There is Magic...

As 2011 turns into 2012 it feels to me as though time is speeding up. Because of that, I am doing my very best to make the most out of every precious minute that has been given to me. And I have been spending many of these moments lately reflecting on this past year and looking forward to the coming year. As always, life has brought both ups & downs, smiles & tears, and light & shadow. Throughout it all, my anchor has been art. And for that I feel lucky.

In this moment of transition, I want to thank you all for being there and joining me on this great adventure. Your support of my creative life never ceases to amaze me and I never take it for granted. I "feel the love" everyday and I cannot thank you enough for that.

There is magic to be found in the lives we are all living and I look forward to sharing many more magical moments with you in 2012.

Why?

When they ask why...

...I say why not?

Master Class 3: Jesse Reno

Welcome to the 5th edition of The Pulse -- The State of the Art -- a survey in words and pictures of the online artist community. The Pulse is a collaborative project that aims to introduce you to new artists, help you get to know familiar faces even more, and allow you access into the creative hearts and minds of a very talented crew of individuals. More than 130 artists have answered a series of questions which make up The Pulse. Their responses will be presented in a series of online posts which will run every Sunday.

Style File and Techniques & Tools were the first two projects posted and links to all 23 posts can be found on the sidebar of my blog. The third project, Master Class, continues now...

Participants were asked : 'If you could take a class from one artist from anytime in history, including the present, who would it be and why?'
(Images and links have been added by The Altered Page)
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Chapter 3: Jesse Reno

Quite a few of the participants chose artists from the present time, including many who are in our community and who currently do in fact offer workshops. Jesse Reno was one of the choices most frequently picked. 

"I would LOVE to go to a 5 day workshop with Jesse Reno in Mexico" said Jodi Ohl. "His work is extreme, intuitive, richly layered and contemporary. All things I hope my work is starting to become as I grow as an artist. I am looking for a benefactor, collector, or overall dream maker to help me get my wish!"

This was echoed by Patti Edmon who said "I believe my life would change if I had a chance to participate in Jesse Reno's workshop, preferably in Mexico. Jesse Reno, an 'outsider artist' based in Portland, OR, is totally different from me in most every way - life story, style of work, life style. But after watching his creative process I believe he defines artistic freedom, which is compelling albeit elusive."

Sharmon Davidson adds "I had to think about this one for a long time, but ultimately I decided that the artist who best exemplifies what's missing from my work is Jesse Reno. My goal for some time now has been to achieve that sense of childlike freedom - the sheer joy of mark-making that's so evident in his work. Picasso said it took him a whole lifetime to learn to draw like a child, and I think Jesse Reno clearly has mastered that."

Marcia Beckett said "I admire Jesse Reno's free style of painting. I have seen videos of him painting, but would love to watch him in person."

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I shared with Jesse that he was among those artists selected and that people were very passionate about and fascinated by his style. He was kind enough to answer a set of questions that I had for him and share his thoughts about his work, his workshops, and himself. 

Q: A number of people who said that they would choose you to be the artist they would want to take a class with used words such as free, freedom, freestyle, intuitive, and joyful to describe your style. Can you speak to this and describe how this sense of freedom developed?

A: my entire process is based on trying things that should work, the idea of destroying to let a piece be reborn, creating from abstractions and random colors guided by intention over direction. searching for meaning and visions in abstraction. changing direction when something feels no longer potent. choosing on feeling as much as visual aspects. not stop till you find meaning and a story that develops from the choices and decision you make throughout the creative process. noting your thoughts. and changing direction when they are no longer relevant. the idea of finding beauty in your mistakes rather than stress. it's about how and why you paint more than what. what should come from how and why. 

if you search for truth and have a meaningful engagement you will create something alive with purpose. this has always been the basis of my process. the evolution has been moving further and further towards finding a deeper connection and story within this act that is part clairvoyance, part magic, part learning, part painting, part understanding as well as an explanation of self growth and purpose.

Q: Is there a dream workshop that you would give if time/money/location/materials were unlimited?

A: i'd love to teach a workshop somewhere near or among ancient ruins, relics, etc. maybe on site of an archaeological location or maybe a workshop with day trips to the natural history museum or other anthropological museum. this is my biggest inspiration and connection within the art i create so it would be nice to draw a firm connection to that for students for inspirational and explanatory purposes. it is also my dream to exhibit in an environment like this or alongside contemporary native aboriginal artisans.

Q: How would you answer the same question...what artist (past or present) would you want to take a class with?

A: i'm not so interested in classes as i am very content with my path passion and creations. i would love to collaborate and create with the person who encouraged me to paint in the first place - chris giordani. his process and ideals are very similar in his work, his ethic and ideas, tons of emotion and expression in his work. when i first started painting we would collaborate or work in the same space 3x a week for a good year. the energy was just tops. it's not that i feel there's nothing to learn i just feel that inward is the direction of truth and personal growth. this is what i teach in my workshops and this is what i seek and at this point i don't really want to be distracted from my current path. as i'm chasing it like a fever everyday.

To learn more about Jesse, you can visit his website or blog. You can watch him create (a treat if you never have) here.

Thanks for taking the time Jesse to share these thoughts with the readers of The Altered Page. 

Let Nature Appear

Many moons ago, Sarah Whitmire and I embarked on a collaborative art project based on the theme of nature. We both created our own handmade and handbound books, which we traded back and forth over the course of three years. We each worked in both books and challenged ourselves even more by working on top of each other's work -- a true collaborative effort.  The end result was two books, each filled with artwork and memories.

Happily, our books are being featured in the January/February issue of Somerset Studio.

let nature appear

like no other feeling, like no other sound

the rush of the wind, the pulse of the ground

elixer, intention, a spontaneous space

a sense of adventure, a majestic embrace

light and enchanting, a plumage so warm

dark and encumbered, in shadow and form

by design it will stream, it will soar, it will fly

the power of forests, the freedom of sky

there is rain, there is thunder, it is second to none

adrift and asunder, it can't be undone

transition will follow the edge of a breeze

and times we cannot see the woods for the trees

the call of the wild, the answer so clear

the echo of time, both rich and austere

the story is written, let nature appear

Your Blog, Your Way: Part 9

Ninth post in my series on Create Mixed Media.

"Simply put, you become more creative with your blog (and with everything else) when you become more yourself, when you are open to being vulnerable and to sharing your ideas, your beliefs, and your creative energy, and when you stop listening to the voices that say you shouldn't and you can't."

Read more here...

Master Class 2: Cornell & Rauschenberg

Welcome to the 5th edition of The Pulse -- The State of the Art -- a survey in words and pictures of the online artist community. The Pulse is a collaborative project that aims to introduce you to new artists, help you get to know familiar faces even more, and allow you access into the creative hearts and minds of a very talented crew of individuals. More than 130 artists have answered a series of questions which make up The Pulse. Their responses will be presented in a series of online posts which will run every Sunday.

Style File and Techniques & Tools were the first two projects posted and links to all 23 posts can be found on the sidebar of my blog. The third project, Master Class, continues now...

Participants were asked : 'If you could take a class from one artist from anytime in history, including the present, who would it be and why?'
(Images and links have been added by The Altered Page)
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Chapter 2: Cornell and Rauschenberg
Many of the classes would be crowded, as there were quite a few artists who were selected by multiple participants in the survey. Today's post highlights two American artists, each of whom came to prominence in the 1950s, worked innovatively with collage and sculpture, and used found objects in their work: Joseph Cornell and Robert Rauschenberg.

Joseph Cornell

"Beauty should be shared for it enhances our joys. To explore its mystery is to venture towards the sublime"

"That's easy" said Rebeca Trevino. "Joseph Cornell for sure, and maybe not a class but rather an afternoon walk around New York City, to the places he used to go. I would like to talk with him about his art. I would like to get an idea of how he put things together, in his head, in his thoughts, and in his art. I would like to get a glimpse of how he selected the papers and objects he collected for his work. Later, maybe we would have time to visit his studio, and work on an art piece together.

Pat Pitingolo chose Cornell "because I would love to learn how he incorporates the magic into his art. Watching him assemble a piece of box art would be fascinating and hearing his thoughts behind the process would hopefully lead to insight into what makes his art so timeless and poetic.

Anne M. Huskey-Lockard chose Cornell noting that "his boxes are so ordered but intriguing; I would love to know the how's and why's of content selection. Was it random? Was there hidden meaning? How did he choose?"

These thoughts were echoed by Amy Duncan who said "Since I consider myself a collage artist, Joseph Cornell certainly comes to mind - he was one of the first to organize found objects into an artistic arrangement. It would have been interesting to hear his insights on what he gathered and how he determined the process in constructing his pieces."

Cornell was also the artist of choice from Pam McKnight. "I love the interesting bits and pieces he put together and how he got his inspiration from walking around in NYC." She added "I grew up in NJ but moved out west at an early age and wished I could have spent some time in the NYC art scene."

detail

Darlene AkA HugGer Wilkinson went right to the heart of the matter with her choice of Cornell, saying "he worked with assemblage creations and they are simple with wonderful composition."
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Robert Rauschenberg

"I think a painting is more like the real world if it's made out of the real world."

Robert Stockton said "I am always amazed and inspired by the fact that he is a master at taking the seemingly mundane and trivial aspects of his environment, and, through his art, transform this ephemera in such a way that the viewer begins to experience the everyday objects that he or she encounters in his or her own environment differently. He introduces us to ourselves, and I think that that is what is the strength of Bob Rauschenberg. We learn about ourselves through him. Yes! Give me that kind of teacher!"

Dorothy Simpson Krause "would love to have been able to work with Rauschenberg not only because he was a master at making powerful work by inventively combining photographs and found objects but also for his spirit of exploration and collaboration."

detail

Eric Adama "would have a look over the shoulder of Robert Rauschenberg, especially while working on his early works." Eric also adds Antonio Tapies and Cy Twombly (two of my favorites as well) to his list.

Laura Lein-Svencner would also take "a class with Rauschenberg, because of his ability to stick to his visual voice." She also included Jasper Johns on her list to, noting "I love his gray series and the use of the letters."

detail

Kim Logan says "I would have loved to have taken instruction from Rauschenberg. The time that he was most prolific as an artist was one of the most exciting times in the history of art. His influential friends and colleagues were testament to his energy and talent. I would have seen it as a privilege to have heard some stories of the time, and learned from a master.
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Next "Master Class" will be held on Sunday, December 25th.

Look Inside!

The "Look Inside" feature has just been enabled on Amazon for my book The Pulse of Mixed Media. Head on over and have your first look at the inside pages. See the list of contributing artists (all 130+) and get a sneak peek at some of the words and art that together keep The Pulse beating.

Work(shop)

I have been working overtime, planning and prepping workshop proposals for 2012. I have one workshop set to go in New York City in March and will be announcing all the details soon. Several other workshop proposals have been submitted and I will be eagerly waiting to see if they are accepted. And several additional proposals are being prepared for a January deadline. I hope to be able to add a long list of 2012 workshops to my sidebar soon. Stay tuned...

Master Class 1: Women in the Arts

Welcome to the 5th edition of The Pulse -- The State of the Art -- a survey in words and pictures of the online artist community. The Pulse is a collaborative project that aims to introduce you to new artists, help you get to know familiar faces even more, and allow you access into the creative hearts and minds of a very talented crew of individuals. More than 130 artists have answered a series of questions which make up The Pulse. Their responses will be presented in a series of online posts which will run every Sunday.

Style File and Techniques & Tools were the first two projects posted and links to all 23 posts can be found on the sidebar of my blog. The third project, Master Class, starts now...

Participants were asked : 'If you could take a class from one artist from anytime in history, including the present, who would it be and why?' 
(Images and links have been added by The Altered Page)
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Chapter 1: Women in the Arts
The only thing I know is that I paint because I need to...Frida Kahlo

Jacqueline Auvigne sums this chapter up very well by 'breaking the rules' and listing 7 artists, all women. Jacqueline says "My short list includes all women who fearlessly live out their potential in most authentic ways. Making art as a women has never been for the faint of heart. These women have all been balls to wall kinda gals - while being true to themselves and their convictions, art and otherwise. The list includes but isn't limited to (yes it was a much longer list!) Georgia O'Keefe, Louise Bourgeois, Frida Kahlo, Carolee Schneemann, Kiki Smith, Yoko Ono and Coco Chanel."
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Bonnie Clark would also like to study with Kiki Smith. Says Bonnie "I consider her to be one of the greatest feminist artists of our time.

Throughout her career, she's used her artwork to explore issues such as gender, sexuality, self, and the role of women in society through a diverse array of creative mediums including painting, sculpture, collage, and printmaking, as well as mediums often considered women's crafts such as embroidery and surface design.
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Georgia O'Keefe's workshop would be very full, with three of the participants listing her as their teacher of choice.

Wen Redmond gave several answers but listed O'Keefe as first. Stephanie Hilvitz would "love to hear her speak as to how she 'saw' her world and how she distilled it into such rich, simple color and shape. And Liz Hampton-Derivan admires "her work and her character. She is a major art icon. Thank you to Georgia for her female presence and significant status and contributions to the art world.
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Judy Sidonie Tillinger makes a great point when she says "Knowing too much about the personalities and personal lives of so many artists I esteem eliminates many from the running. I would most like to sit down with Agnes Martin, watch and listen.

The stillness and the immensity of her work moves me in ways I will never be able to understand much less articulate. Looking into her work is like confronting something absolute and perfect."

I am highlighting this piece from Agnes Martin that I saw at Sotheby's because while the style is clearly Martin's, her use of what appear to be nailheads makes this painting very unusual and unique.
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Diana Trout says that "if there is a heaven, I would watch Eva Hesse work. Her process is so present in her drawings, painting and sculptures. She was experimental and married minimalism and conceptual art in ways that excite me.

She brought humor and great sensitivity into her art - simultaneously. Dang good artmaking."
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Roseann Cazares "would love to have taken a class by Frida Kahlo. She is my favorite artist and has been a BIG influence on my own work.

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To these incredible women I would add:

Pat Steir

Kara Walker

Maya Lin

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Next "Master Class" will be held on Sunday, December 18th.

You be the Judge

Are you all familiar with Gary Reef? He is an Australian mixed media artist with a very successful You Tube channel with over 1,500,000 views, his very own social and art network Loving Mixed Media with over 2,500 members, and of course a blog and website. I am happy to say that he is also featured in my upcoming book.

Gary asked me to be a judge of a fascinating, online art competition - the Sardine Can Shrine Challenge.

Participants were provided with an empty sardine can and had to create a mixed media assemblage. Boy, those Aussies are imaginative. The above image shows the empty can and an example of a shrine made by Gary.

There were a lot of creative entries. I had a hard time choosing between my final two but feel great about the winning shrine. You can read all about the competition, see the submissions, and decide if you agree with my choice here.

Thanks for the opportunity Gary!

Back Around Again

This week Diana Trout, artist and author of Journal Spilling, is guest curating on Jenny Doh's site CRESCENDOh.

She has chosen to link back to an old favorite of mine from 2008. Click here to see all of today's selections on CRESCENDOh. Thanks so much Diana for featuring my work.

Class in Session

The Pulse

The next chapter begins 12/11/11

Technique & Tool: Chapter 11

Welcome to the 5th edition of The Pulse -- The State of the Art -- a survey in words and pictures of the online artist community. The Pulse is a collaborative project that aims to introduce you to new artists, help you get to know familiar faces even more, and allow you access into the creative hearts and minds of a very talented crew of individuals. More than 130 artists have answered a series of questions which make up The Pulse. Their responses will be presented in a series of online posts which will run every Sunday.

Style File was the first project posted and links to all 12 posts can be found on the sidebar of my blog. The second project, Techniques & Tools, the second project, continues now...

Participants were asked: 'The one technique or tool that you cannot live without is... ' I have added links of my own choosing to each contribution below, sometimes to products, sometimes to videos, sometimes to the artist's own work, and sometimes to something unexpected. Even the contributors do not know what I will be linking to!
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Angela Cartwright

That would be a pencil and paper...(does that count as one? They go together like sugar and spice). There is always something to sketch, and I feel like I'll be using these two items till the day I die.
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Roxanne Evans Stout

I love using a process of layering of photographs, original art and paints. And what ever else that seems to fit into my projects. I love to use metal pieces as well, and to twist wire in interesting ways. I like to sew pieces together with wire instead of always using glue and the way metal makes my art feel heavier and strong.
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Dawn DeVries Sokol


A black .05 tip pen, such as Micron.
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Sharmon Davidson


It might be cheating here, but I have to say it would be paper...and my press. All my work is on paper, it's the primary material for printmaking and collage, and I love everything about it, including the precious trees it is made from. But since most of my work starts with monotype as a foundational base, I have to include my press, because for me the two are inseparable.
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Pat Pitingolo


Liquid or gel matte medium.
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Victoria Crowder Payne


Embroidery over Lyra Watercolor Crayon painting (on unbleached, unwashed muslin).
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Marion Bockelmann


Stamping! It's so versatile and can be done in soooo many different ways and styles that it never gets boring; in fact it gets more interesting the longer you do it and the more stamps you have. You can even use your stamps to get texture in your layers of gesso, UTEE or beeswax.
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Rhomany


I don't know what I would do without a waterproof black pen. It was my first tool working in my art journal all those years ago and it still serves me today for my artwork and art journaling. My pens of choice are the Uniball Pin pens. For all my illustrations I use a 0.05mm which gives a very, very fine, broken line that looks like dark pencil and contrasts well with the bright colours I like to use.
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Debrina: Debbie Price-Ewen


Layering: for depth it is everything!
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Robert Stockton


As am intermediate step in creating my mixed media work, I create monotypes by rolling-out, or brushing, acrylic paint onto a glass plate. I then press drawing paper (frequently, Rives BFK) to the plate's surface, and "pull" prints off the plate which can be left "as-is" or modified, or altered, in any number of ways. The resulting monotypes have many applications in my work.
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This is the final post in the "Techniques & Tools" series from The Pulse. Join me at The Altered Page next Sunday, December 11th with a brand new series. Stay tuned...