Legato :: Jesse Reno

 le•ga•to :: in a manner that is smooth and connected

Jesse Reno
by Jenny Doh

In 1999-2000, after having created about 100 paintings, Jesse Reno made a commitment to paint. It was, as he describes, something that he liked more than any other thing he had done or had been doing. What he had been doing in terms of his day job was to work as a postman in the state of Pennsylvania ... a job that he would eventually find a way of letting go, as his commitment catapulted him into the world of painting. Full-time, and all-consuming. 

JD :: Tell me about the words on your hands: Love and Hate ... about the line that separates the two and how at times one changes to the other.
JR :: The lines is pretty far from the two in my mind. like and dislike are way closer then love and hate. It is worth noting that in life we have to do things we love and hate and the idea for me is to remember which are which and why you do each. Only do things you hate out of neccesity. Remember to do the things you love and to move toward them any way you can. The other key thing to remember is it's better to love or hate than it is to be void of feeling. In the instance of the tattoos I dont have them for any of these reasons I have them because my dad has these same tattoos, and I got mine when he almost died a few years ago as a gesture of respect and lineage.


JD :: I think fans of your work can tell that it's your work from a mile away. If we were to look at your early works, do you think we could still see strands that relate to your current works? What are those strands?
JR :: I'd say it would be pretty clear pretty far back, my work has changed but I'd consider it all more evolution then change. The techniques motivations and basic feelings are all the same. The ideas have grown the layers have multiplied, the stories have gotten more defined and the legend of symbols is bigger but the base is still the same and comes from the same ideas of introspection self growth and persistance.

JD :: Who is your best friend?
JR :: Micheal Fields, Lana Guerra, my dog Buddy. I can choose 3 if I want as they are all my best friends.

JD :: I read in the Citrus Report interview that you worked as a postman and that you snuck in painting in between shifts to keep sane. I think the need to find ways to cope and stay sane while working in insane workplaces is a reality that many people relate to. Besides painting, were there any other methods that you used to cope in the workplace?
JR :: I was a postman in Pennsylvania before moving to Oregon. It was an alright job actually; it wasn't insane as much as I was at the time. It just became harder and harder to work a day job. The more I painted and saw what was possible. I started going insane about 2.5 years into painting.
By that time I was showing, and selling my artwork regularly ... not enough to quit work but I was making a part-time income. So each day all I could think about was my big escape. So painting at work was just part of the escape as well as a break from the madness. I focused everything on this
so I didnt do much else at work besides work, paint and daydream about paintings or shows, or ideas that would lead to my painting career and my escape from work.

JD :: Tell me about the music and sounds that you create.
JR :: I've been making music since i was about 14 years old. I play guitar, bass, drum machines, synthesizers, sequencers, scratch records on turntables, make noise on violins, cellos, violimbas, and other toy instruments. So I make a mix of musical styles and record them in my home studio. I like to make music with the idea of rythm, sounds, and notes interacting rather than parts or keys or parts. A lot of it is pretty linear. I do multiple projects ... kidspecial is a trip hop project, powercircus is an experimental project with two other musicians lana guerra and mahon rose. There are a bunch of other tracks I do here and there.. The best way to find out about it is to go to my site, jessereno.com and click the music link. I really hate trying to describe music.

JD :: The workshops you teach are usually 3 days-long. How come 3 days? How come not 2 days or 1? What happens in 3 days?
JR :: You need breaks to get away from your own head and ideas. Most people think about moves as right or wrong then this dictates how they feel about them. In creative instances there are many unexpected outcomes that should not be judged this way. And this thinking is key to my process ...
learning to see an experience of what your are creating, rather then judging it as right or wrong. I'd rather look at things out of the moment when judging. I find a more honest eye when I look at things for what they are rather than what I expected. Expectation can really cloud your vision. So to really get a full understanding of my techniques and ideas about observing art, you need time to digest and comprehend the experience. I'm sure all my students who have taken a 3 or 5 day class will tell you, I tell them a lot of the same things but each day they have a new understanding of the concepts. I'm teaching people about painting, but I'm also teaching them about finding instinct, freeing themselves from there own judgments, as well as taking responsibility for there creations. That's a lot to accomplish in 5 days let alone 3, let alone 2 or 1.

JD :: So we've talked about love and hate. Let's talk about war and peace. How do we live peace? In other words, how do we manage the inevitable conflicts that humans create?
JR :: Not sure. That's all going to depend on the situation and the person. Living truth is a good start. Doing what you believe, and fully understanding it. When forced with conflict fully explaining yourself. Choosing personal values over political ideals. Politics are like creating divisions in ideas and drawing lines betweeen people who could agree on 20 things and disagree on one ... dividing people who for the most part agree based on one idea. Creating teams is a great way to create a conflict. Beyond that I'm not sure what to say.

JD :: Tell me about the music you listen to.
JR :: I listen to music thats all over the place all depends on the day or moment ... timber timbre, coco rosie, minor threat, the ventures, the doors, the mifits, the sex pistols, bauhuas, jay z, method man, beastie boys, anima, mum, crystal castles, tom waits, the zombies, bonobo, amon tobin, bierut, devotchka, powercircus, kidspecial, elliot smith, lightning bolt, etc.

JD :: I kind of feel that you dream vividly when you sleep. Is that right? Do your dream scenes look like your paintings?
JR :: Nope. I rarely remember my dreams at all. And when I do they are pretty normal like me teaching class or hanging out or some other regular life activity. When I'm awake I daydream really well.

JD :: What's your favorite meal?
JR :: Veggie samosa, cheese nan, and mutter paneer, with a mango lassi.

JD :: What's your favorite snack?
JR :: Iced coffee

JD :: My hunch is that you're a night owl. That you stay up super late ... painting. Do I have it right?
JR :: Sometimes. I just do what my brain and body tell me. I wake up when I wake up and sleep when I sleep. A lot of the time it seems to be wake up between 10am and noon, go to sleep between 1 am 4am.

JD :: Finish this sentence: "The thing people might not know about paint is that ...
JR :: ... it can be cheap and non toxic.

JD :: Finish this sentence: "The one thing I know for sure is that ...
JR :: ... persistance will bring you to your goals.

JD :: Think of a word or two that come to mind when I say:
Oregon
    home - trees - rain
guitar
    baritone, tremelo,
violin
    noise, horror
hair
    stupid
television
    useless
post office
    shipping
dogs
    friend
tentacle
    octopus
duet
    crappy
tree
    old, tall
mask
    kumagwa
five
    10
slave
    sorry
popcorn
    movie
wine
    red

JD :: You say that folks who can't relate to your work need to loosen up. What is the key to loosening up?
JR :: Recognizing that mistakes are as valuable as any other possible outcome. Some of the best things happen by mistake. Learning to believe in what you believe, and to trust in your intentions to lead you to your desires.

####

All images provided courtesy of Jesse Reno. Visit www.jessereno.com.

Legato :: Ghostpatrol

 le•ga•to :: in a manner that is smooth and connected

GHOSTPATROL
by Jenny Doh

Ghostpatrol was born in Hobart, Australia and now lives in Melbourne, working closely with artist, Miso, to create artworks that can be seen on the streets and within galleries. Ghostpatrol's body of work includes small works like drawings on pencils, and very large works, like murals on buildings. The spectrum of moods that the works evoke is also incredibly broad ... from playful and adorable ... to melancholy and macabre. 

JD :: The body of your work is quite large and I'd like to focus this interview on the characters that frequently appear on your murals and also on your works with pencils. I look at your characters and I first think: "How adorable!" And then I look a bit closer and think "How odd" or "How sad." I suppose all of these reactions ultimately reflect how very inviting they are. Tell me a bit more about the characters that we see in your art.
GP :: The worlds I create are full of different ideas. I try not to control too much of the emotions in the work. I just let the pencil and paper work it out. The places and people speak to me through drawing them out. Planning and controlling a message doesn't really exist in m work. I'd rather people make their own meaning.

JD :: When you work on such a large scale like public buildings, I'm very curious about the process. What kind of planning is involved? How long does the execution take to install? How does it feel when you see it evolve through exposure to the elements, including potential humans who might alter it? 
GP :: Some pieces are spontaneous and are free to decay, whilst others take a lot of planning at a team to execute. I often get to work with design firms or architects on projects, which i great.

JD :: Let's talk about your pencils. They are adorable. I imagine that they need to be mounted during the process of exposing the wood and then painting on them. Could you share your process a bit with us? How did they become a substrate for your art?
GP :: The pencil idea just appeared in my mind, so the next day i gathered the materials and began experimenting. They seem to strike a chord with many people. The simplicity id the key. That body of work was finished many years ago, but it's still nice to get heaps of comments about that series.

JD :: Tell me what is your relationship with pencils? Do you prefer writing with pencils versus pens?
GP :: Brushes are my real favourite.  I don't have a problem with pens.  I think there is a culture of people obsessing with fine stationery. It's how you use it. 

JD :: So creating a large mural is ... well ... large. And creating a painting on pencils is much smaller. Tell me a bit about the differences and similarities of working on such dramatically different scales.
GP :: The larger works al start off small. I spend a lot of time drawing in my sketch book.  Some work just lends it self to becoming much bigger. I usually create many drafts or experiments along the way.   The difference doesn't seem the odd when you're doing it everyday.  I like to have the flexibility to move across and between sizes and mediums.

JD :: So you grew up in Hobart, Australia and currently live in Melbourne, Australia. Tell us a bit about what it's like living in Australia. Do you feel you are living in one of the most beautiful lands of the world?

GP :: I'm lucky enough to be able to travel a lot. I feel very lucky to be able to move around and see the parts of life that Australia is missing but also return and enjoy the amazing places and people in Australia. 

JD :: Was art at the center of your childhood and family as you were growing up or did you have to make it your center as an older person?

GP :: I didn't really know what art was until my early 20s. I was always drawing though it wasn't until I started university that I started to create works. I think I was creative as a younger person, but I was not attracted to the way art was taught at school, and as it turns out; you don't need to study art to be an artist.

JD :: What is usually the first thing you do when you get up? 
GP :: Early starts to clear email and update projects, then off to studio.

JD :: What is usually the last thing when you go to sleep?
GP :: Draw.

JD :: What do you know for sure?
GP :: The universe is very large.

JD :: What is one thing you can never be sure of?
GP :: We live in a multiverse.

####

All images were provided by Ghostpatrol. To learn more, visit www.ghostpatrol.net.

Legato :: Jennifer Mercede + Giveaway

 le•ga•to :: in a manner that is smooth and connected

JENNIFER MERCEDE
by Jenny Doh

She is inspired by children, by nature, and elements found in urban life. Her painting process involves the building up of layer upon layer ... a process that requires the ability to let go to a point where the pain of doing so opens up imagery that is only possible through a complete surrendering to the process. This is how Jennifer works, learns, grows, and evolves.

JD :: I recently saw the installation art you created at The Anti Mall in Costa Mesa. Tell me about how that installation came about. And I'm also interested in what the process is like when you create such large works in public.
JM :: I love that place! Its so colorful and original. My recent goals have been to introduce my art into new markets and what better place than Southern California! I made a connection with Melissa Northway, a collector of my art, author of the book I’m illustrating and now friend who lives down there. She investigated places for me to show and one happened to be the Artery at the Lab. They decided it was a great fit and also invited me to do this mural, I call it "the Stripe," as part of their Arbor Day celebration. It was so cool … they even made little seed packets with my art on it! 

As far as the mural goes, I typically have a general vision or rough theme of what I’m going to do. For this one, I was inspired by the colors of the LAB, a botanical theme for Arbor Day and I knew I wanted to use purple. The process is similar to that of individual paintings I create. I basically start scribbling with markers, pencils and paint all over the wall, making sure to cover all ground. Words emerge as bi-products of conversations with observers or song lyrics from a band playing around the corner. Floral drawings were inspired by the plants around the LAB. In this particular mural, I even collaborated with a handful of creative kids passing by. As time expires, I gradually become more deliberate and create a balance to the space I’ve now colored.

JD :: When I was viewing that art, I was with three other artists. As we were admiring it, I explained that your work was distinctive because it has an element that I describe as "street" ... which I suppose means that it doesn't feel fully "studio." Does that make sense? How do you react to that?
JM :: This is a great question, thank you for asking. I love to hear my art categorized as part "street." I relate it to graffiti, Brooklyn, hip hop, the 80s, inner city living, etc. I think all these things are cool, yet don’t necessarily feel a part of this culture. I am certainly inspired by it, so I take it as a compliment. To describe street art, I’d say it’s raw, not totally refined. Bold. Colorful. Bright and neon colors to be specific. I also think text makes it more urban, perhaps because graffiti is words?

JD :: So you were born in Long Beach and grew up in Connecticut. Tell me about how that came to be. And also, where do you live now? Do you wish you were living any place else?  
JM :: My parents come from large families in Connecticut. My dad works for Nestle and got transferred to California, where I was born and then he was transferred back. I only lived there for a few months, but that is long enough for me to claim that I am in fact a Beach Boys California girl!  Ha! I currently live in Portland, Oregon. Portland has been AMAZING for the development of my art career. The community here is super supportive of art and artists. It has allowed me to thrive. I still like Portland, its pretty unique. Its easy to bike everywhere, I love the rain and the mild temperature. I do feel inspired to live on the water, probably a lake as I love to swim! I also want to be near my parents.  I’m not sure when or where that will happen, but I assume someday I will say hello to a new home, hopefully one with a waterfront!

JD :: I notice also that you use neons in your work. Not too much but a little bit. Have you always used fluorescents? Are there rules you impose on yourself when it comes to these rather dramatic colors?
JM :: I have not always used neon colors. I think I started back in 2008, possibly from when I first started using Nova Color paints for murals, as they offer a fluorescent pink color. Like I mentioned in a previous question, the neon relates to this sort of street feel. I like the way its brightness stands out. I feel these colors keep me young. I also like the juxtaposition of bright colors next to more neutral ones.

While I’ve never felt quite compelled to make a completely neon painting, I do think I must limit my use of the fluorescents. I’m sure its related to sales; who really wants a neon painting in their home? Most people do not have neon décor! However, as I say that I am reminded that that is not why I make art. A fully neon piece could be fun! And quite street or pop culture … so watch out!

JD :: Do you teach? If so, where, and what has the teaching process been like for you? Do you enjoy it?
JM :: I have taught a little. I’ve done mostly private lessons for both adults and kids. While I love sharing what I do, and watching people open up and freely express themselves, I typically wait for teaching opportunities to come to me versus seeking it out. Which is what has happened with you! I look forward to traveling to California and having fun with your students, it will be my first official workshop! [Note: Jennifer Mercede will be debuting her very first 2-day painting workshop in Studio Crescendoh on March 3-4, 2012. Details will be posted soon.]

JD :: I understand that your aim is to have your work uplift. So my question is about when you are feeling dejected. When you are feeling down, are you able to create? And if so, are you able to create uplifting art? Or do you find that different type of art comes out in those instances and if so, how do you feel about the works that come out that are not close to your aim?

JM :: This is also a great question. Yes, I love to paint when I’m feeling down. Its actually a great way for me to release frustration or sadness. I tend to get really physical with lots of rough scribbling and globs of paint flying all over the place; your typical artist. It baffles me because even the art I create during those periods tends to come out cheerful. There is only one series I can recall in which I chose blacks and red, colors I never use, and feel that my negative, menstrual cycle induced mood clearly transmitted.  I’ve provided an image.

JD :: What's the key to letting go?
JM :: Ha ha ha!  You’re asking me?! As life would play the game, of course you ask me this question when it is just the thing I am currently faced with in my life. Powerful. I suppose an onlooker could watch my art process and say that I have mastered the art of letting go. Granted, in my art I paint layers. I build up a layer to a point that looks like it could be finished, and then BOOM, paint right over it with a large brush loaded with white. Or I’ll get to a point where I’m scratching my head and ask, how can I move this forward? BOOM take that same large brush and wash over it with a yellow orange. 

Yes, it’s a letting go. Especially when I first started to do that, I would think, really? I’m really going to paint over everything I just labored over for the last three hours? Really? And I do. And sometimes I cringe.  I’ve even cried. I jump on the roller coaster. Sometimes it takes me down, to a place where I hate the painting. Its often a stage in the process where I feel connected to the truth, where I am most open to life. It’s a point where I choose to surrender to the painting itself.

So you ask what the key to letting go is. Your question has me pondering deep, is washing over a layer really a letting go? Or an escape? Translating it to life, if I were to operate the same way, when a situation gets tough and I choose to "paint over it," wouldn’t that be running away versus letting go? 

Surrendering to the process and trusting is essential. Its something I’d like to employ more in my everyday life. When I choose to let go in my art, I am confident that the painting will turn out great.  Like I mentioned, it may go downhill, but as long as I keep working on it, it will always come back up. Nine times out of ten the painting has transition to a place far more exciting then where it was.

KEYS:
     *Trust that everything will turn out great, or even better than they are
     *Surrender to the process, of art or of life
     *Be brave and take risks
     *Stay committed to your goal

Thanks for helping me figure that out!

JD :: You have a Gerry the Giraffe book that is coming up in December. Tell me about the book. Where can people buy it?
JM :: Thanks!  Yes, I am illustrating Gerry the Giraffe, a children’s book written by Melissa Northway.  It’s a sweet tale of a young giraffe who wants to be better at volleyball (as all giraffes play volleyball).  He works hard, gets strong and grows into a great player. It will be available as a storybook app on itunes and as an ebook for the Sony Read, Kindle or Nook.  Eventually it will also be available in print form through Amazon and Barnes & Noble.

The illustrating process has been quite challenging for me. When I typically hit a canvas, I am free and spontaneous.  I have had to coax that side of me out while working on this book. I’ve asked Melissa for motivation kicks in the pants several times and I’ve even rented a separate studio just to have space to focus on this project. Posted on its walls are notes to myself: "Make art how you want to make art!" and "Yes!!!  I can do this!" as well as, "Relax…" Even though it's hard, I fully want to do this project. It’s a challenge and an awesome experience, as someday I would like to write and illustrate my own stories. I like illustrating and want to develop my unique style, so its important I stay true to my voice as an artist and not fall into what I think a storybook should look like.

Please stay tuned for an official release date which will most likely be early next year. In the meantime, you can check out Animals Wild, a book my friend Jason Holmberg and I put together a couple years ago.

JD :: The song that will usually get you up and dancing is ...
JM :: Ooh!  Something by Michael Jackson, like Bad or Beat It. Ow!

JD :: Nature and animals. They seem to be highly important to your work. What is it about animals and nature that inspire you?
JM :: My favorite type of art to create is abstract, completely wild and free. However, at one point I grabbed an animal book from the library and began sketching some. Just for fun. A friend saw a sketch of a giraffe and asked if I’d paint him a large one. Sure thing! I answered, and got right on it.  As I was painting that one, another friend saw it in my studio and commissioned a giraffe for her boyfriend. Before I gave it to her, I hung it in a show with a note that said not for sale, but will take commissions. I received three.

After striking that show, I was carrying the art and made a pit stop at a store I where I sold. The owner saw the giraffes and insisted I do a giraffe show. And so it serendipitously began.  I started making giraffes like crazy. They flew off the shelves (who knew?)! Eventually I began to make other animals as well.

Animals and flowers provide something people can relate to in my art. I love to combine my natural abstract tendencies with funky, whimsical animals. Even when I draw the animals, or anything representational for that matter, my goal is to maintain my doodling, like I’m doing abstract work.  Often times I do not look at my paper, just the image from which I’m drawing. I am inspired by the colors and soft shapes of plants and prefer to draw them from life.

JD :: Tell us something that very few people know about you.
JM :: I like math. In fact, I think creating a successful piece of art is equivalent to solving a math problem.

JD :: I imagine your studio to be large ... with paint on concrete flooring. Do I have it right? Describe it for me.
JM :: Oh geez ... you are right. It's in the basement of the house I live in. Honestly, it's not that exciting and I definitely have studio envy of other artists (eh hem ... Flora Bowley), as well as dreams of what older established artists have, out in the country somewhere, in a finished barn, with skylights and woodfloors. Sigh …

Mine is in the basement. In the winter, it becomes an island due to flooding. I’ve enjoyed painting in the basement because I feel like there I can be messy. Plus, its away from my bedroom, and other people. It can be my own creative zone. And honestly, I think I like the lighting (I think). I moved into this basement about a year ago and I’ve never quite set it up. It’d like to invite Kelly Rae Roberts over to help me, as she is amazing at making any space look like love. But I haven’t. I just keep operating in its chaos, its messiness and its plain basementness.

JD :: When it's blazing hot, what is your beverage of choice?
JM :: Water with lemon.  Sometimes with ice, sometimes without. Strangely, more often without these days.

JD :: When it's freezing cold, what is your beverage of choice?
JM :: Tea. Usually herbal, but my favorite is The Republic of Tea’s Mango Ceylon, a fruity black tea.

JD :: Think fast and tell me a word or two that comes to mind when I say ...

• Portland :: here 
• little girl :: fun 
• jump rope :: heartbeat 
• pink :: hot 
• butterfly :: circles 
• rules :: break
• action :: work
• inaction :: annoying
• audience :: laughter
• giraffe :: ha ha ha, of course
• stripes :: fun to draw
• heritage :: Italian
• little boy :: cute
• school :: homework
• solo :: quiet
• group :: silly
• family :: warm

JD :: What have you/do you learn from kids?
JM :: Oh Geez! Kids are the master artists. Think about how when young kids are writing a word and they come to the edge of the paper.

With no space left, they simply finish the word below. Or sometimes above. Their letters can be backwards, or upside down or even missing a letter. Maybe they will go back and add the letter in, or scribble out a backwards letter and write it correctly above the old one. There is such a freedom in that.

As I witness kids create so freely, I am inspired to be in that zone myself. Perhaps it is a detachment from the outcome. Perhaps it’s a degree of carelessness or lack of attention span. Either way, its honesty allows the creation to be organic, raw and in the moment, which is what I strive for. I strive to create beauty out of the imperfection and mistakes that is life, wabi sabi style.

####

All images provided courtesy of Jennifer Mercede. To learn more about her art, visit www.jennifermercede.com and her etsy shop here.

GIVEAWAY :: In art, how do you define "street"?

Through the process of ths interview, the concept of how one defines "street" in art became a point of great interest, both to the interviewer and interviewee. To explore the concept further, we would like to hear from you ... in art, how do you define the concept of "street"? Please leave your answer by commenting on this post (by Friday, November 11th, 5PM, PST). We will select one random commenter who will be able to select one of the three originals shown here, from Jennifer's frog series. Each is an original 6" x 6" paint and pencil work on canvas.

EDIT :: Congratulations to Jani Howe, winner of our giveaway!

Legato :: Cori Dantini

Legato :: In a manner that is smooth and connected
CORI DANTINI
by Jenny Doh 

When Cori Dantini was a student at Washington State University, her classes taught her how much she loves to make things. She eventually graduated in 1992 with a major in painting and a minor in printmaking. In addition to her coursework, Cori worked long hours outside of the classroom, in assorted jobs. "I think in my final year of college I carried 18 credits and worked 30 hours a week as a shop girl and a waitress," she says. "Having to do that taught me that I could do anything. I still believe it." This confidence has helped Cori dive into a career as an artist where she creates exquisite works that sing ... some that are playful, and others that are more somber.

JD :: When I view your work, I see spritely and definite but in some pieces, I also see somber and pensive. Do you think the mood that you are in affects the mood that your works cast?

CD :: That would be a resounding yes. I live in a dichotomy, one where I am unfailingly optimistic, yet ... tormented by a fairly clear vision of what is going on around me (which a lot of the time isn't what I would like it to be). This characteristic of mine makes me pensive and somber (and HIGHLY AWARE of what it is that I am seeing, and not loving) which is why some of my girls are looking off into the distance, as if they are looking past that moment and at something that is taking them away from the now. Maybe a memory or a plan or a distant dream even.

JD :: With all your work, I see exquisite workmanship. And it makes me imagine that it just flows out of your hands like butter without too much angst. Do I have it right?

CD :: What a nice thing to say Jenny, thank you. And yes you do, you have it quite right. The images flow right out of my hand (although on some days, they do much better work than others.)

 

JD :: The skirts that your girls wear, and the buns that you put their hair in ... I bet that there are many in the viewing audience who want to own skirts like those, and fix their hair into buns like those. How do you react to that?

CD :: I would love to dress like my paper ladies, but in truth I am WAY too practical! I mean for real! I am either in the studio covered in ink and glue OR sitting behind the computer for weeks on end (alone), but in my dream world I want those skirts and buns too! (I also want the tights, boots and the striped shirts.)

JD :: So lots of folks say that faces are the hardest to draw. For this reason, many folks who draw avoid drawing faces. Did you ever avoid drawing faces or did it just come naturally? Or did it come after much practice?

CD :: I wish I could say it came easy, but it all came together with repetition and time (when I think of some of my earlier "faces" I cringe!) So I say right now, and I say it loudly ... anyone can draw a face. It may take 10 years to do it well — but if you care to do it, you can.

  JD :: Tell me about when you first fell in love with ledger paper and how that became such an integral part of your works.

CD :: I am not sure I can nail that down. All I know is I have been a collector of old paper and books for years. I bought them originally thinking I would use them in 3-D mixed media pieces (which I never did), and then one day when I was on etsy, I saw a little drawing go by in the live feed that was done on a dictionary page. It was right then that I realized what I should be doing with all that paper of mine! It was a very exciting day. The other thing I really love about using the vintage papers, is the level of background detail that they bring to the table. I love that someone else has held that paper and poured their thoughts out onto it, in their own hand. PLUS I love how random the words appear. I suppose a better way to think of it would be to say, I love what is left over from the original handwriting once my work covers most of it up. Again, I don't really plan this, so it is always a surprise when I look down at the end and realize that there is some fragment of a thought dancing on the page, this (I think) makes my work have more meaning. (Now it doesn't always happen like that, but when it does it is very exciting). PLUS- I love to think of that handwriting as our internal daily background thoughts, you know the lists we make, the math we do- the thoughts we quietly have ALL day long which no one ever knows about. I guess I sort of think of it as our minds white noise

JD :: And tell me about your process ... is it pen to paper, and then watercolors then collage? Do you feed the paper through the printer at all? Do you ever use pencil and eraser?

CD :: It goes a little something like this. I paper the wooden cradle, OR I use papers of my ow creation (the papering process is very organic and I never plan it out). After I have the paper down, I do a little pencil drawing (again no plan). I then ink it in, and add the watercolor. After everything is dry I use calligraphy inks, copic markers, colored pencils ... you name it and I will use it. (No one will ever call me a purist!) At some point during the process I look at the piece as a whole and decide if I need more layers of paper, and if I decide I do, I get out the PVA glue and lay them down. Then (shhhh, don't tell), I finish up with my favorite thing of all: a white power paint sharpie. It is not until the very end, that I look at the piece and see the whole. It is at this point where I start looking for words, and meaning, and somehow (as if by magic) there is often a greater message floating around in the piece. I love this part.

 

JD :: So today, when you woke up, what did you have for breakfast? Is that what you usually have?

CD :: Coffee, and then some more coffee. Followed by even more coffee (and a homemade oat bran muffin). The coffee part is always true. The eating part is always changing.

 

JD :: Tomorrow, when you wake up, you discover there is no more paper available. Nowhere. So now what? What materials would you turn to to continue creating your heart's desire?

CD :: I think I would go back to oil painting (it is what I studied in college), and I would work on wood not canvas. Although, I have been collecting doodads for going on 20 years now, so maybe I would bust into making shadow boxes and finally putting all the flotsam and jetsam I have been storing for years and years to a good use.

JD :: Finish this sentence: "Aside from my art, two things that I really enjoy doing are ..."

CD :: ... sitting on a rocky beach, listening to the waves while pouring over all the rocks. I could do this all day and never get bored. I also like trying new things, and when I say new things it could be just about anything from a new painting technique to trying different types of black licorice. (My latest try was  really salty, and delicious!) I have also been known to really enjoy a good tour, my latest favorite was a tour of the Derby House at the Salem Maritime National Park, it was fascinating (and I am a geek at heart).

 

JD :: Who is the person or people who understand you most?

CD :: This is the hardest question for me because I don't think of myself as being a very complicated person. Not to say that I am not ... but you can always count on me to tell it like I see it (for good or bad), and I also tend to share way too much info. So ... in my mind I am a fairly easy person to know. 

  JD :: Who is the person or people who will probably never understand you?

CD :: Sadly, it is probably my dad. I don't think two people could sit on more opposite sides of everything, and I say that with a sad little sigh ... but it is true.  What is also true is that we love each other very much, and because of that, I am okay with not being understood (and not understanding). 

 

JD :: Tell me about how you grew up ... with papers and paints always near you? With creative parents and siblings?

CD :: When I was little I had a big old can of crayons that I LOVED  (especially the pink one, which my mom showed me how to rub on my finger and then rub on the paper to make peoples cheeks look blushed). When she taught me how to do this it was a real turning point for me because it was the first time I understood the potential of what a humble supply could do. As for being surrounded by creative people ... I really wasn't. 

 

JD :: I know you are a fan of the concept of standing up for what you believe in, even if it means standing alone. When have you stood alone?

CD :: I am a big truth teller. I believe in saying the hard things and pointing out the uncomfortable ... and that often leaves me standing alone, especially when I talk with my dad about politics!

 

JD :: Think fast and give me a word or two when I say ...

• birdcage
  • *sad sigh*
• Washington
  • home
• red
  • accent
• David Bowie
  • genius
• Kiki's
  • delivery service
• alphabet
  • necessary
• paper
  • potential
• yarn
  • knit
• fabric
  • sew
• quilt
  • grandma
• coffee
  • yummy
• dots
  • favorite
• circle
  • O!
• deadlines
  • a challenge
• water
  • momentum
• ponytail
  • practical

JD :: On a scale of 1 to 10, with 1 being pristine clean and 10 being out of control, what number is your studio most of the time?

CD :: It depends on what I am doing. If I am in the studio for real ...  painting and making stuff,  the studio lives at a 6-8. I don't really ever hit a 9 or 10 because I always know where everything is — and a 10 to me means not knowing where anything is because it is buried  (I never ever let it get to that point because it would drive me NUTS)! Otherwise I would say the studio sort of maintains itself at a level 3 or 4, organized and tidy, but not super clean. Super clean lasts for about 5 minutes in my studio.

####

All images provided courtesy of Cori Dantini. To learn more about Cori's art and life, visit http://coridantinimakes.blogspot.com/.

Legato :: Simon Schubert

 Legato :: In a manner that is smooth and connected

SIMON SCHUBERT
by Jenny Doh

Plain white paper is what Simon Schubert uses to create his art. Creases and folds are made on the paper causing shadows to emerge, as magnificent rooms, faces, and scenes come alive. Each piece exudes simplicity and complexity—much like the works of Samuel Beckett—the author who has been the longtime inspiration for this German-based paper artist.

JD :: How did it begin? Your journey of creasing and folding paper?

SS :: The first paper-folding I did was a portrait of Samuel Beckett. I was trying to make a portrait on different levels. The folds in the paper resemble the wrinkles in the face and the reduction of the materiality and the working process applies to the literature of Samuel Beckett, as well as the fading into white. Beckett remains very important for my work, but there are also other important influences from architecture, philosophy and mathematics. Before starting with paper-folding, I was doing large sculptures.

JD :: Tell me a bit about your upbringing. Was it a home filled with creativity that you grew up in?

SS :: The opposite. I grew up in a boring 70s suburb of Cologne. My father was a tax consultant and my mother was working in a pharmacy. Art and creativity wasn't very important.

JD :: There's something haunting about your works. Perhaps because many feel like empty houses. Like ghosts might appear. Is this your intent? How do you feel that a viewer has this reaction?

SS :: I don't want to shock or frighten people. One of the things that is interesting to me is to find pictures that describe something vanishing or the fear of things vanishing. The thought that everything is always at the point of vanishing is frightening in a way and if you work about this, it gets haunting anyway.

  JD :: Have you ever creased and folded colored paper?
SS :: I've tried this sometimes but the color takes away the shadow in some way. I've done some black works and they are very nice. They have a different qulity than the white ones but they are not that special. White paper is my favorite material by far.

JD :: I understand that you are inspired by Samuel Beckett, for which reasons I can't fully explain, make complete sense. His works were minimal and complex at the same time, I think ... much like your works. Have you thought of Beckett during your creative process?
SS :: As I wrote above, his works are actually the reason for me starting with the paperworks. Probably the first twenty works had a direct connection to some texts or rooms or images from the texts. Later, other influences became important also, but still Beckett remains an important influence to my work.

JD :: Think fast and say one or two words that come to mind when I say ...

• London :: calling
• museum :: what's this?
• paper :: I'm loving it
• fingernails :: don't chew them
• paint :: Bacon
• breakfast :: Ham
• snow :: Dash
• fear :: Angst
• Godot :: Estragon
• Max Ernst :: Die Jungfrau züchtigt das Jesuskind vor drei Zeugen
• clay :: Cassius
• telephone :: no connection
• money :: to burn
• America :: NYC
• Donald Trump :: the most unimportant person to me
• 1976 :: good year

JD :: When a piece isn't going well, or when you make a crease that is unintended, what happens to it? Does it go into the trash?
SS :: Most of the times, it is lost. Only if it is a very small mistake I can restore the work.

JD :: I'd love to know about your typical day, and the people in your life. What is your day like? Who are the people you interact with? Who do you love?
SS :: I start working when my kids go to school and most of the time I work until the afternoon or evening. My studio is in the same house where I live. My wife and kids are the people I love and with whom I spend the most of my time. 

JD :: What is the one thing that you know for sure?
SS :: There is probably nothing you can really be sure of. Everything could be just in your mind.
 

All images are provided courtesy of Simon Schubert. To learn more, visit www.simonschubert.de.

Legato :: Alisa Burke

 Legato :: In a manner that is smooth and connected

ALISA BURKE
by Jenny Doh

Just a few years ago, Alisa Burke walked away from a job at a college campus where she had worked as a design and marketing professional. It's a move she had been preparing for by saving and planning, saving and planning ... as she dreamed of working for herself full-time an artist. Since this move, Alisa has been relentless ... a force really ... as she creates with focus, determination, and (almost) without rest.

JD :: You recently had a funny update on FB describing how the glamorous life of an artist isn't so glamorous, as you go about your day in a messy sort of way. Tell me about that. From morning to night, is it touch and go to get all you need do completed?
AB :: It is SO not glamourous at all! I am an early riser and typically pop out of bed and get to work right away. While I do get dressed, my attire is just a day version of my pjs, something comfortable and typically covered in paint, no makeup or washing my hair (sometime for days) unless I have somewhere to go. Working for yourself you set the rules, the schedule, the pace and for me it is a fast pace all day long and into the night, typically a 14 hour day, my appearance is the first thing to go! As messy as I am in my art, my schedule is actually pretty organized and I think this comes from having worked in more structured job for so long. I depend on lists, calendars and a daily agenda for myself, otherwise I would be wandering around without much organization or using my time wisely. All day long I bounce from project to project in 2-3 hour blocks, often transitioning from a painting session to packing and shipping orders to editing video and then back to painting ... this is how the days typically goes depending on the projects and commitments I have going on at the time. My work day does not end at 5pm anymore like it once did at my university office job in fact I do a lot of my productive sketching, editing and blogging late into the night and because I am restless and not so great of a sleeper I will get up in the night work a little more. The hours are long and it is a lot of work but I am living my dream and will always figure out a way to structure time and make sacrifices to keep my business going- I would give up glamour any day for this life.

JD :: I love your posts where you take elements from the beach and sea and incorporate them into your work. How does the ocean inspire you? 

AB :: I have always lived near the ocean and in a beach town and come from a surfing family so the ocean and the lifestyle that goes along with it has always been a part of my daily routine. The beach is one of my favorite places to be and I was the one in our family that spent hours and hours beach combing for treasures. When everyone else was ready go I was way down the beach crawling around looking for rocks buying just a little more time to search. I've carried this routine with me well into being adult (only now I typically go alone because nobody has the patience for the time I spend beach combing!) When I am looking for a quick and easy way to find some inspiration I head to the beach. I am not sure what exactly inspires me but the magnitude of the ocean, the colors, the textures, the treasures are all things that excited and get my creative juices flowing.

JD :: I suspect nature in general inspires you, as I observe all of your nature journal work. Aside from drawing and coloring flowers and trees, are you also in real life a greenthumb? Do you keep a garden?
AB :: Yes, nature is a really big part of my inspiration. Growing up in Oregon in small coastal town really gave me an appreciate for the outdoors and nature. Unfortunately I don't keep much of garden because we don't have a yard at this stage in our lives. But my mom is an avid gardener and has always shared this passion with the rest of the family. There were always bouquets of flowers in the house, vegetable, herb gardens and flower gardens in our yard growing up and the awareness and preparation for the seasons. Someday soon the plan is to have a different lifestyle where we will have a yard with my our own garden.

JD :: You have a new book coming out titled Sew Wild. The title and the cover look so exciting. Tell me a bit about the book ... what it teaches and how the concept for it came to be.

AB :: Sew Wild is all about setting yourself free with both surface design and sewing projects. The first part of the book is all about creating your own fabric with really simple and easy techniques and I demonstrate how to use stitching to add another element and layer to surface design projects with wild stitching and last I share a handful of really easy sewing projects that make use of handmade unique fabric.

Sew Wild is really about sharing my own personal surface design and sewing process. I have been making my own fabric for years and then using my sewing machine as a mark making tool and I really thought that sharing this process with others would provide inspiration and permission to have some wild fun with sewing.

JD :: Finish this sentence: "People might be surprised to learn that with paper, you can ...
AB :: stitch just like fabric.

JD :: Finish this sentence: "People might be surprised to learn that with fabric, you can ...
AB :: break rules!

JD :: You and your husband are expecting your first child. Tell us about the nursery. Have you had time to decorate it? What does it look like?

AB :: Our baby girl is due in October and we are really excited! The nursery seems to have been the last thing on the list for us because of our busy schedules but we have slowly been picking away at decorating. Because we are very limited with room we are trying to keep things simple to begin with. And it might surprise people but while I am messy in my art, I like our living space to be more clean and simple with the things we decorate with. I don't personally like pink and we are pretty non traditional so we selected blues and greens for her room and some ocean inspired art for the walls. I still have a few more things to complete and hang but the room is almost ready for her arrival!

JD :: OK. You have a deadline to complete an art quilt. In the middle of sewing, your machine quits. No time to get it repaired. What do you do?
AB :: Oh goodness, first I would freak out and then I would pull out my old $50 Singer Sewing machine and make it work!

JD :: You have recently opened www.shopalisaburke.com. A collaborative endeavor with your mom. The products look so exciting. Tell us a bit about this labor of love.
AB :: My mom (who is a ceramic artist) and I had been playing around with the idea for years to collaborate and launch an online shop that would showcase both of our work. Recently the timing was right for both of us and we came together to design and create all kinds of handmade goods that will grown and change with the seasons. We are thrilled that is has been a hit and we are excited to see how what we come up with. But the best part is getting to work on a project with my mom. We currently live apart and this has been a fun way to connect with each other. 

JD :: Think fast and let me know what you think when I say:

• watercolor journal 
• fish   and chips 
• cones ice cream 
• dots puff paint
• floor painted
• pillow  obsession
• stencil diy
• Andrew  true love
• stripes half of my closet
• journal sketching
• Sew Wild breaking rules
• kiln my parents studio
• mom best friend
• whale  save them
• Gogol Bordello loud rockin' gypsy punk
• handbags unique
• canvas versatile
• deadlines need them to survive
• art quilt  expressive

JD :: You just won a round trip ticket for 2 to anywhere on earth. Who do you take? Where do you go?

AB :: I would take my husband and we would go to Indonesia to surf and lay around on the beach.

JD :: You just won a dinner for 4 to any restaurant. Who do you invite? Where do you dine?
AB :: I would take my husband and two of our foodie friends, keep it simple and go to our favorite sushi restaurant in San Diego- Sushi Ota.

 
JD :: You teach both at art retreats and online. Describe the similarities and differences of both types of teaching and the lessons you have learned from the students in either format. 

AB :: Both formats I am able to inspire and challenge people to create in different ways but the two are very different. Teaching in person gives the opportunity to connect in person and really be able to have 1x1 time and get to know people in a different way- I always walk away from teaching at a retreat feeling like I just made lots of new friends. To see people's faces when they are trying out the techniques I teach, to answer questions and walk through creative problem solving is really a neat experience. Teaching online I miss that personal connection but it is really amazing to be able to reach people around the country and the world who may never be able to afford to attend an art retreat- this really cool. While I can't recreate that "in person connection" and an online class is never going to feel the same as a retreat I work really hard to put together online classes that are really visual, inspiring and packed full of inspiration at a really affordable price.

JD :: What's the key to productivity?
AB :: For me it is all about staying focussed on the tasks at hand. These days with facebook, twitter, the internet, etc it is really tempting to spend a lot of time on the computer and while I depend on the computer to running my business I try and stay away from it as much as possible so I can stay focussed on creativity.

JD :: Finish this sentence: "Few people may realize that I actually ...

AB :: love cooking almost as much as I love painting!

####

All images are courtesy of Alisa Burke. Many thanks to Jaime Guthals of Interweave Press for coordinating Legato to be included in Alisa Burke's blog tour to promote Sew Wild. The full schedule is as follows:

Sept. 14           Sew, Mama, Sew http://sewmamasew.com/
Sept. 15           Balzer Designs http://www.balzerdesigns.typepad.com
Sept. 16           CraftTestDummies.com and The Creative Goddess  http://www.vickiodell.com
Sept. 17           FaveCrafts  http://www.favecrafts.com/
Sept. 19           Crescendoh - Jenny's Blog  http://blog.crescendoh.com/crescendo/legato
Sept. 21           Scarlet Lime  http://www.christytomlinson.typepad.com/the_scarlet_lime/
Sept. 22           A Stitch in Dye  http://stitchindye.blogspot.com
Sept. 23           Living Art at the Speed of Life http://pamcarriker.com

Legato :: Kathryn Clark

Legato :: in a manner that is smooth and connected
KATHRYN CLARK

by Jenny Doh

In fifth grade, Kathryn Clark learned about how cool colors recede in a painting and warm colors come forward. Soon after, her parents took her to her aunt's art gallery in Atlanta (McIntosh Gallery) and she saw a painting that did just that. "And it clicked," says Kathryn. "I still have a picture of me standing in the gallery, completely blown away by all of this at age 12. I decided then and there that I would be a painter."

And paint she did. And then photography she did also. Now, Kathryn has landed in a spot where she dances with layers of fabric and hand stitches. It's a place that feels right ... and where she intends to stay for a long while.

JD :: Tell me how you feel about the color red. What does it do to a piece when you add it, even in very small doses?

KC :: Red is not one of my favorite colors but I often find it's necessary for the pieces I'm working on as a counterpoint to my soft tones. My current foreclosure series uses it a lot because of its connotations. Foreclosed lots are usually shown in red on foreclosure maps. It also references being financially 'in the red'.

 

JD :: Is the ability to achieve balance in a piece something that is intuitive or something that can be taught and learned?

KC :: I have no idea if it can be taught or learned as it's always been with me since I can remember. I know it's incredibly important in my work and I seem to have a strange ability to know when something is off by a hair. My father, who is an architect, sees things similarly so perhaps he taught me. I'm left-handed and I sometimes wonder if right-handed people see my work as more imbalanced.

JD :: So your background is in painting and photography. Tell us how that experience has influenced and informed the work that you currently do with fabrics and sewing.

KC :: I did photography for a long time mostly to explore the medium since my grandfather and uncle were/are professional photographers. I remember as a kid spending hours at my grandparent's photography studio thinking I would never take photographs and then found myself obsessed with it in my 20's and 30's. I think I just had to explore this medium that was so interesting to other members of my family. I took mostly black and white photos with few people because they highlighted abstract forms and textures. With regard to painting, I realize in retrospect that I spent many years trying to create fabric constructions and textures in my paintings before I changed to fiber. It was such a relief to have found textiles, I feel like I've come home.

JD :: There is something so deeply soothing and calming about the simplicity of your work ... as it helps clear the mind so that singular themes or ideas can be considered in a more concentrated level. I suppose this is the appeal of minimalism. Have you always been attracted to clean and simple or did you ever go through a phase of busy and compex?

KC :: I have never been interested in busy or complex images or design. I grew up with two posters in our living room that were my parent's favorite art works. A Georgia O'keefe chosen by my mother and a Jackson Pollack that my father chose. I hated the Jackson Pollack growing up. In my 20's I drove out to Ghost Ranch to honor the influence O'keefe's work had on me when I was a child.

JD :: It looks like hand stitching is what you use for most of the works we see. Do you also ever work with a sewing machine?

KC :: I do have a sewing machine and when I show it to other textile artists they laugh hysterically and tell me to upgrade. I won't even say what it is, let's just say I can do basic sewing on it. Hence, the reason I mostly hand sew! Honestly, I love the look of handsewn work so much more. It's important to show the imperfections of handsewing in my foreclosure series since these pieces are supposed to look fragile and irregular.

JD :: Tell me about the fabrics you use. Where do you get them? Do you ever dye or treat them?

KC :: I find my fabrics everywhere. I buy them new online and in local discount stores. I find a lot them at our local artist's scrap center (we have a great one here with bolts and bolts of donated fabric). Friends have given me some amazing fabrics too. I also cut up my daughter's old clothing which peeves her tremendously! I often bleach or tea stain the pieces to create as much irregularity as possible for my pieces. I'm currently working on natural dyeing recipes from India Flint's book Eco Color.

JD :: Is it in the daylight when you do most of your work?

KC :: I can really focus during the day when my daughter is in school from 9-3, those are my regular studio hours I try my best to keep. But I will work at night as well when I'm on a roll.

JD :: Your Repetition Series uses repetition and layering to make such a beautiful impact. And you state that the "beauty lies in the visual intertwining of this process." I suppose this could be a commentary about life and relationships and its many layers. Tell us about some of the lessons you learned by creating this series.

KC :: I'm a very impatient person, as I think a lot of us are these days. I learned from making this series that I really loved the slow repetitive process of making, adding layer after layer. It forced me to slow down and pay attention to every variation I made and celebrate it. But really, the biggest lesson I learned from the Repetition series was that I needed to work in fiber! What better way to enjoy the process of slowly making something than sewing?

JD :: I love the Side Stitch series. The strong and bold colors. You describe them as side stitches, which I interpret as a "parentheses" or "sidebar" or "footnote" to your main work, is that right?

KC :: It feels, though that by giving attention to matters that are on the side, that they become much more important and deserving notice. I really enjoyed working on this series with Kitty Kilian, an artist from the Netherlands who has become a wonderful online friend. She came up with the great name 'side stitch'. You're absolutely right, these works were a sidebar to our main work. And they did become great inspirations for my main series at the time, the Idiom Series.

JD :: Think fast and tell me a word or two that come to mind when I say the following:

• remnants
  • tattered
• orange
  • blue
• edge
  • selvedge
• coffee
  • tea
• Japan
  • aesthetic
• seed
  • natural beauty
• sheer
  • subtle
• black-and-white
  • my cat, Jacques
• storm
  • rolling thunder
• dinner
  • locavore
• mountain
  • vista
• San Francisco
  • fog!
• inhabit
  • space
• slate
  • my sunroom floor

JD :: You are involved with collaborations. What does collaborative work give you and give the art you make that cannot be achieved when working alone? What are the pros and cons of either approach?

KC :: I love having collaborations with other artists. I have the chance to learn from other artists, different ways of seeing, making, thinking. Knowing how another artist works allows both of us to help each other out in the future when we hit bumps in our own work. Working with someone different pushes my comfort boundaries forcing me to see things in a new way and encourages me to take more risks in my own work. I really do love working alone though so the collaborations only take about 20% of my time in the studio. So far, I can't think of a negative to any collaborations that I've had. They've been great experiences for me.

JD :: Finish this sentence: "I create because if I didn't ...

KC :: I wouldn't be true to myself and be the best person I can be.

JD :: Finish this sentence: "Art is ...

KC :: life

JD :: Finish this sentence: "Craft is ...

KC :: meditative

JD :: Finish this sentence: "Articraft is ...

KC :: a rare breed

JD :: So if you were first a painter and photographer and now you are a stitcher, what might be the thing you are into say 5-7 years from now? Any guesses?

KC :: I've wondered this often since I delved into fiber. I think I'm here to stay in the fiber world. My work might branch into more installation but I suspect I will continue to work with fiber for a long time. It just feels so right to me.

JD :: Do your family and friends "get it" in terms of understanding and cheering on the work you do?

KC :: It's hard to say. My artist friends and family 'get it' but there are certainly quite a few who aren't artists who don't get it, but that's fine. I'm just happy that most have come around that this is my profession. Art as a career isn't taken too seriously here in the States. My work often deals with subtle color and my husband happens to be red-green colorblind so I think he misses a bit of what I do, especially the use of red in my work. My six year old daughter thinks my work is cool. I often find her making 'foreclosure' drawings in her sketchbooks which I find pretty amazing.
JD :: On a typical day, what's the first thing you do when you rise and the last thing you do before you go to sleep?

KC :: I make myself a cup of black tea first thing or I am not a functioning person. I love to read in bed for a few minutes every night to wind down and settle in.

JD :: What is the book that you are currently reading in bed these days?

KC :: A wonderful one ... The Town That Food Saved by Ben Hewitt. I've become fascinated with local small-scale farming in the past year. It might turn up as a future series somehow but this is my early research.

All images shown here are courtesy of Kathryn Clark. Visit www.kathrynclark.com to learn more.

Legato :: Tabitha Kyoko Moses

Legato :: In a manner that is smooth and connected

TABITHA KYOKO MOSES
by Jenny Doh

Tabitha has always been interested in clothes. This interest called her to earn her BA in embroidery and eventually her MA in textiles. In between the BA and the MA, she built costumes for film and TV for about nine years. "I thought I would move into fashion design but kept making these objects that were informed by clothing but were totally useless," she says. "Powerful objects to be contemplated, not utilitarian clothes."

And contemplate we do as we view her most intriguing works that are created with the inclusion of human hair. Yup. Human hair.

JD :: Tell me about your interest in hair. It is such an unexpected medium for art. How did your interest in incorporating it into your art originate?
TM :: Nine or ten years ago, while I was doing my MA, I started using fake hairpieces in my work - attaching ribbons and charms to pony tails. One day I just thought, 'why not use real hair?' I did and it was so much more powerful I never used fake hair again.

JD :: I am intrigued with Three Knots. Tell me about the story it tells. It looks like free motion stitching but I am assuming that it is hand embroidery with needle and hair, is that correct?
TM :: Yeah, it's hand embroidery using hair. I did an idyllic residency on the Isle of Mull, off the coast of Scotland. Reading a book of local folk stories I was struck by the story told by Peter McLean of the three knotted handkerchief (he related the tale in Gaelic to writer Anne McKenzie).  I liked the everyday usefulness of the handkerchief in the story, and that it still happened in the Twentieth Century. I embroidered the text from the back, back to front, so the viewer sees all the wispy ends of hair.

JD :: Tell me about your hair. Is it long or short? Blond or brunette?
TM :: My hair...well it's an ongoing, lifelong project. At the moment it's pretty short but needs a trim. I like to think of it as the foppish haircut of an early Twentieth Century pioneering aviatrix. I'm really happy with my recent haircuts - no blowdrying or messing about required. Life's way too short to have a high maintenance hairdo. It's nearly my natural colour, with an auburn rinse. I have a few grey hairs but I'm looking forward to going really grey. I love the silver fox look. I've had loads of colours and styles over the years, including daffodil yellow hair with pillarbox red eyebrows. For a while I wanted to shave my eyebrows off, but never quite did it. My hair was long for ages then I got it cut short earlier this year and I felt brilliant, liberated. A haircut is soooo good for you.

JD :: I am intrigued with the Normanby Hall collection. What unifies the elements?
TM :: What unifies the elements? Er, marriage and death I suppose. What does that say about my attitude to marriage? It was just a feeling as I was looking through their collections. I have loads of junk in boxes and it was a great chance to get it out and arrange it with some other stuff. I like to put objects together that whisper a conversation.

JD :: The Normanby Hall collection makes me consider art that isn't painted or mounted but temporal arrangements that exists for as long as that arrangement stands. Is this type of art ... that is, elements that you arrange for a finite amount of time ... what does the creator and the viewer gain from such experiences?
TM :: I love ephemeral art. I love that something existed and you had to be there. The creator can stop being precious about the work which leads to a kind of freedom. The viewer... I suppose the viewer is having a rare, live experience that will never be repeated. To be honest, the viewer is not uppermost in my mind when I'm making work.

JD :: I'm assuming that you live in England. Is that where you were born and raised? TM :: Yeah, Liverpool for the most part. Before I was four we had also lived in Germany and the Shetland Islands because of my dad's work. I've spent most of the rest of my life in Liverpool, though I think those early travelling experiences have left me with itchy feet and I've travelled at every opportunity.

JD :: What's the best book you've ever read?
TM :: Blood Meridian by Cormac McCarthy.

JD :: What's the latest book you've read?
TM :: I've just finished reading Camera Lucida by Roland Barthes, research for an exhibition I'm working towards. Looking forward to escapist fiction next.

JD :: Your Bachelors and Masters is in textiles. And you have a background in clothing and fashion. Tell me what the experience was like, to become schooled in textiles, and how you got called into that study.
TM :: I was always drawing, designing clothes, dressing up, showing off and making things when I was little. Then, at 18, I failed embarrassingly to get into drama school so went with my other love - art. Luckily (or unluckily?) my parents have never pushed me towards useful or academic subjects.
I think I've had a brilliant journey. The BA was a rigorous design training. Then the costume work got me thinking about character and sartorial meaning, and gave me access to some amazing garments. Then the MA had a fine-art bias which I was ready for by then.

JD :: When it comes to clothing and fashion, which do you value more: style or comfort?
TM :: Oh dear, it used to be style but now I'm afraid it has to be comfort. I can't believe I said that. Actually I aim for both.

JD :: What is your favorite thing to wear?
TM :: I'm never out of my TOAST blue jeans, but for sheer joy I love to wear a vintage summer dress (the joy is sheer, not the dress).

JD :: I am also very intrigued with your self-portrait work. They are done with hair. Tell me about the process.
TM :: The process took some development but it is quite simple. I trace over a photograph onto tracing paper. Then, on a lightbox, I trace the image onto the fabric. (I use a brilliant pen with disappearing ink. You mark the fabric and the lines disappear over the course of a few days.) The image is embroidered by hand with a needle and a strand of hair.

JD :: Do you accept donations of hair from people? Do you use your own hair?
TM :: Oh yes, I used my own hair for the self portraits. It's way too short now though. And I most definitely accept donations. I have a friend's grandmother's hair (long and grey - rare in the world of wigs), a colleagues mother's locks of hair from when she was aged 2, and a plait of hair from a woman who worked in the arts centre on Mull. It was cut when she was twelve and she'd kept it all these years. She gave it to me because she thought her sons would just chuck it after she dies. I used it to embroider the story of the three-knotted handkerchief.

JD :: Finish this sentence: "Surprisingly, human hair ... 

TM :: ... is still found on ancient Egyptian mummies.

JD :: Who taught you to embroider? What are some of your earliest memories of embroidery work?
TM :: It must have been my mum or nan, but I can't remember. I remember knitting more than sewing (though I'm a lousy knitter now). I do have a funny appliqued face that I made when I was a nipper. I might stitch it onto a grey jumper.

JD :: Think fast and give me a word or two when I say the following:
cotton
    field
Liverpool
    buildings
needle
    book
Facebook
    stress
water
    swimming
heritage
    boring
gray
    pullover
bleach
    toilet
wedding
    fun
bag
    possibilities
dolls
    people
glove
    warm
egg
    soldiers
web
    spider
tangles
    painful
Japan
    future

JD :: Where do you live right now?
TM :: Between the river and the park in Liverpool.

JD :: Tell me about your friends and family. Do you spend lots of time with them?
TM :: Yes, although I do have misanthropic tendancies. I have a great relationship with my family and I have brilliant, fun and interesting friends. Whenever I spend time with friends or family I come away feeling lucky.

JD :: I imagine there are lots of folks who cast lots of interpretations about your art that range from close to completely off, in terms of your intent. How do you feel about that process, where interpretations aren't precisely on target with your intent?
TM :: Oh, I don't mind at all. In fact I'm interested to know what people make of the work. Once it's made and ushered out into the world I no longer have any authority over its interpretation.

JD :: If there is one thing you'd like an answer to, that would be ...
TM :: Why didn't (the utterly amazing) Tune-Yards play Glastonbury this year?

JD :: If there is one thing you will NEVER do, that would be ... 

TM :: Never say never.

Images shown here are provided courtesy of Tabitha Kyoko Moses. To learn more about her work, visit www.tibithakyokomoses.com.

Legato :: Flora Bowley

Legato :: in a manner that is smooth and connected

FLORA BOWLEY
by Jenny Doh

The room lights up when she enters. A room where none of the eager fanbase suspect that she actually has butterflies every time she teaches. It's a fanbase that continues to grow authentically and deeply as she travels the world to teach her painting methods ... of making do with what is at hand, of making bold moves to push a painting to new places, and most importantly, of allowing the process to be gentle and forgiving ... making room for the canvas to transform and become again. It's a process where bravery flowers ... a process where you Bloom True.

JD :: I know that you are a yoga enthusiast. Tell me how you got into yoga ... and tell me about what yoga gives you.
FB :: I started practicing yoga in 1995 in a little mountain town in Colorado. My life was all about snowboarding and making art in those days and I was craving something “spiritual,” so yoga seemed like a good idea. My very first teacher ended up being a super rad lady who became a sort of mentor for me. She was the only person I knew back then who was really pushing personal transformation in a way that felt good to me, so I ended up following her classes around for years.  My yoga practice eventually led me to a yoga teacher training program, followed by ten years of teaching yoga. I don’t teach anymore, but I blend a lot of my experience from the yoga world into my painting workshops. Personally, yoga gives me the much needed reminder that I am connected to something much greater than myself, so it keeps me centered and connected in that way. It also keeps my body feeling good, so that’s a bonus. It’s been my grounding force for many years.

JD :: You've been traveling a lot lately. Are you a good traveler? Calm, cool, collected, with all items neatly packed ... or are you a worrier wondering if you've forgotten this or that?
FB :: I’ve been traveling my whole life thanks to my globe trotting parents, and yes, lately, I’ve been traveling even more teaching workshops. I’m actually typing this as I fly over the Atlantic Ocean from Portugal to Portland, so this is a perfect question for the moment. Although my suitcase is definitely not always neatly packed, I’d say I’m a good traveler in the ways that I think are important. I’m good at adapting to whatever is going on in the moment, thriving in the unknown, making friends with strangers, and finding joy in small simple moments.

JD :: For different things in life, we either lead or follow. Tell me about times you've followed and what you think makes up a good follower. Tell me about times when you have lead. And tell me about what you think makes a good leader.
FB :: I did a lot of following in my teens and twenties when I was trying to discover who I really was and searching for this identity in all sorts of places. I still find myself following people who inspire me, and I’m sure this will never stop. I think it’s a good time to be a follower anytime you are moved by something and intuitively want to learn more about it.  Following is inevitably a great way to learn what is truly yours. 

The first time I really felt like a leader in my life was after I spent six months volunteering in Mississippi and New Orleans after Katrina. Through a sequence of wild events, I ended up being the volunteer coordinator for a pretty large-scale relief center. I had never done anything like that before, but it felt natural and the work was extremely rewarding. I think the biggest key to being a good leader is to whole-heartedly believe in what you are doing because people will always respond to passion and integrity in other people.

JD :: I've taken a painting class with you. And I would describe you as easy-going, with lots of confidence and inner peace. Has that always been the case with you or have you had times when confidence and peace were not so present in your life?
FB :: Thanks! Those are qualities I definitely hope to embody. I think I was born a pretty easy-going person, but I’ve worked hard on the confidence and inner peace aspects. I was a really shy kid and especially shy with my voice and speaking my mind in front of others. I felt like a wallflower for many years actually … too shy to speak up, just wanting to blend in. When I first started teaching yoga, I was terrified of being up in front of everyone.  It was like facing my worst fear each class, but over the years I became more comfortable and at peace in myself. I still get really nervous before I teach my painting workshops, and I doubt that will ever go away. As far as I can tell, building confidence is a life long journey that happens as a result of bumping up against your own inner boundaries and moving right on through.

JD :: Tell me about the teaching process. How long have you been doing it? What has the journey been like? What have your students taught you in the process of your teaching them?
FB :: I started teaching what I call my “Bloom True” workshops last September.  Elizabeth MacCrellish, who is the founder and director of Squam Art Workshops in New Hampshire, invited me to teach after reading Anahata Katkin’s blog mention that I was “thinking about teaching workshops someday." Elizabeth’s invite felt like a sign from the universe which I’m always keen on following, so I said yes, and off I went into the great unknown. It’s hard for me to even sum up how amazing the experience of teaching has been. It’s really changed my whole life in so many ways. My schedule is now full of teaching gigs, and I’m traveling all over the world teaching what I love to do and meeting all kinds of amazing people. It feels kind of surreal, really. My students have taught me a lot. I’m especially inspired by the people who show up with no painting experience at all. Watching them dive into their paintings so enthusiastically inspires me to go out and do something I’ve never done before. My students have also given me a lot of perspective on my own work and why I do it. I understand more and more through watching my students go through all kinds of transformations, that my style of painting is really a huge metaphor for life. It teaches a lot about letting go, being bold, working with what’s working, following your intuition, and as one of my students recently said, “turning the canvas of your life.” 

JD :: Have you ever disliked where your painting was going so much that you totally abandoned it and threw it in the trash?
FB :: I don’t think I’ve ever actually thrown a painting away, but I have been known to put a painting out on the curb knowing someone will take it home and give it some love. But, no, really my painting style is very forgiving because it’s all about working with layers of paint until something you like starts to happen. This can take a loooong time sometimes, but those paintings are often my best because they are rich with the process, the struggle, and the eventual breakthroughs.

JD :: Finish this sentence: "When I'm not painting, I'm usually ...
FB :: ... spending time with my crew of creative friends in Portland, OR, decorating my house, riding my bike, doing yoga, dancing, or traveling to far-away places. 

JD :: Which do you prefer ... being at a party with lots of people or being by yourself or with one other person enjoying quiet?
FB :: If I had to choose, I would say being at a party with lots of people. I tend to get a lot of energy and inspiration from having great people around me, and well, I love a good party. But, alone time or one-on-one time is also like gold to me. It’s all about finding a healthy balance, so I can enjoy both worlds.

JD :: You use bold colors. How do you feel about pastels?
FB :: I actually love using bold colors next to pastels or more earthy colors. It’s this juxtaposition that I find really interesting. For example, I love bright orange and pink alongside mossy green and cream with just a little bit of black. But, don’t get me wrong, I can definitely appreciate a completely pastel painting, I just prefer to mix it up in my own work.

JD :: You occasionally attend wedding ceremonies to do live-and-in-person paintings. Tell us about that process. What's it like to create art in that manner?
FB :: It’s kind of a rush, like a performance of sorts. It’s also really exposing in a way that always makes me a little bit uncomfortable in the beginning. My first layers of paint are really wild and all over the place, and I always imagine people watching are saying to themselves, “Well, I could do that …” which is true! After I’m deeper into a painting, I’m pretty good at getting in my own personal flow, and I often forget that there is a crowd of people watching me until I turn around.  It’s fun though. It’s a unique experience for people to see an artist working live, and I think it’s important for people to see the process behind the finished piece. The wedding paintings are extra unique because the couple ends up with a painting totally inspired by their wedding day with snippets from their vows and images and colors from the day.  I also paint live at music festivals, and that’s just pure fun. I’d love to do more of that.

JD :: Tell us about your journey. Was it from crayon to paintbrush as you grew up or did you explore other mediums? Tell us also about your upbringing and your family ... about the degree of support you've had in terms of your creative pursuits from your family.
FB :: I’ve been really lucky to have super supportive parents my whole life. They always encouraged my sister and I to do whatever we loved regardless of what it was. There were always plenty of art supplies around the house and creativity was encouraged in all sorts of ways. My dad painted big abstract paintings before I was born, so I also grew up with those hanging all around the house. I remember staring at them often and getting lost in their colors and lines … probably much more than your average kid would tend to do. So, yeah, art has been a part of my life and also the thing I was “good at” since I can remember. I went to college thinking I would study graphic design or art education since I didn’t think I could actually make a living as an artists at that point. But after my first show at a little coffee shop when I was 19, I sold a few paintings and got it into my head that I could make a living this way (this probably did freak my parents out for a few years), but from that point on, I painted, showed, and sold my work as much as I could. I supplemented my income for many years by waitressing, teaching yoga and doing massage therapy, and slowly but surely, I became a full-time painter by the time I was 30.

JD :: Cats or Dogs?
FB :: Dogs … love em. Sadly, I’m allergic to cats.

JD :: Chocolate Chip or Peanut Butter?
FB :: Love them together, but if I had to choose…chocolate chip.

JD :: Matte or Glossy?
FB :: Glossy for paintings.  Matte for photography.

JD :: Finish this sentence: "Not very many people know that ...
FB :: … I can do back flips on a tampoline and spin fire… but not at the same time!

JD :: Some say "less is more." Others say "more is more." What do you say?
FB :: In terms of my own artwork, I actually try to find the balance between the two. I love a rich complex painting with a lot of variety of marks and color, but I can tend to go overboard, so I’m constantly watching myself with that. My paintings end up being a real back and forth process between adding complexity and simplifying down. It’s similar to my life actually.

JD :: You have a book coming out. Can you talk to us about it?
FB :: Sure. I haven’t publicly talked about it much yet partly because I still can’t believe it’s real, and I don’t want to jinx it! But, yes, it is real. The title of the book is, “Brave Intuitive Painting: Let Go. Be Bold. Unfold.” The subtitle is, “Techniques for uncovering your own unique style of painting.”  t’s kind of a long title, but it definitely speaks to what the book is all about. I’ve been working on it for the past six months as I’ve been traveling around the world, and the process of writing has been really interesting. It’s like writing a huge artist statement, so I’m being forced to get really clear on what I do and why I do it. My dear friend, Tara Morris, took all the photographs, and I must say they are really gorgeous, so it’s definitely going to be lovely to look at. It’s due to be released by Quarry Books in the spring of 2012, so stay tuned.

JD :: Think fast and say the first word (or two) when I say this:
shoes
    love

gesso
    don’t use

water
    dive

child's pose
    release

canvas
    bigger better

dirt
    play

flower
    inspire

movies
    indulgence

intuition
    trust

Portland
    home

Burning Man
    inspiration overload

ink
    Cvita (my best friend who incorporates ink into her paintings in the most beautiful ways)

fear
    lessons

keyboard
    tapping

drums
    rhythm

JD :: 10-20 years from now ... you'll be happy if ...
FB :: Globally, I’ll be happy if the planet and all its creatures are living in a healthier, more sustainable way. Personally, I’ll be happy if I’m surrounded by people I love, feeling inspired and working on projects that I can’t even imagine now … and feeling healthy … gotta stay healthy.

###

The images of Flora's artwork are provided courtesy of Stephen Funk. Learn about Stephen's photography here: http://www.stephenfunkphotography.com/

The images of Flora in the studio are provided courtesy of Tara Morris. Learn about Tara's photography here: http://tspoonphotography.com/

Many thanks to Flora Bowley for an incredible interview. To learn more about her work, visit her Web site here: http://www.florasbowley.com/

Legato :: Sarah Ahearn Bellemare

Legato :: In a manner that is smooth and connected

SARAH AHEARN BELLEMARE
by Jenny Doh

The first memory that Sarah has of working with paint, is of one summer afternoon years ago, when she was on her grandmother's patio in Cape Cod. "I was using my little plastic watercolor tray and paintbrushes and it actually wasn’t paint to paper, but paint to seashells, scallop shells to be exact," she says. "I especially loved watching the water turn to pastel shades of pinks and greens when the brush was dipped or rinsed."

Since that afternoon, Sarah has continued painting and has recently authored her first book titled Painted Pages.

JD :: There's something so soothing about your work. Are you yourself like your art? Peaceful, calm, and non-flappable?
SA :: Ha! Oh yes, all the time! Wink wink. People used to say that my art was happy and therefore I must be happy all the time. Yup, true on that too. Ha! Well, I will say, more seriously, that lately I have to say I’ve been feeling a bit unflappable! After having my daughter, those “little life things” that used to upset me such as things not going as planned, not getting enough sleep, having a messy house, well they don’t seem to matter as much as they used to, I just was focused on my happy baby and as long as she was fine, I was fine. Now don’t get wrong, I definitely have “those days”, usually when there’s little sleep in our house! But, I will say that as I was writing my book in those first few months of ada’s life, I was so very focused and calm (post-pregnancy hormones?) amidst the chaos.  I feel very lucky that things went so smoothly.  JD :: From that point when you first discovered painting on your grandmother's patio up to now ... did you always paint or were there breaks?
SA :: Well, I was always drawing or painting on things as a child, I then took a break in high school and early college when I didn’t think that I was “good enough” to be an artist. Once I got over that (!) there really hasn’t been a break since!  JD :: So you have written a book titled Painted Pages. And oh ... you became a new mom in the process. What was that like?
SA :: It was tricky, but as the book offer was too good to pass up, so I just knew I had to try. I felt like it was a crazy idea at the time, but I love a challenge! My first big deadline for my manuscript was the day before I went into the hospital. I look back now in awe of myself, I think that I must have acquired some post-partum superpowers as the majority of the book was written in the first few months of my daughter’s life. As I write this now, she’s almost a year and there is NO WAY that I could do such a thing now that she’s almost walking and talking and needing lots of attention with a lot less sleep! but I do look back on all of it now, and I’m pretty proud of myself for getting it all done.   JD :: I love your integration of familiar elements that gain new life in your works ... cut up envelopes, maps, handwriting paper, it was that you put paint to paper, photographs ... tell me about the process of scouting and then integrating such items into your work.
SA :: I talk about this process a lot in my book, but finding the ephemera to use in my artwork is really part of my creative process.  I love anything that becomes “one with the board and paint”.  thin, old papers are my favorite to work with.  the photographs are mostly old family photographs, while some are “adopted” from flea markets and antique shops.  I enjoy giving these these discarded items new life.

  JD :: In life and in art ... what is the key to achieving balance?
SA :: For now, balance means getting some studio and “me”  time. I have just now been able to set up a new schedule so that I am able to have more studio time. I currently have 2 full work days when ada goes to grammys, it’s a huge step, but I just love how I am able to focus knowing that they are having fun and I have the peace and quiet I need to make art. As you can imagine, this past year has mostly been book and baby, not so much painting and creative time. I look forward to balancing this out a bit more now that my daughter is getting bigger. I can’t wait until she’s old enough to have her own little art table in my studio too.

JD :: Being a new mom is tough work. Did you have any idea how tough it would be?
SA :: In a word, no.

JD :: Tell me about your day. Do you get to go into your studio every day? What time of day?
SA :: I am most creative in the morning, then I take a break for lunch, work on emails and online after lunch. Then I’ll take a quick walk or have an iced coffee which gives me another push to work well until about 5 or so. Morning is always best for sure, but coffee makes the afternoon workable, especially on little sleep! JD :: You are an instructor for Squam Art Workshops. Tell me about what that experience has been like ... what you've been able to teach and what you've been able to learn.
SA :: Teaching at Squam has been an absolutely amazing experience. I had done a lot of teaching prior to Squam, but I had not had the chance to teach what I do with my own work. Teaching my own mixed media techniques and style has been wonderful and extremely rewarding.  the students who come to squam are really special, I’ve made some lovely friends that I have felt very honored to teach and learn from.  I love supporting their creative process, I’m amazed by all of the talented people who come to squam open to a new experience and to try new things.  those woods in new Hampshire feel like home to me,  I’m thrilled to get to teach so close to where I live.  I feel very lucky.

JD :: I do know that you like to drink coffee. How do you take it? And in the morning, what do you eat with it?
SA :: before we had a baby, my husband used to bring me my coffee in bed every morning!  (French roast, honey, ghiradelli chocolate powder and skim milk.) oh how I miss those days… but now, I really can’t complain as instead of coffee, he gets up with ada and gives her breakfast.  I get my own coffee after I sleep in a bit!  I usually have a whole wheat English muffin with a scrambled or poached egg, OR trader joes organic crunchy peanut butter with homemade raspberry jam. the topping depends on the day and how much time I have!  

JD :: Most likely, in order for you to be able to juggle everything, you need support. Who are the ones in your closest circle of supporters?
SA :: My mom has been extremely helpful this past year.  I have no idea how we could have gotten though this year without her support and help with ada.  in addition, both of our families are all within an ½ hour drive.  we are so lucky!  good friends near and far who are also moms have been wonderful, it’s always great to talk to friends who know just what you are going though in those first hard days as a new mom.

JD :: What's your all-time favorite dinner? 
SA :: A brick oven fired margarita pizza, a giant salad with feta, chickpeas, kalamata olives and a creamy garlicy dressing, red wine and chocolate cake with vanilla ice cream. (Skip the whip cream)

JD :: What's the latest dinner you've had?
SA :: Last night my husband made trout with ramps that he had picked in the woods earlier that day.  ramps are delicious wild leeks that when sautéed with a little olive oil lose their garlicy flavor and become sweet. They taste just like spring in New England!

JD :: You've just won a trip for you and your family. Where do you hope the trip will be to?
SA :: To France for a few months. We’d visit friends in the countryside for half of the trip and spend the rest of the time wandering around Paris eating pain au chocolate and riding the carousels.

JD :: You've just won a trip for you and your best girlfriends. Where do you hope the trip will be to?
SA :: To a yoga retreat/spa. We’d be relaxed, beautified and fed well. 

JD :: Tell me the top 3 things in your bucket list.
SA :: See the two above. #3 would be to have a lovely little home in the country with a giant barn studio. 

JD :: Think fast and say a word (or two) when I say:
milk
    coffee
tea
    honey
coffee
    necessary
music
    background
Bourdain
    tony
shoes
    red
diaper
    stinky
sunlight
    bright
stamp
    ink
Jesse
    love
deadlines
    strangely productive
pink
    blossom
buttons
    jar
etsy
    more prints
sleep
    not enough
pillow
    organic, soft
braids
    childhood memory
skirt
    flowy
collaboration
    together

###

All images shown here are courtesy of Sarah Ahearn Bellemare. Learn more about Sarah's serene, beautiful, and unflappable world at www.sarahearn.blogspot.com. Learn more about her book, Painted Pages here.