Sunday, March 18, 2012
Wednesday, March 14, 2012
Saturday, March 10, 2012
clean clean sanitize
mop fold iron
fold pay attention get it right
prevent the inevitable accident
dust pay attention to myself but don't be too selfish
always give always give always give
pay attention monitor scrutinize swarm
sweep encourage uplift
monitor mend careful of the cracks
another thing dirty another thing clean
encourage wash check up on
be calm be gentle be warm
scrub put away even out
vacuum wash don't get too impatient
tend to this tend to that
wash fold apply
referee dance make art
steady the hand
put away respond take calls
fold watch supervise
respond collaborate nourish
counting not sleeping
pay write play
mop pay scrape
sanitize offer food take out trash
fill up the tank
manage support lifeline
support uplift constant attention
uplift be uplifted accept
problem solve problem solve problem solve
always find a solution
mince brush take out the knots
press steam dry clean
inspire cut slim down
very good come here come here come here
brush cook stir
cook inspire/be inspired wring chop
wash water fix washer
oil is low
clip listen work
chop rinse work
maintain pick bundle
we can never run out of coffee
I object to the texture of the paper. Your image feels velvety, like deep charcoal on a smooth surface, my interpretation has too much roughness. (I'm not sure why other's call this watercolor paper good quality. At the moment I had no other.)
In the image I feel within, within your run, your breath connected to the blue atmosphere surrounding you.
I use all the 'left-over' blue from the last session to re-cover the surface.
I'm interrupted by "mom"...
and a reminder by husband of laundry sitting in the washer.
I'm aware of the symmetry, of my own symmetry. I use brushes in both hands and lose myself in the woods. The two points of brushes guide one another.
It is not just to do with the painting of it anymore. It is this dialogue. (Need to get lost in your space. Scale of work therefore has to be larger for me to lose myself into.)
Monday, March 5, 2012
ROUGH DRAFT EDITS:
10. Please use 100-250 words to state your goals as to why the NYFA MARK'12 Bootcamp is important to you at this time.
The NYFA Mark program offers an immediate boon to my active art practice. I want to improve my professional communication skills, gain access to a larger network of art professionals, and garner attention for my work. I am very interested to connect with other dedicated artists, and I could benefit from guidance and advice about the business.
For the last 15 years I’ve improved my technical and conceptual levels of art making. Many express that my painting skills are very good. Under mentorship of teachers Rosenclaire I studied art history extensively and its implications. It’s disconcerting to observe a lack of such knowledge base by many educated artists, as well as a market that largely fails to value that heritage. We should restore depth to contemporary fine art.
Although I’ve remained independent, produce my own exhibitions and sell
Please provide a narrative bio that details your artistic career (100 - 300 words)
I’ve been an artist my entire life. As a child, I participated in the Guggenheim’s Learning To Read Through The Arts program; my work was not only shown in the museum, but was chosen to be the poster for the program that year.
I earned my Bachelor of Fine Arts degree from the University of California at Santa Cruz in 1996, graduating with High College Honors. My junior year was intensely enriched at the Scuola Lorenzo de' Medici in Florence Italy, where I studied under Rose Shakinovsky and Claire Gavronsky ("Rosenclaire”). I have studied with the collaborative duo, via workshops and private residencies, in the United States, Europe, and South Africa. During many years of training, I have also continuously worked in studio, having been encouraged by selling early pieces in small shows and also to private patrons. Subsequently I chose to prioritize a deeper meaning of art over merchandising product by remaining faithful to the content of the work.
I have exhibited and performed both nationally and abroad. I was an Artist in Residence at the Michaelis School of Fine Art (Cape Town), in 2007, and participated in the Domestic Departures workshop (Santa Ana) the same year. In 2009 I was selected to join the New York Studio Gallery’s summer residency, and was in the Art In Everyday workshop (New York City). Recently, I performed atop Rosenclaire’s Soap Boxes in collaboration with the South African National Gallery, and entered two group shows; at Roos Arts (Rosendale, NY), and Linksoul Lab (San Diego, CA). My first solo show in the Hudson Valley was at Roos Arts in 2011. Currently I am curating an exhibition in an empty storefront in Kingston – to extend my exposure in the area, and in an effort to find the right forum for my work.
12. Please include your Artist Statement (work statement) here. This statement should talk about you as an artist as well as specifically reflect the work samples you've submitted and explains your work to the panel. (Up to 250 Words)
My paintings are an exploration of the human condition. I work predominantly with the human figure as the vehicle through which all sensations of life are experienced: love, heartbreak, loss, and the possibility of redemption. I draw from art history to underscore painting’s philosophical and alchemic lineage, and am interested in communicating deeper emotional states of being through the metaphoric use of color, brushstroke, and composition.
Beginning with experiences from my own life and then moving outward, I draw connections between my personal history and the stories of others. The subject of each painting may refer to my own individual pain or misfortune, quietly captured in a moment of stillness, but it is my intention to allow for a space of catharsis by simultaneously revealing an inner strength and endurance of the spirit.