March with Jane Tardo: Week 4

Jane Tardo is an inventor, sculptor, and designer. She was born and is currently based in New Orleans. Jane will earn her Master of Fine Art in Sculpture from the University of New Orleans in May 2020. She is a grant recipient of Colloqate Design and has exhibited work in Baton Rouge Gallery, Good Children Gallery, and Barrister’s Gallery.  www.janetardo.com   IG: @stringspring 

︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿

It’s been two weeks since Snake Tube Adventure Racing was set to have its Grand Opening reception. I saw this night so clearly. I had planned so dearly for it. The prospect of having years of my life (1,500+ man hours on STAR alone) vanished was and remains crushing. I’m still recovering from raw fingertips after 3 days of hand sewing the panels together in situ.

Image1.png

At first, the cancellation wasn’t mandated, it was deemed “low risk” by my university due to the type of event- ie guests weren’t being brought in and it wasn’t a major concert nor sporting event. I was advised to get gloves, wipes, better soap and to have someone at the door to make sure that there would only be 50 people gathered at a time. I made preparations and I thought it would be safe to open.

Photo by Hannah Patterson

Photo by Hannah Patterson

But ultimately, I decided to waiver my right to make the final decision. I was too emotionally invested to accurately assess the situation. I didn’t understand much about the virus’s spread at this point because I had been spending around 12-14 hours a day preparing the gallery and finishing up my title project: Snake Tube Adventure Racing. But given the hands on, interactive, crowd attracting nature of my work… I’m glad that it was canceled, I’m glad someone made that call for me. I would be feeling like a huge asshole right now if I had opened. It’s amazing how much emotions can affect your better judgement under times of stress.

Photo by Hannah Patterson

Photo by Hannah Patterson

I’ve been hesitant to really communicate how I’ve been feeling to anyone other than my partner and my closest friends… it’s easy to feel selfish and irrelevant in comparison to the amount of fear, suffering, and uncertainty going on. I’m from New Orleans, so it really hits how devastating this is going to be in all manner of ways. In just 2 weeks, New Orleans and Mardi Gras have made national news about our hedonistic spread of the virus. Almost everyone here knows someone who has the virus or has died from it, and you’ll be hard pressed to find someone who doesn’t have “allergies.” The effects of covid-19 will last years. It’s a scary time, especially with the looming hurricane season.

But when I allow myself to have and process my own feelings… it’s crushing. I feel like I’m mourning. The weight of lost opportunities is very heavy and varied emotions come in waves. I imagine so many emerging student artists, musicians, film/theatre, etc. are feeling a lot of this too. It’s not only a relief to finish a 3-year MFA program and to show off your work, but it’s also your moment to feel proud and to be celebrated for your accomplishments. I don't think I'll get to have that experience, and that's a bummer. 

Image4.JPG

I haven’t sewn in 11 days- or ever since the hasty midnight-hour email advising us to ASAP evacuate our studios and classroom spaces. As a heavily studio-based artist… well I had a lot of shit to move! Most things went into my new storage unit. I left a lot of my serious sculpting gear behind in the studio, ie my wires, raw materials, motors, clays, and chemicals- hopefully I’ll be able to retrieve them at some point. The necessities (sewing machine, notions, interfacings, stabilizers, threads, a curated selection of fabrics) are on top of my costume-chest in the kitchen. I stare at it daily but have yet to do anything other than reorganize it obsessively. I can see the work I want to make and should be making in my head, yet am demotivated by my loss of space and organization... I’m missing my studio dearly. I basically live in the kitchen now. This is so far from my usual routine- I usually spend 7 days a week on activities such as building theatre, teaching, sewing, partner dancing, creative work, misc projects and generally I was only home for showers, meals, and sleep.

Image5.JPG

Instead of making work, I have been doing the thing I hate most… the computer screen. I’m nearly done with my thesis and defending it next week (woo!). I’ve also been learning how to draw- something I actually don’t know how to do at all! I’ve been watching youtube tutorials and taking Udemy courses for drawing and Clip Studio, two things I’ve been meaning to learn for a long time so at least there’s some silver lining! I’ve also been trying to figure out more social media and website creation stuff, so I can continue to work on my portfolio and so-called “Brand-” also two things that I have been avoiding doing until now. I feel in a good workflow professionally, but really missing the actual creative side of my work. However, I’m so thankful, lucky, and privileged to be able to use these unusual circumstances to my advantage- even if it’s not exactly what I’d like to be doing.

Image6.JPG

I’m trying to remain hopeful, even though the future seems shifty and unclear. My plan was to work in Canada this summer doing design production for a circus. A week before Covid-19, I bought a '91 Toyota Lite Ace Camper to renovate and then live in, work out of, and drive away into the sunset with my partner. I'm not sure what the realistic plan is anymore. I have a lot of hope in everyone staying home as much as possible and the increased engagement in mutual aid to take care of communities. I hope more humans are beginning to see through the lies of scarcity and that the possibilities for a better world become more viable during this bizarre historic event.  

March With Jane Tardo: Week 1

Jane Tardo is an inventor, sculptor, and designer. She was born and is currently based in New Orleans. Jane will earn her Master of Fine Art in Sculpture from the University of New Orleans in May 2020. She is a grant recipient of Colloqate Design and has exhibited work in Baton Rouge Gallery, Good Children Gallery, and Barrister’s Gallery.  www.janetardo.com   IG: @stringspring 

︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿

This week and over the past few weeks I have been entirely focused on preparing for my thesis show. Rather than show an accumulation of work made during the past 3 years of my graduate career, I have chosen to show only the work that I have completed this year. This decision is largely due to just recently (over the summer) figuring out what kind of artist I am and what kind of work it is that I make- it took me 3 years to learn this & the techniques to be able to produce my work! I think this is a pretty common experience for MFA programs, yet am amazed by how much I have actually learned and grown as artist during my focused period of study and practice. I am truly, truly excited and in love with everything I am creating and very much looking forward to sharing my work with audiences.

Yet the preparations have been a bit daunting, mostly in finishing and installing my title piece: Snake Tube Adventure Racing.

Snake Tube Adventure WHAT?!

Jtardo_Image1.JPG

I have prepared a short Q&A to answer all of the fan-mail and questions regarding Snake Tube Adventure Racing (STAR).  

 Q: What is Snake Tube Adventure Racing?

Good question! Snake Tube Adventure Racing (STAR) is the world’s first quilted RC snake tube adventure racetrack. Racers will be able to pick out their own snake from a tank, insert it into a custom radio-controlled car, then race with up to 2 other racers around 24 ft of quilted dystopian landscapes. Racers will have the option to record or livestream their race from a phone mount installed on each car!

Jtardo_Image2.jpg

Q: Wait, what?

STAR is a game-like interactive installation that melds fiber art, political art, performance art, and postinternet/tech art into one incredible experience. You’ll laugh, you’ll cry, you’ll love it!

Jtardo_Image3.JPG

Q: How does it work? What do I do?

Well, basically you just show up! STAR has its own pit crew that will guide you through the process. You’ll be received by a host, helped by a technician, and have your race announced by a professional MC. While you wait for your chance to race you can take a self-guided tour of the arena with the informative brochure. The other side of the gallery will host my store, where you can peruse my other inventions while biding time until your race. And don't forget to visit the gift shop on your way out!

Jtardo_Image4.JPG

Q: That all sounds incredible, how long did it take to make?!

Thanks! I have been working on the concept of STAR for about a year. In October I began the scale model construction and made blueprints; construction on the racetrack finished around mid-November. I was assisted by a fabricator, who helped me with the construction (I'm very small so I try to always build with the buddy system!) and a studio assistant, who helped with various sewing, cutting, and sketching tasks. She also did the design for the brochure. The poster for STAR was designed by Harriet Burbeck. I’ll write more about working with assistants in a later post, it’s such an important part of being able to go as large in concept and scale as I was able to go with STAR! Overall, in total, STAR took about 1,500 hours to make. Which is a really, really long time.

Q: So the whole thing is sewn? How long have you been sewing? What techniques/materials do you use?

Yes, aside from the armature, the booth, and the cars, the entire installation is sewn. My grandmaw taught me some basics of sewing and I’ve sewn on and off for my whole life. I’d say that it’s only recently that I’ve gotten really good at it though, I’m teaching a costume craft and sewing class so I had to learn a lot more by having to know more in order to teach. Most of the sewing is quilted, or in the spirit of it anyway. I think professional quilters might be a little annoyed by some of my techniques, but “real” quilting is actually really hard and time consuming! I used a lot of applique techniques as well; this is when you transfer and connect one or more pieces together in order to make a new image. Many of the details of the work are machine and free motion embroidered. I used tracing paper to get the general layout and pattern down, then matched and collaged the fabrics I wanted to use. It’s a little embarrassing to admit, but almost all of the fabrics are from Joanns. I just love the bright colors and patterns and of course I’ve developed a close relationship with the staff there- it’s where I feel most comfortable shopping. I spend a lot of time ironing! Most days feel like I iron more than do actual sewing. I also used a lot of stabilizer, interfacing, and batting to get the textures and loft of the landscapes.  

Jtardo_Image10.JPG

Q: Wow wow wow. I just can’t wait to see this thing! How can I experience STAR?

Snake Tube Adventure Racing and more! opens Saturday, March 14, 6pm-9pm at the UNO St Claude Gallery (2429 St Claude Ave. New Orleans, LA) and will be open Sat & Sun thru 4/4, 12pm-5pm. I’ll be in the gallery each day, so come by and say hi! 

February with Gregory Hatch: Week 4

With a background in art history and a passion for personal narrative ritual, Gregory Hatch is a fiber and performance artist who explores how pattern, texture, and material sit within our memory (individual and collective). Born and raised in Akron, Ohio and currently living in Cleveland, his work explores the nature of desire, obsession, voyeurism, and longing. Recently his practice returned to using narrative and storytelling as a way of sharing a personal history.

︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿

Praxis as Praxis

This past Saturday I got a chance to teach a felting workshop at Praxis Fiber Workshop (https://praxisfiberworkshop.com/) here in Cleveland, Ohio.

20200222_135858.jpg

We explored how to create three dimensional felted forms using flat resists. It was about learning the process of felting, seeing how using foam resists can create dimension in the material, and how to shape it into vessel forms. I got a chance to take some photos of the workspace during our lunch.

20200222_133410.jpg

Last year I had the amazing opportunity to be be Praxis' Fellow and have use of the studio. Over the course of the year I reinvested in my love of the narrative and developed two bodies of work, Dork and his #1 Fan. Here is my statement from the exhibition:

"Dork and his #1 Fan" is a new performance series inspired by my obsession with fandom culture and the erotic fan art that is produced as a result. The #1 Fan From Planet Eros is a space creature obsessed with the fictional character Dork. Dork is a space adventurer in the vein of Flash Gordon, Den, John Carter, and Conan. At all times he wears a helmet/gimp mask that hides his face and allows the viewer to project their own desires onto the figure. The objects created for the installation and performance are the products of the #1 Fan and his obsession with the character.

#1 Fan from Planet Eros, Felt, 2019.jpg
#1 Fan, Promotional Photo, 2019.jpg
Dork and His #1 Fan, Installation, 2019.jpg
Dork and His #1 Fan Alternative View 1, Installation, 2019.jpg

February with Gregory Hatch: Week 3

With a background in art history and a passion for personal narrative ritual, Gregory Hatch is a fiber and performance artist who explores how pattern, texture, and material sit within our memory (individual and collective). Born and raised in Akron, Ohio and currently living in Cleveland, his work explores the nature of desire, obsession, voyeurism, and longing. Recently his practice returned to using narrative and storytelling as a way of sharing a personal history.

︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿

Layers and more layers

This week I wanted to show my drawing process. The way I draw with crayons and the way I build up my needle felted figures is actually pretty similar. I like to start with a rough sketch to get proportions and scale, and then block out the form in color. I then like to add layer upon layer of shades to help give dimension to the form, allowing the marks to stay loose. As I progress to darker and darker colors the drawing starts to emerge from the basic forms. I then finish by applying the darkest hues then blending them out gradually using a medium tone.

For the background of the piece I defined the space by two methods, direction of the marks and color warmth. For the grass I kept the marks horizontal and built up warm shades of greens and yellows and for the trees I used cool horizontal/diagonal blue/green marks.

I am not sure if I am completely happy with how it turned out in the end, but each time I draw I learn something new and hope to continue to advance my skills.

20200221_145959.jpg
20200221_152119.jpg
20200221_152312.jpg
20200221_152933.jpg
20200221_153515.jpg
20200221_154248.jpg
20200221_154731.jpg
20200221_155018.jpg
20200221_155416.jpg
20200221_160327.jpg

February with Gregory Hatch: Week 2.5

With a background in art history and a passion for personal narrative ritual, Gregory Hatch is a fiber and performance artist who explores how pattern, texture, and material sit within our memory (individual and collective). Born and raised in Akron, Ohio and currently living in Cleveland, his work explores the nature of desire, obsession, voyeurism, and longing. Recently his practice returned to using narrative and storytelling as a way of sharing a personal history.

︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿

Art as Magic

This past Saturday I got to help out for a day at the Buckland Museum of Witchcraft & Magick https://bucklandmuseum.org/ here in Cleveland, OH. The museum opened in the Cleveland area in 2017 and I visited it for the first time in 2018 . Since then I have frequented the museum to check out their continuously changing book selection. The book I am currently reading, Condensed Chaos by Phil Hine, is from there. My interest in and exploration of the occult and spirituality has not only informed my artistic practice, but shown me that it is an expression of my beliefs. As I have dug deeper into different practices I rediscovered my love for storytelling in my work and recognized the power that it holds.

Buckland.jpg

In regards to making I am continuing to work on The Great Lakes Wild Man and The Fairy Ring projects. I have been working on the design for my Fairy Ring persona's garb. In undergrad I studied historical costume and I am drawing from Ancient Greek garments. I am looking to fashion my own chlamys (cloak), chiton (tunic), and perizoma (loin cloth) and dye them with natural dyes.

Costume design.jpg
20200215_121229.jpg

February with Gregory Hatch: Week 2

With a background in art history and a passion for personal narrative ritual, Gregory Hatch is a fiber and performance artist who explores how pattern, texture, and material sit within our memory (individual and collective). Born and raised in Akron, Ohio and currently living in Cleveland, his work explores the nature of desire, obsession, voyeurism, and longing. Recently his practice returned to using narrative and storytelling as a way of sharing a personal history.

︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿

Something Old, Something New

This week really highlights two behaviors that have been consistent in my practice

1. Revisiting/reusing old work.

2. Having multiple projects going at the same time.

WIld Man.jpg

I am continuing to edit down the performance The Great Lakes Wild Man. Right now it’s a lot of me on the computer working on the power point and editing it down. I have been trying to consider what type of evidence the Wild Man would leave behind and how it would relate to the action of Cruising.

44598553_470485210021972_7898933792126009344_n.jpg

That's when I got the idea to use a collection of photos I have taken on my phone for the past two years. When I was employed I was struggling with down time. Even with applying for jobs, maintaining the house, and drawing I was still feeling restless. That's when I started taking walks. It was during these walks I started noticing a particular type of litter. Discarded condoms and their wrappers. I don't know why but I started to take photograph each one I found. I currently have about 36 photos (I actually had more, but lost them when a phone died).

44779503_302956130536219_6040673830249168896_n.jpg

I realized that these would work really well for my performance. Paranormal investigation is often looking for material evidence of the phenomena and these objects would be the perfect evidence for my Great Lakes Wild Man.

IMG_20160424_214322.jpg

Also this week I started reflecting on a  body of work that I did back in 2016. The Faerie Ring Project. It was a workshop style performance where participants either created or decorated papier-mâché toadstools. A few themes I was exploring at the time were space making, LGBTQA community and community making, and craft as a catalyst for social interaction.

20160625_175303.jpg
20160625_175315.jpg

I really enjoyed this mode of art making and performance and I am excited to revisit it. I am currently revamping this work by increasing its theatrics and the fantasy/narrative elements. I am planning on creating toadstool that will define the area where the workshop/social interaction will take place.

Fairy Ring Sketch.jpg

February with Gregory Hatch: Week 1

With a background in art history and a passion for personal narrative ritual, Gregory Hatch is a fiber and performance artist who explores how pattern, texture, and material sit within our memory (individual and collective). Born and raised in Akron, Ohio and currently living in Cleveland, his work explores the nature of desire, obsession, voyeurism, and longing. Recently his practice returned to using narrative and storytelling as a way of sharing a personal history.

︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿

Library books, Crayons, and PowerPoint.

Currently I am working on a new performance/future installation piece titled The Great Lakes Wild Man! A lot of my ideas start off as "Huh, that's interesting. _______ reminds me of _______" and away my mind goes. This current project started off as "Huh, that's interesting. Hunting for Bigfoot reminds me of Gay Cruising Habits," and away my mind went. Recently I have been watching a good deal of paranormal and cryptozoological investigation shows while working out at the gym and I started to notice how similar this search was to the practice of cruising.

A little bit of background and definitions before I go forward.

Cryptids is an umbrella term for creatures like the Loch Ness Monster, Bigfoot, Chupacabra, and yetis.

Cruising is the practice of walking or driving about an area looking for anonymous sex. Individuals will wander about areas "looking" to meet someone.

I decided I wanted to create a performance around the search for a Bigfoot like creature called the Great Lakes Wild Man as a way of talking about cruising habits and my own personal experiences.

This is how this project is taking shape:

Library Books.jpg

Library books

A lot of my projects start here. I am a librarian and I love to research a wide range of topics. I use these resources to get new ideas to expand the project, find other parallels to build on the initial idea. Much like an actor researching for a role, when I do a performance piece I love to immerse myself in these ideas as I develop my own persona.

Crayons.jpg

Crayons

I really enjoy using crayons to sketch out my ideas. This was not always the case. A few years ago I was unemployed and frustrated with my art practice. I had always loved comics and graphic novels so I decided to try to make my own. It was rough at first. I have always been very critical of my ability to draw and was frustrated with how clumsy my figures were. I tried a lot of different mediums before finding that crayons really suited my approach to mark making. I am really happy with my progress and I hope I can continue to improve my skills.

Wildman.jpg
Wildman1.jpg
Wildman2.jpg

Power Point

Now I am developing how I am structuring this performance. I chose Power Point because of my familiarity with the medium when presenting research. This performance is without a script and this format really helps me organize my ideas and develop the flow for the work.

Power Point.jpg
Power point1.jpg
Power point2.jpg

Welcome February Artist-in-Residence: Gregory Hatch!

With a background in art history and a passion for personal narrative ritual, Gregory Hatch is a fiber and performance artist who explores how pattern, texture, and material sit within our memory (individual and collective). Born and raised in Akron, Ohio and currently living in Cleveland, his work explores the nature of desire, obsession, voyeurism, and longing. Recently his practice returned to using narrative and storytelling as a way of sharing a personal history.

︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿

Daedalus Anxiety  Felt, 2019 (2).jpg

My current work explores the nature of desire, obsession, voyeurism, and longing and returns to using narrative and storytelling as a way of sharing a personal history. I draw on past experiences and use the lens of my own fantasy world to present these constructed narratives.

#1 Fan from Planet Eros, Felt, 2019.jpg
#1 Fan, Promotional Photo, 2019.jpg

The compositions and costumes from my performances are created from handmade felt, a material that exist in-between processed textiles and their animal source.

Daedalus Anxiety  Felt, 2019 (1).jpg

My work is looking to explore how people satisfy their compulsions/desires and enjoy themselves. I use archetypes from folklore and mythology to convey the mental and emotional state of mind I was in during these experiences and the transformation of place and identity I felt from being involved.

Dork and His #1 Fan, Installation, 2019.jpg
Dork and His #1 Fan Alternative View 2, Installation, 2019.jpg
Dork and His #1 Fan Alternative View 1, Installation, 2019.jpg

January with E Marshall: Week 4 Bonus (Teaching)

E Marshall lives and works in New Orleans, Louisiana. E’s work skips across many mediums and materials. Currently they are producing large drawings and paintings on paper. The joy of making marks is the driving force behind E’s work and it surfs on the boundary between memory and identity as it relates to the physical, drawn surface. 

︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿

I am teaching an intro art class this semester. Getting over the anxiety of standing in front of 15-20 people and TEACHING them something was very hard for me. I didn’t think I had anything to teach them. Most of my students are not that much younger than me and I was intimidated by my lack of experience. I came to realize that I only have to facilitate an environment for them to experiment and structure the class to have conversations about what they make. I want to demystify the process of making and create an environment where we all learn from each other. Often times things that my students make or composition choices they stumble upon make their way into my work. 

IMG_1415.JPEG

Today we investigated the basic principle of line. We tried to make as many different types of lines we could with various materials.  Here are some pictures of my students’ work. The prompt was to draw an object with that object. They all went outside and found 3 things. Then they had to dip those things in ink and make a drawing of that object with itself. Some really nice things happened. 

IMG_1428.JPEG
IMG_1419.JPEG
IMG_1424.JPEG

January with E Marshall: Week 4

E Marshall lives and works in New Orleans, Louisiana. E’s work skips across many mediums and materials. Currently they are producing large drawings and paintings on paper. The joy of making marks is the driving force behind E’s work and it surfs on the boundary between memory and identity as it relates to the physical, drawn surface. 

︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿

I am dipping my toe into the world of digital drawings. I have been experimenting with the Procreate ap on an i pad with an Apple pencil. 

digitalmind2.jpg

It was very overwhelming at first. Unlimited color, unlimited texture, and the ability to zoom in and zoom out but always drawing on the same size pad. It feels completely different than my sketchbook. I can draw on a new axis. I can create a separate layer and draw BEHIND my marks which has allowed me to make new decisions and work through color choices faster. 

blueBlue.jpg

I am trying to find my hand and technique in this alien media while maintaining a digital feel. I don’t want these to pose as something they are not.

JML_digital.jpg

Digital drawings seemed like a bad Idea. They also seemed like a good idea. I am trying to find the happy place.  Drawing the sky digitally feels satisfying and infinite in a funny way.

bigSKY-2.jpg

I like that I never have to make a hard decision on a piece.  I can duplicate it and go both directions. The path can diverge infinitely. 

Untitled-Artwork 1.jpg
Untitled-Artwork.jpg

January with E Marshall: Week 3

E Marshall lives and works in New Orleans, Louisiana. E’s work skips across many mediums and materials. Currently they are producing large drawings and paintings on paper. The joy of making marks is the driving force behind E’s work and it surfs on the boundary between memory and identity as it relates to the physical, drawn surface. 

︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿

I always like having a little personal gallery of things for encouragement and reminders. Sometimes if things hang up there long enough they start making idea babies. 

Bulletin_A.jpg

Here is a little tour around my bulletin board. It’s been a crazy month. I have been in my studio so much the last few months and the detritus, false starts, shelved ideas and kernels are piling up.  

Bulletin_B.jpg
Bulletin_C.jpg
IMG-1331.jpg

My first love is sewing. I go through waves of working with different materials, but I always come back to stitching scraps together. I have quite a collection, not sure what to do with it…

Bulletin_D.jpg

This is an image I pieced together from a racing photo. Implied Horse. 

Bulletin_E.jpg

Horse cutouts that I use to draw with and trace. Flattening the steed and making it a reusable shape. It is about the idea of the horse, not necessarily individual horses. A postcard from where I grew up (the first town on the Mississippi river) A thrown horseshoe from a visit to the stables at the race track and some tiny pictures of a loved one in cowboy boots. 

Bulletin_F.jpg

A quick drawing of a queen palm and some dog’s rawhide bone I stretched out and painted with gloss medium.  

An update on a piece I introduced in the last post... I’m calling it “Pressure” at the moment.  This is an outline of my head. it doesn't really feel like it belongs to me anymore. I have been going through a lot of ups and downs with it. I know it is part of my process.  I never like what I am making the whole time I am making it. I have to trust that I will find some resolution and work through the awkward, ugly duck patches.

Pressure_head.jpg

January with E Marshall: Week 2

E Marshall lives and works in New Orleans, Louisiana. E’s work skips across many mediums and materials. Currently they are producing large drawings and paintings on paper. The joy of making marks is the driving force behind E’s work and it surfs on the boundary between memory and identity as it relates to the physical, drawn surface. 

︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿

Markers. From the juiciest to the almost-dead-squeakiest they have consistently been my favorite way of slanging around color. I can carry them around in my back pack and when I’m bummed out or need a boost of inspiration I just get a few new ones. I have slowly, slowly built up a pretty impressive collection. In the last couple of years I have been trying to be more careful about getting inks and paints that won’t fade or eat away at my paper. I also love ball point pens - they are boring to talk about… but fun to draw with and unassuming. My favorite shades of blue come from crappy pens. 

markers.jpg

If I’m feeling stale and musty I watch interviews with artists on youtube or go see a show. Even if it is work I am not particularly into, just looking at art greases the wheels. Also, showing up to my studio is crucial. If I am stuck or having a bad day, simply being in there is important. I may not be getting any work done, I may just be scrolling the gram or watching Art21 vids, but if I’m there the possibility that something will happen increases. Even one mark feels like progress. Showing up is essential. Being on a schedule helps. 

heads_c.jpg
Head_A.JPG

This new work is a little off track from what I have been doing lately. I don’t often draw figures and these are all outlines of my head. I wanted to see what happened when I smashed all the imagery I have been expelling back into my mind. I guess it was a joke on closing the loop, being obtuse. Or maybe it’s just an obvious line about brain vomit and drawing what I think and thinking what I draw. Either way, it was a quick way to fill up a lot of space and create new inhabitants for the arches and rainbows. 

head_b2.jpg

It has been hard for me to FINISH my work. I keep getting antsy and starting new things. I am excited about this Head series and hope to work them all the way through for a show in February. 

Head_b1.JPG

January with E Marshall: Week 1 Bonus Update

E Marshall lives and works in New Orleans, Louisiana. E’s work skips across many mediums and materials. Currently they are producing large drawings and paintings on paper. The joy of making marks is the driving force behind E’s work and it surfs on the boundary between memory and identity as it relates to the physical, drawn surface. 

︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿

My friend and artist Ben Miller is a constant inspiration to me. I learned a lot about loosening up and making honest art from him. Here are some screenshots of an Instagram story he posted that I printed out and tacked on my wall in my studio for encouragement. 

Instagram story from Ben Miller, @benjonmiller15, 2019

Instagram story from Ben Miller, @benjonmiller15, 2019

Ben Jon Miller, “Touch”, 2019

Ben Jon Miller, “Touch”, 2019

Drawing by E Marshall

Drawing by E Marshall

January with E Marshall: Week 1

E Marshall lives and works in New Orleans, Louisiana. E’s work skips across many mediums and materials. Currently they are producing large drawings and paintings on paper. The joy of making marks is the driving force behind E’s work and it surfs on the boundary between memory and identity as it relates to the physical, drawn surface. 

︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿

Sketch_C.JPG

I am vibing with themes of orbs, atmospheres, horses, childhood and archways lately.  My work is meticulous and loose simultaneously. Anxiety and tranquility and the space that those things create when they press in together are interesting to me. Making a stupid mark or image on purpose and trying to solve the problem of it being there. Working with what you got. Slapping a sticker onto something and then having to resolve its bright, shiny presence. 

Sketch_A.JPG

I carry a book to draw in with me constantly. The five years after I finished my BFA I was traveling a lot and didn't have a studio to settle into. The books became essential. It was often the only connection I had to my art practice. A personal, new drawing style grew out of those early books.  I am very responsive to my environment and it shows up in my work. For the last two and a half years my drawings have been steadily growing in size thanks to the stability of my studio and wall space. 

Sketch_B.JPG
Sketch_D.JPG

My newest drawing is the biggest I have attempted yet. measuring at a whopping 60 by 44 inches. Everything in between has been a journey of experimental mark making and layering. I think of my work as a long standing experiment. How does this marker look next to this one? Can I overlap these colors? Intuitive color arrangements and playful exploration. 

Studio_C.jpg
Studio_B.jpg

I am working on a drawing of the sky. It will never be done. It is made out of ball point pens and scrap paper that fits neatly into an envelope and can be taken anywhere. The last time I installed it it was 8’ x 6’. I am looking to double it in size for my show in February. This piece is important to me because I can take it anywhere and work on it even when I have no other inspired thought in my head. It is always there to be worked on so I never have nothing to do. 

sky_A.jpg
Sky_B.jpg

Everything you see in these pictures is unfinished or unsure of its finished state. I think I need to get really sick of a piece and get it out of my studio before it is considered “done”. 

Studio_A.JPG

︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿

Welcome January Artist in Residence E Marshall!

E Marshall lives and works in New Orleans, Louisiana. E’s work skips across many mediums and materials. Currently they are producing large drawings and paintings on paper. The joy of making marks is the driving force behind E’s work and it surfs on the boundary between memory and identity as it relates to the physical, drawn surface. 

︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿

Hello Internet. 

My name is E Marshall, I am an artist living and working in New Orleans. My studio practice is really important to me and I am happy to share some glimpses into what goes on in there. 

I am an Artist living and working in New Orleans. I  spent my childhood in Northern Minnesota and got a BFA from the Milwaukee Institute of Art and Design. I have been living in New Orleans since 2012 and am an MFA candidate at the University of New Orleans. 

I am toiling away on a body of work that will be showing at the UNO gallery on Saint Claude Ave in New Orleans for the month of February. It will be the culmination of work I have done while a Masters Candidate at the University of New Orleans. 

IMG_1002.JPEG
IMG_1005.JPEG
IMG_0030.JPG
IMG_1014.JPEG

December with April Bachtel: Week 2

April Bachtel is a New Orleans-based artist sharing studio updates throughout December as part of the SHE Digital Artist Residency Program.

︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿

Week 2: December 14

Like most artists I know, I go through growth spurts and periods of staleness. This residency is an effort to ease the angst felt when the studio goes untouched.


I feel a bit stale this week. I did “get in the studio,” but somehow the time and resulting drawings felt forced. Instead this week, I’d like to share with you works that resonated with me from a recent trip to the Ogden Museum of Southern Art. See y’all next week! 

Tom O’Brien, “Chris”, 2019, Charcoal on paper

Tom O’Brien, “Chris”, 2019, Charcoal on paper

Ruth Owens, “Good Family”, 2019, Oil on canvas

Ruth Owens, “Good Family”, 2019, Oil on canvas

William Christenberry, Untitled, 2006, Colored pencil and pencil

William Christenberry, Untitled, 2006, Colored pencil and pencil

Benny Andrews, American Critic #1, 1999, Pen and ink on paper

Benny Andrews, American Critic #1, 1999, Pen and ink on paper

December with April Bachtel: Week 1

April Bachtel is a New Orleans-based artist sharing studio updates throughout December as part of the SHE Digital Artist Residency Program.

︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿

Week 1: December 7

Hello Internet Friends! 

I live in New Orleans and The St. Roch Community Church Residency Program is how I got here. I’m originally from Ohio – a really small un-incorporated township straddling the county line. I’ve been slowly moving south: Ohio —> Tennessee —> Alabama —> Louisiana. Most of that moving was for Art, studying and teaching. But it also was for escape, excitement, and growth. I love doughnuts and animals. I like to bake and sew. This December I am returning to a body of work that has been on pause for a quite sometime. 

Here’s a photo of me holding something:

unnamed.jpg

In my hand I hold a peculiar form crafted by Houston based artist Corey Akelmire (http://www.coreyackelmire.com). I acquired this metal piece in perhaps 2010 where we crossed paths. Some years later, its form co-sparked the seed for what I now am calling, “The Ego Drawings.” I began these drawings when I lived in Tuscaloosa, AL. The first charcoal scrawl is here:

unnamed (1).jpg

I drew on the weekends and after teaching on the weekdays if I wasn’t too tired. I didn’t get a lot done, and I wasn’t sure if I even liked the drawings. I did know that I needed to draw them. They were centering, grounding and interesting to me.

Brene Brown said, “Don’t Puff or Shrink.”

unnamed (10).jpg

I liked to think about this concept while I drew. I tried to draw it. I tried to live it. How could I stay in-between puffing and shrinking? How could I stay in-between having too much ego and having too little. What does it look like?

unnamed (7).jpg

I spent so much of my life in a default shrink mode, that when I finally was brave enough to not shrink, I puffed. I am still practicing this art of puffing and shrinking.

I’ve also heard, “Never wait in weakness nor walk in power,” though I’m not sure who first said this. It fits too.

unnamed (3).jpg

Later, while in Residence at St. Roch Community Church, I picked this body of work back up. The residency gave me a lot of time and space. Sometimes I didn’t always know what to do, but this quiet drawing practice kept me going even in the midst of health struggles. I sat at a desk with a lamp and drew. I kept judgements to a minimum (or at least I pretended to try!) and made a lot of mess. I didn’t show too many folks and they’ve been tucked away. I’m bringing them out and going to continue.

unnamed (5).jpg
unnamed (4).jpg
unnamed (6).jpg
unnamed (8).jpg
unnamed (9).jpg

November with Jade Hoyer: Week 3

Jade Hoyer is a Denver-based artist sharing studio updates throughout November as part of the SHE Digital Artist Residency Program.

︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿

Week 3: November 21 (End o’ the Month)

Printing and Install!

Welp. It’s been that kind of month! I’m really excited to share the final images of the install.

Printing was insane. Lisette and I knocked out the printing over one epic Thursday. We printed the works using “sludge jug gray.” At the end of every semester, students dump their ink into a communal container. It ranges in hue, but I was loving the color the came out this time- a sort of cool green-gray. 

Printing 2.JPG
Printing 3.JPG

And install went pretty well! I attended graduate school in Tennessee, and so it was fun for me to spend some time in the South again visiting Louisville. We installed the work at the Hite Institute’s brand-new MFA building. (It’s beautiful! Studio dreams!)

Here’s the MFA Building, colloquially it’s called the Portland building because of its location in Louisville’s Portland building.

Louisville 1.jpg

Here’s the install!

Louisville 3.jpg

And here it is in situ.

Louisville 4.jpg

What an awesome opportunity! Thanks again to Rachel at the University of Louisville, Lissette for all her hard work, and SHE for hosting me.

November with Jade Hoyer: Week 2

Jade Hoyer is a Denver-based artist sharing studio updates throughout November as part of the SHE Digital Artist Residency Program.

︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿︽︿

Week 2: November 14

Revise, Revise

The Premise- Jade Hoyer and Lissette Ramirez are creating an installation of modular images that play on words and varying between negative and positive space. A blow by blow of our thought process.

Jade & Lissette, staring at a computer: action shot!

Jade & Lissette, staring at a computer: action shot!

1. “Does this look too much like a crossword puzzle?”

1.png

2. “I like the scribble! Can we adjust [a, b, c, e, ….y, z]?”

2.jpg

3. “I just want to see it with two colors”/ “That would be twice as much work”/ “Whoa, all you see are K’s.”/ “K’s and Crossword puzzle”

3.png

“What if we lost the Know/ Now, and just used Art?”

4.png

“Meh”

“I think the negative/ positive overwhelms the scribble. My favorite part is how the scribble pattern lines up, and you can’t see that with the crossword aesthetic. What if we tried something less randomized?”

5.png
6.png
7.png

“Meh” 

6. “I still want two colors.”/ “Two colors with stripes?”

8.png

“Too much”

“How about now?”

9.png

“Not enough.” 

8. “What about…….?”

10.png

“Hmmmm.”

Next week: printing!