The Process – Art Concept

May 25, 2013 in Uncategorized

Unfinished 1

The canvas where I first introduced the dramatic subtraction method.

Process

Unfinished (portion of canvas)

The Process – Art Concept

(May 2013)

 

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Fisher-Price Little People Unfinished. Oil on Canvas. 39″x60″.

Process- Dyke 046.1

Face Unfinished

The concept of “process – art” started for me in 2011. It came from thoughts I had after completing a 39 x 60 inch canvas. The newly adapted subtraction method I had obtained while working on this particular canvas added more layers to the work, and ultimately a lot more time and effort were put into it. After a month of working on this canvas almost daily, I felt that immediate satisfaction that I usually get when good work is put forth, but this lingering nagging feeling kept at me.

What had I been doing with my time? I was not used to soulfully working on one project with such anticipation, precision and dedication.

2012 007

Bald Eagle Unfinished

All of those hours in that month, had it really taken that long for one piece? I could not entirely remember what had possibly prolonged my creative process.

 

After these initial thoughts, I started digging into my portfolios and in the corners and under the tables and up-top the shelves in notebooks and forgotten sketchbooks – all of the hours re-appeared – an AHA moment, and, an OK, that is what I was doing, and, OH, that is what I was feeling or thinking. Everything started to come together for me after that.

Play 5

Portion of Unfinished Canvas

My process – artwork became just as important to me as the finished piece.  It helped me to piece together the story of my work into a fluid thing that I could better understand. I started working my next painting by referring to my previous painting. It gave my work layers and a sense of fluidity that I had never discovered before.

 

Play 3

39″x60″ canvas

Think of the progression as a spiral rather than an incline or a straight line. As my work efforts push forward, I do not leave my past creations behind. I gain experience and valuable insights to present and future work, while evolving and integrating all of that past work (whether successful or not so successful). I take along what is useful to me and push forward with no linear path to think of. Many more possibilities open up daily.

Play 1 Unfinished

Unfinished Canvas 39″x60″

In Progress

Always Changing – Stages of “The Horror and the Terror of It All” for documentary – “Artirondacks” a Snarky Aardvark Productions.

January 26, 2013 in Uncategorized

I thrive on the unknown. The less that I have planned out before the start of the picture, the better the process seems to go. First, the canvas is stretched on wood stretchers that I cut and screwed together. It’s sanded and given a color. (whatever color is available and appealing at the time.) Then I use one of my larger paintbrushes to broadly apply paint – largely by using intuition, instinct and experience. This stage is meant to be expressive and free of judgments, as to broadly explore my limitations, strengths and weaknesses as an artist. That layer is meant to sit awhile to dry. In the meantime, I look, read, draw, search for something in my books, in my head, in my life that is currently interesting to me – and I learn about it. This is where all of my “process-art” comes in.

stage 1

Stage 1. 38 x 60 inches. mixed media on canvas.

I use mixed media and explore new techniques to best work with my problem solving skills and test my limits.

stage 2.

Stage 2. Exploring the freedom.

Throughout the process, if I do not feel the process is going well, if it has that bad feeling to it, I will stop and continue working through some things by dumping emotions by writing or drawing, usually that trouble thing will be revealed. Something in my life is not in balance at the time, it is my job to figure that out – then continue to work.

stage 3.

Stage 3. Still, the nature, the direction is unknown.

Until I started to really evaluate my strengths and weaknesses. I learned about details, layers, and the importance of the small things. Paying attention to and seeing the vastness of everything. I started taking medication for my ADHD that opened my eyes to a new world. One of knowledge, complexities, the colors were brighter, the purpose became clearer than ever: to explore humanity, nature, there was just so much to learn now. So much started to interest me. Then process art was born. Creating my way, expressing myself, trying to understand the world in the only way that made sense to me. Expression in many forms. My vision and the way it came out into the world after mulling it over in my brain for a while. Just hoping that maybe I would inspire someone along the way. It’s a challenge to show my individuality without fear. I believe my progression as an artist was mostly learning by doing. Make art and make art, and eventually your strengths and weaknesses are revealed. You learn what works by a lot of trial and error.

When something doesn’t work it helps my art more than producing a smooth painting.

Stage 4

Stage 4

Stage 4. This is when the piece takes a drastic turn. The direction is realized – turned vertically and trying out some painters tape. (first time applying this technique with confidence)

A lot of my work is produced from experiences in my life. Something that I read, something that someone said or did, a curiosity of something new or mysterious, like mushrooms. Their attraction was probably the danger it holds for most people. Danger has always been appealing to me. The danger I see is often coupled with observations of human behavior. Also, the denial that most people carry around with them, or just ignore, not of their own doing. For example, the dangers of radon. Sleeping, cooking for, and caring for your children while inhaling poisons that are slowly killing you. Or the atomic bomb. Humanity is so curious about what is at all possible. Can we split an atom? They did because they couldn’t help themselves. They were too curious. If you tell someone not to look in that box that is sitting right next to them, and then leave them alone with it, they are probably look in that box. I know I would; I would just not be able to help it. Sometimes there is a certain balance between things. My piece becomes part of the universe. There’s a bridge, a certain sense it all makes when it comes together. Certainty, it is that which keeps me coming back to the work. I am certain of my talent and potential, the harmony and connections to humanity, nature, and all living things. stage 5. . Stage 5. Three values of a gray-green are applied. (foreground) The complexities of the process attract me. The curiosity of how I will evolve as an artist.

 
 

I record things from my life. I find the relationship, the common thread to these things, and I make sense of it all in my own unique way.       stage 6.stage 7.stage 8.stage 9. Current state of the canvas. 1/26/2013. Working title: “Desolation”

stage 10.

stage 10.

Stage 11.

Stage 11.

Stage 12.

Stage 12.

 

 

Stage 14.

Stage 14.

Stage 13.

Stage 13.

Stage 15

Stage 15.

Stage 17.

Stage 17.

Stage 16.

Stage 16.

Stage 18.

Stage 18.

“The Horror and the Terror of It All”    A 4 month project for the documentary “Artirondacks”.  (This piece is meant for a detailed ‘process-art’ installation.) April 2013. Updates will be available this spring.

Simply Complex {Fisher-Price Little People}

January 26, 2013 in Uncategorized

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Fisher-Price Little People became an obsession of mine for about 4 months. From September to December of 2012, I painted, drew, and made little people from found objects to sculpty necklaces – with a gold little person hanging from a piece of suede around my neck. I gave it to my sister-in-law on Christmas.

 

 

Boy

Orange Boy. Oils on canvas board. 8 x 10 inches.

On a late summer day, I was feeling lost and a little blue. I found a Fisher-Price Little Person in an unlikely place. It was one of those days you feel a little desperate for something solid to hold onto. Not sure of your direction or choices. Sometimes your decisions are made for you – maybe not.

green boy with freckles

Angry Blue Boy

Blue Angry Boy. Oil on board. 8 x 10 inches.

 

 

 

 

These iconic toys became an anchor. Something tangible that I could hold onto for awhile. They brought me back to the basics of

art making, while adding new elements and room for exploration. The obsession began . I drew him with prismacolor and the simple design, I thought, was brilliant. As I started working different media, different problem solving techniques, I started to see the personality of the toys.  Even my products of them became different than even the original subject of that particular Little Person. I became fascinated with the projected emotional expressions.  Each piece that I created I formed an emotional attachment to.  I will take a giant leap as to say; These toys as inspiration for my artwork may very well hold every single complexity that I have encountered in my entire art career.  Rothko said it best when he was answering a

190094_487681897943068_1364213481_n1

media question- “How long did it take for you to make that painting?” He replied, “All of my life.”-Mark Rothko

Indian

These works are what they are because of yesterday’s failed painting.

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  536208_453150838062841_1061963743_n[1]two

 

Because of some sketch I drew in High School.

 

 

Or

 

an observation that I made years ago.

 

 

Big 1

 

 

 

2013 – NEW WORK

January 26, 2013 in Uncategorized

Energy Shot

5-Hour Energy

Clif Bar
Kerouac quote with "little people"

Fisher-Price Little People. acrylic and marker on canvas. 15 x 30 inches.

Mushrooms

Mixed Media on canvas

Red Bull

Red Bull

 

Process-Art for “Reaching to Exist”

May 8, 2012 in Uncategorized

condor study

resources

"Reaching to Exist" 38 x 60in.

 

All of my large pieces now have what I am calling a “process-art” book.  A while back, I started to wonder where all of my time had gone. I felt like I was accomplishing next to nothing. Close to 2 years ago, I began to stretch 38″ x 60″ canvases (due to the available materials at lowest cost). Each canvas would take me at least a month to complete, my work more time consuming, involved, mindful. Satisfying, yes, but that old embedded belief, in a consumers society, WORK, WORK, work, produce, and when you are tired, WORK a little more. I knew that I could not entirely get rid of these instincts, so I took a different approach.

brain study

When I am not physically working, I am often contemplating something art related. My brain is constantly trying to solve problems; work in a different media in a new way – something that I had never done before. Everything in my daily life routed itself back to that canvas.

 

type

I do not limit myself in terms of media, and for years I have enjoyed the meditative repetitiveness that the book arts could give me. I started accumulating sketches from everyday, journals, type, thoughts on something particular that I had observed. The material started to grow, and, it all related to the canvas I was working on.

The more time that I spend on process,

California Condor

the more involved it becomes (best described as multi-verse). This approach to my work gives me the freedom to choose.

notes

I am not constricted by one media, one subject matter, one idea. My work stays fresh in my mind, and I feel as though I am accomplishing something – that old  9 -5 work day brain…begone!

Liz

condor / notes

Hinge Series

April 8, 2012 in Uncategorized

Finally, I can put these two finished “sister paintings” side by side, where they belong.  (Owned by Athena Roth).                              

                                      

"The Beached Whale, The Sacred Cow" 2007

               

"Validate ME" 2012

“Validate ME” Before and After

April 8, 2012 in Uncategorized

right panel, 2007, mixed media on masonite

     Before (June 2007).   Sometimes my process takes years. 

top left panel, 2007, paint on wood

"Validate ME" 2007, center, mixed media on canvas.

middle left panel, 2007, paint and collage on wood

bottom left panel, 2007, paint on wood

"Validate ME" 2012

  Finished.
                                         

 

Golden Needles

March 22, 2012 in Uncategorized

photo collage

I rode my bicycle today, I imagined my wheels were charcoal wheels, and how interesting that would look. When it rained, it would wash away – down the hill – around the corner – through the cracks.  My head filled with thoughts of camping, hiking, canoeing.

 

 

"Camp" an artist book

 

On my ride, there was no white, little green, a lot of brown.

The afternoon sunshine illuminated last years pine needles a magnificent gold color.

from "An Artist and Her Environment" an artist book

 

 

 

 

 

The color brought me to a familiar feeling as a child, at our camp on Pilot Knob. I re-experienced the feeling of those days. Content from a days swimming and exploring. The gaps through the trees projected golden sun memories.

 

 

We didn’t care about time, we just knew that when the day brought that gift, it was time to make your way up the rocks. My tired young bare feet on a soft moss and needle bed for a dinner made by gram.

 

from "An Artist and Her Environment"

Human Paradox

March 19, 2012 in Uncategorized

For the past couple of months, I have been working on a lot of different pieces, but I haven’t finished anything. I am focusing on my own artistic process. This has given me a more intimate view of my work and the world around me, learning that satisfaction doesn’t always have to come from the end result. New territory, new approaches = different problems to solve.

Now, how do I finish? Is it important to? Meaning has been deferred to the attention on process. On content. Awareness makes it difficult to get a deep satisfying result to the work in question. Does the end need to be a BANG, a punch-line like any good joke; I don’t believe that I need that intensity anymore. It is often desired, but not always humanly possible. Which leads me to another question constantly in the front of my thoughts when working: Humanity.

What is it to me? Experiences, thoughts, feelings, behaviors, it has all been interesting for me to explore. I believe what makes us human is our ability to feel.

Often, I explore themes from my life today, what I observe of humanity. I see people trying to reconnect to their humanity. For so long, Americans have been searching for the ultimate American Dream, working long hours to obtain possessions, which they told us was true happiness, this didn’t make us happy. Did the new century’s terror, war, and loss strip down our false selves, causing us to search for what makes us human, something closer to ourselves, no longer desiring something far away and empty?

Other times, I will pull something from my childhood to help make sense of where I came from – to now. When things look bleak, confused and unfamiliar, I often compare child-like ideas and memories to the present day me. This communication helps me to soften the world a bit, looking through those familiar eyes.

The closer I look at my own humanity, the more I love our imperfections. We are paradoxical.

Survival Series

December 1, 2011 in Uncategorized

sub-survival-series_deep-larder-07-spam
This is one piece from the survival series. See the whole series in the gallery.