I’ve been in transition lately. Where in the past the crispness in the air of Fall has been invigorating, this year it feels a little mournful. The busy Summer has moved into the new schedule of the school year. My oldest daughter started high school this Fall and both girls are starting earlier in the morning, which is challenging for the whole family.
The big transition happening in my studio life is that my wonderful, creative, inspiring studio-mate Anne Baumgartner is moving to Los Angeles. Anne is an amazing person and artist and has been an incredible support to me. I know she’ll be popping in and out and, as she says,”still has a Seattle address,” but it won’t be the same. I’ll miss you, Anne, your energy, your dedication, your integrity, your strength, your supportive ear, and your laser-sharp eye!
Not to say I don’t still have amazing studio-mates, Anna McKee, Paul McKee (that’s Paul E. McKee), and Pam Gray. They are all so very different and each of us adds our own special spice to the Easelstan mix. We’ll be having a group show (including Anne) at the Phinney Neighborhood Center in February. Look for news on that in the upcoming months.
But about those doors and windows. I feel like I’m in transition in my art. I don’t know what the next thing is and it’s an uncomfortable place to be. There’s something different looming ahead but I can’t quite make it out. That feeling of being unsettled in my work bleeds into the rest of my life, I’m a little cranky, a little at loose ends. I’ve been through this before and it helps that I know it will resolve, but it’s still no fun to be here now.
In this unsettled place I figured the best thing to do was to make something, no matter what it is. I got the image of making this hanging piece for Anne as a gift to take with her. The image of the door with a window in it means new beginnings to me, with the window offering a peek at what’s ahead, but the piece has two sides, one looking into the future and one looking into the past. I hope that she finds a place to hang it in her new studio and occasionally thinks of me.
This is where I am now, the door isn’t open yet, but I can begin to make out what’s through it when I look out the window.
I feel fortunate to be able to combine my love of festivals, like the Oregon Country Fair and Burning Man, with my more formal studio work. For the last three years my family has been a part of Ambience crew at OCF, creating a “living room” call Yew Are Here where fair goers can relax for a while. I bring painted silk banners and lanterns, rugs, pillows, and a few games and create a welcoming and beautiful little chill spot. At night we light the lanterns and it becomes a magical oasis all night long.
Here are some photos from the Foster/White show. The gallery did a great job hanging and lighting it. I find in making and showing art there are many steps to letting go of your work, much like in raising children. I find I hold the pieces so close during the making, the first step is letting go is getting the work photographed. It allows you to see the images for the first time through someone else’s eyes. Another step removed is to see it displayed, and then the final letting go is having the work go to a collector. I love it when purchasers send me a photo of how they display the work. It’s a chance to see it go full circle.
I attended the opening of the Bellwether Art Walk, a group sculpture show in Bellevue that includes one of my pieces. The indoor sculpture is at Bellevue City Hall, a beautiful building with an amazing terrazo floor. The outdoor installations are at the Downtown Park.
I was invited to show two pieces, Leaf Vessel and Can I Help You?, in the Rio Patchwork Design Show in Brazil this year. The organizers of the show have a strong desire to introduce their local quilters to art quilts. Through their research they found CQA and invited a number of members to participate in the show. They did a beautiful job with the display of the artwork and the show will travel to two other cities in Brazil.