JJ Worden

The house is a long recognized icon representing Home, Love, Comfort, Sense of place. It is an oft used symbol of artworks and one I have used often in both, mixed media and assemblage. It seems they run in series for me. A personal symbol, I will likely return to again and again.

 

When is a collage not a collage? When it's an assemblage! 

As soon as I decide to use a cradle board as my substrate for a collage piece, it's a pretty good chance that SOMETHING will get added to the frame. I mean, "Hello! Sturdy wood boards!" just begging to be nailed, drilled, glued. 

 

When the collage is going nowhere, stick some people in there to give a focal point. #protip

 

I've had this obsession with this photo for a year or two. It's from a collection of found photos by Oliver Wasow that he generously shares on Instagram. I've mentioned him before because they are THAT good!

Anyway. I recently took in the Gel Printers Summit where I learned SO. MUCH. and had the opportunity to take a class by Mark Yeates. I may have fangirled. Just a bit. 😁 

These three variations were using some of those techniques. And even though the registration is appallingly, laughably OFF, the top one is my favourite. Which probably says a lot about me. And I own every last bit of it!

 

I've had this idea of doing collage on shapes other than square or rectangular for awhile. And then my assemblage self said, "Well THAT needs to hang from a spoon." Of course it does.

Working on Nomnom submissions. This assemblage is the first in quite awhile. @cutsandpastegallery

It's been two weeks since our return from England. And maybe the hardest two weeks of my life.

I'll be offline for a few weeks. Contemplating a mini art kit to take along to keep me sane. Would love to know what supplies...if any... you take with you when travelling.

 

Over on my Newsletter, pretentiously titled "Travelogue of an Artistic Mind" [insert eye roll here...need to rename that thing!] I asked my dear subscribers (maybe you?) what they wanted to see in the future. Amazingly to me, over half wanted to read this Chatter McChatterson yammer on about Art and Life - sort of what I do here.

Which made me wonder what do YOU want to read here every week? 

So guess what? Survey time for you, too!

Note: IF you happen to subscribe to both AND you don't want to weigh in here as well, I totally get it. But. I'm thinking I'll do a sort of monthly recap on the Newsletter so if there are very specific things you'd like to read WEEKLY, please let me know! 

Clear as mud? Awesome! Let's get to it!

Click HERE if the survey doesn't show up!

Have you ever been reading a book that creeps into your every day? 

Such is The Bees by Laline Paull.
And I'm not entirely sure why it's scraping at my consciousness? But it surely is. And now I have bees on the brain. Maybe because I've always thought of bees as a rather benevolent insect. Helping mankind, stinging only when necessary, pollinating our food, if bees die, we die. 

SAVE THE BEES.

The book focuses singularly on honey bees calling all OTHER insects The Myriad, mostly dangerous to their hive, in particular, wasps. And spiders?!? Oh. I don't know, that they've been anthropomorphized into a caste system so like our own has made me sad? unsettled? even cranky? (why does every.freakin.thing need to reflect US?!?) I guess, maybe, I just don't need another reminder of what an utter failure humanity is right now. *sigh*

But I digress.

As is often the case, I use art to make sense of what's going on in this giant, whirling dervish of a monkey brain of mine, so I've been printing illustrations of  bees and drawing bees and gel printing bees and adding bees to other papers. Bees. Bees. Bees.

And per usual, I have no idea where this is headed. But. I just primed to larger canvasses/boards so maybe BIG bees?!? Stay tuned. 

 Firstly, I'd like to thank you for all the interest in Three Ravens from last week. They've all SOLD! Yay! Love when that happens. I may have mentioned here, in the past, that I don't actively sell much these days...or at least don't MARKET my work (other than y'know the socials)...as it felt/feels SO forced. But I do love it when someone (maybe you?) wishes to buy something. Warms the cockles of my heart. Thank you! Thank you!

Last Friday, I spent the day, cleaning up the studio, putting everything in its place and shoving my easel to the side and hauling out my folding table because I NEEDED to do some sewing and really that's the only way it was gonna happen. It literally took me four days before I said, "Nope. That's all I'm gonna do. I need to MAKE. ART!" I did manage to alter 2 dresses, a couple of tops and make a tunic but the other dress and tunic are just going have to wait. Six days without my studio is five days too long. I'm really gonna have to think about how to make that work for NEXT summer (the year of heading to the Yukon. woohoo!) or I'm going to be one cranky customer. Let me know your favourite take-along art kits in the comments.

I received a (GORGEOUS!!) package of collage papers from long time friend, Amy. OMG. They are stunning. I oohed and ahhhed and fondled them every day until I got back into artmaking mode. That dotted paper particularly made me swoon. The technique is from Cat Rains wonderful (FREE!) class Collage Kickstart. I tried it but because I didn't have any molding paste(?!?!) and tried using gel medium which really didn't work well (in case you want to try it) so was thrilled to have some dots of my very own! Thank you Amy!

Also. I need to get this stupid painting OFF the easel. For the last few weeks all I've been doing is lightening, then darkening, then lightening the areas around the houses. I need to rethink those stripes as its still waaaay too close to its original inspiration. I HAVE to decide what this is about. Do you ever do that? Invest time and effort into a piece of art and suddenly realize you have NO idea what you're trying accomplish. Oh. Don't get me wrong, much of my work (most?) starts off with a burst of inspiration-colour palette, a particular technique, slapping paint onto the surface- a purely physical reaction to the substrate. And that is awesome! But. Eventually, you...I...need to focus on the "intent" for the work to have any substantive direction. Or you'll end up going back and forth (light to dark to light) ad nauseum. 

Play needs to evolve into a plan.  

Not much else to report this week, other than...if you have refillable acrylic markers/Posca pens whose nibs have splayed, check out Bombing Science for extra nibs, plus other cool art supplies. I was very disappointed in my regular art suppliers who didn't have any replaceable nibs. Dudes! If you sell Posca pens? Sell the nibs too. (y'all know you can refill posca pens, right?) Highly irresponsible in this day and age to have throwaway items without at least giving us the chance to reuse them. /soapbox

Have a great week!

 It's been awhile...a loooonnnng while...since I've posted finished (read: available) work here. So be it.

"I DON'T LIKE SPINICH"

"AND THE CROW SAID..."

"TO DRY ONES EYES AND LAUGH"

These three have been in the works for  a loooonnnng time as well.
The base for each is from gel prints I made months ago, a hand-cut stencil, printed multiple times then  painted, collaged and marked coated in encaustic wax medium and marks incised in the wax. All are on cradled board.

"I DON'T LIKE SPINICH": 6 x 6 x 3/4" - $60. SOLD

"AND THE CROW SAID" :  5 1/2 x 5 1/2 x 1 1/4" - $50. SOLD

"TO DRY ONES EYES AND LAUGH": 8 x 8 x 1" -  $100. SOLD

Shipping is additional. (approx. $15.)

If you're interested in any of these, simply email me and we can talk.

Here's to finishing more stuff!

 In between the video learning curve and planting the garden and getting ready for my daughter's wedding, I took a course from Judy Woods. I learned of Judy through Jackie who I discovered on YouTube. She took this stARTSworkshop last year and I was curious. Initially, I held off (read above) but I eventually succumbed. Because my nosy art brain Needed to Know.

I enjoyed it.

The idea of having a (relatively) foolproof way of starting a painting, even though I've kind of worked out a similar method for myself - was particularly intriguing. I glue old book pages to the substrate then cover with a thin layer of gesso but dividing the canvas with the addition of black creates an immediate contrast. Follow that with collage and markmaking? Well. You know this was tailormade for me. 

There was also a discussion of the types of questions to ask at any given point. For example:

What have I got?
What is the opposite of that?

Or  What DON'T I have?... thick lines vs thin lines, colour vs black and white, organic vs geometric, big vs small, squiggly lines vs straight lines etc.  

My three pieces really moved along. Until they didn't.
In fact, I've been futzing with those 3 original paintings ever since.

When did I stop being able to actually FINISH something?!?  And its made me think about this idea of finishing pieces ever since. I know that I work best under a deadline. Procrastinate. Procrastinate. Do anything BESIDES what I'm *supposed* to be doing. Procrastinate a bit more. Then flurry-scurry-flurry until it's done. And y'know what? I'm okay with that. But. What if there's NO deadline? What if I just need to move on to something new? Do I leave half-finished pieces floating around the studio ad nauseum?

Case in point.

I've been working on this painting for literally MONTHS! (and if you consider I've painted over it with gesso at least once... YEARS!) I wanted to try copying another artists work I love (long ago lost their name) and try to make it into my own. Figuring out what drew me to it and then work off that. (Caveat...NOT for sale!)

I slowly add or blot out something every few days. If I have excess paint? On it goes. If I don't like something? Erase it with paint. On. Off. On. Off. Which is fantastic for building up layers. But Geez Louise at some point I've gotta get off the pot and FINISH the durned thing. Where it is today...

Still nowhere NEAR being done. *sigh*

And those three pieces from Judy's workshop?
Sitting in the pile of other unfinished stuff on my desk. Ugh.

I clearly need to submit to a bunch of shows otherwise I'm gonna be buried in a sea of WIPs! If you have any tips, tricks or suggestions, I'm all ears. How do YOU finish your work? 

 I had THE best Life Example in my Dad for the Art of Learning New Things as we get older. At 50 he changed careers - and I don't mean moving laterally from one company to another. Nope. He went back to school, driving for hours through Quebec winter nights- from engineer to teacher. Learned to bake bread and make ice cream for my Mom's cafe (STARTING a cafe in their 60s!). Took up the trombone in his late 60s. Carving rocking horses for his granddaughters in his 70s. Short story, long, he was a life long learner and it struck a chord. (I miss him)

Back in my early computer career pre-internet, I was creating 'movies' using Macromedia's Director. It was a love/hate relationship but I persevered. We even secured some big name contracts from south of the border which was pretty sweet given our rural Nova Scotia location. And then the internet came along and the idea of even TRYING movies was laughable. (can you say "removing individual pixels to hasten uploads"?!?) So I returned to imagery. And loved it. 

Not  entirely surprising then, that I've been highly skeptical, and a bit pissed off to be frank, about the proliferation of video in previously static social media programs. Recently however, I noticed that my own usage was thoroughly enjoying watching artists create...on Youtube AND Instagram Reels... and had to laugh, "Oh. Yah. Hello! Kettle!"

Fast forward to this week when I attempted a time lapse of making a collage. It was fraught with anguish and aggravation not to mention scurrying to find an app that I could work with. (so. many. apps!). But I did it. And it wasn't bad. Given my MacGyver tripod setup, phone microphone, and rudimentary skills. In fact, I was quite chuffed.

I'm not sure where this whole video thing is headed. I'm not interested in doing classes or starting a Youtube channel or monetizing this in ANY way (sorry instagram pundits!) but I had fun (ish). And in the spirit of my Dad, learning new things is always a Good Thing. 

 

I was invited by Andrea (Chebeleu) a bunch of months ago to take part in her successful Under the Influence Art Journaling class and now it's LIVE. Here's the class description:

Featuring 9 individuals and their art we sample in our Art Journals.

How many times do you swipe through social media admiring the work of these wonderful, talented and generous artists and think, I'd like to try that?  

Our Under the Influence series is your opportunity to do exactly that in community. You will be guided and prompted by watching Andrea, Artist and Session Facilitator, work along with you live.

We practice noticing and identifying which design principles and elements engage us as we create together under the creative influence of the featured artist.

 I'm being featured on June 6/7.

Click HERE if you're interested in taking part. 

 

After a class, particularly one as intense as Sketchbook Revival (13 days, 2 classes per day, most an hour each... oof!), it takes me awhile to get back into gear. So I play, with my sketchbooks, with techniques I've learned, with new colour palettes but nothing really "important". Important in this case meaning with intent. Maybe even far reaching.

And all the while, over these last few weeks, I've been using up my print outs for SBR, overprinting with the wonderful photographs shared by Oliver Wasow on instagram (@owasowfoundphotos).

Why you ask? I have no idea. But they excite me!

I've been pondering them...numbering over a dozen now... and I'm thinking they deserve a series of some sort. I'm thinking BIG. As in feet x feet vs inch x inch. Maybe all together? Maybe separately? I just don't know right now. But one thing I do know is it needs to happen. 

 I'm immersed in classes this month (you can check out WHY in my last post) so I wanted to come up with a quick #fridaymusings post and what's better than a list!

Ten Things I've Recently Learned (or RElearned!)

1. Tracing a stencil on the INSIDE is easier that tracing on the outside. This is one of those DUH moments (of which I seem to have a lot lately). But. I have a little card I use to make the grids in my Grid Journal. I couldn't find it the other day and found instead, a small viewfinder. That thing made  tracing the grids SO. MUCH. EASIER.
2. Apply plaster with a brush. I have struggled in the past with getting thin layers of plaster/gesso. Why did it never occur to me to use a brush rather than a spackle or palette knife?!?  Thanks Miss Stephanie!
3. Use your Posca Pen caps to make circle marks. Another DUH. Its right there. It's already uncapped. Either express some extra paint onto your palette and dip your cap into it OR just run the pen around the rim. Easy Peasy.
4. Splatter water on almost dry acrylics. Let it sit for a minute then simply mop up with a dry towel or rub off. It creates wonderful negative splatter marks. Highly recommend!
5. Make marks on dark magazine images. Put your page over some sequin waste or a fruit bag or stencil and lightly sand with a high count sand paper. Instant texture!
6. Ultramarine is a WARM blue. Be still my heart. I've always had such a hard time using blue in my work. I've figured out teal. Mostly. And Payne's Gray because it's essentially black. But anything else? I always frig it up. As my tendency is toward the warm side of the spectrum most blues don't play well with that side of the colour wheel. But Ultramarine does. Thanks to Louise Fletcher for that eye opener!
7. Contour drawing with your eyes OPEN. I've done many BLIND contour drawings over the years. But it never occurred to me to keep my pencil on the paper while looking at what I'm drawing. The result is a lovely, loose sketch. Thanks to Jeanne Oliver for that little tip!
8. Coloured pencils are a delight over watercolour. I love coloured pencils and have used them many times in my art journey. Most often as a stand alone though and I'm not sure why  I never tried over watercolours. They work SO. WELL. Go. Try it!
9. Colour studies as gel print fodder. Another DUH moment. I've often used monochromatic papers in my Grid Journal or general collaging. But making gelprints EXCLUSIVELY for a collage grid? No more searching for light, middle and dark tones cuz you've already done the work. Perfect for compositional studies. Hooya!
10. Mixed media means MIXED media. And maybe my biggest DUH! exclamation this week. Sometimes I am SO dense. Just because you start out with watercolour (or acrylic or collage) does not mean you can't introduce other mediums into that work. This has been an ongoing growth cycle for me but the idea that a piece can be representational AND abstracted? Or refined AND whimsical? THIS was such an eye opener and DOOR opener for me. I've stuffed my graphic/illustrative nature down thinking it wasn't "fine art" enough and here, all along, I could've been incorporating it into my work.

Sketchbook Revival 2020

You may ask yourself, "I'm on my art path. I know what I want to make, why should I take classes, at all? And you're right to ask. Maybe they aren't for you. But. Every year for the last few, I've dedicated the first few months of the year to taking (online) classes. The reasons are many and I'll try to list mine  below.

Learning something new is ALWAYS a Good Thing

Even if you are an accomplished artist with a strong vision, adding to your lexicon through new skills or exposure will always, always be helpful in the long run. Sometimes "the New" doesn't reveal itself immediately but every single thing we experience as artists (as people!) informs our work/state of mind. If you only need one reason to "take that class"? This is it!

Extreme Composition - Jane Davies

Filling up before burning out

So often an artists life is in "all decks on hand", "balls to the wall" mode before the end of each year what with shows and markets and general life stress of "The Holidays" so that when we get back into the studio in each New Year we may feel a little shell-shocked. Perfect time to let someone else do the leading. Our  Creative Wells may be registering empty and nothing fills if up faster, better than learning something new. 

Grid Journal - Kellee Wynne

New Skills

This is pretty self-explanatory but always worth noting. Even if we take classes that are in our artistic wheelhouse there is always something to learn from a fellow artist. From different methods to brand new techniques, everything feeds the inner Muse. As a side note, even watching artists work is highly informative from their set up to their preferred tools down to their actual process. Highly recommend finding a few folks to follow on YouTube and veg out!

Botanical Relics- Stephanie Lee

Change it Up

Going down a completely different path ...ceramics if you're a painter, paper arts if you're a ceramicist. Three dimensional work if you're a two-dimensional artist and, obviously, the reverse. Working in a totally different medium can really throw open the doors on your creative outlook. 

Vehicular Varmints - Michael deMeng

And some cautionary tales, as well:

Choose Wisely

Not all classes are created equal. And if time is of the essence, get a recommendation before taking on that 3 week class. I'd hazard to say a day or two is probably worth the jump if only to let you know what you DON'T want to do without a huge commitment but if life is time sensitive, do your homework. Nothing is more aggravating than taking a class that is a bad fit. For everyone involved. 

Divergent Paths

If you are an easily distracted artist maybe choose a class you KNOW will add to your skills/lexicon. In the past, I've taken assemblage classes whilst in a two-dimensional mind-set and though I might thoroughly enjoy myself, getting waylaid is not in MY best interest. Learning how to handmake chain is awesome but virtually useless if what you need is Colour Theory.

Marketing

Don't get sucked into anything market related if MAKING is at the top of your list. Nothing kills your creative spirit. Nothing! (or maybe that's just me!)

If it Ain't Working? Ditch it!

Even if you've paid good money. Your time is worth something and you need to guard it carefully. The person whose work you adore may be a tremendous artist but a lousy teacher. Don't feel compelled to stick with anything that isn't filling up that creative well. For what it's worth, most classes these days give a healthy amount of time to take the class. It might not be a good fit today but may be just the thing six months from now.

If I've convinced you to take a class, here are some folks I would always highly recommend:

Jane Davies ... I loved Jane's Extreme Composition but I think anyone could learn anything from her. Love her work. Great teacher!

Kellee Wynne ... The (FREE) grid journaling class is a must but I learn something from every class or YouTube video of hers I've watched.

Stephanie Lee ... Whilst a good friend, Stephanie is also an amazing, thoughtful, accomplished teacher. Take anything,  you won't regret it! (and will learn so much about yourself in the taking)

Michael deMeng ... Winner of the Most Fun Teacher award and I do not use the word "Fun" lightly. You'll learn a ton as well but will have such a Good Time doing it!

Sketchbook Revival ... A special note about Sketchbook Revival ... it starts at the end of March and goes for 2 full weeks with an amazing cast of artists, teachers and mentors who are sure to get your juices flowing. This will be my FOURTH year and am so looking forward to it. Sign up Today!

I was asked to fill in for a show at The Ice House Gallery in Tatamagouche, NS. The curator has always been super good to me so of course I said, "Yes!" after I did a mental tally and thought, 'yep, I've got enough potential pieces to make this work. Only, they were all on paper and far from being finished. But I had a few weeks and I always work well with a deadline. Bring it on, right?!?

And then my dear pup, Stella got very sick and needed 24/7 care for 8 days. I was a mess and the deadline drew ever closer, stressing me out even more. I think only a couple of hours were spent in the studio during that time and everything I touched got wrecked. Ack!

But Stella gradually got better and I was finally able to get my boards cut, cradle frames made, everything sanded with a week remaining. And that's when the real work began. There were so many dead ends and double backs and while I ended up getting everything finished in time, the reason I even mention it is sometimes an opportunity can feel like it isn't meant to be and you want to wave the white flag. And sometimes you just need to put your nose to the grindstone and Get'er DONE! I'm super glad I stuck with it because through hardship comes discovery and I really love how this group came together. 

Remember Me - Mixed Media on cradled wood board 8 1⁄2 x 7 x 1 1⁄2

The Barn - Mixed media encaustic on cradled wood board 8 x 7 1⁄2 x 1 1⁄4

Melody - Mixed media encaustic on cradled wood board 8 x 8 x 11⁄4

Exile - Mixed media encaustic on cradled wood board 8 1⁄4 x 8 x 1 1⁄4

Swimmers Go the Extra Mile - Mixed media encaustic on cradled wood board 8 x 8 x 1 1⁄4

Transmission - Mixed media, rusty nails, wire on cradled wood board 8 x8 1⁄2x 1 1⁄2

Back Home - Mixed media encaustic on cradled wood board 14 x 9 x 1 1⁄4

762 - Mixed media on cradled wood board 8 1⁄2 x 7 x 1 1⁄2

Wild Lake - Mixed media on cradled wood board 8 1⁄2 x 7 x 1 1⁄2