All original images and text are copyright 2008-2018 Liz Sweibel

Saturday, May 25, 2013

My latex arrived yesterday and the new label - more craft-y looking than the serious MOLD BUILDER statement I was searching for - was ubiquitous in my searches.  Who knew?

In my studio visit with Maysey in March, talk of the Japan drawings prompted me to pull out my mother's pastels.  I have had them since her death in 1986, years before art school was even a thought.  In layers of synchronicity, my dear friend Ellen Eagle just published Pastel Painting Atelier.  Her mother's name is Roz; my mother was called Patty from birth (she was born on St. Patrick's Day), but her real name was Roslyn.  (She did not broadcast that.)  When I showed these photos to my cousin Judy (our mothers were sisters), she said they remind her of a Japanese sand and stone garden (karesansui, or dry landscape).  So much seems to be pointing to Japan.  It's a little unnerving as it is starting to feel like a responsibility.  To whom?

Mom's Pastels
Mom's Lines
I'm off to the studio.  One semester is done and the next starts Tuesday and there is a whole lot of family this weekend, but I will be there daily for as much time as I can.  Woo hoo.

Sunday, May 19, 2013

This is the only latex I have ever loved, and I haven't been able to find it for close to a decade because all I could remember was the look and color of the label.  My interests had also turned elsewhere in terms of materials, so it wasn't a decade of high-drama searching, just sporadic efforts.  Today, a google search of images turned it up on, apparently the only art-supply store in the galaxy to carry it.

Recent purchases of plaster and wire also suggest that materials that I've not used in a long time are coming forward.  Now if I could only get to the studio.  I haven't worked in earnest in about three weeks; there's too much else at the end of the semester, and I am wiped out.  All my studio time is spent sleeping or, because Glenwood is sick again, driving past the studio to the vet, as I will be in a couple of hours.

Sunday, May 12, 2013

Untitled (Aomori, 3/11), 2013
Thread, vellum
9 x 12"
Untitled (Aomori, 3/11) was accepted into "How Simple Can You Get?"  The exhibit will be at Creative Arts Workshop in New Haven, from June 28 to July 26.  While I'm loathe to pay an entry fee for exhibit opportunities, CAW is a non-profit and the juror is Robert Storr. Exceptions must be made.

I've not been to the studio for two weeks.  With the end of the semester, family in town, and an urgent vet visit with Glenwood, it's been out of reach.  But ideas for the Japan drawings as well as the NURTUREart exhibit are percolating, and I'm headed there today.

The floor at NURTUREart is my point of departure; it relates to the wood pieces that exist and the direction they are headed.  Interestingly, that floor echoes photos I took in Memphis before "Parts to the Whole."  I have an appointment to visit NURTUREart on May 21, when the gallery will be empty and I can soak up and map the space.

NURTUREart Gallery Floor
Main Street, Memphis
Main Street, Memphis