New to the Shop: Vintage Dictionary + Wood + Ebru

It was time for a change. This past week, I swapped out some of my artwork that has been on my studio walls for a while with pieces that are reflective of my current style and voice. And yet, I so love this mini-series I did with vintage dictionary pages ~ which is why they have been in my studio and I haven't been able to part with them until now. 

I have always been fascinated by the sketches that accompany a definition in a dictionary. I often wonder how it is decided that a word gets a picture and who makes that decision. As I page through old dictionaries, I have a habit of pulling out sketches that catch  my eye ~ either for their artistic interpretation of the word associated with it or because I thought it was fascinating (or hilarious) that the publisher decided an image was necessary.  

Cotyledon ~ in the embryo of a seed, the part nourishing the elementary plant. Oh, how I love that! Marbled in green and white.

With all of these pieces, I've marbled a traditional Italian Vein pattern over a dictionary page affixed to a wood panel. By using a "clear paint" in the marbled pattern, the natural wood grain is visible and adds an additional layer of texture and personality. 

Cougar ~ I have only caught a glimpse of one's tail on all my hikes in the Angeles National Forest. In shades of blues, brown, and white. 

There are a total of five in this collection, all measuring 6" x 6" (and 1.5" deep) with edges finished with a layer of white paint.  $54/each ~ buy two or more and get free shipping!

Take a wander over to my shop and see if one (or two or all five!) speaks to you. 

Exercising Different Creative Muscles

When I was at the TAG exhibition a couple of weekends ago, I got to spend some quality time with artist (and musician and teacher and designer and, and, and...) Bill Russell in his studio. I had the honor of seeing some of his recent work in which he was exploring a new direction ~ or rather, using a new motivating force from which to create. Bill usually draws upon music, specifically jazz, as inspiration but recently he's turning toward a particular emotion to guide his creativity. And that same emotion was a driving force behind a series of pieces I worked on this summer. I could relate to what he was doing and where he was going.

As I was taking in his work, he opened a sketchbook and and asked if I wanted to collaborate on a page. My immediate reaction was panic. You see, I don't do sketchbooks. I'm not a sketcher. I'm not even a mark maker. So when he asked me I thought, "Oh, boy. He's gonna think I'm a fraud artist." But when Bill admitted he doesn't collaborate and was just as uncomfortable about the idea as I was about sketching, all my inhibitions melted away and I dove in.

We had a wonderful conversation during that sketchbook time about collaboration and how it works ~ making marks on the page along the way, reacting to each other's actions, back and forth and back again. And the question Bill kept asking was, "Are we done yet, Barb?"

And that's a great question.

The next day, I was back in my own studio and instead of marbling, I got out large sheets of papers and started making marks. I grabbed paints I don't marble with (oils and hard bodies and inks) and let loose. Without a specific plan and letting the moment take over, the next thing I knew, I had a dozen really interesting pieces that made me see my own medium differently. Bill had opened up something new in me.

And that's what collaboration will do to you. Even if it's just one page in a sketchbook.

The answer to Bill's question is simple: no, we are not done yet. And hopefully, we never are.

Stories

Here is another direction I've been exploring. I'm loving the circles these days. Making them in the tank is such a trip. Patience (and more patience), an understanding of what your paints are doing, the depth of the bath, weather (I've been working in humidity levels as low as 13%...yikes!), and more patience all affect the outcome.

These are all on wood panels. I paint a background color, marble over it, sand it a bit, and sometimes marble and sand again. Then I mask off a shape (oh, I'm in love with shapes these days as well!) and marble again. Finally I remove the mask and voila! 

I think these broken ~ or interrupted ~ circles tell such a story and, when combined with the organic shapes and distressed backgrounds, there is quite a narrative going on.

Creating Language

I've been really, really busy in the studio these past few months and have been negligent in keeping my blog (and other social media sites) updated with news. This is not an apology. In fact, I'm very proud of the fact! I'm very protective of my time these days and when my energy feels at its best in the studio, that's where I stay.

But I'm emerging now to share in some of the goodness that has been happening in my world. Over the next few days, I'll share some of the exciting directions I've been exploring.

Today's images are from a little experimenting I was doing with creating backgrounds that I would then marble on. This idea emerged from the mini-residency my friend Liz Kalloch (check out her new website!!) and I did back in August.

She is a BILLION TRILLION times better than I am at making the backgrounds beautiful and interesting ~ but part of collaborating is being able to understand what your partner can and can not do...or needs to be pushed to do. By attempting to make backgrounds myself, I learned so much about the process (and how I can contribute to that process) and can communicate with her in a whole different way. Because that's what collaboration is all about: creating a new artistic language.

Indescribable

I've been quiet here on the blog lately and there's a very good reason for that. I'm still trying to find my way into how to share the soul-shifting experience of the two-week residency I did with my collaborator and friend Liz Kalloch. In some ways, I don't want to tell the story ~ that by doing so will weaken its power. In most ways, I simply can't. It was 14 days completely and totally committed to the creative process ~ and boy did we dive in, go deep, and not come up for air until we had to.

We put no pressure on ourselves ~ only to commit to being in the studio together ALL day (we usually got to the studio about 8:30 a.m. and didn't leave until after 7 p.m.) working on our collaboration projects we call New Ground. We had no number to meet, no agenda to complete. It really was an open-ended voyage into exploration.

Along the way, we tapped into some good, good stuff. Almost effortlessly, we produced a nearly complete series involving patterns (all on wood panel) and got a good start on a couple more directions we are excited to pursue. (But not being in the studio together to nurture those new directions together is a hard pill to swallow.) And on a personal level, I unexpectedly found my way into a couple of new creative directions I'm excited to explore more of.

It was a time of color exploration for me.

The brighter the color, the better!

Color study ~ seeing how paints behave when overmarbled on black.

Integrating creative styles.

Alumming oversized paper!

Our chill spot outside the studio (also the gathering place of several happy hours with other artists in the building)!

Busted out the oversized tank and had a blast!

Color, contrast, cracks...

Studio dog, Henri.

Works in progress...how we stratigize.

Work in progress...

Work in progress...

Peek at the finished piece!

Peek at another finished piece.

Another peek, another piece...

Work in progress...

Peek at the finished piece.

At the last minute, we decided to create smaller replicas of the original pieces.

What I learned during this time is that collaborations, when with the right person, is exhilarating. It sounds cliche but it's true: it's like a dance. You feed off each other's energy, guide each other across the dance floor of process, support each other when there's a stumble, and can't imagine dancing to that song with anyone else.

I also learned something about myself: that all my years of practice, of study, of showing up and DOING is worth it...it makes a difference. In little bits it never seems like I'm getting anywhere but when something like this happens ~ where you draw from so many areas of your skill set and talent and creative vision ~ you see the mosaic as the whole that it is.

Things are Hopping in the Studio

Two new works-in-progress...

Meet me at the corner of Color and Movement.

Nervous about this one...eeeeek! A few more rounds to go.

Another Set of New Work

These took a while to emerge. And there are lots of layers. Layers on layers of layers. Some are emotional. Some are pages from a vintage garden book. Others are regular paint and marbled layers. And in between is the spiritual. These pieces are personal. And now, it's time to let them go.

New Work: Summer Series

I am so, so happy about these new pieces fresh from the studio!

These are the story of my summers ~ this summer and the many before. The colors are inspired by Minnesota greens and Push-up orange (the frozen treat!). Light and airy, these pieces conjure up the sound of loons, the taste of fried sunnies, and the smell of approaching thunderstorms.

I have been working a lot on wood panel lately and even though I find it more challenging and limiting than paper, I'm enjoying the exploration. I've also been playing with incorporating other artistic mediums and materials into my pieces ~ in this case, adding paint, wax and glaze.

These one-of-a-kind, original pieces are for sale in my shop. Head on over to check them all out.

MMoA Exhibit Featuring Marbled Paper!

I am so excited about this! The special exhibition, "Sultans of Deccan India, 1500–1700: Opulence and Fantasy" will be at the Metropolitan Museum of Art in NYC from April 20 through July 26, 2015...and guess what?!! It features several examples of marbled paper!!

The always-fascinating marble historian Jake Benson (the man knows his marbling history like no one else I know!!) shared some information about what is at the exhibit as well as some historical background. The total marbling nerd in me LOVED his write up so, with his permission, I am posting his commentary below.

A few notes to clarify some things if you don't have a marbling background:

• Abri is a Persian word for the art of marbling (Ebru is the Turkish word).
• Jake talks about our own Christopher Weimann who is considered by most American marblers to be very instrumental in bringing a better understanding of the global history as well as the process of marbling to the US.

The exhibition features several examples of marbled paper, including the earliest dated example from the Islamic world, a pair of leaves bearing primitive motifs, probably made in Herat and then given to the Sultan Ghîyâth ad-Dîn Khaljî of Mandu as a gift in 1496. Five marbled drawings will also be on display, several of which were studied and reproduced by the late Christopher Weimann, such as Dervish Seated in Contemplation and two versions of Emaciated Horse and Rider, which Weimann proved were made with positive and negative stencils, likely cut from the same sheet of paper. Two drawings of Deccan noblemen with vivid marbled double-borders are also featured, which were both detached from a Deccani album now preserved in the University of Edinburgh (though a few other leaves are still preserved in Indian collections). This album contains a preface written in eloquent Persian that exclusively praises the master marbler Mîr Muhammad Tâhir in the highest of terms, adding that "…among the refinements of this album are the abrî borders…". This is significant, as the album contains specimens of calligraphy composed by famous masters, but they were not cited by the author of the preface, thereby demonstrating the high regard held for what were then novel forms of abrî. 

Little is known about Mîr Muhammad Tâhir other than he was a Persian émigré to India; although, according to both Persian textual sources as well as surviving physical evidence, he was apparently the first marbler to produce a range of distinctly different patterns made using specific techniques, such as manipulating the floating colors with combs, fashioning rows of tiny curls, as well as different special effects probably made with chemical additives. Proof of his fame is further underscored by two missives written to this master by Safavid artists who worked in the library of the shrine of Shâh Sâfî in Ardabil in Iran who praise his work and beg him to reveal his methods, one of which contains a chronogram dating to 1599-1600. This occurred after the governor of Azarbaijan province, Zû'l Fiqâr Qaramânlû (d.1610), who also held the ceremonial role of guardian of the shrine, was so astonished upon seeing examples of the Mîr's work that he commanded his artists produce similar papers for their manuscripts. Ironically, this same governor also served a stint as an ambassador to the Ottomans, so he may have played a role disseminating some of these then-new techniques to Turkey. 

Incidentally, a 15th-century Persian manuscript of the Mantiq al-Tayr of Farîd ad-Dîn ‘Attâr now kept in the Metropolitan Museum, re-margined with marbled papers that are strikingly similar to the album in Edinburgh. It bears a seal from the shrine of Shâh Sâfî that dates to 1608, roughly during this same time period under discussion, although it is not clear if it is the work of the artists in Ardabil or of the Mîr himself. The quality of the marbling in these works is outstanding, not only for the range of patterns that he made with vivid, highly refined mineral pigments instead of organic colors observed in marbled papers produced earlier in the 16th century, but also for how he successfully styled the colors into fine, delicate lines, and utilized up to 10 separate hues. Unfortunately, while the texts do not indicate where in India the Mîr resided, the evidence points to the Deccan, and one detached leaf now in the National Museum in India that I have identified as also from the album in Edinburgh, bears a fragment of an accession statement to the private wardrobe of Ibrahim ‘Adil Shah of Bijapur.

For those of you who are unable to see the exhibition, it is fortunately accompanied by a catalog, including a brief chapter "The Art of Abri: Marbled Album Leaves, Drawings, and Paintings of the Deccan" written by myself. Unfortunately, the word limit imposed by the editors made it a very challenging essay to write. Nevertheless, among other points, I challenge the exclusive ascription of marbled paper production to Bijapur during the reigns of Ibrahim II and his successor Muhammad in the 17th century, as there is ample evidence for marbled paper production in other parts of India, as well as drawings that likely date afterwards to 18th–century Hyderabad. Since the essay only discusses 5 of the 40 such works that are known, I plan to revisit this topic in a more detailed article reviewing all of the pieces in the near future. 

I will be making the journey to NYC to see the exhibit this summer...and I will bring back what I can in photos to share. If anyone goes to the exhibit, please let me know and share with me what you thought of it!!

Work in Progress: Creating the Supporting Background

I am working on two projects where the featured piece needs to be supported by a strong but unobtrusive background. This is new territory for me as far as incorporating marbling into the process. I'm excited to be experimenting, especially with new materials and techniques, but I'm also feeling out of my element and therefore incredibly novice and, quite frankly, stupid. But what the heck...you only live once! Some shots from one of the projects:

There are a few more layers I have in my head that I want to add here but I'll be taking baby steps with those. I'll share the process along the way. Stay tuned. Who knows what will happen!

41 for 41: Visit Watts Towers

It was better than I expected. I wasn't expecting something bad, but I wasn't expecting SO MUCH.

Simon Rodia was an Italian immigrant who was a construction worker by day. For more than 30 years, between 1921 and 1955, he set to work in the evenings single-handedly building his mosaic wonderland piece by piece using nothing more than his hands and simple tools on land he bought for $900. "I had it in my mind to do something big," he said. When he was 75 years old, he gifted the property to a neighbor he liked and moved to Martinez, Calif. never to return again. The Towers have been described as "a unique monument to the human spirit and the persistence of a singular vision." Truer words could not be spoken.

What drives a person to do something without recognition and without expectation? What compels one to create? Rodia had no formal education let alone an education in the arts or in engineering. His work has survived earthquakes and inspired a community to build an arts center right next door.

Watts Towers is at the top of my "must see in LA" list for any visitor or resident alike. The park surrounding the Towers is beautiful and a perfect place for a picnic. The adjacent Arts Center has three small gallery spaces that are a must see. Take the tour which allows you to go inside this magnificent structure and see the intimate details. You can't help but look at each mosaic piece and wonder why Rodia chose that one and placed it that way and put it in that spot. Everyone associated with the Towers--from the security guard patrolling the grounds to the tour guide (thanks, Howard!!) to the people working in the Arts Center and galleries--is friendly, passionate, and engaging. There is a sense of pride in this place...pride in the community of artists who have come from here (including Charles Mingus), pride in being a place for encouraging and supporting the arts, and pride in self-driven accomplishment. For all of the vile history Watts is attached to, there is no room for pity or excuses here. You can't help but walk away wondering what more you could do with your own life. What would your Watts Towers look like, if you put your mind to it?

For more information: http://www.wattstowers.us/ and http://wattstowers.org/

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Hello, Spring!

My new header this month is in honor of the spring weather we're having here in LA. Rain, cool temps, sun, warm temps, rain, cool temps, sun, warm temps, rinse and repeat. Crocuses and tulips are already gone. Azaleas are on their way out. But my garden is starting to FINALLY burst. After a tough winter with failed crop after failed crop (come on, broccoli...why you gots to be so mean to me?!!), I'm counting on summer to bring me my beloved kale, scallions, beets, Kentucky wonder beans, tomatoes, and more. I'm sort of cheating here as the header comes from this piece, which was featured on my blog earlier this year. I'm not a good flower maker when it comes to marbling. Actually, I'm a horrible one. Catastrophic is probably a better word. You really should check out the work of this AMAZING marbling artist, Gafur Yakar. Dude does flowers like nobody's business.

Seriously, how insanely spectacular are these? Even the backgrounds are drop-dead gorgeous.

Power is Closer than You Think

Your power is in your individuality. -Naked Cowboy

Best advice I've had in my life.

Giving the Gift of Marble

One more post about marbling and then I promise to move on to a different topic for a few posts. I recently had the wonderful opportunity to give a couple of my marbled pieces to people as gifts. The first one was to my hubby, Emmett. (And yes, I count that as gift giving.)

During my last marbling session, Emmett came home from a long day at the office, grabbed a happy hour drink, and meandered into my studio to take a look at my latest creations (talk about a supportive husband!). He was immediately drawn to one particular piece--a large square of canvas that had a stone pattern on it. I was touched by his sincere admiration of the piece, which he kept returning to with much exclamation ("Babe, this is really beautiful!"), and decided to frame it up for him for is office. I figured that even if he decided he didn't want it there, I could find a spot for it in our home (after all, I loved the piece, too) or sell it at the Peach Tree Holiday Show. Well, I didn't have to worry about those alternatives as Emmett happily took the piece to work.

I love knowing this piece is in his office, that a little part of the creative me is there with him (besides the cards I frequently send him that he displays on one of his bookshelves), and that he finds my work not only interesting and professional enough to display, but proudly does so. He told me that after he put it up, the next person to walk into his office immediately noticed it and wanted to know more about the art of marbling. I love that! It's all part of my grand plan to bring marbling to the masses!

The other marbled piece I gave as a gift was to my lovely friend, Bill, for his birthday. Bill and his husband Kelly recently bought a vacation get away in Idyllwild. We celebrated his birthday there last month and my gift to him was professionally framing a marbled paper of his choosing. When I brought out my portfolio and started going through it, he immediately zeroed in on a piece and said he just HAD to have it. And this is the end result:

Bill chose a lovely bouquet pattern made on red Italian paper (oh, how classy!) with accents of gold (oh, how classier!). It is a piece that I knew was special but didn't know what was going to become of it. And then along came Bill. In his own words:

The stunning piece you gave me for my birthday continues to rule over the Idyllwild house. For those of you who haven’t seen it, the piece was made on red paper and is done in my favorite colors, red and orange with touches of gold. This happens to be the colors in the chairs of our living room and we had not found the right piece to hang over the mantel in that room. When Barb gave me my choice of about 30 pieces of paper she’d made for my birthday, I instantly knew that was the one! A few weeks later she arrived with the piece framed in beautiful gold and snuck it into position over the fireplace. I noticed it IMMEDIATELY because it so perfectly tied the entire room together. It even matches my FRINGE. And continues our tradition of filling our home with art made by our friends. So all hail to Barb, master paper maker and great, great friend.

Wow! Does a thank you or praise or endorsement get any better than that? I am simply in heavenly bliss knowing my marbled piece is in their beautiful, warm, and inviting home. How lucky am I?!

Peach Tree Holiday Show Recap

Wow! What a wonderful show we had at Peach Tree Gallery this weekend! The gallery looked AMAZING filled wall-to-wall and top-to-bottom with spectacular work from the 13 participating artists. I was blown away when I stepped into the space and took it all in. Blown away!

Our customers were fantastic as well! The enthusiasm and appreciation they expressed for ALL the artists' work, whether they bought something or not, was so beautiful to experience. I must have spoken to a couple dozen people who were genuinely interested in the marbling process. And I overheard lots of conversations between customers and the other artists about their work and process as well. That's what I love so much about the people connected with Peach Tree--they truly have a deep and contagious love for art and the artist. As one of the artists said, "I can't get over how customers thank ME for my work when I'M the one that is grateful for their support."

I had told a friend prior to the show that I just wanted to "bring the art of marbling to the masses" and my goal with the weekend was to share my love and passion for the art with others. Well that goal was accomplished...and then some. Of course, I was thrilled that many of my individual marbled sheets have new homes and that I sold out of my journals and sold one of my framed pieces!

Many, many thanks to everyone who came and showed their support. I was touched that friends came from all over LA (even Eastsiders made the trek to the West Side!) to check out my latest creative endeavor. And I so value the words of encouragement and cheers from friends and family afar who would have gladly been at the gallery had they not lived in places like Minnesota, New York, North Carolina, and Australia!

In many ways, this show was a test run for me. I have BIG ideas for my work but wasn't sure if there was an audience for it, or if there was, if they were receptive to my style of marbling. The Peach Tree Gallery Holiday Show proved to me that YES, there is a market and YES, people like my work! I am so inspired and look forward to turning my ideas into actual plans with amazing (hopefully) results! Please continue to follow me on this blog and share the journey with me!