Studio Journal Ten.

I just realize I didn't update this journal last week.
My first thought was that it must have been all of the holiday confusion, but I know what the reason was, even if it was subconscious. I probably didn't even think about writing in the journal because I hit a brick wall with my art. All of my creative drive just stopped. I was frustrated and making a lot of crap.
So, I took Thanksgiving break and just relaxed. Barb gave me some artists to look at. I didn't worry about the projects or the upcoming due dates.
I'm feeling good now and ready to start thinking and getting into it.
The break, from everything, was needed.

This is the start of a new week and I'm hoping its a good one.

Studio Journal Nine.

It seems my direction right now is going bigger. My teachers have all been encouraging me to go out of my comfort zone as far as size goes. While part of me is hesitant about this direction, the other part of me knows that this is what is for the best. Going big is one of those things that commands attention, but its one of those things where mistakes are easily seen. The task is daunting, but it will be a good experience and now is a good a time as ever to expand since I have the resources. I am, however, excited to see how my art will change, as I am sure it will, when there is room to explore and go crazy.

This is my first attempt at going bigger. These are mmm...a full sheet of Stonehedge paper minus 2 inches (some cropping). Its a monoprint, 2 layers of silkscreen, some hand painting (water color and gauche), and some pen and ink.

I finished my etching from the last blog of mine. I will get a picture of it and upload it soon.

I'm taking the creatures from it (skeletal bug creatures) and creating a whole pack of them on a full sheet of zinc. I've been working on the drawing for it and I will start putting it on the plate tomorrow...after I've putz-ed it... and filed down the edges. It will be quite the process. Nick told me that he would see if Randy could possibly get another acid bath into the acid room, as the plate will fill a bath and will be inconvenient for other students.

As for my thesis... I'm as this point where I am excited with what I have, but I have no clue as to where I should take it. I'm at the same point I have been for weeks. The only real progression is that since doing the tentacle installation, I've been mulling over the idea of an installation with my exquisite corpses, but I don't know to proceed or if that is really the direction I would like to go in.

Studio Journal Eight.

I added on a couple more tentacles to my installation before calling it complete.

The day of its completion was also the day of my critique with Catherine Murphy. She was a delightful person and very intelligent. She provided me with helpful insight as well as some warnings with my art. She told me that other artists also do monster so I have to really make them my own, which I have already prepared myself for, so that is okay. She really enjoyed my art thought. She found the characters very personable and easy to connect with. She absolutely LOVED my installation though, which I was very flattered by. She found it to be very humorous and clever, so that was exciting.

I've also been working on an etching that I am very happy with. I used a combination of techniques that I have learned recently.

This picture on the left is my print sitting in the acid bath. I tried to use the rosin box for this print, but I had a minor accident with it. Luckily, I discovered that the rosin had lifted from the center just in time and used the error to my advantage. I think, apart from learning new techniques, my biggest accomplishment this year would be letting go of some control and allowing chance to happen within the piece.

Studio Journal Seven.

So this week has already been a very busy one and it will continue to be so.

1. Critique on my installation

2. Critique with Catherine Murphy

3. Go to our Mason Gross Annual Reception

4. Work on etching

5. Thesis field trip

6. Print Fair

Tomorrow (...today, now, I guess, after looking at the

time) will go through 1 through 3 on that list and probably some of 4 as well.

Lucky I took some time this weekend to prepare for Catherine Murphy's visit. I've cleaned my studio and set up my portfolio. I finally fixed the freaking light in my studio by myself for this critique. I figured some decent lighting might be a little helpful. I am nervous about the critique, but I am excited as well. I have heard she is full of great knowledge and advice.

My installation is all up and ready for tomorrow.

I chose to play with this shaky door on the 2nd floor. It always sounds like someone is trying to escape from behind the door. I took a video of it. The tapping/shaking noises are the door, but its hard to actually see it shaking.

I'm grateful that the Brodsky Center let me use their Eric Avery print (on the right) to be "stolen", or at the very least, groped by my tentacle monster. I incorporated a little painting I found in my house to also be stolen.

Hmm...speaking of Eric Avery... His art is pretty cool. I like how at first glance, this Adam and Eve image appears very classic and conventional. That is, of course, until you read the text which delves into STDs. Its interesting that he went to art school and then went to go to med school.

I also stumbled on this blog post (article? I'm notsure) about painting on water which has some pretty incredible examples.

http://molempire.com/2011/08/01/painting-on-water-the-art-of-ebru/

And here's one of my favorite art videos by one of my favorite youtubers, Mitchell Davis.

I'd like to note how crazy it is that we are living in a time where we can instantly show our art on the internet and gain feedback that way. Crazy awesome, to clarify.

Studio Journal Six.

Today was very successful! It was the day of my Exquisite Corpse Party! I managed to get a mass email approved by the Mason Gross moderators just in time and that brought in some journalists from the Targum. Despite a with time conflict with the visiting artist, quite a few people stopped in and helped out for a while. I'm leaving the supplies out for the rest of the week an
d I have made a large instruction sheet for people to come in and continue the project.

While I still don't know exactly what I want to do with these collaborative creations, I am feeling very good about this jumping off point. Everyone was very supportive and into the project.

I stumbled upon an artist

named Kelly Tunstall (http://www.kellytunstall.com/) who does these great elongated, distorted woman with large eyes that I absolutely love. While our art style is different, I love her lines and shapes. I might try to take some of that and put it into my own art.

I read an interview with her and I particularly enjoyed this Q and A. (http://www.hifructose.com/the-blog/1798-%20an-interview-with-kelly-tunstall.html)

"There is always a peculiar element to your work, such as: the unexpected ways in which you paint eyes, the elements of navigation and exploration, circus freaks, mythological creatures....

It’s external symbology of the internal for me- that girl having extra arms means extra efficiency or desire to be more so, or multiple eyes to see better from the mind or more watchful all over, but I also don’t mind co-opting imagery and symbology from religions, ancient cultures; people know these symbols somewhere in their guts I think.

The eyes are worlds inside of worlds- mirrors to the soul and all, but also I strangely try to reflect where light sources might be in the space they are in at the moment. Ferris and I are very practical- we have to stop ourselves from being like, well, that bear couldn’t possibly be balancing on that piece of string or whatever. Even though we don’t have to, we can’t help but making rules of physics and the physical world apply... most of the time.

I’m never one to try and tell a specific story that someone could literally read, it’s more a feeling that you get. That you’re being looked out for. If I attach myself to one of my pieces- that i need to hold onto one for a bit, I kind of think it knows something I don’t- some attribute I’m looking for aspiring to- something I might need to absorb. I can’t speak for other people and why my work appeals, but I really do think they can be protective.

My father was an airforce navigator, so his maps showed up early on as backgrounds. I love them, they’re so graphic, but that’s also what we wrapped our presents in. Personally, I feel like I’m still out there exploring- living in San Francisco; every day you’re doing ten things to keep it together. It’s all very romantic, good work, but hard for sure."

Look at this guy carve a chess piece with his feet! O.O

Studio Journal Five.

Weekly plan:
1. Get a lamp for my studio (since I'm still down a light >:| and I do not know when my service request will be responded to )
2. Continue folding paper
3. Work on etching
4. Work on installation
5. Prepare for art fair in Union

My posters are up and I have some papers folded for my Exquisite Corpse shindig! I have art supplies and have been getting feedback from the posters. I've been spreading the word by mouth, poster, and facebook. Everything seems to be working out. A couple of classes even said they might stop by as a class for a few minutes to participate in the event. I am so very excited! Once I have a starting point for my thesis idea, I feel like I can really start to go wild and explore. Still need to see about the chairs and tables though...

I've also been working on an etching, in which I aquitinted black and have been scraping back into it. This method is totally out of my compfort zone and I am having some trouble making my experiment a cohesive, developed print... I am going to work back in now with some lines. I feel like my burnishing will still be very apparent and will not be lost in the print.
I'm also working on an installation in which tentacles will be coming out of a door on the 2nd floor. The door is well known for shaking, and so I want to play off that.


Since I've been into exquisite corpses lately, I decided to check out some of the surrealists corpses.


Yves Tanguy, Man Ray, Max Morise, Joan Miró



osephine Meckseper,Laurie Anderson, Olaf Breuning, Nick Mauss


I also found this sweet site
http://www.epicexquisitecorpse.com/
Its one GIANT exquisite corpse where anyone can participate

Naturally I added to it.








video games + violin = amazing

Studio Journal Four.

My business cards just came in the mail! I'm feeling all professional now and whatnot. I never really thought about getting business cards until recently. I had noticed a couple of my friends and peers had invested in some, but the real kick in the butt was when I participated in the Highland Park art festival and multiple people asked me if I had a card. Silly me had to whip up some makeshift cards. The whole thing made me put together a website too so I could have something more professional on a card than a deviantart and a tumblr url.
I also have signed out the project space room for October 23-29. I created a facebook event for Tuesday 25th for an Exquisite Corpse party-shindig in order to get this whole idea rolling. Our last crit was really helpful in coming up with that idea. That type of thing had not crossed my mind until Rachel had brought it up. I'm very appreciative of the suggestion. I am going to get some little posters up tomorrow to post around the school. I've already started to buy some silly art supplies for the event; crayola crayons and some strange markers from the dollar store. I have to see if I can acquire a table and some chairs for this event...

Also...its been two weeks since I've put in an order for a new lightbulb in my studio...Ugh, its beginning to cause some difficulties.

But anyway, the weekly plan:
1. Get posters up
2. Work on my etching
3. Get more disposable supplies
4. Acquire more paper
5. Work on installation piece for advance print
6. Start folding paper for Exquisite Corpse party in advance

On a side note, I've been playing a lot of final fantasy lately...I decided to look up the art behind the gameplay. I always tend to forget how much artwork is made before an actual game is put together. The artist, Yoshitaka Amano, is amazingly talented. His art is beautiful and stand alone, even without the video game beside it.



I don't know if this counts as some type of written material, but I was studying for psychology and I was reading that pheromones (aka our unique scents that we give off) can alter the age that we hit puberty. Girls who are around unfamiliar men may hit puberty at an earlier age because of the pheromones that the male give off. I find this beyond bizarre. I wonder if this could be captured in some for of art in some way. Its so strange, but I don't know how to conceptualize it.

Here's something else thats crazy.


I am interested in weird stuff like tentacles, feet, abnormalities, and diseases, but technological advances, psychology, and science really intrigue and inspire me as well.