No.11 Materials and Meltwater
In which I explore new pairings —in both materials and ideas— as bright, late winter sun continues to melt the remaining snow.
The more of YOU you can be, in life and in art, the more likely it will be that you and your art will resonate with others; will carry a ring of truth, a palpable sense of authenticity. I’ve come across this notion a number of times in the past week or so in other newsletters, videos, social posts. It seems to be a theme this week.
I hadn’t set out to write about it, but as I was tweaking the color and cropping the photograph above, it hit me like a little lightning bolt.
You see, I’ve been collecting cabinet card photographs for years. Also: antique books, old postcards, objects, ephemera &c. Any old things that caught my eye—of a scale that would fit in a New York City apartment, anyway. I’ve done drawings and paintings of people and places from some of these old photos— some on paper, some on old wood. I’ve created assemblages using old wooden boxes and drawers, skulls and ‘Frozen Charlotte’ dolls. Somehow, none of the ways I’ve attempted to combine my penchant for antiques and dead things ever felt like ‘real art’. I always felt like I was just noodling with pastiche; ersatz appreciation or appropriation. But when I look at them now, I don’t think it was ever the case; I think I only assumed my tastes would be a limiting factor in my art.
Indeed— And that is the whole point! (Rolls eyes sympathetically at younger self)
I think I only assumed my tastes would be a limiting factor in my art.
Recently I discovered these printed ‘cabinet card’ frames that are mass-produced. I was a little on the fence, but decided to try out some of my teeny tiny paintings in them— and it’s such a natural fit. It feels like ‘Me’ and appeals to me.
I can picture myself creating my own versions of these; scanning the cards in my own collection, print them on fine paper and mount them to mat board— a perfect example of me thinking my way ahead too quickly on a very new exploration. I’ve decided not to be bothered by the mass-produced nature of these frames; at least for the time-being. It keeps the barrier to entry low (in terms of both me, making them and other, buying the finished pieces), and more importantly, keeps it fun.
The little kraft tag (also in top photo) is another experiment in this kind of exploration. I’d bought a big roll of this silk rough-edged ribbon late last year (for no specific reason, I just loved the way it looked). Last evening, I decided to give it a chance on the tag with my rubber stamp monogram. I loved it immediately. Not sure yet how that ties in with my art, but it feels like it fits. Maybe I’ll include them as thank you tags with future orders; they can be used as book marks.
Today is a federal holiday here, so I’m home from work. I’m happily pottering around the apartment, soon to splosh some ink on paper. Strong sunlight is pooling on my desk as I type this, and I’m feeling freshly excited about what I see in the photo at the top of this post— and the threads and ideas that may lead from it. I’m not saying everything I make will wind up looking like a Victorian or Gilded Age artifact! But I do want to leave room for my idiosyncratic and specific tastes to inform the things I make as much as possible.
Continue to follow your own interest and aesthetics, in art and in life
This seems to happen fairly often— how a notion or idea is floating around the art and writing circles I follow, and it either is or suddenly becomes very timely. I love when that happens. Maybe this post will spark something in you the way several others have sparked something in me. Thanks for being here, and
Until next time—
Liz