|Kind friends, Tom and Taylor McGill came with me -|
Tom took this picture of me being my awkward,
but art-happy self.
I was very excited to meet juror Jack Shear, museum staff, and fellow artists, and see the exhibition. The work was awesome - I especially enjoyed the mural by Richard Barlow, multi-print polyptych by Tatana Kellner and forest scenes in charcoal on mylar by George Dirolf.
Three of my collages were included in the show (remember when I was packing them a few weeks ago? ) It's very rewarding to see them up on the wall and nicely lit, away from the studio (fly from the nest my little art-fledglings :) ).
|Tom and Taylor checking out the collages|
I also was surprised and honored to be the recipient of the Stuyvesant Plaza, Inc. Award :D - this was very fortuitous timing, as I am running out of ink, paper, and (soft) blocks (haha). I also foresee a drying rack in my future (steeples fingers).
Trying out the new flowers here over the old ones - hmmmmmmm
I also used some of the photos I took last week at the Cloisters to make a template for a new block.
This is a good example of the digital work that goes into making a template before I start carving. I started with a photo I took of part of the border of this early 16th century tapestry. I then worked with it (and worked with it) to get it into a simplified black and white image in the scale and proportions I want. I printed it (with a computer) onto transfer paper, then print it (manually) onto a toned block (MDF in this case). Then I add and subtract and refine with pen and/or marker directly on the block. Then I start carving - trying to combine the design elements in the template with the feeling/ memory of the thing (in this case a branch of a rose bush). In this one, I'm moving from the bottom to the top, working from large tools to small. I run progressively darker markers over sections in progress to try to get a sense for what marks are showing up. For me, this is a sort of a chance to swing the other way after doing the turret (which contains lots of tiny straight marks). I used a medieval tapestry border as the source because the block is intended to make up part of the border of the pseudo-tapestry.
|I had excellent feline assistance on this one...|
...and three days later...
|In non-art news, I've been defining my garden beds with blocks|
and brick and put in cedar around the borders - thumbs up.