Artist Statement - Markings Series
Markings #14 ©2007 35"x37"
One time consuming aspect of being an exhibiting artist is the need to supply an artist statement explaining the artwork. While I’ve heard many artists bristle at the need to write/supply such a statement I have learned to enjoy the process. I figure this is yet another chance for me to engage the viewer.
Spending 2, almost 3, years writing about my work on this blog I’ve found it much easier to write an artist statement. Writing is definitely a learned art that I’m just beginning to understand, but I’m better than I was 3 years ago. I consider these to be some of the biggest pluses of blogging: both the writing skills and the better understanding I have of why I make the work I make.
I’ve been exploring my Markings series for 2+ years and have only exhibited work from this series 2 or 3 times so I’ve managed to avoid the need for a specific artist statement.
Until now.
One of the juried shows I entered asked for one, and they wanted it asap for the show catalog they are printing. So last night I sat down and pulled together my thoughts on the series and came up with the following as my first pass, which I emailed to the organizer last night.
Studying the effect of closely spaced parallel lines, known as cross hatching, in my abstract pencil drawings led me to experiment with drawing lines with fabric. Looking to capture the beauty and quality of a hand drawn line in a different medium, the work is a translation of basic mark making into textiles. The Markings series investigates both straight and lyrical lines, both tightly spaced and with a more open figure ground relationship.
The works in this series evoke the comfort humans derive from repetition, a well known pattern. They also raise the question of how we handle the unexpected, a break in the pattern. Disruption is often inevitable, no longer making it unexpected but part of the pattern itself.
Color is of primary importance and is combined, intuitively, in unexpected ways, employing a unique palette of cotton fabrics I hand dye. Extensive stitching adds rich texture to the work by echoing the composition underneath or by creating a complimentary secondary pattern on the surface.
It can take weeks or months to make a single textile construction, as the individual elements in the composition are freehand cut, one at a time, without a pattern. They are then placed onto a flannel-covered studio wall, where I work improvisationally, planning as I construct. The design continues to mature as the lines and shapes are manipulated to be fit together.
I will be having a solo show of this work in February and will revisit this hastily written text beforehand but it’s a start.
I’m thinking about including some of my drawings in that show also, I just need to figure out how to frame or otherwise present the work on paper. I never frame/mount/etc my textile art so this is a new scary area for me, as in I don’t have a clue how to approach it and it sounds expensive. I should find out if they will let me just pin the paper to the wall, not likely given their wire/hook hanging system but I should at least ask.
These are the drawings that inspired the Markings series:
Plains #4 ©2006 11" x 8"
Also see Plains #5, Plains #3, Plains #2, and Plains #1
The work at the top of this post, Markings #14, was completed earlier this year. I have to admit it did not photograph well, not sure why, I’ve tried a few times and it still looks dull and out of focus (the raw image is in focus) - I couldn’t figure out how to fix it. Maybe it’s the contrasting colors of the stitching, or the vibrant colors next to each other. Or more likely my complete lack of photography skills. It looks much better in person.
This detail shot captures it’s true colors:
Posted by Lisa in: Being an Artist
Tagged: artist statements, blogging, craft forms, drawing, Markings Series, plains series
Natalya said,
November 5, 2007 @ 11:53 am
Your statement is very clear, wish I could write that well for the first pass. Good luck on your solo show, and congratulations! Oh, and thank you for showing the sketches that inspired the Markings series, it’s very interesting to see the transition.
Olga said,
November 6, 2007 @ 3:26 am
I like your statement. It is clear, to the point, and interesting - actually making the reader want to look again at the work.
Framing the drawings - one way of using re-useable frames which are not overly formal, but neat nonetheless (do not just stick the drawings up on the wall without frames - that really devalues them and you) is to use acrylic frames. I have found them to be ideal for my embroidery work - allowing the work to look neat, squared off, and contemporary. For flat work like prints and drawings, which is what my framer usually supplies to artists, there is a standard depth and so you could mount your drawings on a standard sheet of paper or card and just unscrew the top frame to replace.
The company I use is Design Animations http://www.designanimations.com/ Unfortunately their website is under reconstruction right now, but if you contact them they might be able to tell you of a similar company in the USA. I use their Arctic frame which is like a shallow box with a lid, which is the front. The frame is much cheaper than a normal wood or metal and glass, and is wonderfully light.
Cherie said,
November 6, 2007 @ 6:23 am
Lisa,
That is a beautiful quilt! Love the colors!
Maybe you could mount/attach the paper drawings to a black foam board so they will still appear to be framed. I’ve seen little plastic hanger things that are attached to the back of a lightweight picture with double-sided tape at Staples or OfficeMax. You could easily present your paper drawings in a professional, cheap manner. Good luck!!
Cherie
Lisa Call said,
November 6, 2007 @ 8:22 am
Natalya - keep blogging - you’ll find writing easier and easier as time goes on.
Olga and Cherie - thank for the ideas on framing - excellent ideas. Olga I’ll definitely check out that source. I have the most helpful readers - thank you.
Cherie Hanson said,
November 6, 2007 @ 10:17 am
Lisa,
If you have any picture processing software, you can create a more “readable” photograph. First find the contrast and saturation level function. Sometimes just bringing down the contrast and brightening it up can pop the image. Next try putting in a small element of fill light. It gives the effect of a flash but it is more controlled. Lastly, bring up the sharpness. Most digital cameras tend to flatten on the texture in images. You want that texture to show. I know your money is probably as limited as every other artist…like me. But it is well worth getting a one hour lesson from a digital design teacher to learn how to control the images you are sending out.
Love the detail in your work,
Cherie Hanson
Kelowna, B.C.
Lisa Call said,
November 6, 2007 @ 7:24 pm
Cherie, You are right - I need to learn how to use photoshop and my expensive digital slr camera instead of just guessing. I’m going to add this to next year’s goals (I have too much going on in nov & dec to tackle it now). Thanks for the kick in the rump to realize I need take action on this. And the tips on how I might fix this image. I’ll let you know if I can get it fixed.
Diane Clancy said,
November 6, 2007 @ 7:27 pm
Hi Lisa, What a great statement! Very clear and creative. I agree blogging is helping me with writing. If you do want to adjust the drawing (which is great fun to see), you can use levels in Photoshop - I think you have that.
I am glad you did the second photo of the quilt - those colors are so fun. Gives me a whole different sense!
~ Diane Clancy
http://www.dianeclancy.com/blog
Karine Swenson said,
November 8, 2007 @ 10:48 am
Hi Lisa,
I just found your blog through Alyson Stanfield. Your work is exquisite! I am enjoying your content, too. Thanks.
Karine