&%$#!

Over the past day or so, my husband has had to listen to me muttering curses under my breath while working on “Shirley”. To be more specific, the actual doll I’m calling Shirley has given me little to no problems. Or perhaps I would say, Shirley has given me no problems that I have not been able to handle. The thing upon which she sits, the little dollhouse, just started giving me fits last night while I worked on it. My husband started calling me Yosemite Samantha because of all the frustrating muttering and cursing.

The most oft repeated curses involved the following phrases:

Why won’t you just go into the hole?!?!

The HOLE is where you LIVE! GO THERE!

The hole is your HOME! GO. TO. YOUR. HOME.

How in the am I supposed to get a hole in THAT corner?!?!?

I HAVE MADE YOU A LOVELY HOLE. JUST. GO. IN. THE. HOLE.

Believe it or not, all that I was attempting to do in the interior of the dollhouse seat was to install tiny curtain rods and tiny curtains. The curtain rods are around 4 cm in length. All the tiny curtains and rods have been finally installed within the house. I may be adding some rolling window shades to one room, but there will be far less cursing around the concept of holes as a result.

I could argue that my problems with the rods and curtains were a result of my own poor planning for this little dollhouse. I don’t think that’s far off the mark, but I’m increasingly, for lack of a better term, winging-it as I work on this particular piece. In reality, winging-it is nothing more than relying on my own efficacy. All of the cursing and frustration are just the points at which my efficacy either comes to an abrupt stop or becomes a little squishy and ill-formed. I could have chosen to just throw everything down and declare my entire idea of using paperclips (unbent and stripped of the plastic outer covering, then clipped to size and bent to fit into specific holes made around the window frames) and pieces of handkerchiefs (thank you Dubravka!) and old pillowslips that I used white glue to create seams instead of sewing them (because my #12 needle is too big, even with a single strand of thread, to sew the seams and have them look good) a bad idea and simply started over with something better. But I didn’t.

That place where my efficacy ‘abruptly ends’ and ‘throw everything down and declare my entire idea to be bad’ is the place in which some of the most important learning for me is done. It’s the forge for my own artistic efficacy. I kept moving forward. Even when I cut the wires too short and had to start from scratch again. When I had to go back again and again and widen holes and make new ones. When I had to widen the holes as I was poking the wire through them. When I realized that I couldn’t make the bends before putting the curtains onto the wire. It would have been so easy to just toss it all in the trash and try another idea.

The frustration as I worked (that spilled out into so much cursing) was actually quite (Lev) Vyvotsky-esque. The cursing was just my inner speech spilling over the sides. That area where my personal artistic efficacy was being built is pretty much textbook Zone of Proximal Development. The curtains don’t look exactly how I had imagined them. I’m already making adjustments for imagined future pieces. The result that I achieved isn’t bad enough that I would toss them out, but isn’t good enough to make me think that I cannot do better in a future attempt.

Part of me feels as though I should be creating more sketches of my ideas and thoughts. If not for me, then for some far-off imagined posterity in which artistic fame will be granted to me, and my artwork accepted by the masses. This all done while my body decomposes deep in some Nordic forest (I wish to be wrapped-up into a nice burlap bundle and buried under tall trees where my body will biodegrade and return to the earth. My personal version of returning to ‘the force’ if you will), a curious few will wonder “How/Why did she do that?“. If I’ve written it all down, then they will know!

Or…I could just be realistic and decide that it’s not that important in the grand scheme of things. Who really gives a rats pink whoo-ha about how I created tiny curtains for a tiny dollhouse? It’s not like I’m curing cancer or ending climate change or anything. I’m just making art, and by doing so, figuring out how I work and where I fit, or even if I fit. Or perhaps, should I even want to fit? Hmmm…perhaps I have more in common with tiny curtains and curtain rods than I thought?

“Why won’t you just go where I want you to go?!”

“THIS is where you LIVE! Stay HERE!”

“This is your HOME. STAY. IN. YOUR. HOME.”

“How am I supposed to explain this to people?!”

“I made you! Just do as I say!”

Wow. That got a little psychological there for a minute now, didn’t it?

Thanks for reading, and I’ll see you again next Monday.

PS:

Tiny Rods and Tiny Curtains:

The tiny dollhouse is still under construction. The second level and roof are not permanently attached to the rest of the house shell. This is why it looks as though there are weird gaps between the walls.

My Little Gray Cells*

The days have been slipping by since my last post. I continue working on my own art as the world continues to kind of go off sideways in some corners. The weather here in Finland has been for the most part, simply lovely. There have been some beastly hot days recently (31°C / 87°F) with high humidity. It’s still not nearly as bad to New Mexico heat during the summer! Yuuuuuck!

Anyway…

My work progresses. I’m pleased with the progress. I’m not rushing anything, and continue to try and stay within the moment creatively. It’s interesting to not be taking so many pictures, because I’m making tons and tons of mistakes. All kinds of things are happening in my work that is just not good. It sounds weird, but I’m kind of liking that. With no fear of having to document the process with pictures and post them, I can just royally screw-up all over the place. No one ever has to know either. Well, that’s not totally true, the end product may just be a total disaster held together with baling wire and chewing gum!

Not taking pictures somehow is adding to the creative freedom I found originally through my original Creative Experiment. I called the Creative Experiment to an end in November 2019. The experiment had served its purpose and I needed to move on. I have found bits and pieces of the Creative Experiment surfacing in my current creative processes. I didn’t think this added creative freedom would be a side effect to taking a break from social media, but here we are.

The increased feeling of creative freedom — essentially, just the freedom to create my artwork without self broadcasting the actual work-in-process in real time — has made me realize how exhausting it was to continually document my processes in real time. This doesn’t mean that I don’t enjoy sharing my processes and my artwork with people. I think I just need to create a framework for sharing and posting that is not as painful for me. I use ‘painful’ because yeah, it was getting painful. While I’m typing this, I have a low-level panic attack going on. I’ve not felt like this since last Monday when I posted.

So I need to figure out how to have an online presence without it causing me all manner of anxiety and panic. I’m confident that I will get there. As always, I just need to make sure that what I’m doing is the best for me in the long run.

This brings me to another one of those things I’ve read or have had said to me that makes me go:

Yeah. That’s DeForrest Kelley as Dr. Leonard McCoy in Star Trek:TOS. I can never hide a thought or emotion. I get Bones McCoy face.

I had touched on this in a previous post. It has to do with the following Sarah Andersen cartoon:

The societal myth regarding the sad artist resulting in great artwork. Man. This one ticks me off so much. I’ve done some research into this topic, being that I’ve got mental health issues and am an artist. It’s a topic near and dear to my existence. I’m surprised at how early these kinds of stereotypes are taught to children. It never ceased to surprise me when a student in one of my classes would chirp-up with some kind of “artists are all kind of crazy” comment about an artist we were looking at, or the art we were making in class. Again, students would know that some guy who painted flowers cut his ear off and yeah, he was totally coo-coo-nutty-crazy-bananas.

Yes. There are some artists who take their awful experiences and resulting sadness/depression and turn it into artwork (Guernica, The Scream, The Third of May 1808, Woman with Dead Child just to name a few) In the case of van Gogh, some truly great artwork. But that’s just one artist out of millions that have existed since the beginning of human history. And yes, I know that there are others, like the ones I listed above. Sarah is correct with her ‘Truth’ portion of her comic. Content artists are happy and healthy and productive artists. I can speak from personal experience here. Before I got a handle on my depression through lots and lots of therapy and medication, I would go months without creating anything. I just couldn’t see the point of it. My work sucked, and being depressed made it such even more. The little artwork that I created was just so, so, so bad. To be truthful, I destroyed a great deal of it, and what little I have kept, has been stored away and is not meant to be seen by anyone other than me. It’s awful work. It’s disturbing. I makes me cringe. CRINGE. I kept it to remind myself of what happens to my creativity and creative output when I don’t take care of my mental health.

The musical soundtrack to this not-so-fabulous, insanely deep depressive and unmedicated part of my life was Bob Mould’s Black Sheets of Rain. Oh man. I love Mr. Mould something fierce, but after going through therapy, I actually hid this album from myself so I wouldn’t end up in the fetal position on the floor of the bathroom crying into the bathmat while listening to It’s Too Late on repeat.

Once I had gone through a lot of therapy, that made me feel a lot worse before it made me feel better, I started making art again. The artwork was much better. So, so much better. As I started to figure myself out, my work became the means by which I began to paste myself back together again. For me, being contented and healthy, means that I am actively creating artwork that is fairly good (I think…) and I am continually productive as an artist.

The one part of Sarah’s comic that I differ from is the use of one word, ‘happy’. I prefer to use the word content instead. I liked The Oatmeal’s cartoon in which he talks about happy and unhappy being at the opposite ends of a continuum. “I want to be busy and beautiful and brimming with ten-thousand moving parts” is something to aspire to being.

There is research shows that there are some higher rates of mood disorders (depression for one) among artists. For me, it’s a chicken and the egg kind of thing. Am I depressive because I’m an artist, or am I an artist because I’m a depressive? Or…is it both? A little nature and a little nurture? I tend to believe the latter for myself, however, every artist who has a mood disorder will have their own unique circumstances of both nature and nurture that shapes them as people and as artists. To simply think that ‘all artists are nuts‘ is just a blanket over-simplification of a topic that is far, far, far more complicated than most people are comfortable talking about. I don’t know many people who want to talk about visual art and mental illness in separate conversations, much less together in the same conversation.

So…

I feel as though I’m having what I call a ‘Charlie Watts Moment’. Allow me to explain. In the Rolling Stones documentary 25×5:The Continuing Adventures of the Rolling Stones (1990), there’s an interview of the band in which they are all asked about touring. Charlie, being quintessentially Charlie, states that he dislikes touring a great deal, but he loves playing drums with the rest of the lads. As the interviewer goes on to question Mick and Keith and Ronnie, Charlie is still mentally chewing on the conundrum of loving to play music with his bandmates, but not liking that he has to tour to do it. He mutters something along the lines of “It’s just a vicious cycle…goin’ ’round and ’round…”

I love making art and showing it and my processes, but the act of sharing it makes me not happy. It’s just a vicious cycle going ’round and ’round in my mind right now and I need to make sure that whatever solution I come up with keeps me mentally healthy and content so I can continue making art that I want to create.

Thank you for reading, and I will talk to you again next Monday.

 

Links:

Charlie Watts — just a lovely, talented man. He’s a gem.

Bob Mould

*The Little Gray Cells — I’ve been listening to a lot of Agatha Christie Hercule Poirot mysteries over the past week.

Prime Mover

This is the first post of any kind I have made since deciding to take a break from posting almost daily on social media. It’s been enjoying myself quite a bit. Remember, I am still working on my artwork; I’m just not posting pictures of progress and process. There is something about having that time with my work, as I’m creating it — having it back, just for me and me alone that has been particularly restful for me mentally and emotionally.

I have been thinking about a lot of different things while I work. I tease apart my own thoughts, trying to discover their various origins and how they influence how I interact not only with myself, but the people and greater world around me. I sometimes find myself mentally gnawing on specific things that have been said to me regarding my artwork, or being an artist by different people at different times over the course of my life. Some of the things I have heard just get stuck to me. Velcro’d down tight to my mind, almost immoveable, while others are more like stepping in gum on a hot summer day, messy, annoying and hard to control.

I’ve had one of those ‘stepping in gum’ things banging around in my head for the better part of a month now. The core message of the phrase remains the same, while the delivery is somewhat plastic. What it usually boils down to is something along of the lines of “…someday, when your work is in a museum…” The aforementioned phrase usually has something about my talent in it, or the degree of fame or influence my artwork will have on future artists, etc. I have increasingly found myself having a reaction not unlike the picture below:

(This is called the “Confused Nick Young” Meme)

The meme posted pretty much fits with how I inwardly process this kind of comment. I know that whomever is telling me that my work will be in a museum someday means it as a compliment, I don’t think they really understand that what they are really saying to an artist is…problematic.

Let’s take a look at the implications made in a statement like, “Oh! Don’t worry! Someday, when you’re art is in a museum, everyone will see how talented you were and be inspired by it!

Sometimes, the “Oh! Don’t worry!” portion of this statement seems directed at an artists desire to sell more of their work, or be able to gain more clients, have a greater amount of performances, or to be able to display their work in some way, shape or form that will gain them exposure to people, persons, or organizations that would be willing to purchase their art. To be quite frank, artists, both performing and visual are constantly worrying about these things. An artist with no place to show their work or perform is still an artist, but one with very limited means of procuring money, which is exchanged for goods and services, like food, clothing, rent among other things. We worry because we know our ‘talent’ won’t get us a seat on the bus, because the busses take money, not interpretive dance or drawings as bus fare.

On to the next word the phrase, “…someday…” Someday. Not today. Not tomorrow. Not three weeks from next Tuesday. Someday. Someday. An imaginary date in an unknown, distant future. The artist may still be alive or maybe is dead. The artist may be long dead. Or perhaps the artist is just really, really, really old. That’s when the artists’ artwork will be recognized as worthy enough to be placed in socioculturally-ordained building where important, expensive or rare things from around the world and different times in human history are placed behind glass and velvet ropes and curtains, so that people can come and look at them after they have paid a fee to enter.

In the simplest of terms, the use of ‘someday’ could be interpreted as a polite substitution for the phrase, “after you’re dead” or “when you’re close to dead”. (Please refer to the above Nick Young meme) Pull at those threads a little more, and it makes an artist feel as though the only time in which their art will make any money is when there is no chance of any more of their art being made. Dead artists don’t make art. This makes the supply of their art finite. An artist can get knotted-up thinking about these kinds of things. Is my work really good now, or will it only be ruled good after I die? Or is it after I’m dead and a museum decides that it’s good — or at least rare — artwork?

Yeah. I know. It seems as though I’m getting a little…dramatic. It wouldn’t be the first time I’ve been accused of being so. I should simply take the compliment, smile and move on. Believe me, I do. However…the way in which I interpret this phrase has changed between the first time and the most recent time that I have heard it. I know that I must sound childish. That there are artists out there that would love it if people would tell them that they think their artwork is good enough to be in a museum. Compliments are nice, but assuring me that I will have some degree of fame when closer to death, or already pushing up the daisies, well…that doesn’t help me get across town because the bus is €3 each way.

This brings up another interesting part of this phrase; fame. One assumes that if an artist has their work in a museum that they must be famous, right? What artist doesn’t want to have a degree of fame?

When I think about artistic fame after death, I think of van Gogh. I’ve been to the Van Gogh Museum in Amsterdam. It’s a stones throw from the Rijksmuseum where several works from Rembrandt van Rijn are, including ‘The Night Watch’. Much of van Gogh’s life is at least partially known about by most people. “He’s the crazy painter who cut off his ear!” and that he painted sunflowers is what most people glean from his life at a minimum. Rembrandt is known of, but I don’t believe most people on the street (outside of the Netherlands) would know what his work looks like, or anything about his life. (I personally like that the bubble water I buy at Lidl is called Saskia, his wife’s name.)

Each of these artists had their own trials and tribulations, to put it very, very mildly. Van Gogh shot himself with a pistol and died a day or so later, feeling like a failure. Rembrandt died penniless and wad buried in an unmarked grave. Rembrandt was considered a master in his own lifetime. He knew he was brilliantly talented and so did everyone who saw and purchased his work. Van Gogh struggled his entire life. His last nine years alive saw him create a truly amazing amount of drawings and paintings. He sold two paintings when alive. It was after he was dead that artists and admirers began showing his artwork to a public.

Why the rise in fame after his death, and not before it? I’ve always thought that it was two part. First, there will be no more new paintings or drawings by van Gogh, and second, the story. The majority Vincent van Gogh’s life suuuuucked. He had problems. A lot of problems. He struggled with everything. With love, with religion, with his family, with the world, with his own mind. Then there’s Theo, the brother who never stopped supporting him. Never turned his back on him, even when Vincent was…really going through the unbearably bad stretches in his life. Theo’s widow compiled the letters the two wrote and published them. Vincent’s work was saved by her efforts.

Oh. And, van Gogh sold one painting during his life time. It was less than a year before he took his own life. He sold The Red Vineyard for 400 francs (around $2,000 USD).

The letters of Vincent and Theo were published. A museum was eventually built and houses an impressive collection of van Gogh’s work. It’s €19 ($21.30 USD) for an adult ticket to get into the museum. Free for those under 18. You pay more if there is a special exhibit. In 2015, the Van Gogh Museum took in €27.3 million ($30.2 million USD). The museum is very nice, but I don’t know that I’ll ever go back. The galleries were packed with people who wanted to see the ‘famous’ paintings. There were people packed in tight taking selfies in front of van Gogh’s work. They really didn’t seem interested in the work per se. They seemed there more for the selfies than anything else.

So wait, let’s go back a bit…to €27.3 million?

No, €19.

I stood in a room covered with the work of van Gogh while they snapped selfies in front of his most famous paintings. They paid €19 to do this. I know, some people were there to actually learn something and experience the artwork, but…the whole museum made me want to cry. Van Gogh is famous. His work sells for millions and millions of dollars. His artwork is reproduced on everything front toilet seat covers to fabric to car wraps. Many people make money from the artwork that he created.

He’s famous. He’s dead. He had a life that really suuuuuuucked.

So, when I’m given the compliment that my work will be someday recognized as good, and placed in museums, this is the kind of thing that runs through my head. Everyone BUT me will be able to, in the words of Hank Venture, “Get a slice of that fat money cake.

I sometimes feel that the implied meaning behind the “someday you’ll be in a museum” compliment is that I desire fame (I don’t) and am willing to live a weird-outsider bourgeois-imagined la bohéme existence complete with some sort of mental illness (I’m on meds for my depression, does that count?) that somehow makes me “extra special” in some sort of pleasantly acceptable sort of way to the vast majority of people who have no personal knowledge of art or art making.

My specialness! My talent! They were simply too far ahead of the curve! This is why I’m not selling my work now! I’m making art for say around the year 2050 or so! It will all sell when I’m dead! I’ll be so famous then! When I’m dead! This changes EVERYTHING! I’m so glad that I can pay my bills with the aforementioned promises of ‘someday I’ll be in a museum’ fame and fortune.

Yeah. I know. The lady doth protest too much. I think just needed to vent a little, I guess. If I didn’t get sarcastic about things like this that begin to chafe me mentally and emotionally, it would start coming out in really inappropriate places and times. I know that no one has money to buy artwork right now. The most that some can do is pay me a compliment, or give me a thumbs-up or a like on a social media platform. I get that. It’s just that sometimes, the compliments begin to remind me of how much I’m failing miserably right now. Because if I were truly talented. If my work were truly good, I would have found a way to make it all work for me by now, and I haven’t. And thinking about people paying €19 to come and take a selfie in front of a piece of artwork that I made while dragging myself, body and soul through a mental minefield of broken glass, while not even looking at the work, or realizing what the work is about…or why I made it…that’s just smashes me.

(sigh)

Thank you for reading, and I will see you again next Monday.

 

Links:

Prime Mover

Prime Mover, Rush, Hold Your Fire, September 1987

Rembrandt van Rijn

Rijksmuseum

Vincent van Gogh

Van Gogh Museum

Break

Last Thursday, I created a post for my Instagram account. I’ve been wrestling with some challenges* in my creative, artistic and entrepreneurial plans for some time. Some of these challenges I couldn’t predict (pandemics, lock-downs, social distancing, etc.). Some challenges were ones that I thought I would be better at weathering at this point in my life. While I feel as though I’m doing pretty-kind-of okay most of the time, there are other times in which I know I’m most definitely not doing “okay”.

I need to be “okay”.

I think Sarah Anderson described my current situation best her cartoon below:

The pervasive societal myth of the artist as unhappy, depressive who creates art from their own horrible mental and physical existence is a topic for another post. There’s a lot to unpack in regards to that myth that I want to say, as it relates to me personally as an artist. But like I said, it’s another post topic for another time.

Back to the topic at hand…

I am not happy with where my creative endeavors and my entrepreneurial efforts are going. My efforts are not yielding the desired results. Due to a lot of my own personal mental and emotional experiences (read: “baggage”, and again, a post topic for another time) this is causing an inordinate amount of pain for me. Please know, when I say “pain” understand what I mean. My current situation hurts me. I pay attention my mental health. As a person diagnosed with clinical depression, who is medicated, it’s important to know when I’m not feeling right and why. This could mean that I need to have my meds adjusted, or it could mean that I need to alter things within my life to address whatever is making me not “feel right”. Or in this case, I need to address something that is causing me mental, and increasingly physical pain.

What I need to do is remove myself from a situation that is causing me pain. Right now, that means I need to take a step back from posting my art and my artistic processes on social media. I need to take a break for a while so I can figure out the changes that I need to make to my creative artwork and my entrepreneurial plans for the future so that I can be happy and relatively pain-free. I can’t do that when I’m not feeling right. When I’m in pain. When I am unhappy.

I’ve been working on a piece for the past few weeks. It’s a large, papier maché doll that is intended to sit on top of a dollhouse, complete with furniture. I’ve enjoyed working on this piece a great deal. There’s a lot going on within it. Lots of moving parts. Lots of different inspirations. Lots of references from my own life, culture and experiences. I realized several days ago that the compartments on the side of the head were much too small to hold the spooled embroidered felt banner/backdrop I had created. I had two viable options: 1.) make the banner/backdrop smaller somehow so it would fit what was already made, or 2.) take apart the head, make requisite repairs as well as a new set of housings for the banner/backdrop.

As difficult as it was, I chose the second option. I have an intense dislike for destroying anything, especially things that I have made myself. I suppose it’s hard-wired into my identity to create, rather than destroy.

 

This morning, when I looked at the corrections I had made to my artwork, I was much happier. What had made me so unhappy about the piece had been adjusted. I could see that even through I had to go in a different direction than I was normally comfortable, the end result was my own contentment as an artist.

So…what does this break from social media look like?

  1. I’m going to take a month off from social media. (June 15 to July 15, 2020)
  2. I won’t be posting any pictures of my artwork in process or of my finished artwork.
  3. I will continue to make artwork. I just will not be posting it on social media or anywhere else online.
  4. I will post here on my website once a week on Mondays (June 15, 22, 29 and July 6 and 13)

I am hopeful that this time away from social media will give me some pain-free breathing space to figure out what I want to progress with my entrepreneurial plans going forward.

 

*Challenges” — I’m using this turn of phrase as a substitution for other possible words like, difficulties, problems, trouble, issue, worry, mess, obstacle, setback, hitch, stumbling block, quandary, setback, headache, etc.

Links:

Sarah Andersen is a phenomenal artist. Go look at her stuff. If you don’t want to buy my work, buy hers.

Hard Chew

My website is my place on the internet where I showcase my artwork, try to make connections for selling my artwork and as well as advertising my services as an artist and art teacher for art workshops. I love sharing the artwork that I make and my personal artistic processes with people who are as passionate about art making as I am. This is what this website has been created for. This is what I need it to be.

That all being said, I need to acknowledge that 2020 has been difficult from the get-go. To put it more bluntly, it has really, really sucked on a variety of different levels. Not just for me personally, but for the entire planet. I hit a wall yesterday after being in what I would consider a low-level panic attack space for about a week. I desperately wanted a very large gin and tonic, or two or three of them. Having no alcohol on hand, I crawled into bed to escape into sleep. I just needed everything happening to go away, even for a short time.

When I woke up several hours later, I realized that I hadn’t felt the way I was feeling since the results of the last presidential election were revealed. I just shut down for about 72 hours. I was in shock. I was in disbelief. I spent part of the time crying. Everything just felt so wrong to me. So incredibly wrong. And there was nothing that I could do about it. I just had to get through it.

I felt powerless then, and I feel powerless now. I’m an American expat. I live in central Finland. I adore living and working in Finland. No country is perfect, but for me, Finland is a great place to be, especially here. I live in a university town within a large and incredibly diverse international community of students and families. Living here has given me a greater degree of understanding of the world as a whole. The friends that I have made have helped me to grow as a person. And for that I am eternally grateful. I am a much better person for having known them, talked to them, worked with them, studied with them and eaten meals with them.

When preparing to move here to attend school, I was told by a family member that I had to remember that I was “representing” my country. No pressure there! Seriously? I was to represent the entirety of the United States of America? Was I to represent only the good bits? Was I to leave out all of the icky bits? You know, the things that the US isn’t proud of, or ignores, and perhaps sweeps under the rug and hopes that no one asks about them? I decided to represent myself instead, and I hope that has been enough for the people I have me and the friends that I have made.

This brings to me to the ‘ugly underneath’ part of my post today. The part that is so incredibly hard to chew and swallow. The truth. The really, really, really ugly truth. Made more difficult by those who do not see it as a truth. Systematic, institutionalized racism is Godzilla-sized huge in the United States, and it has been for hundreds of years. I’ve known this for years. I’ve seen it with my own eyes. I’ve been an unwitting participant in it through my own white privilege. I’ve been shaken to the core of my being at the images of police brutality towards those protesting in US cities. I cannot fathom how the police think that what they are doing to protestors is moral or ethical.

Here’s the thing though, black people in the US are far too familiar with this kind of brutal treatment by the police than I could ever possibly be. Yeah. I’ve been arrested. I was treated with kid gloves. The arresting officer made personal calls for me on my behalf. He refused to ‘put me in the tank’ with the other women in custody, because I ‘didn’t belong in there’ with those sorts of people. I posted bail and was back at work in the same day. I didn’t lose my job. I didn’t lose my car. I was not beaten. More importantly, I did not fear for my life when I was arrested, cuffed, put in a police cruiser and taken downtown. My personal belongings were returned to me. The arresting officer didn’t allow them to be checked-in; he held my crocheted, black bag and waited for me to be bailed out. Then returned it to me personally.

I never once feared for my life. I never once thought, “I might die today.” or “I hope he doesn’t hit me.” or “I hope the officer doesn’t rape me.”

Why didn’t I have these fears? Because I’m white. I’m a white woman. The arresting officer didn’t want to arrest me, but there had been a bench warrant issued for my arrest and he had no choice but to arrest me.

My arrest was a veritable tip-toe through the tulips. I laughed and joked with the officer. I laughed and joked with the nurse who took my medical information. I had everything explained to me thoroughly and thoughtfully by every person I encountered during my processing at the police station. I was treated with kid gloves. I think I would have been given a coffee if I had asked for it.

Now. Let’s contrast my arrest with someone like Sandra Bland. Or Philandro Castile. Neither of these people had a bench warrant. What was the big difference between them and me?

So.

Hmmm…

My heart hurts. I’ve felt so powerless to do anything to help. Then, I started reading my cousins Facebook page and I decided that there were some things I could do. Chief among them was to be vociferously anti-racist, calling people out and letting them know what they were doing and saying were not okay at all.

Confront racial injustices even when it’s uncomfortable” Y

So…it should be incredibly clear as to which side I have chosen to align myself. Because until black lives matter, no lives will matter to those who hold the power.

Thank you for reading, and I will talk to you all again soon,

 

Links:

XTC, ‘The Ugly Underneath‘ Nonsuch. 1992.

Courtney Ahn Design

Not a Piñata

The two Aino jaatelo containers are there in place of the second piece that will be created for this doll to sit on. I’m not making a chair. It’s not any kind of piece of furniture.

I’ve been working on a large, papier maché doll during the past week or so (Actually around ten days). I tend to lose track of time while working on a piece. It’s flow state in action. Social distancing and being isolating has just meant that I have had even longer stretches of time in which to immerse myself completely and totally into the artwork that I am making. It’s also that time of year in which I look out the window and think, “Oh. It must be around 18:00 or 19:00.” when in actuality, it’s closer to 23:00. I usually start work between 9 and 10 and only break for meals. I’m insanely fortunate as I have a husband who does all the cooking. He’s the one who makes me stop and eat a real meal. (Lunch today is left over sweet and sour pork!)

While working, I’m not only actively working with, and reacting to, the tools and materials directly in front of me. I’m talking to my work and myself then entire time. This on-going dialogue is an integral part of my entire creative process. I cannot imagine creating artwork without it. These artist journal posts are more or less a neater and tidier second draft of the dialogues going on in my head while I am actively creating artwork.

Many of the questions I ask myself are fairly easy to parse out and resolve either on my own, or with the help of a discussion with my husband or a fellow doll artist online. Talking to others when I cannot come to a conclusion myself is a much needed element. Without it, I would become what my husband calls “axel-wrapped” and make myself miserable. Sometimes, there are questions that I have to become a little axel-wrapped over, before I talk to anyone. I think the questions that have been coming to the forefront of my thoughts over the past week or so are those kinds of thoughts. I think because they each speak to the uniqueness of each artist. And that sometimes, there just may be no easy, clear-cut answers to some questions.

The arm mounts look like little rocket-type booster thingies to me.

Here are the questions that have been banging around inside my flow-states while working:

What do my choices of materials say about me as an artist?

If I were being cheeky, I’d say that my choice of materials says, “Yes. I’m poor.” but I don’t think it’s quite as easy as that. These larger dolls are made with papier maché, using newsprint and PVA glue instead of wheat paste. I use a lot of corrugated cardboard and carton board. I make my own gesso. I use inexpensive things like bamboo meat skewers and toothpicks. I use paint and pencil to decorate the surfaces, along with embroidered elements on felt.

I often wonder if my artwork would be taken more seriously if I just stopped after creating the cardboard substructure covered with newsprint and glue. Or what if I just stopped after covering the components with gesso and sanding them. Maybe if I carved words in surfaces? What if I covered the surfaces with used bits of trash I find when out walking? Maybe I could light the piece on fire and then film it? Perhaps I’m just thinking too much. Maybe I should just make the entire doll out of wood, like a puppet? Or stone, make it a “Why Not Sneeze, Rose Sélavy” kind of homage?

The short answer to that is, “Because I don’t want to.” I’ve had some people tell me that they like my large papier maché dolls when they are left white, with no further work done to them. I’ve had others tell me that they don’t understand why I make them moveable. I should just make them static, like a statue. Some have said that the large dolls are a bit of a visual overload for them, and maybe I should just do less embellishment work on them. When confronted with these sorts of comments or unsolicited advice, I remind myself of Bowie Rule #1 for Making Art: Make your art for yourself and no one else.

So. No. I won’t do any of those things, because I’m making my artwork for myself first and foremost. This still doesn’t answer my question though. What do my choice of materials say about me as an artist?

Let’s start unpacking it.

The first thing they say is that I’m resourceful. I cannot work in ceramics right now, or in woodworking, both being mediums that require more expensive materials, more space and more tools that are all way outside my ability to pay for them at present. I’m resourceful because I’m not looking at what I don’t have to make art with and being depressed about it. I’m looking at my environment and see what I do have and designing ways to make it do what I want it to do.

My choice of materials says that I can look at the potential of seemingly unrelated items and imagine how I can bend them to my own creative will to make art. In the creation of the large papier maché doll I’m currently working on, I needed a spheroid piece for the upper part of the leg where the legs are attached to the torso. I had nothing on hand that even remotely fulfilled my need. I could have altered the structure of the torso and created flatter joints, but I didn’t want to. Instead, I created two cubes of corrugated cardboard and carved the spheroid forms with blade. The other option I had was to create the spheroid forms using a paper fiber and glue. I thought that the form I needed was too large for it to dry completely, so I went with the corrugated cardboard option.

When using materials that are not necessarily standard art-making materials, I’m required to use my accumulated knowledge of art production, including my time as an art teacher, as an art student in the early 1990’s to guide my art practice. Gesso in Finland is more expensive, so I make my own. I’ve found two of the required components that I can easily acquire for less than 8€, and they’ll make a lot of gesso. The white paint that I get at a local art supply store is a little more expensive, but since I’m saving money on the vast majority of my materials (some being free), I feel as though the expense is well worth it.

I also shop a lot at second hand stores. This again requires me to look at an object and not just see what it is, but imagine what it could possibly be made into. I also pick up a lot of threads, yarns, fabric and storage containers (so many tins!) at second hand stores as well. Yeah, the tin used to be for a Russian made loose tea, now it holds some of my art supplies.

What this all says about me is that I can take objects from my immediate environment and shape them to my personal creative will. I can imagine things and make them with my own two hands. So yeah. I’m poor as in, I have less cash to work with, but I’m certainly not poor in ideas for creating my own personal artwork with the things around me.

Knee joint assembled. There are around five coats of gesso on this. I’ll sand it down prior to painting it.

My second question (related to my first question):

What to the techniques I employ with regard to those materials say about my art?

I kind of addressed this above, through the, ‘Why don’t I just leave the large papier maché dolls as is with newsprint or gesso showing?‘ Again, uh…because I don’t want to…? No. That’s too easy. I paint the surfaces of the dolls, sometimes using different painting and simple printmaking techniques. I draw on the surfaces of the dolls. I add a significant amount of embroidery to the surface of the dolls. I add elements that move, or can be discovered. I hide things in the drawers of the dolls.

Why do I do all of these things?

The short answer is that I like to sew by hand. I find it exceedingly enjoyable to create my own embroidery elements to add to my the larger papier maché dolls. I come from a long line of women who sew, and I’m continuing this tradition, just in a slightly different way. I also have experience in fine art printmaking, and bookbinding, jewelry making, crocheting and knitting and other artistic mediums that require a modicum of knowledge and experience to utilize their techniques correctly. I love mixing my mediums and my techniques. I’m just not one static thing, so why should my artwork be one, static thing? I often feel as though my education and experience as a graphic designer and illustrator (largely two-dimensional) is just as important during the creation of my personal artwork as any of my experiences as an art teacher (working in two and three-dimensions).

The question of technique, brings me to craftsmanship. I know what the average person thinks of papier maché as a medium. It’s something that little kids do in elementary school. They make volcanos out of it. There is a ‘lesser than’ idea about it. I think part of the reason I like using papier maché is because of some of these erroneous beliefs. I want to show people what can be achieved with the medium through attention to detail and craftsmanship. Craftsmanship and technique go hand-in-hand I think.

Anyone can mix up some water and glue and apply it to a form, making it look the way that you want it to, that’s a different matter entirely. Getting the paper to lay flat and adhere to the layer beneath it. Do I use a brush or my fingers. Which fingers? Index? Middle? Thumb? How much glue do I use? Should all the newspaper go the same way, or should just paste it on all willy-nilly? Through time, and attention, and repetition, I have refined my personal papier maché techniques. I know when I should create separate components, and attach them at a later date with papier maché. Some components I create entirely separately, and only join them after painting and finishing the surfaces of them. Some components remain completely removable. No one taught me this. I learned it through my personal art practice.

That to me says that I like problem solving. I like being challenged. I love gaining the knowledge and experience through encountering these problems in my art creation so that I can keep building upon them as a practicing artist. I think one of the questions on the Proust Questionnaire is something like, ‘What do you regard as the lowest depth of misery?’ Boredom always comes to mind for me (among many other things). I do not like being bored, and being that I’m a fairly self-contained person, I can spend endless hours creating artwork by myself. (Who am I kidding? I can spend weeks making artwork on my own.)

These two questions can be answered sarcastically by me, and dismissively by those who see my artwork. Those who dismiss me and my work perhaps are leaning on their own preconceived notions regarding what they think art is and isn’t. Perhaps they think my choice of theme is juvenile, or they think dolls are creepy, so they just don’t even stop to look. For those who stop and look and then think about my medium and technique choices, they will find that they each say a lot about who I am as a person as well as an artist.

Thanks for reading, and I’ll see you again next Monday.

 

Links:

Vanity Fair, Proust Questionnaire

Marcel Duchamp, Artist (creator of ‘Why Not Sneeze, Rose Selavy’) He’s one of my favourite artists. Dada and Surrealism shape a great deal of the artist I am today.

Tuesday for Monday

This is a dry-fit of the papier mache doll that I’m currently working on. Needed to see if the arms, legs and neck all fit correctly and were in the positions I wanted them to be in.

I started working on a larger papier maché doll during the past week. It’s a piece that’s been getting noisier and noisier inside my brain for quite a while. The doll itself is one component of how I imagine the completed piece. This second component I won’t start until I’ve completed the doll first. I don’t have the work space to start the second component now anyway. I also think that my attentions would be divided by attempting to work on two fairly large pieces at the same time too. The second component could go a couple of different ways. I feel as though I need to think more about it more before starting it as well.

Pineapple does belong on pizza. Ham, pineapple and blue cheese on pizza is one of my favourites!

I used a balloon to create the torso for this doll. It’s a simple technique. Blow up balloon to the desired size. Cover it with layers of papier maché. I’ve never attempted this method of papier maché construction before. It seems a pretty common form to use for this medium, especially for school aged children. I never did any kind of papier maché during my time in public school or university. Perhaps this is a contributing factor in my fascination with it.

The pictures above are of the torso insert. I made it completely separate, so that I could more easily attach the newsprint to the inner cavities. I’m not sure if they will be drawers or cabinets or maybe just completely open. At this stage, they could easily be any of them. I think it’s interesting to see what the under side of my artwork looks like. It reminds me of a description of a duck: all placid gliding on the surface of still water, while at the same time, there’s wild, furious paddling going on just below the surface of the water. All the pretty stuff is on the surface of my work, while the backside is just a total mess of cardboard shims and up-cycled frozen pizza cartons. It looks like a shanty town from the Great Depression if you ask me.

To make these large, papier maché dolls, I use some pretty simple tools and materials. The newsprint and cardboards are free. I get most of my corrugated cardboard at Lidl. None of the stock workers bat an eyelash at me when they see me pawing through the cages of cardboard. I always carry a utility knife with me, so I can break down more oddly sized boxes into more manageable pieces. Again, no one looks at me weird when I spend a few minutes at an empty cashier stand breaking the boxes down either. I use scissors, a couple different utility knives, ball point pens, a triangle, a straight edge, a few coloured pencils, an awl and PVA glue and Eri-Keeper all purpose glue. Eri-Keeper is like if Aleene’s Tacky Glue and Gorilla Glue had a baby.

There is also carton board packaging from items we regularly purchase that I use in my artwork a lot. Frozen pizza cartons are one of my favourites. It’s flexible and somewhat malleable, once the glue has been applied. I hit the shiny, printed surface of the carton with some 240 grit sandpaper to rough-up the surface, to give the glue a more secure attachment when gluing pieces together. I tend to layer the carton board as well, altering the lay of the fibers, so that when dried, it’s very sturdy and strong.

I do the same kind of altering with corrugated cardboards as well. A lot of this depends on the quality of the corrugated cardboard. Cheap cardboard, with loose fiber and a lot of acid content is what I use to shim things, like the backside of the cavities for the torso. This kind of cheap cardboard crushes easily and I can worm and wiggle it into tight spaces. Stronger corrugated cardboard is what I use for things like the joints for the tops of the legs on this doll. The stronger cardboard, coupled with the Eri-Keeper glue and some added wooden pins for stability, make the form very strong and stable. I’ll add papier maché around the entire piece and do additional sanding and light carving as needed. Some of the best corrugated cardboard is from the boxes for reams of paper or from the boxes that canned and jared foods are shipped in.

I just made two cubes with the stronger corrugated cardboard and started carving with a new utility knife. I changed blades often because as anyone who uses cutting tools knows, you tend to cut yourself more easily with a dull blade than a sharp one. I managed to only give myself a blister and suffered no cuts at all while working on these ovoid forms for the leg/hip joint.

I constructed the head out of the stronger corrugated cardboard, but then covered the surface with some gray carton board. I do this because no matter how good the corrugated cardboard is, and no matter how many layers of newsprint, gesso, paint and sealant is put on top of it, the corrugation always, always, always shows through. This bugs me so much. The veneer of carton board over the corrugated cardboard solves this problem nicely, and only adds a few millimeters to the size of the specific body components of a doll.

When I started creating papier maché dolls, I did so much measuring. I wanted everything to to be “correct”. After creating quite a few of them, I now rarely measure anything. Most of the time, the measuring I do is to make sure that my proportions of a piece are correct. I do a lot of ‘eyeballing’ measurements too. I do use a straight edge for cutting, however when the materials kind of start going a little cock-eyed, I don’t loose my mind. I just go with it. I do a lot of marking pieces to keep components facing the right way, or so that they will be attached to the correct side or portion of the doll I’m working on. You can see in the picture above the ‘R’ on the side of the head. The head is about 2 mm off square on one side, so to make sure that the frame I added to the face fits correctly, I make the sides so I know which side goes where. You could also see a red A and a blue B on the corrugated cardboard pieces I carved. Each of the legs has a corresponding A and B, along with marks to make sure that the front of the legs faces the front.

The picture above is of the two arm mounts. I think they look like tiny hammers. You can see where the A and B are marked. I use a colored pencil for this, because sometimes markers can bleed through newsprint and gesso and even give a paint layer a weird cast depending upon the type of paint and tint or shade of paint chosen. Coloured pencil is also easier to sand off in case I need to make changes with placement of components as well.

I made the arm mounts out of toilet paper rolls. You can see that I laminated them together with glue for the smaller parts. I added a heavy-duty bamboo skewer through the center of the smaller cylinder and used some of that more easily crushable corrugated cardboard with Eri-Keeper to stabilize it. The arm mounts will be papier maché’d, then attached to the torso with Eri-Keeper, then the seams papier maché’d over to hid them. I will use Eri-Keeper, watered down, instead of the regular PVA glue for the seam-hiding papier maché.

The legs are also toilet paper rolls. I used eight total. I just taped them together and added a couple layers of newsprint and glue for strength. I added some circular pieces to the insides to stabilize the leg forms too. I made the knee joints first. They’re super-simple. I didn’t add a knee-cap stop on them, so they will bend forwards and backwards right now. I’m still mulling over adding those stops. There are pros and cons to adding these stops. I added the cavities in the bottoms of the feet because I have plans for them.

The cavities in the bottoms of the legs, as well as the frame piece for the dolls face were two things that I created on the fly as I was working on this doll. I didn’t have anything in my rudimentary sketches about these features. They just seemed to be ‘right’ as I was working on the piece. Each of them are rooted in something that is from my distant and more recent past. I liked the ideas and added them to the piece. These kinds of changes aren’t something that I can necessarily plan. There comes a point while I’m working when the artwork begins to take over and I, to a certain extent become the one with the eyes and the thumbs. The artwork is going to be what it wants to be.

Which brings me to something I’ve been thinking about for more than a week. People who copy another persons artwork. Or, those who try to copy an artists artwork.

I just wrote a fairly detailed account of how I’m creating this papier maché doll. I talked a lot about the tools, materials, and techniques that I’m using and why I use them. I detailed where I get most of my materials, at least the free ones. I suppose that a person who wanted to copy my artwork could quite easily look at the pictures of my artwork in process, gather the same or similar-enough materials, tools, etc., and attempt to make a doll like the one that I’m currently creating. Or for that matter, a person could go through my entire Instagram account and save pictures and posts and try making those dolls as well. The patterns I create for the felt and fabric dolls I make are rock-stupidly simple. Anyone with eyes and hands could make them if they tried to.

I recently had a back and forth with an artist and a doll maker about this same subject; people copying artwork. This artists makes amazing dolls. One look at them and you can see how much time, effort, creativity and love goes into each and every doll they make. This doll maker doesn’t sell patterns of their work, nor do they create what I would call a ‘lower price point’ doll for persons who might think their doll work is on the expensive end. They recently had a person contact them with what I think were intrusive questions regarding specifics (materials, techniques) on how they created their dolls. It was obvious that this person was wanting specifics so that they could create a doll like this doll artist, without having to pay her for it. This person was effectively wanted to steal the creation of a practicing artist.

Why would anyone do that?

To merely say that this was annoying is an understatement if you ask me. I’ve gotten some strange inquiries regarding the potential purchase of my artwork along with questions about the techniques and materials I use to create them. I trusted my gut, and stopped communicating with these particular people. I didn’t sell my work to them either. Questions like, “How do I get the material do the same thing yours does?” or “Where do you get that kind of (insert item here)?” are the types of inquiries from an unknown entity, (Read: “Not a Known to Me Artist or Creator”) that sets the alarm bells ringing in my mind. When another artist or creator asks these kinds of questions, I’m much more likely to discuss it with them, or even show them how I actually do the technique.

“DANGER! DANGER WILL ROBINSON! DANGER! DANGER!”

I sometimes wonder about why there are people who think they can just take another artists creation without paying for it. I wonder if it has anything to do with the fact that doll makers (among the myriad of other fiber and textile artists and creators out there!) utilize patterns in the creation of their artwork. Does the idea of a pattern to some mean that the artwork created from it is ‘less than’ other art? Would these kinds of people ask the sculptor or painter for directions and lists of materials needed to re-create their artwork? (Sadly, I think the answer may be yes.) Do they think that artwork, “real” Art (with that capital A qualifier) is only the work in galleries, museums or rich peoples houses and yachts? That somehow, a doll maker, who uses patterns, isn’t creating unique, one-of-a-kind pieces of artwork? That their materials, tools and techniques are something that can be easily replicated by just anyone who thinks that the artwork must be ‘easy’ because a pattern in used?

A pattern doesn’t make a piece of artwork ‘easy’. A pattern is just a tool that many artists working in a variety of different mediums utilize. The pattern doesn’t ‘make’ the artwork. The artists’ skills, knowledge, curiosity and imagination make the artwork, in tandem with the tools and materials, all of which are driven by the intrinsic need to create. Those are the things that create the artwork, regardless of whether the artwork is a painting or a doll. We’ve all seen knock-off products. Don’t tell me that you can’t see the difference. The knock-off is a poorly constructed facsimile lacking true creativity and originality. What burns is when the person who is trying to copy your work actively seeks you out and effectively tells you about what they’re doing. I wonder if this person thought they were giving the doll maker a compliment? “I like your art so much, I will copy it and tell you about it! Isn’t that just the coolest!” This takes passive-aggressive behavior and elevates it to almost a god-like level.

As an art teacher, I never wanted my students to copy my artwork examples, or to copy from their fellow students either. I had some lessons in which I would actually take down my examples, because the urge to copy could get strong for some students. This is not to say that a student of visual art cannot learn from copying. That kind of practice has it’s place within the education of any artist. This kind of artistic practice work is not meant to be an expression of the art student. It’s not to be signed and displayed as their original artwork either. That’s called stealing, and I learned a lot about it as a graphic design student. Copyright and Trademark exist for everyone, including artists.

A persons artwork should be a true expression of who they are as a person. It should be as unique as they are. Knowingly copying someone else’s art is to sell yourself short as an artist and as a human being. If this person wants to make dolls, then yes, at some point, they may follow other peoples patterns. At some point though, they begin to alter how they create the doll. Choose the colors and textures they want to use. Add in new elements. These choices are their creative contribution to the creation of a doll using someone else’s pattern. I would hope that this happens organically, allowing the person creating the dolls to take a great deal of satisfaction from their work. At a point, perhaps they decide to start making alterations to the pattern. Perhaps they decide to create their own pattern to fulfill their own personal needs/wants. But to just say, “Oh. You’re doll is better. Mine’s bad. I want to copy yours.” that’s just…no. Don’t do that. No. It’s just so wrong.

Artists spend decades honing their skills and their craft. It’s truly insulting to have someone ignore all of that expertise and hard-won knowledge and think they can just take a pattern and copy what the artist does.

ANYWAY…

This post got a little long and a a lot preachier than I had originally intended.

Be inspired to create art the artists you see, read, and listen to, but don’t copy them. Go and make your own artwork. It’ll be much more satisfying for you as an individual.

Thank you for reading, and I’ll see you again next Monday (even through I know it’s Tuesday),

Links:

Lost in Space 1965

Lost in Space 2018

Alan Alda and Marlo Thomas. “William Wants and Doll.” Free to Be You and Me. 1972

The New Seekers. “Free to Be You and Me.” Free to Be You and Me. 1972

 

Interrupting Cow

(Note: I wrote this yesterday, but for whatever reason, didn’t actually post it. So, the Wednesday Business and/or Entrepreneurial post, which is being altered for the time being, is being posted, in altered form, on a Thursday because I guess sometimes stuff just happens. I’m not deluding myself in thinking there are people out there who are champing at the bit to see what I’m going to whine or ramble about in my posts either! Ha! Anyway, here’s my post!)

My Wednesday posts are intended to be devoted to my entrepreneurial endeavors. I want to talk about marketing, money, online store fronts, in-person sales, patterns, dolls, teaching workshops, etc., in these Wednesday posts. I’m going to suspend the entrepreneurial content for these post for the foreseeable future, or at least until the world returns to more normal functioning. Another reason that I’m making this small change is because frankly, I’m tired of feeling like a big, fat, whiny baby about my (lack of) business. I’m just so very tired of hearing myself complain about it. The negative aspects of my lack of business progress, and talking about them is just making me feel like crud. I know it’s important to acknowledge my feelings and where they’re coming from, but I’m tired of wallowing in them. At least for now.

With all that being said, I did have one sale this week! I’m tremendously happy about it and got it sent off to the buyer earlier today. I hope that the tiny little dolls I sent make the buyer and the person they are intended as a gift for happy!

I’d been thinking about questions that have been asked of me about my dolls in the past. I thought that it might be an interesting idea to document these questions and my answers to them. I’m not sure how many questions there will be. If you’re a reader of my blog posts, contact me with any questions you might also have that you don’t see here.

Questions and Answers Regarding my Recent Doll Creations:

1. Why are you making all these tiny dolls lately? What happened to all the paper maché dolls that you had been making for the past year?

Okay. Starting off with a two-part question. Good. The tiny dolls, and why am I making them? I’ve always been fascinated with tiny things. Tiny dolls in particular. As a very small child (3 or 4-ish?) I had some mass-produced dolls that I adored. I cannot remember anyone giving them to me as gifts. I think that the majority of these dolls were once my older sisters dolls. I’m not sure how the dolls became mine. My sister could have given them to me because she was getting older (13-14-ish) or it could have been that I just claimed them as mine and took them. Toddlers have a nasty habit of doing that at times, and I was quite the sticky-fingered kiddo.

I remember called these tiny dolls ‘Bitsies‘. I guess a take on ‘itty-bitty‘. The dolls that I had were anywhere from half an inch to two inches tall (There were some that were closer to four inches tall, but I don’t remember them). They were colorful and detailed and I loved that they could be tucked-into pockets because they were so tiny and they had tiny accessories. Their hair was so cool too! So long!

These tiny dolls were Liddle Kiddles. They were a line of dolls by Mattel that ran roughly from the mid 1960’s until the early 1970’s. I had quite a few of them. The dolls that I had were mostly from the Kola Kids and Kologne Kids series, and the Lucky Locket series, with a few of the storybook dolls and the tiny jewelry-themed dolls thrown in here and there. I lost some of the clothing and most of the accessories fairly quickly. Many of the Liddle Kiddles I had just had their little dresses on. I loved their sweet little faces! They were so adorable, with great big eyes! When you look at their faces, you can tell which ones were made by Mattel and which ones were cheaper knock-offs. The 1994 Tyco dolls I think lack the charm of the original Mattel dolls.

I remember being fascinated with the hair colors of Liddle Kiddles. Orange hair!? Green hair!??? I loved their little themed names and outfits for the different lines of dolls. I can look at these Liddle Kiddles Kola Kiddles (OH! The spelling! It BURNS!) and know exactly when my fascination with color and specific color combinations started. My color fascination was furthered by Sesame Street, but that’s another post entirely.

It cannot be overlooked that the Liddle Kiddles came in series. The way in which I’ve been creating the tiny and small dolls that I have since the beginning of the year are all part of a series. The Creative Experiment dolls, especially the small ones using buttons in lieu of faces were a long series (approx. 200 dolls, give or take). The number of pieces in a series I create seems to be dependent upon my personal curiosity regarding the series. By the time I’m a dozen deep into the creation of a specific type of doll (or any other art) creation, I know that there is something that I’m trying to figure out or decode that is coming from deep within my personal identity.

I wrote a post last December (Wringing Meaning from Turnips) about creating the tiny dolls had become my attempt at reconnecting with a place and time in which I was content being me. Not happy. Happy is a fleeting concept. Being content for me is finding a balance within my own mind in which my inner and outer worlds are working in concert, with neither one of them figuratively screaming at me for attention.

These Liddle Kiddle dolls came into my life as I was just nearing the end of that time in my life in which I remember being the most content. Before the world became more ‘screamy’ at me. They were so tiny and precious. They were colorful and sweet. I have intense memories of looking at their little faces and realizing that each separate doll had slightly different faces, but they all looked like they belonged together. Like they were related. In retrospect, I suppose my little toddler self thought of these little dolls almost as some sort of religious talisman. I wanted to protect them and keep them safe. I wanted to tell them all my secrets. I felt like they were safe receptacles for them. They wouldn’t tell on me or laugh at me. Being that I was on that cusp of having the outer world rush in to begin its influence on me cannot be ignored. By the time I was five, I knew there was something wrong with me. The outer world was telling me so. I was too loud. I was too obnoxious. I was selfish. I was fat.

Screamy. Screamy. Screamy.

So yeah. I’ve been making tiny dolls. It’s personally therapeutic for me, and creatively satisfying.

2. Now, for the second part of the question, regarding the larger paper maché dolls. I have been calling them ‘playset dolls’ because their construction is more complicated with lots of moving parts. I mean for these larger paper maché dolls to actually be played with. It strikes me as odd that when I show pictures of them, or when I had some of them in a small exhibit locally, no one who was looking at them knew about all those moving parts and all the things that were hidden away in the drawers within their bodies.

As these dolls grew larger and larger, they took on a guardian-like presence within the world I’ve created with my dolls. Very simply put, the big, scary, weird, strange outside keeps the tiny, delicate, sweet, doll parts safe on the inside. I’m completely aware of the metaphor working here. It’s kind of a metaphor delivered with a sledgehammer, but I guess I gotta be me. Connecting this metaphor to my personal childhood experience, to a cornerstone of the beginning of my creativity seems natural.

I will be creating more large paper maché dolls in the future. I have two or three that are getting rather noisy inside my head and are itching to come out. No skull splitting required!

Birth of Athena, from D’Aulaires’ Book of Greek Myths, 1962

Thanks for reading, and I will see you again next Wednesday (even though I know it’s Thursday, but then again, what do days of the week mean now anyway?)

Links:

D’Aulaire’s Book of Greek Myths, by Ingri d’Aulaire and Edgar Parin d’Aulaire This is one of my favourite books from childhood. I was twelve or thirteen when I won a $20 gift certificate to Cambell’s Books store with a piece I had entered in a county childrens’ art show. I bought this book. I can still remember how the floorboards creaked as I walked through the store, right over to this book on the shelf. I didn’t need to look around. I knew what I wanted.

Vintage Liddle Kiddles I didn’t have any of these larger Liddle Kiddles, or any of the big accessories like the carrying cases or playsets. This video is a little funny, in that some of these poor little dolls are naked! They look a little sad, but I’m guessing that they were well loved because so many of their accessories are gone. The Lucky Locket Kiddle Kiddles are the ones I had the most of.

 

Your Move

“Close ups reveal the weaknesses of the whole premise.” (1)

I didn’t write any update for my entrepreneurial pursuits last Wednesday. I was just not in a good place mentally speaking to do so. I’m an ambivert, so I’ve been relying a lot on my more introverted tendencies throughout this weird time. Staying in, making art and basically nesting, has been totally okay with me until last week. The staying in and maintaining social distance is beginning to wear a bit thin for me. My husband is far more introverted than I am, and is also is a person who is in a higher risk category related with COVID-19 infection. This means that even as the restrictions are eased a bit here, we’re still social distancing and continuing with other precautions.

I don’t mean to say that I’m climbing the walls or anything. I’m just beginning to get tired of it. I know myself well enough that I need to acknowledge my feelings so they don’t get so large and cumbersome that I find myself becoming overwhelmed by them. I know myself well enough that figuring out my feelings takes me some time, and I need to let them percolate through my mind so that I feel as though I understand them, myself and how I’m reacting to them.

Making art is my therapy. Making art is my passion. Teaching people how to make art is my vocation. Selling my artwork is (sometimes) my Waterloo, or perhaps my windmill? It could be many things.

If only I could pay my bills in personal fulfillment. My life would be damned near perfect!

ANYWAY…

I’ve been working on some new pieces and have begun some planning for some larger and more complicated pieces. My artwork to a great extent, guides and informs itself. I’m basically the one with the thumbs that brings the art into existence. I’ve had some things (ideas, thoughts, concepts, techniques, materials, etc.) swimming around inside my head for quite a while that I feel are ready to be created.

This is one of the hardest things to try and explain to a person who does not make art of their own. Differentiating between when it’s time to create a piece of art and when it’s not. There are some pieces, like the series of small dolls that I’ve been working on for the past few months, in which I can have an idea, sit down and complete the piece in relatively short order. I can see the results of the idea fairly quickly, then move on to the next idea. I can process through a lot of smaller ideas and acquire a lot of creative, emotional and mental satisfaction in doing so. I suppose I could liken my creative processes in this regard to hors d’overs and a main course. One is a lead-up to the next.

To date, the largest and the smallest of the dolls that I have created.

The part that can be the most baffling is knowing when is “when”. I cannot pinpoint when an idea or concept is ready to be created. I just know when it’s ready. There seems to be a point in which my brain or my sketchbook just isn’t a satisfying place to work on them anymore. There’s this weird tight-rope walking element to the whole process as well. If I start working on a piece too soon, the entire experience is somehow less satisfying mentally and emotionally for me. The art was not ready to come into existence. On the flip side, I run the risk of losing the entire idea or concept if I begin it too late. The finished piece of art lacks some je ne sais quoi that renders it a failure in my mind.

I’m struggling to discover how to make this sense of knowing work for me as an entrepreneur attempting to sell her artwork. My sense of knowing when to do something, when it’s right for me, should be a transferable skill. This ‘instinct’ for knowing when a my artwork is ready to be created is ephemerally ill-defined. Just because it works well in one capacity does not guarantee that it will work in another, wholly different capacity.

I suppose that when I say instinct, I may be referring efficacy in part. However, I don’t believe that they are the same thing. I see them as related, or perhaps working in concert (or at odds) in different circumstances. Instinct is different from acquired knowledge. Instinct can be based partially on acquired knowledge, but it’s more primal than that. Instinct is a gut-feeling. That little tug on your thoughts that says, ‘Wait a second.‘ This tiny amount of time can be invaluable in decision making processes. It can aid in building positive experiences that are an integral part of personal and professional efficacy. Acquired knowledge is everything learned in structured settings (schools, churches, clubs, etc.) and unstructured settings (family, friends, society, culture, chronosystem, etc.). Every event in my life has added to my acquired knowledge, making me a unique individual.

None of the above will get me a seat on the bus unless I learn how to use it to my personal, and yes, monetary benefit. Otherwise, I will simply be the most self-aware person walking her ass home in the rain.

I hate having to go out in the rain.

Thanks for reading, and I’ll see you again next Monday.

Links:

(1) Episode 912. “The Screaming Skull.” Mystery Science Theater 3000. Film Short, “Robot Rumpus.” 29 Aug. 1998

(This dialogue is Mike Nelson, during the film short. This short never ceases to make me laugh until I have a stitch in my side. I love MST3K, but some of the comedic writing for the film shorts is some of the best writing from the entire series in my opinion.)

What is an Ambivert?

Ambiverts – Introvert and Extrovert? The Best of Both Worlds

Yes. “I’ve Seen All Good People.” (“Your Move” and “All Good People”), The Yes Album, 1971.

Jethro Tull. “Skating Away on the Thin Ice of a New Day.War Child, 1974.

Natascha Rosenberg. She’s an artist and illustrator whose website I stumbled upon while looking for something else entirely. Her work is tremendously cool. Go and look at it! If you don’t like my work enough to buy it, buy hers!

Burn It Down!

First, all the fun creative stuff. Second all the strange stuff.

I’ve been working on a few tiny pieces over the past week. I wanted to see if I could create a tiny bumble bee. The answer is, yes I can. I’ve got two bee dolls in the works right now. One has a larger head, more like a drone bee I suppose and the other one is a Queen Bee. I’m still working on her crown. Well, I actually need two crowns, because I want to have a Queen Bee and Baby Duck from the Eagles of Death Metal song that I like a lot. I’ve already got Baby Duck finished, but he too requires a crown. I’ve tried making some out of paper and other materials, but I’ve found none of them to be satisfactory. I’ll be breaking out the clay at some point today. I’m sure I can come up with something I’ll like.

These two are difficult to take pictures of.

I did create tiny bee wings that I’m satisfied with, however I think I want to create some new sets of wings, because the colours I used are not right somehow. I’ll be going out tomorrow and will pick up a few new colours of acrylic paint. Then I can make some more sets of wings. I’m getting fairly quick at creating the wings with the recycled plastic sheets I’m using. I’ve figured out how to create the etched lines without making myself so nauseated. This helps quite a bit.

I started some wings for two other dolls last night. I got the first colour down and let it dry overnight. I finished them up this morning.

The wings for the two dolls pictured above are a little different from the wings I’ve done previously. I wanted something that would lay flat against the doll instead of extending several centimeters from the back of each doll. I was shooting for something like a cicada and one of those maple tree seeds, which I now know are called samaras, among other things. I miss the sound of cicadas in the summer. My husband isn’t a fan of the insects. I suppose that I associate happy memories with them. They sang me to sleep when I was a little kid, as the house I grew-up in was at the edge of wooded area. They’re the music of summer time to me.

ANYWAY…

These wings aren’t exactly what I want, but they get me a little closer to something that I know I will be happy with.

Which brings me to to some things I’ve been thinking about, and that tie into the title of this post. The orange doll with the green clothing and pink flower cap I made hit a lot of nostalgic buttons for me. I didn’t set out to especially explore smashing around on those buttons. She just happened. I wanted to make an orange doll. Then she had some pink and fuchsia flowers, and then some green leaves, then the yellow hair happened. Smash, smash, smash. Buttons got smashed. Not in a bad way at all, just in a way that explains why I like certain colour combinations and general designs for dolls.

I also started thinking more about the dolls that I’m creating right now. What the real reasons are behind them. I’ve talked about it a bit in a previous post, but I tend to have multiple reasons for doing anything, consciously or unconsciously. There has to be some need that’s being met in the creating of them. I think I’ve started figuring it out, and it’s tied to some fairly common types of behaviour, or perhaps ways of thinking. Or at least I think it’s fairly common. I may be totally off the mark on this one. It wouldn’t be the first time either!

While examining some of the buttons that got smashed while creating the orange doll, I was again reminded of the fact that while I have always loved dolls, the one type of dolls that I never really got into were baby dolls. I didn’t hate them or anything. Once past a certain age, I just didn’t seem to have no interest at all in them. I’ve always preferred dolls that were either more like me, human/humanoid or animals and monster types of dolls. I’ve talked about this before. I was always more inclined to think of my dolls as my friends. Someone to talk to or create a home, or safe place for. I was never the ‘parent’ in relation to my dolls.

Since the beginning to the year, I’ve been creating almost nothing but extremely small dolls(8 cm tall and under). When I get into a type of work, or a theme, I know that there is something that I’m trying to figure out mentally or emotionally. Two different doll-like concepts have kind of become fused in my mind with regard to these small dolls. Guatemalan worry dolls (sometimes called trouble dolls) and ancient Egyptian ushabti. The two different doll-related objects have smashed into each other inside my head somehow. Realistically, I know that the dolls that I make cannot solve my problems for me while I sleep. Nor can they spring to life and do my bidding when I require their assistance. This does not mean that I’m not having conversations with them as a piece of art, while I am in the act of creating them. Again, I know they cannot talk. These conversations are an integral part of the creative process though. Sometimes these conversations go on and on and on until I consciously understand why I’m creating what I’m creating.

Each finished piece therefore, to me, in imbued with a certain amount of life, or energy and time. They’re a unique combination of my curiosity, talent, efficacy, and need to be seen and heard as an individual. I need to understand myself, and the world I inhabit, as well as where they overlap. I do that by making art. I’ve never been quite sure if that makes me smart or stupid or something in between.

What makes me surprised thought, is how I feel the ‘call of the void‘, as it relates to the physical artwork. The artwork does begin to pile up. That’s one reason why I have to sell it. I actually start running out of room to keep it. When it doesn’t sell, then it becomes something that can be a physical manifestation of my failure. The failure being I cannot seem to sell it and make money from it. That resentment begins to build and it turns into that call of the void thing. However, with regard to my artwork, it’s more along the lines of ‘BURN IT DOWN’. At my worst emotional lows there are times I want to pile all of my artwork up on the lawn, douse it with kerosene and light it all on fire. That way, it won’t be there reminding me of my failure to sell it. I created it. I can destroy it. And anyway, if it’s not selling, then no one will be mad that I destroyed it all. (Too Much Thinking: This all has to be rooted in fear, via not being in control, and the act of burning all of the work is taking back my control by controlling the existence of the work at all.)

Like the call of the void, I could never do that to my artwork. I could never burn it all up and destroy it. This concept does make me wonder if the act of destroying my artwork would somehow make me a more ‘legitimate artist’ in the eyes of gallery owners. I’m a creator, not a destroyer. So this is never going to happen. Just like as the thought of stepping in front of an on-coming bus will never happen either.

Man, the places my brain goes.

Thanks for reading, and I’ll see you again next Monday.

 

Links:

The Second Coming (Burn it Down) Seth Rollins entrance music on the WWE. I’m not a huge fan of Rollins as a wrestler, but his theme music is kind of okay. The double bass pedal is way over-done though. There are other wrestlers that I like a great deal more, like Randy Orton and Daniel Bryan.