Phoenix Underground Exhibit, Opening June 27, 2014

Animals

 

SteamedAnimals–mostly birds but other critters too–have taken up residence in my art for many years. I didn’t exactly invite them. Like squirrels drawn to my bird feeder, I don’t recall intending to focus on critters but they have been drawn into my art. And yet I did put up the feeder, and I did create these images, Stirand so of course I invited them. Birds, frogs, cats, cicadas, squirrels and other critters are with us in life and so too in my art. In Steamed (2011), a squirrel chatters noisily like so many colicky babies (or whistling teakettles), clamoring for attention. In Stir (2010), birds with human legs spring forth to dance or fly. And in Composition With Goose (2009), a calm cat and a very wound-up goose hold forth and argue.

 

Frog, My FriendBut more recently, in the past half-year or so, I’ve changed a little. I am thinking more intentionally about critters, my relationship to them, and the impact of human activity and climate change on them. I think of my pictures as a stage and the animals and people in them as characters playing a part. But instead of using birds or squirrels to tell stories that are really about people, the critters I’m drawing now are playing the part of themselves and are part of the story. In Frog, My Friend, for example, a frog, a casualty of the 600.deathwithchickenSouth Lawrence Trafficway, is carried off by “Death.” Or maybe the frog is our pet frog that died because we just couldn’t take care of him right. Either way, the frog in this story is a frog. In Run!, a Prairie Chicken plays its own part, too, on the run from Death due to habitat destruction and Kansas politics. In Passenger Pigeon: Abstract Memory, a cloud of extinct Passenger Pigeons becomes abstract and fades from memory. In Robin, Been and Gone, a robin is depicted along with several robin-silhouettes, symbolizing presence and absence, a reminder of what pesticides can do to birds. These are of course my images for my very human purposes, too. But I hope that by thinking more about the role of animals in my work, I can remind viewers that we have a relationship with animals, and that this relationship is fragile.

 

Robin, Been and GoneMaking work about the negative impact of humans on critters is a new direction in my art, the beginning of a
Never Coming Back
larger body of work. I was moved to think more about animals in the broadest sense of the word after reading Elizabeth Kolbert’s The Sixth Extinction. Her book includes story after story of scientists worldwide documenting the process of animals becoming extinct because of human-caused global warming. Animals are leaving us now, and they are never coming back.

 


In my new work I am guided too by collaborating with my composer-friend Lynn Gumert, of Hightstown, NJ.  Lynn and I have talked on the phone and we have exchanged emails, images, and sound. We are working together on loosely-related themes in our work, themes that include the impact of climate change on weather, animals, and us.  Lynn is working on a series of related short saxophone quartet pieces, and eventually our work will be presented together.  Her first notes to me depicted a river. Building on her compositions I am also playing with images of saxophones and literally drawing their “sound,” as in River Song. In this piece, a Mourning Dove plays a saxophone-river. This, too, is another experiment in visual storytelling.

 

Please join Karen Matheis and me for our two-person show at the Phoenix Underground, opening Final Friday, June 27, 2014, 5 – 9 pm, from June 27 – July 23 at the Phoenix Underground (825 Massachusetts, Lawrence, KS). I’ll show these works and others too, and almost all of them include animals.

 

 

 

 

 

 

 

 

 

 

 

Mosaic Process Open House on Final Friday

I would like to invite you to see the seven-foot mosaic that I’ve been working on for the main stairway of the Free State Brewery (downtown) in Lawrence, KS. I would love to share my process and celebrate my progress with you at my eastside brewery-studio!

 

This is a one-time only Final Friday event so I hope that you can add it to your Final Friday evening. The event is open to the public.

 

Friday, October 25, 2013
6 – 8 pm, Free State will serve refreshments

 

Free State Eastside Brewery
1923 Moodie Road

 

Directions: from 19th St. and Massachusetts, go east on 19th and turn right on Moodie Road. (Moodie is on the right side between Delaware and Haskell). The Free State Eastside Brewery is the second building on the right. It is also just off the Burroughs walking/biking path. Enter at the far west door.

Opening at the Lincoln Art Center and other news

You are invited to an art opening in Lincoln, Kansas!

 

Cut, Scratch, Smash, Stack featuring the work of Hanna Eastin of Newton, KS, and Angie Pickman and me of Lawrence, KS, opens on Saturday, May 11, 5:30-7:30 pm at the Lincoln Art Center in Lincoln, KS, and runs through June 28, 2013.  (Lincoln, KS is 45-minutes northeast of Salina, KS.)

 

This exhibit is free and open to the public Tuesday through Friday noon to 4:00 p.m. and Saturday 10:00 a.m. to 1:00 p.m. at the Lincoln Art Center, 126 E. Lincoln Ave, Lincoln, KS, 67455. For more information call 785-524-3241 or visit the Lincoln Art Center website for more information.

 

In other news, the new Lawrence Magazine is out and I have an illustration in it about catfish! Flatheads to be exact. Check it out — the story is about Thomas Burns, one of the regions greatest fisherman on the Kaw.  Lawrence Magazine is available free at many Lawrence businesses, the visitor’s center, and on-line.


UPDATE: We had a lovely crowd and a great opening at the Lincoln Art Center! Here’s a photo of the installation. My work hangs on the wall with Hanna Eastin’s sculpture in the foreground. (Angie Pickman’s cut paper art is on the opposite wall):

 

 

 

 

“On the Bias” and “Postpartum”

UPDATE:  Photos from the exhibit Working on the Bias

 

My artwork will be included in two forthcoming exhibits opening in February and March: Working on the Bias in Salina, Kansas, and Postpartum in El Dorado, Kansas. Both are projects of the Kansas branch of the Feminist Art Project.

 

Working on the Bias

Watson Gallery

151 S. Santa Fe, Salina, KS

Feb. 22 – Apr. 21, 2013

 

I decided to make a banner for this exhibit after re-visiting a book I found years ago at a library book-sale called Banners and Hangings: Design and Construction, by Norman Laliberte and Sterling McIlhany, published in 1966.  The book was musty and plain with no dustcover, but the banners in it by renowned artist Norman Laliberte, and his banner-making process, were exciting and of their time in a good way.

 

I remember banners as a child growing up in the 1960′s and 70′s, some political and others religious.  My mother taught me rudimentary embroidery and sewing skills back then too, and these were the basic skills that I brought to my banner project.  The passing on of sewing skills from mother to daughter is relevant for Working on the Bias because the exhibit is framed as a feminist art show intended to link needlework and “identity”.

 

My banner’s themes also relate to my memory of the banners I saw in my youth because the words and images fall somewhere between  political and spiritual, calling for action on climate change. The angel in my banner is both a mother and a farmer, and a blazing sun and cracked earth of a drought surround her. The text is a plea, but not to a spiritual being for help. Instead the plea is directed to our own better selves or better angels and reads: “It’s too hot!” and “It feels wrong.”  And then, “Listen to our better angels, heed the warnings, and act!”

 

I learned from working on this banner that needlework, at least for a novice like me, takes time.  After working on the piece for several hours a day for numberswiki.com

a number of weeks, I began to develop a repetitive motion injury and a badly strained back.  It seemed a bit ridiculous to become injured by simply hand-sewing and yet why not? A friend whose mother is a quilter told me that this kind of injury is common among quilters. Think of our grandmother’s gnarled hands.

 

Rachel Epp Buller, regional coordinator of the Feminist Art Project, and Carolyn Wedel, director of the Watson Gallery in Salina, KS, are curating the exhibit. They will include artwork that explores gender and identity by either physically or conceptually incorporating stitched, embroidered, or woven elements. The exhibit will serve as an accompaniment to the nationally touring exhibit, A Complex Weave: Women and Identity in Contemporary Art, opening this month (February 2013) at the Salina Arts Center.

 

Postpartum

Erman B. White Gallery, Butler County Community College

901 S. Haverhill, El Dorado, KS

Mar. 1 – Apr. 5, 2013

 

Postpartum explores the postpartum experience of women through art, including such themes as the postpartum body and mind, the lactating body, maternal loss and grief, the reevaluation of family gender roles, and more. I will have two small scratchboard pieces in the exhibit: Steamed and Blessing.

 

I sometimes joke that even ten years after giving birth to my beautiful boy, I’m still processing his colic! Trying to console an inconsolable baby every evening for three months was stressful indeed, but in this piece I was considering a different kind of noise and stress. In Steamed (2011) the screaming baby, chattering squirrel, and steaming tea-pot are metaphors for what sometimes feel like a clamorous, confusing, out-of-control world crying out for attention and comfort — with a bit of whimsy thrown in, too.

 

When my son was a baby, I carried him around in a sling. When I was walking downtown on one of those days, a Native American man who seemed to be experiencing hard times or was maybe even homeless called out to me and said, “Don’t let those angel’s wings get scraped nowhere.” These words were a blessing for me, a reminder of the great responsibility that I was taking on as a new mother and a reminder that raising children really is the work of an entire community.  I call the piece Blessing (2003).

 

 

 

 

 

“Song In My Heart” at the Percolator

I made this new scratchboard drawing for the Lawrence Percolator’s forthcoming exhibit Make Love. The show opens on Final Friday, January 25, 2013, from 5-9 pm.  Please come — you’ll have a lovely time!

UPDATE: I included this piece in the art auction to benefit the Lawrence Arts Center, 2013.

 

 

 

 

 

 

Better angels “on the bias”

I am currently working on an embroidery and applique piece for submission to “Working on the Bias,” an exhibit that is being curated by Rachel Epp Buller, regional coordinator of the Feminist Art Project, and Carolyn Wedel, director of the Watson Gallery in Salina, KS.

 

“Working on the Bias” will include work that explores gender and identity through work that physically or conceptually incorporates stitched, embroidered, or woven elements. The exhibit will serve as an accompaniment to the nationally touring exhibit, “A Complex Weave: Women and Identity in Contemporary Art,” coming to the Salina Arts Center this February.

 

In this new piece I continue to explore “the better angels of our nature,” this time in relation to climate change.  Text, yet to be finalized, will accompany the farmer-angel holding the child-angel, hovering over a cracked-earth landscape representing the drought that Kansas is currently experiencing.  These “better angels” are really our better selves doing our best to do what’s right. And in this case doing what is right must include not being naive about the future.

 

I am enjoying the coziness of working with cloth, needle, and thread while sitting by a fire on these cold January days, the first days of this new year.

A Visual Journal for The Sketchbook Project

My sketchbook for The Sketchbook Project is done! News, Boats, Better Angels: A Visual Journal, along with thousands of other sketchbooks from around the world, will be included in a traveling exhibit of artist books made this year. The project is coordinated by the Brooklyn Art Library, a branch of the Art House Co-op based in Brooklyn, NY. An on-line catalog of this year’s books will be coming soon.

 

I have long kept sketchbooks to examine my life and creative process, but this is the first time I’ve made one for public view.  It is still a process-oriented book like my other sketchbooks, but in this one I focused on several ongoing themes: better angels (a theme I can’t quite explain but it has to do with grappling with what is the right thing to do), paper boats (a symbol for the flow of life), and news (my response to newspaper stories that struck me especially in an election year). I enjoyed the project because it has enabled me to share a looser, more personal kind of art with others, and I’m excited that I will be able to see other people’s sketchbooks, too.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Exhibit opening Oct. 26, Final Friday, at Do’s Deluxe

Detail of

The Deer of Mesa Verde

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Please join me for an exhibit opening reception!

I’ve been working hard since I wrote my last blog entry called Beginnings, about the early stages of my creative process and about several new pieces that I was just getting started on. And now that work is complete! I would love for you to see it, the endings, the finished work, and more than just the “details” that I’m showing here, at my exhibit at Do’s Deluxe:

 

Better Angels, a Deer, and a Boat
Collages, mosaics and scratchboard by Lora Jost
Opening Reception on “Final Friday,” October 26, 2012, 6 – 8 pm
At Do’s Deluxe, 416 E. 9th St., Lawrence, KS
Runs Oct. 23 – Nov. 23, 2012,  T-F 11 am -6 pm; Sat 10 am -1 pm

(also see Better angels, a deer, and a boat)

 

Detail of Microburst

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Process detail of Blue Moon

 

 

Better angels, a deer, and a boat

One evening I went on a walk with my family around our neighborhood. Storms were in the area, and the weather was overcast and very still. Suddenly out of nowhere a deer came running down the street. She was out of place and confused and was heading for a busy intersection. Neighbors grouped together and watched, but no one knew what to do. The deer was like a symbol (or an omen) for our world out of whack.

Lately I’ve been investigating ideas towards a theme for a show at Marty Olson’s “Do’s Deluxe” in Lawrence, in November. The process is like making a collage; images and ideas come from almost everywhere as I respond to experiences, memories, and the world around me.

 

At the core of this exploration, though, is the feeling that I along with many others are standing on a precipice – or facing an impending storm. The storm is literal (wildfires, massive thunderstorms, and blinding heat) and a metaphor too — how the rage of intolerance, war, corporate power, anti-science extremism and climate change threaten our neighborhoods, environment, civil rights, voting rights, human rights.

 

"Better Angels," 5" x 5", Ambersand Scratchbord

But the change that is in the air is also seasonal and sensual and filled with preparation. While we teeter on a precipice in a worrisome sort of waiting game with many people not responding quickly enough, some people are feeling the weight and see the risks and the hard times ahead. Some will roll up their sleeves and do what needs to be done even though it will be hard to turn things around. They’ll try.

 

People know what to do with a storm. Memories of my mom and dad canning peaches in the heat of summer for the winter ahead come to mind. I think of the transition to fall’s bitter-sweetness and time passing, when wood is stacked in preparation for the looming winter. But more than that, people come together in the storms of winter and through their collective work and actions actually become the spring.

 

The seasons are like history repeating itself with a comforting regularity. I can hope for a more reasonable day because more reasonable days have come. Public schools, social services, healthcare and the arts have enjoyed broad public support, even in Kansas.  And a conservative supreme court (however cynically) can surprise us by upholding the healthcare law.  Maybe it is too much to hope.  But isn’t that a good role for an artist?

 

"Boat," 6" x 8", mixed-media collage

Foreboding and illumination. Churning and solace. Despair and reverie. Images as they develop in my mind and find their way into my sketchbooks, drawings, mosaics, and collages, are about storms real and political.  But more than that they are about the feeling that comes before the storm; the stillness, the headwind, the first clinks of hail. This work is about seeking the “better angels of our nature” and finding the comforting reverberations of possibility.