In her Studio Journal posts, Liz likes to explore her creative process, from philosophical theories to nitty-gritty shop talk. The stories and photos recount her joys, challenges and creative evolution for her collectors and community. You are invited to poke around in the back pages, as there are some priceless musings, moments and tips there too. Thanks for reading!
Many exhibits I participate in involve largish groups of artists and a wide range of media. My heart is with the curators, gallerists, display mavens and workerbees who handle and metaphorically rub the aesthetic tummies of often quite disparate pieces in order to create a cohesive, even inspired, presentation of them all. There are challenges galore to that effort every single time and I aim to ease their task in any small way I can with pictorial love notes.
Exactly what happens in a cocoon, that organic black box of metamorphosis? The caterpillar attaches, spins a blanket, and proceeds to digest itself, keeping only a few “imaginal discs” to generate the adult body parts it will need, and using the rest of the resultant goo for food. In the months since I have last written in this Journal, I have been in a metaphoric chrysalis, happily sipping my own “caterpillar soup” which I am only now able to take a stab at describing.
I wanted an iceberg image to illustrate this journal entry about art pricing, but I didn’t want to use stock graphics or to draw one. Everytime I considered something else, I balked. It had to be an iceberg. So, being fresh out of tickets for a North Atlantic cruise, I improvised. Turns out the head-of-iceberg-lettuce-as-stand-in-for-iceberg-metaphor works even better, as we shall see.
Are you jealous of the ocean’s generosity? Why would you refuse to give this gift to anyone? Fish don’t hold the sacred liquid in cups. They swim the huge fluid freedom. –Rumi
The temperamental obstacles of Comparison and Envy, which I haven’t fully morphed out of my life yet, have become opportunities for a transformative practice which helps them dissolve more elegantly. Discernment and competitiveness – generally accompanied by a high dudgeon and despair – were marginally more workable in my youth, what with school and jobs and boyfriends and such. But now, at a gentler juncture, they are entirely unsuitable and, left unexamined, bring little but boring uni-directional angst. Measuring myself against others in any way has outlived its usefulness and I am now quick to notice it skulking around and invite it to dance. What arrives with the waltz, a “huge fluid freedom,” is where the juju is. So let’s talk about that instead.
By the time you read this I will be one or less days away from my only major in-person show this year: the annual ACGA Palo Alto Clay and Glass Festival. There’s an unholy amount of prepping to do to ensure I represent myself well in a constrained 10′ x 10′ setting. Add to that the fact that I haven’t been able to do this show since 2015 and have both cream-of-the-crop older and brash hot-out-of-the-kiln work to share. Still, after five times, I know my drill and the Festival itself is fantastically organized, so it will all happen as it should.
After the art was finished and curated, I got curious to photo-document the maelstrom created by the show preparations. It matters that it’s done at a measured and sane pace because it’s absolutely the optimum way I support my exhibitorship in advance. The photographing, the pricing, the list-checking, the rounding-up of all the booth and display parts, the packing, the snacks and the changes of shoes all count. So, with only a few days to go as I write, here’s an annotated behind the scenes photo essay for you. Let’s start with the uncurling of the brand new but long-stored booth banners relaxing in the sun on the hot tub cover, looking like the Star Wars opening crawl — if it were done in classic Cooper Black (a typeface “for far-sighted printers with near-sighted customers.”)
Up in the attic pawing through tubs teeming with my older ceramic work, I sat chuckling and chucking a goodly portion of it. Then I hauled the remainder down into the daylight to plead its case for retention. Concurrently, I clicked to the outer reaches of my Artwork Image Folders, creating sleeker organization and curating like hell. (Don’t worry, as of this writing 17,127 files remain.) This trip through my overgrown creative back pages has served to both inform and to deeply overwhelm. SO much work and so many changes of techniques and styles! For clarity’s sake, couldn’t I have settled, made only one or two styles and just been happy?
If this was a chapter in my autobiographical how-to book (working title: Fired Up), it would be much longer and charmingly anecdotal, starting with one premise but taking off on profound and oh-so-meaningful tangents before returning to a heart-rending culmination. But, instead, it’s a journal entry and it needs to get in and out in 800-1000 words. I think I can do it – particularly the heart-rending part – and I will tell you the word count at the end.