Post Show Thoughts

“Still Here” is over. This is my first time to exhibit in Arts Visalia, and I don’t have anything to compare the show to, particularly in light of the virus approach to handling things. Four pieces sold, and the director thought that was great, because some shows have no sales. (That would be highly disheartening.) Many cards and a few books sold too. The last day had steady visitation, a great time to visit with friends and meet some new people with an interest in art. In spite of the low-key approach, not knowing if the video interview and the virtual show was viewed much (thank you, those of you who told me you watched!) and the wondering about actual visitation levels, I think the show was a good experience and worth doing.

These are the pieces that have new homes (when they are shipped or retrieved).

Yokohl Creek was by far the most favored piece, both by those who saw the show in person and online. One smart person wasted no time claiming it; I will package it up to ship on Monday.

Someone I don’t know bought Yokohl Sky, which is always a boost of confidence.

Dear friends bought the cabin drawing while we were hanging the show! They had to be sneaky about it because I would have happily just given it to them. (A wise friend once taught me this: “If your friends won’t do business with you, who will?”)

Of my 13 pencil drawings of flowing water, “Rough and Tumble” has been the favorite (It is the background of the homepage on my website), most often spoken about or wished for. A friend bought this one too, which really warmed my heart.

Extra, Extra

Today I went to Arts Visalia to gallery sit. It was closed!

Tomorrow’s hours are noon – 8:30 p.m. and there are some available appointments, if you’d like to see my work in person. Here is the phone # to call: 559-739-0905. Ashley is there until 5:30 today (Don’t quote me on this because the operation is a little bit squishier than I realized) to make an appointment for you.

 

The Show Goes On

On the first Saturday of the show, I gallery sat. Yep, that’s what it is called, like babysitting. The night before, the other artist’s work was featured on a local teevee news program. That brought a few people in specifically to see the show “Seen and Unseen” by Ricardo Favela. I visited with those folks, had relatively little to say but asked questions and listened to them, and then followed them into my show in Gallery 2, “Still Here”. Then I had much to say but managed to let them talk too.

This was my view from the babysitting desk.

I could also see into “my” room.

Doesn’t it make you want to go closer?

But wait! There’s more! Someone visited the show virtually and bought this painting! (Thank you MB)

Red dots are good in galleries.

And this is interesting: two other friends, one who saw the show in person and one who faithfully reads my blog, both told me that this painting, Yokohl Creek, is their favorite one in the show!

You too may visit the show in person, virtually, (VIRTUAL TOUR) and if you are so inclined, you may watch my interview (but don’t make me watch because I will think that I am ugly and my mother dresses me funny.)

Gallery Hours: Wednesday, Thursday, Friday, Saturday, noon-5:30

Gallery Address: 214 East Oak Avenue, Visalia

Gallery Phone Number: 559-739-0905

Last Day of the Show: April 30

 

 

Dithering Over Decisions

Still Here, my upcoming exhibition for the month of April has me dithering about how much is enough, how to prioritize the work ahead, and wishing for the umpteenth time that I had a functional and accurate crystal ball.

When Arts Visalia asked me if I’d move from January 2022 to April 2021, I decided that I would finish 4 of the 5 paintings in progress and not try to add anything else. The fifth could just wait for another opportunity.

This might be finished now.

Because I am painting larger than normal for me, I am not able to guess how long a painting will take to finish. The ones on the easels seemed almost impossibly far from completion. Then suddenly 3 of the 4 looked ready to sign. So, I pulled out #5, because it will be a nice addition.

Maybe there is time to finish this one.

 

Incrementally closer to completion with each painting session.

Meanwhile, I went through my framed pencil drawings and decided a bit more variety will be good. So, I delivered 3 more drawings to my framer with the usual instructions of “Make them look good and call me when they are ready.” I believe in hiring the best people for the job and then just getting out of their way.

I wonder if Arts Visalia will rethink the decision to hang my work in Gallery 2 and move me into the Main Gallery. I could fill it up. My work could fill both galleries. HEY, ARTS VISALIA, DO YOU READ MY BLOG?

Probably not. Guess I’ll head back to the easels.

A Torrent of Words about Freebies

WARNING – this is a long post.

An old family friend (which means our parents were friends but he and I didn’t know each other very well) invited me to design a cover for a publication for the college where he is a professor. This is our emailed conversation (and I corrected a few grammatical errors so it isn’t verbatim-you are welcome, Professor Friend):

“I have enjoyed the CABINS OF WILSONIA book.
 
I would also like to know if you might be interested in doing the cover for the next issue of [unnamed university] JOURNAL.
 
I have edited this journal since 2006.  It is published annually by [unnamed university] and is thematic, including a mix of scholarly articles, literary pieces; artwork and personal reflection — all peer-reviewed.
 
You can view back issues at:
[oops, he gave an email address here instead of a website link]
 
For each issue, I have asked local artists to do the cover with original art.
 
The theme for the 2021 issue is EARTH, AIR and WATER. 
 
If you are interested, I would need something by mid-July.”
 
I responded:
“I’m glad to know you have enjoyed my book–thank you! If a picture is worth a thousand words, that book is about 265,000 words.
 
I’m interested in doing the cover – thank you for liking my work enough to ask.
 
Here are some questions:
1. Do I email someone at the address you put in your email in order to see back issues?
 
2. Is this a competition?
 
3. What is the image size needed? For publications, I make art to the right proportions, but larger because it all looks better reduced.
 
4. Is this a freebie?
 
5. Do I submit a sketch for approval before beginning?
 
I’ll probably have more questions. I almost always do.”
 
He replied:
“Your artwork is invited so there would be no competition. On occasion cover art contributors have provided more than one creation. Our editors do sign off on all of this but it is not peer reviewed like articles submitted. 
 
I think that [accidental email address] is accessible to anyone even though we typically publish 250 hard copies for subscribers, etc. 
 
It is true that the cover art created is a “freebie”, the only consolation being that your work will be publicized in a different way.
 
With reference to size, our hard copies are 6 by 9 inches.”
 
I wrote back:
“The link you sent does not take me to a website; instead, it opens up a new email message box.
 
In the many years of earning a living with my art, the promise of exposure has yet to generate any income-producing work. So, instead of creating something new, I will send you work that I already have. I have accumulated a large body of work and am happy to share with friends and often with strangers. 
 
If you have any specific ideas in mind, let me know; it will help me narrow the selection for you. I’m guessing you lean more toward rivers than the ocean (water) and mountains rather than farming (earth). (We can forget about air because my work is far too literal for that one!)
 
The size of 6×9” doesn’t tell me if it is horizontal or vertical, but I imagine you have a graphic artist who can adapt the design of the cover to the direction of the art.”
 
Look how much time it takes just to clarify what is being requested for a freebie. University professors may know a truckload about their particular subject, but sometimes get handed tasks for which their degrees have not prepared them. I am enjoying our correspondence and do feel privileged to have been asked.
 
More will be revealed in the fullness of time.

Real Mail

Back in the olden days, people bought things from me in person and wrote personal checks. I collected addresses from these transactions and built a mailing list of 1000 names. Whenever I had a big event, I would get postcards printed and then hand address all 1000. Yeppers, by hand.

Kaweah Post Office #4, pencil and colored pencil, unframed, 11×14″, $275

Printing and postage costs became prohibitive, and big events became fewer, winding down to a big fat nothing last year.

For April’s show Still Here, Arts Visalia will have postcards printed and mailed. This means I have to provide a mailing list, so I pulled out my address files.

It was sobering to see the number of people who have died, moved, and divorced. It was also quite astonishing to realize that many were simply names and addresses, with no memory of how we met or what they bought. 

My list is now about 250 names, all of whom I can identify. If you would like to receive a real paper postcard with a real stamp in your real mailbox, use the Contact button on my website or email me (spelled out here to confound the robots) cabinart at cabinart dot net. The gallery has promised to not use the addresses unless someone requests to be added to their list.

What is an “Artist Statement”?

An artist statement is not a biography, nor is it a list of accomplishments and awards. It is a few paragraphs meant to cause someone to want to view the artist’s work and provide a bit of insight into the reasons the artist makes the art.

The most helpful questions I’ve read about writing a statement are these:

What do you want people to see in your work?

What is a distinguishing characteristic of your art?

Based on your conversations, what do people find delightful or surprising about your art?

The least helpful “advice” I’ve read about writing an artist statement are these questions:

What informs the color in your work?

What are the paradoxes in your work?

How do your cultural roots inform your practice?

This is what I have come up with. Does it make you want to see my work or help you understand why I do what I do?

My artistic goal is to show people that Tulare County has beauty, and we can feel proud to call it home. I also want my art to ignite the viewers’ curiosity about the places that I paint and draw.

Using pencil and oil paint, I am a studio artist who makes art that people can understand. My style is straightforward realism with tight detail, a somewhat cleaned up and brightened version of real life. I like my paintings to look good both close up and from a distance, which is a result of having used nothing but pencil for the first decades of my career.

My favorite place, Mineral King, is clearly a huge influence on my choice of subjects; I think it is the most beautiful place in our county. Recognizing art of familiar places brings delight, so to that end I gladly accept commissions of the places and things that people love.

And you thought I just sat around drawing all day.

Pippin would like to know what in the world I am going on and on about.

 

Still Here, Tasks Ahead

Showing in a good gallery involves many tasks, like gathering a mailing list, completing a contract, providing digital images for publicity, titling and pricing all work, making an inventory list, coming up with a title for the show, and horror of horrors, writing an artist statement.

I have been working on this last one for awhile. You may remember that I despise the pretentious way that artists tend to talk, which I call ArtSpeak, occasionally poking fun at some of the nonsense. (A post about it is here.) So, I wrote up an artist statement and sent it to a dear friend who has helped me with many marketing tasks through the years.

This is not my artist statement but it is what I said to her when requesting her help in editing.

“In reading guidelines for writing an artist statement (just the very term causes my lip to curl up in disgust), I have come up with the following and wondered if you could be Jane Bag-of-Donuts from West Undershirt and see if it reads well, makes sense, and is straightforward enough for Tulare County without insulting the Wanna-be Snobs.”

More will be revealed in the fullness of time. . .

If I was a smoker, I’d light up about now, but I think I’ll knit a few rows instead.

A Good Yarn, colored pencil, private collection

Still Here

Last September my exhibition proposal to Arts Visalia was accepted for January of 2022. Lots of time to prepare, lots and lots of time.

Alas. Two weeks ago Arts Visalia asked me if I could be ready this April. After asking many questions and getting good answers, I said yes.

This meant instead of just dabbling, slow-poke style, I have to now shift into Git-‘er-dun mode.

I had 1-1/2 hours of time with nothing to do but think about the show (what else can one do in the dentist chair?)While there, I came up with the title for the show: Still Here.

You can interpret this several ways, all of which work.

I am still here in Tulare County, still making art. Tulare County is still here after all those fires. It is still here, compared to the bustle of a city. 

We are unsure as to whether this show will be a virtual one or if people can attend in person. 

More will be revealed. . .

Working Studio

Some people get the words “studio” and “gallery” mixed up. A studio is where one creates art (as in “study”), and a gallery is where art is displayed and sold (we hope).

I have two studios: one is my real studio, where I draw and do computer things and paperwork; the other is actually part of a giant workshop building attached to our garages where I paint. It is a mess, which is fine for a place to paint, because sometimes I drop paintbrushes or spill turpentine. It is also where our three cats live safely at night.

This is a recent look at the workshop, my painting studio. Paintings in various stages of progress and drying are occupying the visible space; other paintings are stacked on shelves, waiting to be finished. Blank canvases are also stacked on shelves and leaning against the shelves too; since painting large, it is a little trickier to manage my canvases, especially when they are wet.

All this is in preparation for a show scheduled for January 2022. (If you see something you want to buy directly from me and not wait for it to be in a gallery, let’s talk!)

I make art that you can understand, about places and things you love, for prices that won’t scare you.

(but sometimes the painting workshop might be a little scary.)