A Gallery Full of Words-Katie Grip and Kristen Bradford

Oh how hard I tried to make a video of this installation and well, I blew it. I obviously need to read my owners manual. But to find the time...that's another matter.

Oh well, enjoy the stills. Work of Katie Grip and Kristen Bradford. Was displayed in East Gallery at CGU.

Studio Sneek Peak. New Work: Grids With A City Sensibility

Diligently working every day this summer. I am enjoying the quiet of listening to my own voice without the professors daily input. My focus has been: Grids With A City Sensibility.  Let me know what you think of this new body of work. 

I am posting it ALL FOR SALE. Prices are reasonable. During the month of August I will be preparing for Year 2 of graduate school at CGU. The preparation includes finalizing my Thesis Paper and purchasing supplies for my final show sometime in the Spring of 2013.

Suzanne Gibbs, 2012. Reused, 20 x 20. Oil on Canvas. $280.

Suzanne Gibbs, 2012. Face Grid, 24 x 24. Oil on Canvas. $340.

Suzanne Gibbs, 2012. Rubber Band Grid, 20 x 20. Oil on Canvas. $280.

Suzanne Gibbs, 2012. Pocked, 24 x 24. Oil, canvas, paper, wax pastel, encaustic on wood panel. $620.

Suzanne Gibbs, 2012. Not sue if it finished yet grid, 24 x 24. Encaustic, pen, canvas on wood panel.
NFS, yet. Convince me it's finished, then you can purchase it!

Suzanne Gibbs, 2012. Musical Grid, 18 x 22. Tape, paper, canvas, oil, gouache, acrylic on Canvas. $280.

Suzanne Gibbs, 2012. Collaboration 1. 14 x 11. Acrylic, oil, oil stick, canvas on canvas. $180.

Suzanne Gibbs, 2012. Collaboration 2. 14 x 11. Acrylic, oil, oil stick, canvas on canvas. $180.

Suzanne Gibbs, 2012. Character Grid. 48 x 36. Oil, string, paper, gouache, oil stick on canvas. $575.
This one is slightly discounted because the canvas stretchers warped just a little bit after may layers of paint.

Packing and shipping are extra.

Review: Daniella Woolf

Unbelievable! The cover of a magazine jumped out at me today. My encaustic teacher Daniella Woolf from a workshop I took about a month ago at R and F Paints is featured as the cover artist in Cloth Paper Scissors magazine, a publication for collage, mixed media, and artistic discovery.

Way to go Daniella! So excited for you. I want to work with you again, soon!

Suzanne Gibbs, 2012. Pick Up Stix. Encaustic.

I started the above art work when I was in class with Daniella. Since then I submitted it to Studio Visit Magazine and it was juried in by Jonathan Greene for publication this winter.

I cannot thank Daniella enough for her  teaching and encouragment. With her help I have brought my work to a new level.

In the artist profile article in Cloth Paper Scissors, Barbara Delaney writes that Daniella Woolf uses her own unique combination of artists techniques to keep herself focused and grounded to making not only more work but coherant work. I'd like to share with you the three tips that jumped out at me from the article:

1. Morning Pages
2. Containers 
3. Ideas flow from a bigger force.

Morning pages was an idea coined by Julia Cameron. For the past 18 years or so, beginning with a workshop I took in Eugene, OR, I too have found myself working back and forth between using the morning pages technique and abandoning it. Often, it is most helpful when I am feeling stuck.

The containers idea, while not new, is becoming increasingly important to me as I develop my practice while earning my MFA at CGU. I have been making art for the past 30+ years, more if I count my childhood. I am off and on again with my production. I am beginning to realize that I have often dropped away from my creative work when I loose sight of containing the ideas that flow through me. I LOVE the containers idea!

Basically, containers means setting parameters BEFORE beginning a series of work. I would like to attend a workshop on this idea alone. Instead, I will try to channel Daniella and remember that I can produce a more cohearant body of work by roping in some part of my practice. The container could be the materials, the size of the work, the colors I use, or any other parameter that feels appropriate. If you, dear reader, have any ideas on this topic, please share.

Finally–the work comes from forces larger than ourselves. The larger force is different for everyone, but many would agree that it is out there. Thanks for reading and most of all Daniella, congratulations and thank you for your awesome work!

Pay Attention To What You Pay Attention To.

Clearly, where we put our focus is what we will materialize in our life. I am finding that in grad-school everything is what we make of it each day. What we choose to pay attention to manifests the results. Post-grad work will be a plethora of opportunities–or at least I sure hope so! 

Suzanne Gibbs, 2012. Linear Collage. Gesso, acrylic, gouache, tape, paper, and canvas on canvas.

Myths that I hate, Artists are:

poor.
loners.
weird.
replaceable.
crazy.
odd.
unreliable.
 

A Can Do Focus

The steps, as I see it, that can be taken to bust the myths.
Work the Art.
The business of art.
Work ethic.
Resiliency.
100% supportive people.
Understand and leverage the power of ideas.


I took the time to look up the artists that I feel are best symbolizing the above mentioned myth busters. Following is what I came up with.

Work the Art

“I follow my instincts and work on the projects that interest me, whether writing, painting, blogging...or something else. No one can anticipate where each project will lead – you just have to embrace the not-knowing.” Sharon Butler, 
Author of:
Two Coats of Paint and other publications, Artist and University Professor.

Sharon Butler, Untitled (detail), 2012
pigment, binder, pencil on unstretched linen
48 x 60 inches

The Business of Art 

“All my work is about what we want from art, what collectors want, what artists want from collectors, what museum audiences want.” Andrea Fraser, Artist, Performance Art, Writter, University Instructor

Andrea Fraser.

Work Ethic 

“I am the head of a team, a coach, a producer, an organizer, a representative, a cheerleader, a host of the party, a captain of the boat, in short, an activist, an activator, an incubator.” Gabriel Orozco, Artist and business owner, lives in two countries.

Gabriel Orozco. Yielding Stone (Piedra Que Cede), 1992. Plasticine and dust.

Resiliency

“I was supporting myself, but nothing like the guy painters, as I refer to them. I always resented that actually.. we were all getting the same amount of press, but they were going gangbusters with sales.” Cindy Sherman, Artist, Performmance photographer.

Cindy Sherman.

100% Supportive People

“I think about, the economics of collaboration.” Alexandra Grant, Painter, Collaborative Artist, Business Owner

Alexandra Grant. Studio Shot.

 Power of Ideas

“I just wanted to find out where the boundaries were. I've found out there aren't any. I wanted to be stopped but no one will stop me.” Damien Hirst, Artist, business owner, celebrity.

Damien Hirst.

 

Focus on a career in Art:

Work the Art.
The business of art.
Work ethic.
Resiliency.
100% supportive people.
Understand and leverage the power of ideas.
 
We all have the potential to be our own brand of artist.

My brand of artistic career contains the following:
Making Art
Teaching Art
Writing about Art


– And for some shameless self-promotion, if you are reading this blog thank you. If you really like the content consider subscribing (use the button to the top right). Alternately, if someone shared this post with you and you want to see more, go to my Blog at:
 
http://suzanneutaskigibbs.blogspot.com/
 
Most importantly, what did I leave out that any one of you might find highly relevant? Please share in the comments section below.

Book Review - The Death and Life Of American Cities

This summer I read "The Death and Life of American Cities" by Jane Jacobs in order to further the research needed to deepen my practice of understanding the anomalies I see in everyday random moments, the patterns of life upon our environment. Especially in cities and how they support the life we live. All that I see influences how I paint.

Can you imagine my surprise when I found out that my brother's wife's mother's aunt IS Jane Jacobs! We need more words for relatives, the way Mexicans do. My brother's mother-in-law's aunt, is that clearer?

Here is the excerpt of the moment when my brothers family member (and mine too by extension) realized the connection:

"Suzanne, did you know that my aunt, Jane Jacobs is noted widely as a heroine in the pursuit of building cities for people? You might look her up. Her best known book was The Death and Life of American Cities. Neighborhood walks are held all over the world to celebrate her philosophies, around her birthday. I just thought knowing she was a quasi-relative might reinforce your quest!

Jane (and Bob) was a big influence on me and my girls because we spent about every 6th weekend with her and my Uncle Bob, in Toronto, all the 13+ years we lived in Buffalo, until we moved in 1984. They lived in Greenwich Village when I was a kid, and we visited them there. Jane is my Mom's sister-in-law. (BTW, Mom will be 100 this year! Looks like we have longevity like you do!)

Check into the "Jane's Walk" (online). Iona and I went on one in May, in Cambridge, and my brother Robin and I went two years ago. There were several in Boston to choose from, and 8 in NYC! Amy went on one, this year, in Seattle.

A peak-a-boo picture through a fence in Los Angeles on Fairfax Avenue.
Possibly considered blight by others, to me this is Art!
And the shops in this area are fantastic.
We drive an hour to visit the Thrift Stores and other amazing shops in this area.

Their children live in Canada, and I often see some of them when visiting Amy and Steve, since the congregate in Vancouver, BC now and then! It means a lot to me that Jane's philosophy is meaningful to YOU!

My Uncle Bob was an architect, and primarily designed hospitals, again, trying to create an environment where people would be comfortable. He died in a hospital he designed. I visited him there, and with a big smile on his face, he said how lucky he was to be in such a lovely place to die. Hummmm. We should all feel that way about our environs.

The stickers make it quite clear that many people visit here. Fairfax Avenue in Los Angeles.

That makes me think of your theme of "no home." We search, I think for that comfort of what we think home should be. Jane had a larger concept. I find a lot of my work is done in warm tones, colorful, and with comfortable "domestic" topics... home. For many years my life was chaos, and I was terribly unsettled.

When my parents announced they were moving to FL (after I'd moved east to be near them), that was another jolt, but I made my first, comfy, home here, and love it. Now, I can move and realize that my home is where I am, and what I make it. I can leave if I want or need to. Thus the artwork. It freed me up, some, I think. Just thoughts provoked by your journey..."

Even the weeds like Fairfax Avenue in Los Angeles.

While I read the book by Jane Jacobs I felt like I was reading the words of a kindred soul. I wanted to tell her I believe you, wow, yes, tell me more...there are all sorts of ways to evaluate the patterns of life and the people who live in cities. 

Jane Jacobs' work was first published 50 years ago, however much of what she says still rings true today. At least it does for me. I am so thankful for her work. Next May I plan to attend a Jane's Walk. How about you?

Go See It–LACMA Visit

My family and I went to see the art work "Levitated Mass" on July 7, 2012. Or as well call it, "The Big Rock at LACMA." Nicknamed, "The Rock." Upon first approaching it my younger son said, "So what is the big deal with this rock, the Egyptians moved a lot of rocks, maybe even bigger than this one, without any trucks." He was not in LA during all the news coverage, so he really did wonder, what is the big deal?

He has a point.

As a family we approached the art piece as do many other people by walking down the ramp towards the rock. We stood under the rock for a few seconds. We looked up and noticed that it is bolted to metal strips on either side of the deep ramp. We began walking up the other side of the ramp. While moving away from the boulder we turn around a few times to look again. We took some pictures.

My Husband and Son.

The Bolts under the Rock.

Other Families.

It is funny. When we arrived, the rock did not feel or look that big to any of us, but as I view these pictures I realize that yes, the scale is rather large in comparison to the people in the photographs. The images are right out of my camera. No special lens. No Photoshop. As my older son mentioned while we ate lunch after viewing The Rock, "You know that rock was pretty amazing."

I opened the Los Angeles Times news paper today, Sunday, July 9, 2012 and Levitated Mass is on the front cover. I moved to The Guide, Museums section, and again The Rock is mentioned. This time by critic, Christopher Knight. Basically everyone saying, "Go See It." I would be remiss if I did not mention Michael Heizer, the artist who conceived of this project.

Is Michael Heizer a super hero? Didn't Superman move rocks to save the city from a dam bursting or a nuclear power plant from being demolished? Will Levitated Mass save LACMA from infrequent visitors? Is anything sensational any more?

Our family saw The Rock–um Levitated Mass–and we had a wonderful day. We also viewed Chris Burden's Urban Light. We took some requisite pictures.

We ate lunch off of a truck. We went to TINI–a wondrous store. We went to KR3W–a swell store. We also visited the Original Farmers Market to eat some ice cream. The Grove is nearby. What I am trying to tell you is, go ahead and see "Levitated Mass" because there is so much else to do in a 3-6 block radius. You have nothing to loose.

Did I mention the La Bea Tar Pits, The Craft and Folk Art Museum, and Galleries near LACMA called the Miracle Mile Art Walk? Obviously you could also view a temporary exhibit or a permanent installation at LACMA while you are there. The adventure took a whole day and there was something for everyone in our family.

Encaustic Artists Take Note: Wikipedia is Weak

As a budding encaustic artist I cannot help but notice that there is not enough information in our on-line encyclopedia to encourage full understanding of this most wonderful and versatile medium. We must keep working to bring more information about this wonderful medium to the public.

Suzanne Gibbs, 2012. Fives. Encaustic on paper sheets.

Suzanne Gibbs, 2012.

If you are an experienced encaustic artist, what would you add to the Wikipedia Encaustic information? Please share.

Galley Visit – ISM: 10 Year Anniversary Show

I visited downtown Santa Ana, California and the ISM Show at Grand Central Art Station. I entered this show because I am a sucker for community building in the arts. It did not disappoint.

Not only was the Gallery full, the streets of Santa Ana were alive with activity. All my senses awakened for break dancing, Peruvian musicians, a movie being screened outdoors, food trucks, and single table vendors selling their wares. All the other galleries (I will share on a separate post) in town were open and so were all the restaurants and clubs. A cacophony of people, sounds and sites.

Each artist/community member in the Cheers! portion of the exhibit was given a 4 x 4 inch coaster. All that was asked of the participants was to make an art piece and deliver it on time. As you can imagine, this almost guarantees a full house on Opening Night.

A wall of 4 x 4 Coaster art - Cheers!

Two pieces up close.

Mine was the only one with collage and string on it, most were drawings and paintings.

Suzanne Gibbs, 2012. A Smidgen of Pink.

As you can see from this image, which I took myself before delivery of my work, my coaster was hung upside down. However, I am glad to report that A Smidgen of Pink found it's way into the front window.

There are a lot of coasters to look at.

And a lot of people viewing the work.

Towards the back of the galley was a continuation of the ISM Show. Define Your ISM. And a full house! While I was viewing the pieces I felt as though I was in a room where a young child had figured out how to turn the lights on and off repeatedly. Look. Off. Look. Off. Look. 

The "Look" portion of the moment being me thinking about an ISM in a visual way. The "Off" portion was me moving over "Look" again and be festooned with a new tasty visual lolly pop.

Each ISM was rendered by an individual artist in their own individual style. Feminism, plagarism, socialism, musicism, loveism, sexism, pansperism, absurdism, and the ideas continue. Some being common societal terms, others were ideas made up by the artists themselves.

Two of my favorites are below:

Cody Griffith, Pansperism, graphite and urethane. Aaron Kraten, Absurdism, Mixed Media.

The exhibition will be on display at Grand Central Art Center from Saturday, July 7 until Sunday, August 12. Click here for directions and hours.

Jackie Bell Johnson–Artist Interview

I am so excited to present to my readers my first interview. I hope to do many more. Jackie Bell Johnson is a peer and a classmate at CGU. Her works are sculptural in nature as well as investigations of installation. 

I presented her with a series of questions ahead of the interview and then we talked in her studio as she worked. For me it was a treat to take the time to listen to her–usually we banter about all sorts of topics. This time I focused on what she had to say, or well...I tried harder to do so.

When did you consider yourself to be an artist?

Somewhere in the middle of high school. Before that, I considered the title to be reserved for professionals who show in galleries and sell. A few years into high school and studying art I gained more confidence in my own abilities and gained a broader idea of what an artist is.

After school, where do you plan to locate your studio? Do you have a plan for how you’ll set up?

Immediately upon graduation I'll be moving everything into my garage (which acts as a partial studio now). Once I land enough income to be able to pay my loans and afford additional rent for a studio, I'll aim to get something in East LA. I want to be close to the art scene in Culver City, but I don't want a horrible commute. East LA is a good compromise, and it has many empty warehouses and scrap metal yards.

Does your studio location influence your work?

Being close by means more time in the studio less time driving.

Describe a typical day of work.

What's that? My day is dictated first by how I'm feeling (I have a bad shoulder). If its a good day and I have a large chunk of time I'll work on something more complicated and physically taxing, usually metal or wood. Otherwise, I'm doing something more crafty: painting or weaving.

What materials do you most often use?

Wood and metal are staples in my practice. Wire, linear wooden objects (like chopsticks or toothpicks), and plastics have started to appear a lot. 

What is your most coveted studio furniture piece?

Probably the loft I built over my desk. 

How about this tool rack?

Oh, that...I made it in undergrad, it's just a pallet.

What unique tools or devices do you use which are critical to your creative process?

My hammers, I have a collection of jewelry, watchmaker, and antique hammers. Along with that is my hammering table; I keep it down in the school's metal shop. It's a table with a thick butcher block top which I've mounted a few vices and stake mounts too. The stakes are used to hit sheet metal over to shape it. 

When I was about 14 I asked my Mom to take me to Baltimore for my birthday. I had seen the "big city" driving by it, but I had never been in it. She took me to a bead shop–the best bead shop anywhere.It's called Beadazzled and it is still there. My Mom allowed me to make a necklace while I was there. What I really loved and still have is the hammer and anvil she bought me that day. One is an anvil is a miniature one and all rusty. The hammer is a chasing hammer. Both of them are in my home studio.

Can you tell me about an item in your studio that has significant meaning to you?

My jewelers bench is pretty important to me. It reminds my of all the hard work I've done so far (undergrad was pretty tough), and the importance in craftsmanship in art. Beyond that I keep a collection of antique metal keys. They are a reminder of the "keys to success," as a former boss told me when she gave me the big one hanging at the top.

Describe your project schedule.

I'm working on a lot of things simultaneously and don't really schedule things to be done. I might focus on one or two pieces because of a deadline, but nothing is ever self imposed.

Where/when do you let ideas percolate?

When I least expect them. I start daydreaming while I'm looking at something and I see it change/evolve in my mind. I draw it out and it tends to change even more. I usually sit on the visual for a bit and then I'll randomly see something that sparks a solution for how to build it. Sometimes that takes a month or two.

How often do you clean your studio?

I don't clean. I'll rearrange things and sweep and that's about it.

How do you title your work?

I try to avoid titles that add to the piece. The art should give you everything you need to know, instead of the title explaining it. So I usually use vague yet literal descriptions as the title. Using "Untitled" is a cop out.

Do you have or plan to have assistants?

Budget willing, I absolutely would. For example, I am not the best at wood but still would like to have my wood pieces match the craftsmanship of my other work. Hiring a skilled carpenter would be better than what I'm doing now which is building my own work. I've been doing a lot of labor intensive pieces, and for some of them it would be nice to have some help, just to speed things along.

Have you or would you work for an other artist?

I would like to have the opportunity, mainly because it would give me ties to an artist that is making it, and all the connections they have made in the process. To learn on an intimate level how they function as artists and how they execute their work would be awesome. I would worry about their work influencing mine too much, and so I would be very cautious about working there too long.

Right now I am working with Craig Deines at Mt. SAC. I am learning about classroom administration stuff from him, like grades and attendance. I also admire the intense rigor he expects of all his students. The philosophy of no excuses. Everyone is working to B or A level.

Tell me your artist motto, manifesto or creed.

1. You don't need to fully understand what you're doing, but you need to accept it. Embrace it. It's what makes you you.
2. The idea determines the materials

Any advice for other artists?

Be serious about your career, your studies and your art, but make sure your practice, art, and self are full of humor and playfulness. Notice how art is on both sides of that one?

Any question I should have asked? 

What is your 2 sentence elevator speech?
Do you have any influences, interests, or inspirations for your work that others might find surprising?

Ok so, what is your 2 sentence elevator speech?

I am a sculpture, I use metal and other things. I work to combine industrial man made products and an organic sensibility to see how they correlate while still making a cohesive piece.

Surprise me: influences, interests, or inspirations.

Tori Amos, she's a piano player. I find her work beautiful, although I am aware others might not. She made it ok to have strange sounds coming from a woman. 

Madeline L'Engle, an author. I love reading her books, and not just A Wrinkle in Time.

I am interested in layers in music and electronica.

Inspiration?

I cannot pinpoint inspiration. I do like watching people do things, like workers at construction sites or gardeners. I learn from that.

School here at CGU has inspired me to let go of perfection. I am making pieces that I visualize in my head, without the drive for perfection. Later with money and paid labor, I can revisit some of the work I am making now.

To learn more about Jackie:

Sketchbook Blog:
sylasstudios.blogspot.com

Facebook Page:
http://www.facebook.com/JacquelineBellJohnson

Jackie - Thank you so much for your time!