A Portrait of the Artist as a Young Mother

 

My favorite place to hang prints for drying - between my husband's and my guitars. Molly Chism's painting always improves whatever I put in front of it!

I took over the dining room table this weekend in order to print a linocut I've been working on the past week or so. My daughter is a little over two years old now (how the time flies) and I felt compelled to do a self portrait as a frazzled, sleep deprived mom. I don't enjoy doing self portraits, so to make it more bearable I decided to cut my face in half and really only focus on the hair and eyes. My goal was to experiment with some face shading and specifically highlight dark circles, splotches, and freckles. I don't often do the human figure, especially when it comes to relief carving, so I'm not surprised that I wasn't completely successful - but it was a great learning experience!

The result I call A Portrait of the Artist as a Young Mother and yes, that is a reference to to James Joyce's A Portrait of the Artist as a Young Man. Also, I can't think of a more fitting way to end this "studio" day than with a toddler smearing one of my best prints while it was laying out drying. So what's to be done? Hand it over to her so she can complete her masterpiece, of course!

Central Florida Archivists at The Dalí

Today the Central Florida Archivists met at The Dalí museum in St. Petersburg. We chatted in their gorgeous conference room about what all of our institutions had going on. Then, our hosts gave us a behind the scenes tour of the archive. They even had some special items pulled out for us to enjoy. My favorite was this note from Salvador Dalí, handwritten on a wax paint palette.

After the meeting, we were all set free in the exhibits. The traveling exhibit they had on display during this visit was M.C. Escher - I was so excited. He's one of my favorite artists, and I spent the rest of the day in this gallery - never actually made it to the rest of the museum! So many prints - and original woodblocks were on display as well. Unfortunately, no photography was allowed in the gallery, so all you get is the title wall.

A look back at Custom Clamshells

Back in my Book Conservator days (at Special Collections & University Archives, UCF Library), one of my favorite responsibilities was making custom clamshells. Many books in the collection needed a protective clamshell and I'll admit that some days it would get a little monotonous: rectangle after rectangle after rectangle. But then, every once in a while, there would be an Artist Book with an unusual shape or a 3D artifact that would need a truly creative housing. I stumbled across my old portfolio of extra custom clamshells and thought I would share!

Preserving Visual Materials at the McKay Archives - Florida Southern College

In July I had the pleasure of attending the Society of American Archivists' two day workshop on Preservation and Identification of 20th Century Visual Materials. Not only was this a great workshop on a great topic, but it was also hosted by the impressive McKay Archives on the stunning campus of Florida Southern College.

The best part of the workshop was the instructor John Waggener's impressive teaching collection of photographs. It's so hard to tell, for example, if you're looking at an Albumen POP print or a Collodion POP print just by reading a description in a book. Having the opportunity to handle and compare all the different processes side by side was absolutely invaluable. We even had the opportunity to experiment with Impossible film- the Impossible Project's attempt to recreate Polaroid's lost formula for instant film.

The second best part of the workshop would have to be the people. We had an excellent crew with representation from Disney, The Ringling Museum, Stetson University, St. Petersburg College, the State Archives, several local libraries, and our gracious hosts at the Roux Library & McKay Archives. We even worked in a little tour of the McKay Archives led by Gerrianne Schaad, which included a processing area, gorgeous moveable shelving, and a small gallery.

The third best part of the trip was running around the Florida Southern campus and frolicking among all  of Frank Lloyd Wright's designs. I'm pretty sure I entered some buildings that I was not technically supposed to be in, but the campus was all but abandoned and I did not find a single locked door. For more photos of the Archives tour and my adventure through the Florida Southern campus, enjoy the Facebook album here.

Pretty sure I'm not supposed to be here.

The Wecheer Carving Tool Kit & the Dawn of Dillo Dangle

Join me on my journey into the future as I purchase an electric chisel! A while back I purchased one to aide in my plans for Participation 2014 at the Maitland Art Center. Okay, so this was a looooong time ago, but it's relevant now because I've made some recent progress on that print. Let's go back to the very beginning….

Designing my table for Participation 2014 finally gave me the impetus to create the triptych I had been planing for the three matching wooden shelves that were discarded from UCF Library's Special Collections & University Archives. I finally decided on a swinging armadillo for the subject matter.

These blocks were rather large, and my design would incorporate a lot of white space. This plus a deadline meant it was finally time to invest in some hardware. I should explain that the power chisel function of the "Wecheer Professional Rotary & Carving Tool Kit" is very different than a rotary tool. I mean, yes there is a rotary tool in there, but that's not why I bought it. I hate carving woodblocks with rotary tools (or "dremel tools" in the common tongue). I feel like I loose all control once the rotary bit hits the wood and inevitably goes skidding off across the surface. Alternatively, the power chisel works much more like a hand carving tool and slices through woodblocks like butter, while still leaving a hand worked texture. (Technically, the block is still handworked, just with more power!)

Photo by Douglas Nelson

After finishing the detail work (and carving out a safety buffer outline) with my hand tools, the power chisel made the rest a dream. No more hours, days even, of carving out white space by hand with my biggest gouge, ensuring the early onset of osteoarthritis!

The triptych is designed to connect to each neighboring panel in the round, meaning if each piece were connected at the edges to make a triangular prism, the ropes in the design would connect across each edge and spiral around the prints. So, that's exactly what I created for my table display, with the addition of luminance. Each panel was printed on thin mulberry paper and backed with a fly pattern cut from Arches Text Weave so the prism could function as a lantern with images displayed both in ink and in light. I was very pleased with how it turned out, and I'm hoping to eventually create a more permanent version of the lantern. However the next step was to combine the panels into one image….. stay tuned for the next installment!

Photo by Douglas Nelson

Photo by Douglas Nelson

Special thanks to Douglas Nelson for the fantastic photos.