Category Archives: art statement

Artists or Artmakers?

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Question – “What do you do?”

“Well, I’m an artist.”

Next question – “Oh, cool – what do you paint?”

Why does that “artist” description automatically conjure up someone who paints paintings? If you look up images for the term “artist” on Google, that’s what you’ll see, rows of people at easels painting paintings. (Hi, Bob Ross ♥)

If this sounds familiar to you, it’s no wonder we have a problem calling ourselves “Artists.” That term doesn’t describe what we do because it has so many associations and preconceptions.

But what if I answered, instead, “Well, I”m an Artmaker.” The next question would be, “What kind of art do you MAKE?”

This difference is HUGE!

Now I can answer, “Hmm –  that’s tricky, but basically I work with my hands in my studio on all kinds of artwork that connects us.” Then I can click a few photos on my phone that I have ready to go. And hopefully, a conversation starts. Maybe like this —

“I make sometimes paintings, but they are not traditional paintings . . .still, people seem to like them.” (click)

“I do assemblage work” (click)

I work in beeswax wax and paint for all kinds of different projects and objects: (click)

“Sometimes work with photographs and fiber” – (click)

And so on – not too many photos (if you get that far) – just four or five.

Or if you (like I) use MOO business cards that let you have as many as 50 different images, you can show several of those, and hopefully, your inquirer will take a card, any card. Ask, “What’s your favorite?”

The point is, we are ARTMAKERS. From the introduction to Melanie Falick’s wonderful book, Making a Life, “We make art to connect with others. To express ideas and emotions, feel competent, create something tangible and long-lasting. And to feed the soul.”

What do YOU do?? If you find yourself mumbling that you are “an, er, artist” (and thinking “am I a real artist, or what — why do I call my self that, what does it mean anyway, urg, it sounds so pretentious, I don’t even have a true studio,etc. etc., rethink that.

Tell them with a happy smile that you are an Artmaker. It’s more than semantics. It’s how and why you work to make beautiful things. Feel the truth of that through your heart and soul right down to your toes. Then get ready for an interesting conversation!

New Work, Old Concept

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Old retablo frame, late 1800’s

THE ENCANTO SERIES

Lyn Belisle, Crow’s Companion, 2021

My work has always been strongly influenced by the idea of “shards” as a metaphor for human communication across time. A shard can be a found fragment of clay, a rusty nail, a scrap of handwriting – any little clue that becomes a “secret handshake” between the maker and the discoverer.

Shards, clues, and other stuff

As an assemblage artist, I collect bits of meaning from various cultures and times. This series, called Encantos (charms), respectfully combine contemporary historic images, then veil them with beeswax, a material which has been used in art-making for over 2000 years. This encaustic process seals and enhances the images. The metal adornments on these pieces honor the traditional centuries-old Retablos, painted tin icons that show the significant rust and fading consistent with their age.

Lyn Belisle, Spiral Crows, 2021

For decades I’ve worked with clay, fiber, and paper in assemblage and collage to express this non-verbal time-circle connection. When my friend Michelle Belto introduced me to the encaustic process in 2009, This new-to-me medium seemed a perfect companion for my most-loved materials.

Lyn Belisle, Crow’s Talisman, 2021

I’d briefly tried encaustic medium on collage, but I began to understand that beeswax is a metaphoric material in itself, ancient as clay, versatile as paper, compelling as ivory and bone. Now beeswax and encaustic are integral parts of my process.

Lyn Belisle, Nest, 2021

This series feels just right, a synthesis of digital, ancient, and contemporary process and content. Work for this series is available at the Members Gallery (San Antonio Art League) and soon at Marta Stafford Fine Art in Marble Falls, Texas.

Take good care, hope to see you soon – Lyn

Art and Climate

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For the last five years, The Encaustic Art Institute, based in Santa Fe, has been hosting a juried national exhibition called Global Warming is Real.

Here is this year’s overview. Artists were invited to interpret the theme in their encaustic work.:

THEME: Global Warming is REAL. As nations and economies shut down due to the COVID-19 pandemic, pollution levels and human patterns change in ways that were detectable by satellites. As all types of social, economic, industrial and urban activity suddenly shut off, nature took advantage and showed improvement in the quality of air, rivers, less noise pollution, and undisturbed and calm wildlife. COVID-19 may have temporarily lessened our carbon footprint, giving us a view in to what our individual affect on Global Warming constitutes. At the same time, Climate Change is becoming more visible and tangible through increased fires, glacier melting, and warming oceans.

I found out this morning that my entry, below, was accepted. Yay! This encaustic/mixed media work called River of No Return.

Lyn Belisle, River of No Return 2021

This was my accompanying statement:

This work, called River of No Return, suggests extreme negative impacts – droughts, floods,  famine – on populations whose vulnerability to Global Warming put them at extreme risk. The looming climate change is catastrophic for third-world countries that rely more directly on rivers, rain, and oceans for their agriculture and survival. The colors of ash, bone and rust in the work serve as metaphors for the decline and corrosion that will affect every lifeform on our planet,not just people in industrialized countries.

I am really curious to see how the theme will be interpreted by the others in the exhibition, which opens virtually on July 10.

In the meantime, here’s a link to a thoughtful, sometimes disturbing, online exhibition called Resilience in the Age of Climate Change.

https://artsandculture.google.com/exhibit/resilience-in-the-age-of-climate-change

In this exhibit by Art Works for Change, thirteen visionary artists and architects consider the consequences of climate change, including excess heat, drought, flooding, extreme weather events, food insecurity, displacement, and the loss of biodiversity. Through their work, we can visualize the challenges of a warming planet, and discover opportunities to overcome them through innovation and resilience.

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We’ll have plenty of time to ponder resilience during the days of heat and drought – hope all of you are well and finding time to create safe space for yourselves.

Shards, Scrolls, and Synchronicity

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The concept of “Shards” is a foundational inspiration in all my artwork – an idea that helps me trust the creative process and follow where it leads me.

To me, Shards are synchronistic fragments that hint at a story, make a collective connection, or suggest a direction. Shards can be objects, or an intangible occurrences. A Shard can be a brief glimpse of something, as well, something that helps you find a direction.

For example, last week I was taking my usual pre-dawn walk in our wooded neighborhood when I saw what I could have sworn was a Nativity creche scene in a distant yard. It was so clear that I could see the roof of the lean-to shelter.

As I got closer, I saw that it was just a string of Christmas lights around somebody’s front door, partially concealed by blowing branches. But the illusion of the creche-like shelter seemed so significant in its clarity. Why that illusion at that time?

I followed that thought-thread as I walked back towards home, considering the whole idea of shelter for travelers, of people who go on journeys to freedom and safety, of how fortunately I was to have a safe destination and a home to return to. I thought about pilgrims and wayfarers, about what it must be like to carry all your belongings with you.

Then came the memory jog. That whole pilgrimage concept reminded me of a series of clay assemblages I had done five or six years ago called “Peregrinos” (Spanish for Pilgrims). It was an age-old theme  that I had I wanted to go back to at the time, but had pushed it to the back of my mind.

Peregrino Series, Earthenware assemblage, Lyn Belisle 2015

Now, though, this Peregrino theme inspired by the mistaken illusion directed me straight to my studio to begin the mixed-media fiber piece I’m working on now. Its working title is The Pilgrim Scrolls. The form is a triptych of canvas scrolls that contain pictures and small relics and memories that represent things we take with us on our journey.

The triptych (so far) has photo transfers of my original Peregrino clay assemblages along with other images and components. It will have smaller scrolls, patches, stitches, and pockets. It speaks to homelessness, but not randomness.

Phototransfer on canvas in progress

Part of the techniques I’m employing, particularly the phototransfer on fabric, came from my recent Prayer Flag workshop, but I would not have been given the Peregrino/Pilgrim theme without the “synchronistic Shard sighting” that was not even what it seemed. I’m really looking forward to completing this work, to seeing where it takes me and what I learn.

During Covid-time, I’ve had more time to think about sources of artistic inspiration, and I want to explore more about my “shards” and other kinds of synchronistic fragments that seem like a secret handshake from a deeply collective and timeless source. There’s always something surprising to discover, and something to say about that discovery.

I’m re-reading a book that I keep coming back to over the years called The Tao of Psychology: Synchronicity and the Self by Jean Shinoda Bolen.

She’s written many books, but this is one of her first, and my favorite. You’ll like the way she explains synchronicity and why sometimes it seems as if we are meant to be in a particular place at a particular time to come across a particular “Shard.” Here’s a link.

UPDATE!

If you’ve read this far, perhaps you’d like to know that I finished Pilgrim Scroll last night – here’s how it turned out – I’m very happy with the way the shards led me!

What do you have to say for youself??

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Jane Dunnewold is a consummate contemporary fiber artist and a beloved internationally-known teacher. Her Creative Strength Training program has helped thousands of artists (including me) to discover and define their authentic creative selves.

Jane Dunnewold: Altar #1 – Wooden altar form “upholstered” with botanical prints on 140 lb watercolor paper. Approximately 10″ tall x 8″ wide.

Jane is also a heck of an interviewer! Her sharp mind and strong background in the arts gives her genuine curiosity and insight, and she knows exactly what questions to ask people.

So that’s why I was both thrilled and intimidated when she asked if she could interview me for her CST Guest Creative Interview Series.  

It was great! I learned so much – read on . . .

Here’s a short clip from the interview (there’s a link to the complete 30-minute interview at the end of the post). Before you watch it, ask yourself what you would say if Jane asked YOU about how spirituality informs your art practice . . .

Jane was kind enough to provide me with a list of potential questions in advance,which was a big help. But it’s really HARD to figure out exactly what makes yourself tick, much less express it in words to somebody else.

One HUGE thing this interview taught me is that, as artists. we really do have to be able to define our aesthetic for our own sake. If we can do that, it keeps us on the right track. It keeps us true to our own vision.

OK, now here are Jane’s questions directed at YOU. I want you to get out your notebook and write down some short answers as you interview yourself. (The spirituality question isn’t on the list, but it’s also a good one).

1. What do you do to get into a creative mindset before you begin working on a
project?
2. Do you have a special “routine” that helps you prepare for a studio day?
3. What are a couple of ways you deal with getting out of feeling stuck, and if that
never happens to you, can you share the reasons why? We’re fascinated by how artists’ minds work when obstacles present themselves.
4. How do you describe yourself as an artist?
5. Can you tell us briefly what processes and materials you work with, or like best?
6. Anything else you have discovered about being “creative” that you’d like to share?

This is a great exercise. And since all of us have some unexpected thought-time during this strange summer, it’s a good way to organize your thoughts. For example, you might find that the project you were considering just out of boredom is not right an that you should go back to an unfinished work and complete it.

As an extra challenge, sit yourself down in front of your iPhone with a cup of tea and video your answers as you interview yourself. You’ll thank me for it later 🙂

I’m so grateful to Jane for inviting me to do this. It’s helped me understand myself better as an artist.

One of the things I admire about Jane the most is her generosity to other artists – her YouTube tutorials, her Creative Strength Training program, which is not all about HER, but about US — and especially her insightful body of work, which redefines “fiber art.”

Here’s the link to the complete interview

So, what do you have to say for YOURself??

♥Lyn

 

 

 

A new website – and it’s mine, all mine!

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TAH-DAH!! New studio, new website - life is bueno!

TAH-DAH!! New studio, new website – life is bueno!

Whew! My new website is finished (or as finished as those things ever get – tweak tweak). Take a look!

coverweb

I built it myself so I could include things like links to my Etsy page and a “Your Page” place to show video tutorials for you guys. It also has a super easy link to the Behind the Veil encaustic collage ebook, which makes downloading a snap.

Creating a new site was hard, but worth it! And it works sooooo much better than the old website, which had been around since the dawn of the Internet.

SHARDS readers are the first to see this, and I would greatly appreciate any feedback or suggestions, positive or negative (sometimes negative is a very good thing).

Yeah, I know the studio workshops aren’t up yet, but they will be soon, and the check-out process should be simple and easy.

So here’s the link – thanks for checking it out!! And stay warm and dry this weekend – here in South Texas it’s gonna get nasty – brrrrrrrr.

I would SO fail . . . . . .

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One of the things that I’ve had time to do this month is poke around in thrift shops. I found this totally creepy set of stamps from the 50’s called “Grading Aids.” The idea is that you evaluate some poor kid’s work by stamping a scary clown face on their paper or drawing. No words, no comments, just a clown face. Ewww. That is wrong in so many ways.

Let’s apply these standards to the new abstract diptych that I just finished. It’s layered with symbol and calligraphy and paint and prayer and a mystical snake and all kinds of radical, goofy non-representational stuff.

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Well, first of all, it’s not neat. Damn, I hate it when that happens. The Clown is not pleased either. Look at those random spatters.

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It’s also obviously careless work – you can’t even read what it says – very poor penmanship (no matter that penmanship isn’t even taught anymore). The Clown disapproves.

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In fact, this painting is so unacceptable I might have to do it over – right, Clowny?

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Actually, I think I’ll do it over a bunch of times – I’ll do a whole SERIES of careless, messy joyful abstract paintings – take THAT, you stupid clown and all the rest of the inside-the-box thinkers that try to rubber stamp individual creativity. Hooray, back to the Studio – what an EXCELLENT idea!!

Happy creating, Everybody!

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Pamela Taylor and the issue of incarceration

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I took a quick break last evening to visit with friend and art activist Pamela Taylor, whose exhibit of paintings opened at IAMA Coffee House just outside the Pearl on Broadway.

Called “Confinement (In)Justice: A Dichotomy” it aims to call attention to the unparalleled rate of incarceration in the United States.

Here is a bit more about Pamela – I cherish her friendship and encourage you to get by IAMA this month to see her work.

Pamela Taylor, M.S., a San Antonio native, is an abstract expressionist painter whose work is intense and chaotic, symbolizing her personal pain and concern about society”s increasing tolerance of inequality, harassment, and intimidation, which has created an environment of incivility in schools, workplaces, and politics. She is the Co-Founder of Dress for Success San Antonio and Founder of Career Gear San Antonio, workforce development non-profit organizations serving the disenfranchised; Taylor served as CEO for nearly 14 years. While there, she worked directly with inmates of Bexar County Jail for 2 years. Taylor has been featured in the San Antonio Express News and local media on numerous occasions and is a survivor of domestic violence. In 2011, Taylor spoke about her ordeal in a TED Talk at Trinity University.

Confinement (In)Justice: A Dichotomy will be on display at The IAMA Coffee House from June 28-July 26, 2016.

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Boston spring break retreat and finding answers to all of life’s artistic questions (sorta)

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snow

This was the view out my window on a snowy spring day this week in Boston. I’m home now after my short getaway – I took an evening printmaking class at the Boston Museum of Fine Arts and did a bit of shopping on Charles Street at Black Ink, a very cool store. Retreats like this are s’posed to help you figure out the answers to the Big Questions. I didn’t come up with many of my own Big Questions about art and life, but did have fun painting some answers. This is an acrylic-on-canvas triptych I did while there. They can be hung in any order depending on your desired outcome:

triptych_edited-1

Today I’d start with the one that says “Yes” –  glad to be back working at the Studio and yes, also, to being very grateful for the time away to recharge and visit with family. (And “no” to living all winter in the snow!)

 

Earth Day 2013 – and a sneak preview about artist Pablo Solomon

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earthday 2013My memories of the first Earth Day involve getting in trouble at Alamo Heights Junior School (I was a *very* young art teacher) for organizing an activist march for my students. My principal, Mr. Ivy, was not pleased with my rabble-rousing, mini-skirt-wearing, hippie ways. Forty+ years later, how things have changed – or have they? Thoughts? Pablo Solomon, internationally known artist and designer, featured in National Geographic for his part in the first Earth Day in an article by Mark Anderson, lives for the earth’s conservation. In a recent interview, Pablo says, “Do what you can to obtain a green freedom, a philosophy that there is no greater freedom than energy independence.” He created the first Earth Day poster and has done another one each year since 1970. Here is this year’s (left)

But wait! There’s more! Pablo Solomon with be at the Studio in June for an informal lecture, exhibit and sale of his work. I am really excited about his visit. Mark the weekend of June 21-22 on your calendar.

pablosingle

In the meantime, celebrate Earth Day – as Marshall McLuhan reminds us, there are no passengers on Spaceship Earth – we are all crew.