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

 

 

Beginnings

I wish I had a new art piece to post every day or even every week.  But making art is not an instant process. So instead of showing pictures of new work, in this blog I’ll tell you about my current work as it is unfolding right now in my studio.

 

Here is the start of a new piece: plywood. I just painted a sealer on it. Beginnings are hard, even just that much. I like to avoid beginnings. Instead I make lists, do errands, clean my studio, surf the web. But the drudgery and uncertainty I like to avoid in the beginning is no less a part of the creative process. So I begin. Choreographer Twyla Tharp writes, “If you’re at a dead end, take a deep breath, stamp your foot, and shout “Begin!”

 

I have a vision of what this piece will be in my mind, and I selected some green cloth from my trove to cover the wood. I envision this piece as a collage with a light green background, a landscape that is barren and shiny with textures made of cloth and gold thread. Small painted silhouettes of mule deer dot the scene, some hiding behind shrubs. The deer are painted and lacquered, black and white, positive and negative, present and absent.  I won’t be able to fully translate these ideas into a tangible form.  There is an airiness and movement to the piece in my mind that I’ll never achieve in a collage. I enjoy what my college design professor called this kind of beginning, this intention that would inevitably turn into something else: a point of departure.

 

While the image in my mind feels like the beginning of the piece, my mind started working on it long before I ever thought of making it.  So where did this idea — these appearing and disappearing mule deer — come from?  The deer came from Mesa Verde National Park, where my family and I camped for two days this summer.  We were excited to see deer off to the side of the camp road on our first day there.  Later we saw deer a couple of times more, clusters of three or six.  On our second day there I stayed at our campsite for most of the day.  I sat quietly and sketched.  A buck wandered through our tent’s back yard. He didn’t see me at first.  When he did, he froze.  And when I turned to leave, he left too.  Later I opened my mind and my peripheral vision to the whole scene, the whole campground, as I wandered through it towards the camp store looking for a cup of tea. I noticed that there were deer all over the grounds.  When I became aware of the whole, I felt the slow churning of the place; mule deer wandering everywhere, some in the open and others hiding, slow motion, looking, watching.

 

A week later back in Lawrence I put a bit of that experience into my Sketchbook Project sketchbook.  I remembered my family and the other campers at Mesa Verde watching the deer and photographing them, and the deer watching us back. Earlier this summer I also saw a deer that struck me, a lone deer running through my Lawrence neighborhood, confused. I made a collage about that experience, too.  But unlike the deer in Lawrence, in Mesa Verde the campers  were in the deer’s neighborhood and not the other way around. Or that’s how it seemed.

 

I have other pieces in the works in my studio that are at various stages of completion. One is a mosaic that lies on a table, ready to grout. I like taking pictures of my mosaics just after I’ve completed tiling them and just before grouting, with bits of broken dishes all around and my trusty red-handled tile nipper to the side.  It is a familiar scene and I like the way the shards fall, a chance arrangement like wind shaping sand dunes.

 

 

 

And there’s more.  Here’s another page from my Sketchbook Project sketchbook. I have been pasting newspaper clippings into my book as the news unfolds, with stories that strike me as significant in some way. Along with the clippings, I am creating relationships between spreads by drawing pictures of a paper boat in each, from different angles and perspectives. Drawing over the news becomes a response to it. This two-page spread includes a clipping about the mass shooting that occurred in Colorado this summer.   I drew the boat at around midnight one night when I couldn’t sleep.  The shooting in Colorado was horrifying and senseless.  And yet to make sense of it I had to think about guns. Why must we have them?  And so many? And yet so many think we must.  [A second horrific shooting occurred this summer in Wisconsin a couple of weeks later.]

 

Here is another piece in progress.  This is a background that I made to accompany my planned foreground, a wind chime caught in a violent gust.  And yet the background doesn’t seem quite right for the foreground, nor does my plan for how to make the chime seem right anymore. So I don’t know what I’ll do to make it right.  But I like the idea of it; a beautiful object transformed by the weather into something that is clanking like a warning bell. It accords with  themes I’m exploring for my upcoming exhibit at Do’s Deluxe.

 

 

 

More projects: My sister-in-law mailed a set of broken dishes to me; toy dishes sent from a relative to her for my niece, which crashed to the floor in a freak accident.  Could I make a mosaic with them?  I have some ideas and sketchbook scribbles.  And what else? I’ll make an illustration for a book of limericks for my college alma mater come November, focus on mosaics come spring, and soon teach a class on “field sketching” at the Lawrence Arts Center if I get enough enrollment.

 

What else? The mule deer piece is currently in idea form and I’ll soon start putting the pieces together to turn that idea into a collage.  But I also have a work in progress that is on the verge of being an idea, another scratchboard piece in a small series about our “better angels.” I don’t know what the next piece will look like yet, but I have been visited by those angels in my sketchbook, so I suspect that a more tangible idea is soon to follow. But what comes before something is even almost an idea? Maybe experiences? I have experiences in the hopper too from the summer, captured in photos and journal-writing. There had been fires at Mesa Verde, and I was struck by the other-worldliness of the burned landscape against the sky. All of the barren landscapes that we drove through this summer, in Arizona, Utah and Wyoming, were hauntingly beautiful.  We saw other fires too, active ones exacerbated by the drought, and the drought exacerbated by global warming.

 

There was a little bird at Mesa Verde that made quite an impression. It hopped around looking for bugs, shuffling the leaves with such gusto that it made quite a racket.  At first I thought there was one bird doing this but I realized that it was a kind of bird and there were many. But I never saw more than one at a time. The bird had a dark head and tail feathers, tan on its sides, a white belly and speckled back.  What was it — that earnest little bird?

 

 

 

Having new experiences, like seeing different  birds or unfamiliar landscapes, makes creative work seem possible. Spending too much time in my studio makes me feel dull. And bored. And lonely. Getting out helps. But when travel isn’t possible (and it isn’t much of the time), I read. I just finished reading a book called Biggest Elvis.  My brother recommended it. When I asked him what it was about he said, “It’s complicated.” The book is about three Elvis impersonators in the Philippines who work at a club where bar girls service in every way imaginable, servicemen affiliated with a nearby US Naval base.  I took Biggest Elvis on vacation and it was good company because it provided images of beauty and desolation at the same time I was experiencing a similar contrast of beauty and desolation through the car window. The book raised moral questions about the characters it portrayed.  But in the end they were almost too complex to judge.  And that’s what struck me the most about this book. Biggest Elvis was about US imperialism, too, but again the portrayals were not simplistic.

 

I’m throwing Biggest Elvis out there as an example of one of many small but notable experiences to draw on in my work.  I don’t know if I’ll ever draw on it in any kind of direct or meaningful way.  But as Corita Kent and Jan Steward put it in their book Learning by Heart, “Everything  is a source.”

 

 

 

 

 

 

 

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.