inflection point drawings

“There is always the inflection point in a drawing-the point at which it takes on its own presence and becomes more than its content. There is also the point where others view it and it becomes their image. I know that if I create art, these points will occur, and I can work to control part of the process leading up to these points. Ultimately, however, not all of it is mine to control.” Mary Shindell

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Mary explains Vector and Pixel files to me and another gallery visitor. And while I understand some things, I don’t understand all of what she says. To make it clear she describes how her lines are made. A Vector file makes a clean, intense line, she says as she shows me one and compares it to a pixellated line. Once I see the quality of the line, I understand. We discuss her digital drawings and compare them to traditional printmaking, both in quality and process. I suggest she teach a class ( teach me is what I really think).

There are three large works on paper, on the east wall of the gallery. Each of the compositions stands as a unique work though they connect directly through process. One design uses the other, and then again.  Mary draws with graphite, inks, gouache, and she also draws using her computer.

Below are details from the large 42 x 42″ works on paper. Can you see how they connect? One is a digital photo of the original graphite drawing. The second is the original graphite drawing with added media, all completed by hand. The last one is computer generated and uses the other two.

Note: My photos are not perfectly aligned. I shoot the right side (first 3)  and then the left (next 3 of the drawings.

Left edge detail
Inflection Point: Estrellas, Moon
drawing, graphite, ink, digitally archived
42×42″

 

Left edge detail
Variant 1: Bougainvillea, Sweet gum, Seed Pods, Mesquite Beans, Moon Craters
drawing, graphite, ink, prisma, pastel
42 x 42″s.

Left edge detail
Variant II: Fig, Bougainvillea, Sweet gum, Mesquite Beans, Moon Craters
digital drawing composited with graphite and ink archival ink jet print
42×42″

Mary places the viewer above the work. We hover perhaps in space, and see the top view of a multi-layered landscape that in this case includes: the moon, the Estrella Mountains, and the beautiful Arizona flora.

I look closely at the work and identify elements but then I have to stand back to take it all in. The brilliant details captivate.

Right edge detail
Inflection Point: Estrellas, Moon
drawing, graphite, ink, digitally archived
42×42″

 

Left edge detail
Variant 1: Bougainvillea, Sweet gum, Seed Pods, Mesquite Beans, Moon Craters
drawing, graphite, ink, Prisma, pastel
42 x 42″

Right edge detail
Variant II: Fig, Bougainvillea, Sweet gum, Mesquite Beans, Moon Craters
Digital drawing composited with graphite and ink archival ink jet print
42×42″

Along the west wall Mary shows a series of small drawings and digital prints. She explains she works things out on these smaller works in between stages of the larger works.  Here are photos of two and a detail shot of a third.

Fig Moon Drawing
Digital Drawing
composited with graphite and ink drawing on Arches Aquarelle, archival ink jet print
12×12″

Fig Moon 
Drawing
Prisma and Gouache on Johanna
12×12″

I ask Mary about the title of the exhibition, Inflection Point. She explains the mathematical term.  An inflection point is a point on a curve at which the curve changes from being convex to concave. I understand, I am familiar with the concept. She identifies it as a changing point, a point of transition.

I’ve known Mary for a long time – she continues to mesmerize me with her curiosity, her attention to detail and her growing skills. She is always on to something new and wonderful.

I will drop in to see the exhibition one more time – in case I missed anything.

Detail: Mesquite Beans, Moon

Inflection Point drawings opened this First Friday and will run to the end of the month.

Who: Mary Shindell
What: Inflection Point drawings
Where: 515 arts – 515 East Roosevelt, Phoenix, AZ 85004
When: 1/2/2015 – 1/31/2015 (artist’s reception 1/16/2015)

Inherent Traits: In Progress

Monica is working on a large anatomical drawing of her mother Elisa. I am impressed by her use of a warm orange background broken up with several areas of purple wash. The color palette is so inviting and she tells me that orange is the color of creativity and in Yogic studies it is associated with the pelvic area. These background colors appear full of emotion and the paper has also been coated with gesso and a very thin layer Golden Moulding Paste to give it a slight texture. I talk to Monica about how it is possible for her to work in direct contact with the surface of the figure. She explains that casein is a protein and as it is touched (she rubs it with a cotton cloth) it acquires a polished look.

Monica works directly on top of the drawing

In the drawing Elisa’s hands are clasped in front of her body and I understand that she is quite handy. She builds and repairs things in her home and has raised six children while working as a hearing and speech professional in the schools. Monica includes a drawing of the inner ear in the space next to her mother’s head. It floats as a symbol for her work.

The inner ear

Monica works on the drawing ‘s inner ear detail

The compact organs in the chest and abdomen are depicted in strong vital colors and will remain visible as the work progresses. Monica has decided to omit the skeletal structure in order to make the organs an intricate, energetic focal point. There is a space where the gall bladder once was and because it has a very plant-like look and was removed in real life, it now exists on the ground plane.

Chest cavity and abdomen

Monica places the drawing on her upright drawing table so I can photograph her standing next to it –I am thinking about illustrating scale. Elisa looks directly forward and Monica stands beside the figure. I convince the artist to pose as the figure poses, hands clasped in front. It is the opposite of the way Monica usually stands with her hands together behind her back. Both women look forward, strong, direct, engaged and engaging.

Monica and Elisa, notice the gall bladder in the lower left.

 

 

 

 

subtle variation

Mary Shindell Studio Visit: March 28, 2014

 

Mary Shindell talking about her newest drawing project.

I haven’t been to Mary’s studio in a while, so I arrange for a visit.  Mary has two spaces, her home space and her shared warehouse space.  She has been drawing, so this takes place in her home studio where things are clean and climate controlled.  Before I greet Mary, I first need to greet Zsa Zsa, who has a very big grin on her face.

Mary’s studio companion, Zsa Zsa the french bulldog.

 

In Mary’s studio I check out some of the things she keeps on hand.  Like myself, Mary is a big studio nester.  It functions as a cocoon of creativity, and the work space is littered with objects, past works, sketches, images, and art supplies.

Some studio treasures on display.

 

Many things are familiar, but there is always evidence of fresh activity.  Today I see that some of the furniture is moved and there is a large in-progress drawing filling her drawing table.

View of studio with in-progress Moon and Estrellas drawing on drawing table.

 

I recognize that this is one of her satellite drawings, the title referring to the straight down perspective.  But this drawing literally makes use of satellite imagery of the Estrella Mountains.  Chosen because they are local, but also for how great they look from above.  This imagery is being combined with hand mapped moon drawings that pre-date satellites and are available for public use.  The drawing becomes an unconventional landscape where the land and the moon are collapsed into each other.

Detail of in-progress drawing, Moon and Estrellas.

 

One of the first things I notice is that Mary is using symmetry in this drawing.  This is a great reminder of how far back our relationship goes.  I was fortunate to see Mary’s impressive 1978 MFA show at Arizona State University, where a number of the drawings were symmetrical.  Here is a drawing from that general body of work.

Mary Shindell    Brown Drawing, 30 x 22″ 1976

 

The symmetry she is using now is for the purpose of segmenting the drawing in modular units.  This could have been done in the computer, where a section could be drawn and then easily flipped or rotated to create matching modular parts.  But Mary does not want the sections to be so exact; she is looking for the subtle energy that will be created by the slight variation that hand drawing creates.  Where this drawing will end up is still open-ended.  After the hand drawing is completed, it will be scanned and worked in the computer.  Where it will undergo steps with the idea of continuation.  Where maybe there won’t be an exact end, just pauses.  This is an influence of working on the computer where visual information in the layers of past pieces is easily used to start new pieces.  Here the process will stay contained within one piece.

Moon and Estrellas, in-progress on Mary’s drawing table.

 

But Mary is playing with one more element of variation in this work.  Along with the natural variation of hand drawing she is introducing the hand of another artist.  Mary is drawing one side, and her studio assistant, Pere, is drawing the other.  In their close working relationship, they are playing off each other as they make subtle decisions as to what to emphasize and how to draw from the sources.  In some areas Mary has taken the lead, but in other areas Pere has worked ahead and Mary responds accordingly.  The differences in their two hands isn’t immediately obvious, but does add a subtle discordancy to a drawing that a viewer would assume was drawn by one person.  As the first phase of what will become a multistep digital drawing, this is just a path to something else.  It will be an artwork that plays with the differences between pencil drawing and digital drawing.  Mary doesn’t know exactly where this is taking her, but does know that it will become her January show at Five15 Arts Gallery, Phoenix.  Opening reception will be January 2^nd, 2015.

gift of time

Sharon Lavender in the role of studio assistant.

Normally I spend many hours alone in my studio.  During a deadline I become hermit-like, while my friends, family and my husband tolerate my absence.  I have received help in the past, but there isn’t a lot for someone else to do.  A lot of my work consists of personal drawing technique.  The format of this piece allows for a helper.  Monica donated a day to me and now, my mom Sharon, has been putting in hours.  In fact, she has calculated that it will be 75 hours, done over 11 days.  I am fortunate that she has been able and willing to do this.  And it is such a switch, since studio time is usually time spent away from family rather than time spent with them.  There has been lots of family talk to go with the art making.

 

Mom’s hands while she transfers my lines on to a panel.

 

Preservation Woods photoshop sketch.

Here is the complete image, which will be transferred on to 10 panels for a total size of 80 x 160″.  Thanks Mom!!

 

the unplanned

Carolyn Lavender speaking at Golden West Gallery talk.    Exhibition: Nature, Natural, Simulated- Jean Vavrek, Carolyn Lavender    Stehekin, Washington, September 2012.

My recent show in Stehekin, Washington is an interesting contrast to showing in the large metropolitan cities that I am accustomed to.  Depending on the time of the year, there are 70 to 200 residents in this small mountain community.  Our 2 person exhibition also included local artist, Jean Vavrek, which is only part of the explanation for the large attendance that gallery receptions receive in this community.  My guess is that maybe 50 to 75 people attended our gallery talk.  This is my third trip to this special place at the headwaters of Lake Chelan.  Last year I spent some time there with my sister, at her cabin, constantly photographing the woods everywhere we hiked.  I also took a snapshot of this stuffed beaver that is in the building that also houses the art gallery.

Taxidermy beaver in case, Stehekin, Washington

A few months later I used that beaver image in my drawing, The Woods- Preservation.

Eventually, Jean contacted me, and asked that I apply for a show with her.  I made some new work for the show, but also exhibited The Woods- Preservation.

And, when I did my portion of the gallery talk, it was fun to point out that it was actually “their” beaver in my drawing.  I think the preserved beaver was also enjoying the moment from his regular spot in the next room.  A little moment of unplanned.

The Woods- Preservation detail (The Stehekin Beaver)

enmeshment

Monica waiting for me to join her in the studio.

This shot reminds me of how I feel about my own studio.  It is a sanctuary that is created through artistic energy, work and ritual.  When you are invited into someone else’s studio they are sharing all of that with you.  This is something I never take lightly.

The beginning of a human back drawing.

This drawing began by tracing a woman’s body shape directly on the paper.  It is a portrait of an individual person.  Anatomy sources are used to insert an anatomically correct skeletal system.  Monica has discovered that the layers of back anatomy, yet to layered on top, are a lot more complicated than she expected.  This in-depth study of anatomy has created a heightened awareness of her own skeletal system.  When she moves her body, she thinks about the placement and movement of her interior anatomy.  This mind/body connection is also practiced with Monica’s ongoing study of yoga.  The beginning of this drawing is quite beautiful, but it is there to be built upon.  Monica documents the stages of these drawings, but is quite willing to let each stage go as she pushes through to reach the finished drawing.  The beginning is structured and accurate, while the end is a mesh of marks that show a complicated journey of exploration with the parameters of the subject.  There will be little or nothing left of this beginning stage.

Detail of male back.

When I look at Monica’s work up close I really get caught up in the detail work.  There is something powerful about large scale work that is just as interesting in the small details as a small work is.  It is an interesting contrast of what feels epic, and what feels intimate.

Monica’s hands, while she talks about her piece.

It is always interesting to watch an artist handle their work.  They are always so casual in doing so.  Others will always use extra care to communicate their respect for the work and the artist.  But artists often touch their art while they are talking about it, and enjoy showing how comfortable they are in doing so.  It can be really enjoyable to watch an artist do this.

Studio research materials.

Here we have the wonderful combination of book illustrations, artist materials, and productive activity.  I never tire of seeing the hints and clues of what goes on the studio when the artist is engaging in their isolated production.

Studio shot showing drawing of male back on easel.

This larger shot of Monica’s studio shows a bit of how layered, active and visually interesting her space is.  Like most studios the total space can’t be captured with casual photography.  The memory of my visit will stay with me tonight as I work (hide) in the privacy of my own studio.

 

 

 

in progress

Carolyn Lavender   Woods/Gifts in progress 2012

Carolyn Lavender Woods/Gifts in-progress detail 2012

This is what it looks like when I am working on one of my graphite drawings on prepared paper.  I start by scraping layers of modeling paste across the paper with a putty knife.  I like the way it takes the graphite and I can even scratch in tiny whites with knife blade.  The drawing will be well traveled, it is headed for The Space Between show at Largo das Artes, Rio de Janeiro, Brazil.

creature, man and nature

CREATURE, MAN and NATURE – The title for our upcoming exhibit. It surfaced from each of our areas of interest. They are timely subject matter. Carolyn observes the animal kingdom, Mary respects the land, and I honor the human body. Combined, we show a deep appreciation and concern for the natural world.

We’ve met regularly for some time, to organize this project. I include bits of some of these sessions, as they’ve occurred already.

We needed a clear title, and now with that –  We officially launch our blog.

Welcome to:

FORMAL exhibit  and an INFORMAL blog
CREATURE • MAN • NATURE
works by Carolyn Lavender, Monica Aissa Martinez, and Mary Shindell.

You’ll hear from all three of us in this blog. The plan is to share photos of our individual progress and our meetings until we are complete with the entire process. The final installation will include video, one from each of us. So  count on snippets of some of that too. We’re also thinking to invite in the occassional guest author. And we’ll post something we call a throw in.

Move over 21st century … we’re present. Though meetings always include digital equipment of some form or other…the sketchbook still presides, cause we’re visual artists.

Carolyn will draw (and maybe paint), I will paint (and maybe collage) and Mary will make sculpture (and maybe print) … maybe we’ll do a bit of all of it.  Mesa is giving us plenty of space and freedom.

Stay with us, go to the home page, look around, get acquainted, and feel free to comment.  You’re a part of it now.

…I’m done for a little while, chances are you’ll hear from Mary next.