Tag Archives: process

Icarus Tendencies

“Artists are people driven by the tension between the desire to communicate and the desire to hide.”    ~D.W. Winnicott

It’s so tempting to run for the hills.  To hide.  To make the work, but never show it – feeling it to be not good enough, not ready enough, ever.  But this is not an option really.  And so we forge on.

“Always go a little further into the water than you feel you are capable of being in.  Go a little bit out of your depth and when you don’t feel that your feet are quite touching the bottom, you’re just about at the right place to do something exciting.”                                                                                       ~David Bowie

After a time of being comfortably down the proverbial rabbit hole, alas, I must come up for air and here is the latest.  Like some sort of proverbial Icarus, I’ll admit to flying a bit close to the sun of late.  But needs must, and rest will come…..

On top of readying my own art work to present to the world, I have also been doing some writing on the work of others.  The September and October issues of the online publication Aeqai feature articles of my impressions on some really wonderful locally produced and curated work from lands far away.  It has been interesting to pull together art and writing in this way, as I usually write merely here on my blog or craft the odd artist’s statement now and again.  To write about the artwork of others and to ponder it through a lens of critique is to more fully grasp it in a sense.  Knowing I was to be writing about these shows made me a better viewer of them.  I hope to continue writing for Aeqai in future months, adding my voice to those of others shining light upon recent work they have seen.

And what about that work being presented to the world?  Well, the stars have aligned to see my work showing in three different venues in the coming weeks, and here they are.

Transience is the force of time that makes a ghost of every experience.”  ~John O’Donohue

Attention is the rarest and purest form of generosity.”  ~Simone Weil

First, Transience, a solo show at the Park National Bank Gallery at University of Cincinnati’s Clermont campus.  It’s a lovely space and I’m thrilled to have a number of older works dusted off from the archives and showing once again, right alongside some newer work as well.  (Yes, the ever so popular Animal Alphabet from Inktober is being displayed in full and the drawings look great all together!)  At the heart of the show is my process of gathering from the world and from my experiences to create art along the way in sketchbooks and finished studio work.

Years of sketchbooks showcasing travels and artistic process can be seen in these glass cases in the gallery. It’s gratifying to see them all together.

It is interesting to see threads of continuity in work through the years which I didn’t notice before.  For example, I’m once again showing my painting Selkie which is a bit of a self-portrait-meets-personal-mythology work.

You’ll notice that Selkie offers a rather raw heart to the viewer (my mom has always thought this painting is rather creepy but I rather like her).  What I didn’t realize is that I had created some of this same imagery in the three dimensional realm as well in the form of a hand stitched fiber heart, and a cast of my hand in plaster.

These objects were part of other work at other times and I hadn’t realized how they mirrored the Selkie imagery until I went to install this show.  My subconscious self clearly has some ideas and themes  working themselves out amidst its subterranean depths.  I am grateful for the opportunity to speak to this work once again, on a deeper level and to share it with the students at UC Clermont.

A second show to open with just one piece of mine in it is an artistic tribute to the writings of Neil Gaiman.

Poster by David Micheal Beck

I crafted an illustration of Nobody Owens from Gaiman’s The Graveyard Book which I found so captivating.  I am excited to have my little painting alongside those of other illustrators from around town and am honored to be a part of the show!

An Intimate Portrait of Nobody Owens, Oil on Paper

This show opens this week on Thursday evening.  Stop by the Know Theatre if you are in town and say hello! (Be sure and get your tickets to Neverwhere as well!)

Last but not least, I am thrilled to once again have new work being shown at the Kennedy Heights Arts Center.

My painting I Grew A Pair (Apples)  will be part of the Off The Wall installation and I have three other works submitted as well.  This group show features new work by members of the Kennedy Collective and is an annual treat for the local community.  That opening is November 18.  There will be cookies.  I can promise that.

By tomorrow I shall have all work delivered and by next week, all will be properly installed for viewing in their gallery spaces for the following few weeks.  While this all has taken a good amount of time and effort to pull off, I have been careful not to fall into the mindset of busy in the midst of pulling it all together.  And I believe I have been successful in that endeavor.  Sylvia Linsteadt of Tatterdemalion fame posted an article the other day about the notion of Resisting the Commodification of Time, with which I firmly agree on every level.  The article speaks to a level of mindfulness which I believe is desperately lacking in our world just now.  Everything so fast and furious, so new and shiny.  Mindfulness is at the very heart of my sketchbook practice and the workshops I teach.  Just the simple act of slowing down to draw something pulls us back into a better relationship with time, back into our bodies.  The world needs us to do this work.

Mindful
by Mary Oliver

Every Day
I see or hear
something
that more or less

kills me
with delight,
that leaves me
like a needle

in the haystack
of light.
It is what I was born for—
to look, to listen,

to lose myself
inside this soft world—
to instruct myself
over and over

in joy,
and acclamation.
Nor am I talking
about the exceptional,

the fearful, the dreadful,
the very extravagant—
but of the ordinary,
the common, the very drab

the daily presentations.
Oh, good scholar,
I say to myself,
how can you help

but grow wise
with such teachings
as these—
the untrimmable light

of the world,
the ocean’s shine,
the prayers that are made
out of grass?

And so we do.  If you google “urban sketching”, you will see that the practice of drawing in a little book has truly gone globally viral.  People all over the world are doing it.  Here in the Queen City of Cincinnati, we have joined the ‘official’ ranks of Urban Sketchers and are getting our drawings out there along with other artful places such as Manchester and Hong Kong.  If you are coming to town and are looking to sketch with us here, let us know!!  We can be found over in the wonderful online world of Twitter and we’d love to meet you!

And that is all for now.  I have ghostly beings creeping into my bedtime sketchbook lately who are begging to be fleshed out further into more oil paintings.  I have knitting projects sitting idle as well which could use some finishing up.  It’s a time of year for walking in the woods amidst the fallen leaves, brewing more and more tea, and gently, ever so gently, slowing down.

 

New Joy

The fox design I was playing with is not my own, but is the logo of a lovely coffee shop and cafe in Columbus where my daughter attends University. It is called Fox in the Snow and we enjoy visiting there when I am in town.  She even gave me a cup from there which I treasure and is a sturdy vehicle for my morning tea. 

I sat down this morning to play with a new little something I recently acquired, called Joy.  No, really, it’s a pen,  called the Lamy Joy.   Recently a former student of mine shared a link with me to the website and sketching work of Liz Steel down in the Land Down Under.  I love the look of her sketches which have so much life and color and bold line work.  She uses ink to draw and watercolors from there to bring things even further to life.  I often work in the same way but have always used permanent ink pens such as Microns, Sharpies and the like to create my lines – before and after painting.  I enjoy the look of a fountain pen line, but had never translated it to sketchbook work.  She recommended this pen and, with a name like Joy, how was I to resist?

Last fall I attended an inspiring series of lectures by a number of wonderful children’s book illustrators and writers.  One of whom, Sergio Ruzzier, works in pen and ink for the drawing, and then, like Liz Steel’s sketches, follows with watercolors later.  I love the look of these drawings and have been playing a bit since then with a variety of pens and some inks.  But these inks would ruin a proper fountain pen overnight.

These have been fun to experiment with in the studio but aren’t as friendly for on the go sketching.  I do have another Lamy fountain pen which I love, but the ink I use in it wasn’t at all water-resistant so unless I wanted to stay in the grayscale world, it too was not exactly sketch friendly.

Reading Liz’s posts on fountain pens inspired me to do a little more digging into that world (it’s an overwhelmingly big and enthusiastic world, the world of fountain pens!) and see if there was possibly an ink I might take on the go, in fountain pen form, but which might be a tad more welcoming to watercolor.   An ink that with proper precaution, wouldn’t ruin my new pen, but would allow some color.

Apparently, noodler’s black ink is the one.  You can read all about it anywhere on the interwebs and with many posts all around giving it a thumbs up, even in actual working fountain pens, I decided to give it a go.

Guess what!?  It seemed to work!

After just a few seconds of drying time, the little Fox in the Snow became a regular old orange fox and the lines did not run at all.  I was thrilled!  As much as I love the micron pens, I will admit that my stomach churns every time I go to discard a used up marker.  Perhaps there is a way to recycle them somehow, but that doesn’t seem to be enough.

In this throwaway culture of ours, I look for even the smallest ways to not be such a consumer.  This feels like a small way to do that.  Maybe this pen, with it’s ink that can stand up to watercolors, and it’s variety in line weight options in just the one pen, can be a beginning.

I will need to draw a tad more often to keep that ink flowing, and make a point of cleaning out the ink more often than I do in my other pen.  Perhaps this notion will keep me more in practice.  I’ve been a bit out of practice since summer’s sketching and travel.  This usually happens.  But I am ready to dive back into daily sketching, and more and more painting and see where it all leads.

More soon!