Here is the story of Art Lives!, one of two pieces that I co-created with Erika Nelson for the collaborative exhibit Art Lives!, coordinated by Rachel Epp Buller of the Feminist Art Project.  Women artists from across Kansas were paired for this project to make both individual and collaborative artwork addressing the theme “Art Lives!” in light of the elimination of the Kansas Arts Commission a year ago.

Here is the process of how Erika and I made Art Lives!  We wrote an artist statement together, trading our writing back and forth to work on in the same way that we worked on the piece itself.  I begin:

Stage 1 -  Lora:

Erika and I began collaborating on two art pieces after exchanging a couple of emails and talking on the phone. Because we live hundreds of miles apart and still to this day have never met, we decided on a process in which we would each begin making a piece that we would then mail to the other for additional work.  We would mail the pieces back and forth until our deadline — one focused loosely on “politics” and the other on “art lives.” The process would be a conversation, a slow-moving, visual-heavy conversation about the state of the arts in Kansas.

I began our piece, that we eventually titled Art Lives!, by painting a baby bird held in someone’s hand. I had toyed with using this image in some of my own art ever since seeing a photo of a baby bird in a National Geographic magazine a couple of years ago that I had made sketches from. I think of the baby bird here as a stand-in for babies of all kinds who are both fragile and yet are amazingly strong and resilient. Was this bird dead or alive? Maybe that would be a good way to start a piece about the state of the arts in Kansas.

Stage 2 – Erika:

I saw the beginning of Art Lives! and thought about some of the conversations that had been occurring throughout the past year regarding the arts – when is it endangered?  When is it cared for?  Whose hand is that?  It brought to mind a Christmas visit to an area racked by the same issues, but with dire results.  On the banks of an inland sea, two shores exist.  On one shore, bird hatcheries and aviaries, on the other, a mass of death where the wildlife of the sea washes up to become a part of the beach – a beach made only of the remnants of the life that grows just on the other shore.  The bird image that makes up the second layer came from this second shore.

Stage 3 – Lora:

I had been curious how Erika would respond to my baby bird image, and getting the package in the mail with her visual response was akin to birthday mail. I immediately liked her overlay of the adult bird image, and read her note about where the image came from. While I hadn’t viewed this bird as death absolutely, the image did remind me of a photography project that had made its way around the internet a couple of years ago with photos of dead sea birds whose decaying bodies revealed all kinds of crazy human-made junk that the birds had eaten.

Already our image was complicated and I didn’t want another layer to visually clutter the piece. So I decided to include simply the outlines of two sets of embracing hands bordered in yellow, an image I had used in some past work to represent interpersonal support. Bringing women artists from across the state together to support each other as artists was one of the goals of the entire “Art Lives!” project. I felt that this goal had taken hold in our collaboration and I wanted to show this with the image of embracing hands.

Stage 4 – Erika:

As with the partner exchange being mailed back and forth, weekly, seeing the slip of paper in the PO box alerting me to a package became an exciting part of the process. This time, in seeing the interlocking and overlapping hands, seeming to strengthen and surround the lil’ bird in the center of the image, I thought about the cycles, the circles of life and death, inspiration and struggle, that were recurring themes in the process.

I added a swirling, emerging set of forms, derived from the same Christmas exploration as the Salton Sea bird.  Leonard Knight, a visionary artist working in a destitute and desperate area of the California desert, has created a colorful, playful, powerful mountain in the midst of this hard place – a multicolored mountain of adobe and castoffs and paint. The bird forms used in Art Lives! come from the millions of soaring birds that pepper the mountain, appearing in every surface of Leonard’s work.  Their simple innocence of flight, and the marriage of bird-yet-human form seemed to be a connector for the hands and birds in the collaboration, as well as bringing the life/death cycle to the desiccated bird form from Stage 2.

Stage 5 – Lora:

At this point we evaluated our project over the phone and decided that it was at a comfortable stopping point. And our time was up. I liked the way that Erika’s energetic birds-in-robes (maybe even in bathrobes) seemed to come from death and encircle the baby bird giving the whole piece a sense of regeneration. I added some light blue marks into these robed beings to make a visual connection to the original baby bird. It was also time now to glue down “little guy,” a dead baby bird that Erika had found somewhere and painted blue, that we had mailed back and forth a couple of times for contemplation. The real baby bird added something visceral and tangible to the work.

We agreed that I would mount this piece and that Erika would bring our Brownback- collaboration to its conclusion.  After casting about for how to mount it (frame it? stretch it?), I decided to simply paint a solid piece of plywood and glue the canvas to the board with acrylic gel medium.  I’ll spare you the details of my various mounting missteps and simply note that I am pleased with how the piece came out, and I like the way the canvas is set off visually by the black and stippled background.

(Also read about Brownback Puppeteer, a second piece that I made in collaboration with Erika Nelson for Art Lives!, and On With the Show, a scratchboard piece I made for the exhibit.)