White Oak Studio

Because one-of-a-kind pieces of art are so unique the visual artist often comes across a number of challenges that need solving before the work can move on or be completed. Of course in this line of work as artist/creator there are no standard "directions" (no one size fits all) and these problems have to be worked out one by one as they arise.

Luckily, I enjoy this type of challenge and in fact find them quite satisfying to solve. (They remind me of the problems entrepreneurs encounter and solve every day.)

Today I rectified the problem of attaching the sheets of paper to the wooden screen. I located the appropriate size grommets and matching nondescript hook eyes, both in a low-key, subtle tone of brushed nickle. This is exactly what I had in mind. I want them be functional but to not stand out. Obviously I want the book itself and the details of the art to be the primary focus.

The paper is made and currently in the book press to flatten the slightly curled edges associated with very thick sheets. Paper for this project was made using an abaca cotton linter mix with numerous plant inclusions I've collected from the marsh itself. These inclusions include several wild grasses, leather leaf leaves and birch bark peels to make sheets that will be thick and sturdy enough to hold up to exhibition. I've selected the off-white, translucent top sheets on which I will put my image transfers from the marsh. 

I still have to workout the problems with the map transfers... How to transfer them, where to physically locate them and so on andhow to continue them from one individual sheet to the next. That's my project for next week since this afternoon I must attend to my business taxes.

I also talked to Joe Lurg this week. He is the biogolist at the State Game Area who is currently conducting the inventory and creating the management plan for the Karner Blue Butterfly study. At Joe's suggestion I visited the pertinent MSU website www.msue.msu.edu/mnfi  to gather additional details on the marsh which will be used for my artist statement, info. sheet and other promotional materials. 

I find it very interesting that the Crooked Lake Marsh is called a "Costal Plains Marsh"  - a quite rare and unique wetland community. It is called this because of its characteristics of presenting wet in the spring, drying up in the summer and becoming wet again in the fall. According to the Lurg these wild swings are classic and typical. In response to these swings, the plants that live there have, over time, adapted to a lot of change in the water table and include a mix of annuals and perennials.

This wet and dry cycle is in fact what has intriqued me the most about this space. Each time I walk there it is like I am in a different marsh which keeps my interest peeked.

I just begun an exciting new project - an artist book in the shape of a tabletop 6-panel screen. This piece is inspired by The Tall Grass Marsh (technically the back waters of Crooked Lake located in the Allegan State Game area.

I have been spending a lot of time in this marsh these past five year and have been wanting to make a special artists book to honor it.

This is a very unique marsh, the kind that has no inlet nor outlet with the only ground water and snow and rain water feeding it. It is very suspectible to the weather conditions. As a result the water table varies dramatically. Some visits I can walk across the marsh to the island of tamaracks, leatherleaf shrubs and low bush bueberry an sit and eat a sandwich. Other times there is to much water to enter the marsh itself.

The screen is made of stained wood, with 6 horizontal panels and two smaller panel inserts. The 12" X 17" openings will hold my handmade paper that be attached to the frame using grommets, eye hooks and waxed linen string. The six paper panels will have images on them similar to the canvas's I have been working on the past three years.

Today I made two handmade paper panels, testing to see if the leather leaf leaves will bleed. Using botanicals collected from the marsh last fall I made thick paper panels of various grasses.

I also created a "mock up" of the six individual panels with outlines of shapes to start. I won't actually be creating the finals panels until the paper mix is perfected and the connective system is perfected. Eventually I will play around with ferns stems or Michigan Holly twigs to outline parts of the design.  

The next challenge is to find the right grommets to attach the paper sheet to the wood frame. I have a gold grommet but they are too bright for my tatste. I think I may try to paint or stain the grommet to tone them down. I understand that grommets come in either gold or aluminum, neither of which I prefer. Copper would be the prettiest and would blend with the paper but they are produced in that color. No matter what colors I end up with, I want the grommets, eye hooks and linen to be secondary to the design and form and not stand out.

I am nearing the completion of the series of cast paper sculptures that I have been working on all winter.

These pieces take more than five time more work than my previous work because I have to first create the inside cast and then cover it top and bottom with handmade papers. Then I create my surface design. These will be a limited edition series of 5 or 6 pieces.

I plan to price them at around $650.00.

My goal is to get these forms off to the photographer by the end of February and then to the gallery in the spring.

I have been thinking about how I can best optimize the feature article coming out this fall in the County Woman magazine published by the Reiman Media Group, Greendale, WI. www.countrywomanmagazine.com

Here's my strategy...

1) Use as basis as feature article in local newspapers:

South Haven Tribune

Local Resorter

Lake magazine

Shoreline

Grand Gardens

Kalamazoo Gazette
Holland Sentinel
Roger Green, Ann Arbor News

2) Use as basis for release w/ jpeg of artwork in "trade publications:"
Hand Papermaking Newsletter
Interweave Press

Crafts Report magazine

Niche
American Style magazine

3) Use as visual promo tool at exhibitions:
July 2008 -       Laminate magazine spread and hang on wall for Exhibition at South Haven Memorial Library

Aug/Sep 08 -   Laminate magazine spread and use as promo for Khnemu artwork and on www.khnemu.com website

4) On the web promotions:

 Khnemu Studio website link

 Alert yahoo paper list
 Link my website to County Woman magazines website

I sent my newly revised promo binder to the Chelsea Gallery on January 11, 2008.

Using my newest revised binder this folder has 24 sheet protector inserts that are filled with images of artwork as well as artist statement, my technique page and postcards of shows.  I sent the binder in a USPS envelope along with a pre-paid envelope for shipping it back - totaling more than $13.00 in postage. Pricy!

I plan to wait just about a month before I call to check in to see if they are interested in representing my work. Stay tuned.

I have been working on my cast bowl forms this winter. This is the technique I traveled to Missouri to study with sculptor Jenna Weston www.jennaweston. Working in this format is am AMAZING amount of work, by my rough estimate, five times more work than paper on canvas.

I am learning how different papers types work in covering the surface of the cotton cast form. One such paper, hosta leaves with kinaf and copper foil inclusions looks like leather when completed. Paper made mostly from a softer cotton is so soft that the seams totally disappear when rubbed with the brush - a positive factor.

I hope to get this new work completed and photographed by the end of the month and will be sending it to my newest gallery, the Khnemu Studio Gallery by early May www.khnemustudio.com  I also have a special collector waiting to see this cast work.

Visited the Nines Gallery, in Holland, today. This gallery is located inside the lovely, renovated, 17 West 10th Street building. To see more visit www.theninesgallery.com

This is a small but well presented gallery with lots of wall space - a real bonus. I saw a number of recognizeable artists including the paintings of Joe De Luca as well as some nice paper mixed media wonderful marble and copper sculptures. I especially loved the personal touch of the bowl of miniature dog bisquits for the pets of building employees.

The gallery is about to undergo a redecoration (wall painting n three shades of grays) so stay tuned.

This visit was a feast to the eye and highly recommended.

My Holland gallery, Till Midnight Gallery has had several major changes and I have some real concerns about the effect of these changes on patrons access to the artwork and on our prospective sales.

The management has:
1) Hired a new gallery manager (good news)
2) Moved the physical gallery space (within the renovated Baker's Loft building) (not so good)
3) And have asked me to come and pick up a large portion of my artwork due to these changes.

CONCERN 1:
The former gallery space was quite ideal, as artwork could be seen - day or night - through the spacious glass windows by walk-by customers even when the gallery was closed. Now you must physically enter the deli/bakery space to see the artwork. That means not only must the bakery be open, you must walk through and turn around and look at the back wall to see the art. Less access means visibility!

CONCERN 2:
The restaurant management is now offerring combined show opening with wine tastings. This new offering will require patrons to pay $10.00 for their wine at show receptions (they say due to state regulations that say (as a restaurant) they can no longer give away free wine.) Quite frankly I do not think this new system is going to work as patrons are use to show openings, and food, being free!!

CONCERN 3:
The physical space and the open walls for artwork are now located in a very out-of-the-way location. Loft owners won't see the artwork walking by, restaurant goers won't see the art walking into the main gallery, and customers of the interior design firm that took over the old gallery space won't see the artwork unless they walk into the deli and turn around...

The new gallery manager says that these changes are being made in order to sell more work which is a great goals... however I have three serious doubts - and I perceive these changes as additional physical roadblocks to both customer access and art sales?