The question “how can I be of service” at both resonated and pained me. I have been asked in a myriad of ways to “be of service” for the length of my life. Many phrases I remember from my upbringing relate to usefulness, consciously and unconsciously tied to my value. Performing acts of service to increase my value and my self worth as a human has been something I have been attempting to undo for several years now. It’s hard—because as a parent especially, service is just par for the course. With my career in Nursing, service is central. Having family members with a physical, developmental, and mental health issues, life seems to continually call for service.

Growing up in a very practical, pragmatic family, for years I had a hard time rationalizing my art practice. When I was nineteen, I worked for six months on a photorealistic image of a man. It was a black and white 12 x 16 pointillistic drawing, when I finished it, few people could tell the difference between the photo and the drawing. Proudly I showed it to my Grandma, who responded with, “Well, if that is what you want to spend all your time doing, I guess it’s ok.” This speaks directly to the ways that the practicality of life was weighed up against the seemingly frivolous nature of artmaking. This is only one of many comments that rang out in my childhood about the uselessness of art. Among others was the sentiment that public art is a waste of money. The rationale was, most people don’t understand contemporary art, and so it can be of no relevance to the public. I internalized many of these perspectives, and navigated many conversations where family or friends would highlight the validity of, at the very least, making realistic art. When I was inclined to make abstract art, I heard a lot of comments like “why don’t you paint more flowers?” “You know, people like flowers, you could make more money doing that.” Of course, the underlying meaning, or the meaning I interpreted, was that abstract art is really of no service to anyone.

 It was my love for classical music that helped me navigate this. While I enjoy so many different genres of music, I have an inexplicable admiration for classical music. The wordless sounds that seem to traverse every nuance of human emotion, reaching to the core of my soul and spirit. I cannot imagine a world without classical music; if there was one, I wouldn’t want to be in it. I would never in a million years say that it’s of no use to anyone. I cannot imagine someone saying to Beethoven “You know, you should make more music with words. People would like that. You could make more money doing that.” I cannot imagine the greatest composers bending and working to make their music more relatable, more useful in the most practical sense of the word. I’m so glad they don’t.

 My ultimate goal as a painter is to create works that speak to viewers like music does at its best—it wordlessly transcends the rational, and flows right to the heart. Sometimes my work involves images that are understandable, sometimes it doesn’t. But I feel things- and for me, to be human is to feel. These feelings don’t always fit neatly into the confines of accurately rendered objects or well intentioned words.

To get back to the question that Lopez asked, “How can I be of service?” I’ve found that in my life, almost anything I do with great love and care can be an act of service. I’ve also found that almost anything I do with great love and care can be considered a work of art, at least to me. I can tell when I put myself into what I am doing, and I have learned to love and celebrate these traces of my intention being materialized. Sometimes that means making a meal, sometimes that means planting a seed. Sometimes that means working on a multilayered, abstract painting. But it always involves being present, aware, and intentional. I can’t be fully present, or of service, if I am exhausted or burned out. Asking the question “how can I be of service” also means that there is a caveat—I am simultaneously reminding myself that the degree of service I contribute has no bearing on my eternal worth.

 What Barry Lopez often touched on and thought about was the service of story. Being of service, for him, meant being the receiver, and giver of stories that nurtured others in their souls. I’d like to think that way about my painting practice. To be a receiver of inspiration, joy, light, love, and all the transcendent, powerful, soul nourishing-qualities that resonate, heal, and bring meaning to life. Barry spoke of stories, “the way story reconstitutes, reorients, and elevates human beings.” He saw storytelling as a kind of stewardship. He spoke of the kind of stories that he wrote, as an anecdote, or medicine for a culture that is “chronically, pathologically distracted.”

These nutrients for the spirit are entirely invisible, and yet essential for meaning and health in this life. I’d like to be of service by soaking up, and pouring out these soul nutrients through all aspects of my life, including my art practice.

“We cannot, of course, save the world because we do not have authority over its parts. We can serve the world though. That is everyone's calling, to lead a life that helps.”
-- Barry Lopez

Dreaming from Home

I have long dreamed of a white washed, south facing, floor to ceiling windowed studio with flecks of paint dabbling the vintage hardwood floor, a rustic wood fired stove in the corner, and a view of the ocean through a web of palm leaves.

But too much time thinking about the perfect space has been stolen from the moments I have today. In my own real life, in my home studio garage that is very much still a garage, with storage all around me, and florescent lights, and no windows, and spider webs.

I’ve thought about what it means to carve out a creative practice right here and now, though it often seems life conspires against this. My paintbrushes are often neglected because of a messy kitchen, long overdue calls to family, bills, errands, and just plain exhaustion.

Honestly, I’ve wondered if life would be easier, and more straightforward if I wasn’t so distracted with creative ideas. I often think if inspired impulses didn’t pull me from a very practical and straightforward reality, I wouldn’t be keeping textile scraps around for years, just begging to be used. And yet, I can’t part with my mom’s old bright orange curtains from her first house 40 years ago.

 All around the house, objects hold stories. Some items were handmade with love, others were methodically assembled in a factory. Some printed, some cut from trees. All around me, there are items that have come from somewhere. Each one has a story, and in one way or another, each one is on its own transformative journey.  An artist within a home space can readily ignore, or take all of these items into account. I am thoroughly jealous of creatives who can push everything aside, or take it all to the thrift store, and focus on one thing, and one thing only, in the haven that is their sublimely clean house.

I’m not exactly like that.

 I plunge my hands into soapy dishwater and admire the composition that the bubbles make, seemingly for me, in that very instant, art that is site specific, and dazzling. I take the cutting board and notice the delicate, sand-sized breadcrumbs scattered over the gashes from years of knives cutting this way and that.

 I see a pile of compost in the container beside my stove and just wish that everything would stop so I could grab my newsprint drawing paper and do a quick charcoal sketch of the myriad of interesting shapes and textures.

 I look outside my window and wish that I could capture the way the sky changes throughout the day; often a subtle transition of silvery blue and grey tones. I wish I could capture the way that plants twist up and around the railings, and the way that the large cedars sprinkle their needles all over the deck. The way that the sky fades to black and then the twinkle of stars, and how the shine and glow of the moon is different each night. The way the sky fades into morning, with pinks and oranges, entertaining crows as they glide overhead by the thousands en route to adventure, every morning.

 And yet, life seems to call my attention away from all these lovely details of my home, even though, all the while, the lovely details call to me.

 This year, the year that I am the Artist in (this!) Residence, I hope to take note of these details, if only in subliminal ways, letting them impress themselves into my creative life. I want to show this life of mine that I am paying attention, that I am in awe, that I am thankful for it.

 There are a few ways I hope to navigate this year:

Painting two bodies of work: one called Complex Notes, and continued work in another known as the Nature of Nature. I will delve into two mixed media related bodies of work: What to Make of This, and textile works, called Relics.

My hope is to write my way through the year, in hopes of intentionally living a creative life, here at home.

I’m honoured to have you along for the journey, and while I hope in the writing process to learn a thing or two, I’ll be glad to share what I’ve learned with you, and look forward to the ways that you’ll be adding comments or emailing me about your creative life in response to these words here.

Here’s to being an Artist in THIS residence, today!

Artist in (this) Residence

Welcome to my blog! I’m so glad you are here :)

Here I will explore all the messy details of my creative practice. In the process of sharing, I hope to inspire others who want to live a more creative life!