
Encaustic Conference - Wax Libris II

Artist's Residency

I'll be there for eighteen days, June 16 - July 3, interacting with other artists and creating my own artwork. I intend to work on some paintings but I want to focus on creating artist's books.
It's the first residency I've been offered and I'm very excited about it.
The residency includes room and board, but I'm expected to pay for travel expenses, which can get expensive. So I'm asking for your help. If you'd like to help out, click here for an invitation to be a partner on my creative journey.
I don't think I've written anything about artist's residencies, so I'll do that soon...
Different Bodies of Work
My "main" body of work in painting has been the Seeking Shelter series, dealing with the idea of tornadoes and dreams of tornadoes. I have really enjoyed doing these paintings and I don't feel like I've exhausted all I have to say on the subject.
But I have wanted to take a detour every now and then and work on something else. Last year, I collaborated with Trayc Claybrook, where we each created work based on the theme Waxy Buildup. We're in the process of finding a venue for our combined work. We have two that have accepted our proposal, but no firm dates yet.
Some time last year, I began to play around with the idea of "palimpsest." When tablets, paper or parchment was not so cheap and plentiful, people would often scrape off or erase writing and reuse the tablet or sheet for something else. Occasionally the writing that had been erased would reappear. My encaustic process often involves scraping and reusing, so I began to play around with this idea. Initially, the work was too abstract for me, and I felt that I needed some imagery. I decided to incorporate bird silhouettes with the idea that birds sit around silently and listen to our secrets and then fly away with them. So the idea has evolved into hiding and revealing secrets.
Initially I was worried that this work would seem too decorative or just "pretty*," and too different from my other work. But the feedback I've gotten has all been positive. And I do think it still looks like my work.
OK, so what do I do with it? I've gotten a couple of suggestions from other artists that I admire - one suggested that I contact art consultants and another suggested that I create a few more pieces and approach one particular local gallery.
Alyson Stanfield, in her book I'd Rather Be in the Studio, suggests that each distinct body of work should be marketed differently. "Each body of work that looks like a different person did it will be marketed to a different audience."
I'm sort of doing that. I'm offering the Palimpsest work to my current galleries but also stressing that I'm continuing my Seeking Shelter series as well, and they can have whatever they want. I'm also working on more to build up the Palimpsest body of work to market to new galleries and consultants.
I keep track of all the galleries that I have sent packets to, and I will send them information on my new work. Perhaps they will see potential for the new work that they didn't see in the old.
If you create distinct bodies of work, how do you handle marketing them?
* As in, "not serious." I respond to most art emotionally and tend to be drawn to work that I find "beautiful." I don't know why I avoid that label for my own work.
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Now playing: The Sea And Cake - Up On Crutches
via FoxyTunes
Another Proposal



As I mentioned above, I'm trying to expand the show since a couple of the original artists dropped out (one of them has even disappeared!). All of the artists are people that I know and went to school with, so I'd like to find some new people from different areas, especially from different cultural backgrounds.
So if you or anyone you know has some artist's books lying around that fit the definition of the show, please let me know. I don't actually need the book until we schedule a show, and then you can send the book directly to the venue.
Here's a brief summary of the show:
Beyond the Scrapbook features artists that remember, examine, and present family histories through the medium of book arts.
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Now playing: Natalie Merchant - River
via FoxyTunes
Beyond the Scrapbook

Tarrant County College
The Art Corridor II
Southeast Campus, Arlington, Texas
May 7 - June 15, 2007
Reception
Monday, June 4, 4:30 - 6:30 pm
Artist's books by Joy Christiansen, Brett Dyer, Hannah Frieser, Allison Gillies, Danielle Grove, Alison Hahn, Jana Perez, and Deanna Wood
Curated by Deanna Wood
With the popularity of scrapbooking, it is apparent that people are motivated to present their family memories in an aesthetically pleasing way. Beyond the Scrapbook shows how artists utilize the book form to present their family memories in a way that transcends the traditional forms and materials generally associated with family scrapbooks; essentially creating works of art from painful, joyous, or mundane events and stories remembered from their childhoods.
These artists sometimes use standard, traditional scrapbook materials but also introduce new materials and methods such as photocopies, solvent transfer, photo manipulation, and non-traditional bindings.
In her book titled, “Mom’s Lunches,” Alison Hahn lovingly pays tribute to her mother. The book is “inspired by the memories of the lunches my mother packed for me and my brothers and sisters growing up.”Clearly coming from a different childhood experience, Jana Perez created “i am not crazy,” an artists book of Xeroxed photography which deals with her mother's battle with depression and the artist’s response to it both as a child and as an adult.
Deanna Wood celebrates the fun and freedom of childhood with her book titled, “At the Park.” She photographed her son playing and swinging at a park. The artist created an accordion book that hangs from chain on a metal structure that mimics a swing set.
These and the other artists featured in Beyond the Scrapbook have each presented their family histories in very different ways. Some celebrate their past while others delve into the dark side of family memories. But each has used the medium of book arts to preserve the past and create a work of art that transcends the traditional scrapbook.
A viewer can touch and feel these books - the texture of the paper, the weight of the book in his hands, the smell of the contents, and the interactive nature of turning the pages. Artist’s books beckon the observer to become a participant in the art as she immerses herself in the artist’s lives in an intimate way that is unlike any other art viewing experience.
See installation shots here.-------------
Gallery hours:
Mon-Thu 8 am - 9 pm
Friday 8 am - 5 pm
Saturday 9 am - 3 pm
For more information, contact Devon Nowlin at 817-515-3406.
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I'd like to say a special thanks to Devon for doing such a great job with installation and marketing!