The Evolution of an Artist Statement – A Benefit of Working in a Series

Structures #11
©2002 Lisa Call
47 x 72 inches
Textile Painting (Fabric hand dyed by the artist, cotton batting, cotton thread)

Evolution

I’ve been working on my Structures series for over 10 years. As the series matures, I’ve updated my artist statement with the deeper insights gained through the passing of time.

Below I share a history of the words I’ve used to describe the work.

2002

This statement appears in the catalog for Quilt National 2002 about Structures #11. This is the first time I had to write about the series.

This quilt is one in a series about stone walls and fences. I am intrigued by the form, lines, and shapes of these structures. In this work, I was looking to capture the beauty of the irregular spaces found between the stones in such walls. The colors of my quilts come either from my imagination or from nature. This quilt is a combination of spring colors that were particularly appealing to me on a cold winter day.

2003

As I started exhibiting the work, I needed a more general statement. I was still exhibiting my previous series so I wrote a statement to cover both of them.

I work in series with an element, or motif, unifying the separate works within a collection. Look for one or more ‘E’ shapes in the Structures quilts and highchairs in the Chairs series, which began when my children were young. The motif is more recognizable in some work than in others as the size, shape and composition evolves over time. Color is of primary importance and is combined, intuitively, in unexpected ways, employing a unique palette of cotton fabrics I hand dye.

2005

Chairs are out and now with this revision only Structures is in the limelight.

I work in series with an element, or motif, unifying the separate works within a collection. Look for one or more ‘E’ or fence shapes in the Structures quilts, where the motif is more recognizable in some work than in others as the size, shape and composition evolves over time. This series explores the boundaries we use to divide our world. Both physical structures such as stone walls and fences, whose composition excites me, and our psychological boundaries, which we use to keep others from seeing our true selves, are alluded to in this work. Color is of primary importance and is combined, intuitively, in unexpected ways, employing a unique palette of cotton fabrics I hand dye.

2008

It was time to get rid of the reference to the E as the focus of the series had shifted enough that the motif is no longer the key that held the series together.

The Structures series, which investigates the boundaries we use to divide our world, originated as an exploration of human-made structures for containment such as fences and stone walls. Lines of posts, negative space created between odd shaped stones, and uniform rows of bricks were all of interest.

As the series matures, focus has shifted to the psychological barriers humans use to protect themselves emotionally, exploring how we hide our true thoughts and feelings with these imaged roadblocks. Some question that inform the work:
• Do we put up walls to keep others out or to keep ourselves in?
• Do these imagined boundaries really keep us safe?
• Are we hiding from ourselves or from the outside?
• What are the risks and benefits of exposure should the walls come down?

The work continues to reference the physical fences and walls that initially caught my attention, but as the series progresses these constructs often become more abstract.

My Current Statement

Last week I decided the statement needed another facelift and wrote the words below. Over the next few months I’ll tweak this statement quite a bit as it still feels wrong. But I needed something better than the previous version, which was starting to bother me.

Once I finish with editing, I will have something that should last for a few years or until I have further insight into the intention behind my artwork.

The Structures series investigates the boundaries we use to divide our world. Human-made structures for containment, fences and stone walls, were the initial inspiration.

Over time focus has shifted to the psychological barriers we use to protect ourselves emotionally. My interest lies in exploring the implications of hiding our true thoughts and feelings from each other and very often, ourselves. Building up and tearing down of our internal walls and the impact these choices have on our relationships and our self-understanding inform the series.

Who do we let in? Who do we keep out?

A Few Observations

1. I am a better writer today than I was 10 years ago. I attribute this 100% to my blogging. I believe that writing about my art every week for my blog is the #1 best use of my art business/office time. Getting better at writing my artist statement is just one of many benefits. Look for an article on makebigart.com on the benefits of blogging soon.
2. Focusing on a single series for over 10 years has allowed me to gain a deep insight into my subject matter of boundaries. Had I stopped at 10 or 15 or even 50 pieces in the series, I would have missed this experience. I am working on Structures #133 and have no intention of stopping any time soon.
3. In addition to a deeper understanding of what inspires and informs my art, by focusing on my series for so long, I have developed a distinctive style that I truly own. I have a large consistent body of work to show for it. Although that is also a topic for another day.

Working in a Series

I teach an 8 week intensive online workshop about working in a series. The current session is full but the next session will be starting in January. Details: Working in a Series online workshop.

To receive an email when class registration is open you can sign up for my newsletter: Lisa Call Studio News. Be sure to check the box for workshops.

Tagged as: artist statement, blogging, working in a series, writing