Backtracking slowly forward

Coolstop

Something really nice happened to me at the end of summer. I opened e-mails long overdue (finally I had found myself and my iMac a corner in the new home) and saw this message:

Hi,
I'm pleased to let you know that your site, Backtracking slowly forward, is Coolstop's Best of the Cool Daily Pick for 07/21/07. My review of your site appears on the main page of Coolstop (http://coolstop.com/) on 07/21/07 and is archived at http://coolstop.com/reviews/?seek=http://tittin.typepad.com/.   
Thanks!       Joe Jenett

Well, at first I wasn't even sure it was that nice, as I'm very sceptical of most messages with an unknown address.

But after checking it out I was speechless.
Obviously Joe Jenett who wrote the review had actually read my comments about my work!
And what's more, he had totally grasped what I've been trying to convey - it could have been myself describing what I talk about. Only he did it better than I would have.
I'm a bit ashamed that it has taken me so long to acknowledge Joe Jenett's perceptive and generous review.

I'm as curious as this guy above - I had to find out; who is Joe Jenett? I still probably don't know.

But I'm certainly glad I tried, because what I found was plenty interesting. Joe Jenett has a lot of webthings going on. It has to do with photos, with words and creativity, sharing and interaction. His own photos and words are just sublime.
The more i read, the more I'm honoured that he picked my site.

He has written tons of reviews over many years. Randomly I opened links to the reviewed sites or blogs. Everyone I opened had quality and all the reviews I read were informative, decent and made me want to go to all of these sites.
He's reviewing all sorts of art sites; photo, design, painting, dance, writing and photo, photo, photo.
Coolstop is what is says - now I've spent hours clicking on links in random reviews and all the stops have been cool.

Further, I found more cool projects under his name. Have look at these two;
The ageless Project - About how irrelevant age is for "the personal, creative side of the web". Read "Don To Earth" and see for yourself.

Colorspeak - To quote Joe Jenett: "We view the world through the web more than we ever have and colorspeak is an experiment to explore how we perceive and associate the colors of the so-called safe palette with words, sounds, people, emotions, and events in our own experience".

There is much more; :random e-motion, dailywebthings, intersect, Jenett photo, simply prsonal - click and see. Oh yes, do go to "simply personal" then click "words" and then choose "the tgif series" where you find ten poems. They touched me - they scratch on my soul. It struck me how bizarre it is that a few selected words, tightly crammed, can stir up feelings of recognition - of thoughts half expressed but never nailed.

It seems I made a mistake the other day when listing seven blogs I like - there should have been eight +........

Tagged into talking

For weeks I hadn't even been checking my stats; that would give you a hint about how busy I've been!
I barely checked my e-mails. Then i found this in my mail: 

"You've been tagged. If you want to, and have time, the idea is to list seven little-known facts about yourself, and then list seven blogs you find interesting. It's to increase readership and linkage. And to promote your wonderful site to others cheers, e"

"E" is Edith Dora Rey, my art blog friend.
Thank you Edith, your challenge kept my thoughts on the blog even when I couldn't find time to write. So did other good web friends by letting me know that they'd noticed my silence. Thank you all. I haven't stopped blogging really. We just moved during summer.

 

New house, and a bad summer in Scandinavia lead to a rush of guests. - I've been a tad preoccupied, one could say.  However, now when my time is my own again, here's my response:

Listing blogs i enjoy - that's pure pleasure, there are so many good ones. (I have to add more to my blog list)

The other part is harder. But in between sorting stuff and stuffing boxes and moving boxes I reflected upon what is little known about myself. A lot, really. I mean, we don't know that much even about the people we think we know. Anyhow, I tidied books and thought about childhood and decided to let the circumstances dictate the themes; reading habits, memories and dreams:

While tidying books:
1) Out of curiosity I counted the books in the stack that had been piling up at my bedside since September last year - 45 books. About one book per week. That is less than I used to read in my twenties but more than when my boys were toddlers.

Packing books reminded me that:
2) Every summer I try to re-read one of Karen Blixen's books. People tend to know "Out of Africa" but her other titles don't seem to be as well known. I recommend book-lovers to try to find them.

Sorting and packing design work made me remember:
3) I'm always torn between clean graphical design and a still-lasting childhood infatuation with a perfectly rendered  rosebud.

Packing the children's books and memorabilia brought back this:
4) As a child I wanted to become an archaeologist. My grandmother's vegetable garden was the perfect site for alternatively playacting the representative of an extinct culture's hidden treasures and buried dead - and the lucky archaeologist digging out the interesting site.
My finds would be all sorts of small household artifacts and more valuable trinkets like my grandmother's silver coffee spoons.
Maybe I outgrew my interest before I had completed digging out the last site - or I was more skilled as Egyptian burial chief than archaeologist; because years later my younger cousin found a silver spoon in that very same corner of the garden. Everyone wondered how it got there... 
Right: Silver coffee spoons, by courtesy of Corey Amaro

Packing all that boy's stuff brought another thought back to me:
5) I've never wished I were a boy or man. Up to the age of about thirteen I thought boy's brains were a little underdeveloped.
I have later been forced to modify this view.

Now packing skiing gear thinking about winters:
6) If I get cold I'm numbed into apathy. My brain freezes into a state of non-thinking. Most depressing.

Left: My favorite one of Edith's winter tree paintings - this actually stirs up some nice winter memories. By courtesy of Edith Dora Rey.

Then looking up and taking in my Mediterranean surroundings again:
7) I've always dreamed of having a lemon tree. A lemon tree is a sure sign of a friendly climate. I now have a lemon tree - for that I'm grateful.

The seven blogs - representing the diversity of my blog list:

1) Check "Doreyme" Edith's art blog for her paintings and the way she lets you in on her thoughts of her daily toiling with motifs and colours. Edith continuously shows new work - a painting a day - which always makes it worth checking.

2) "Tongue in cheek". Corey Amaro's personal observations about living in France rendered with unusual warmth and  precision. She's sharing her eye and flair for capturing all things warm, human, fragile and beautiful in text and painterly photos. Check out her collections of vintage decorations.
- My Christmas-gift-Reading to those who haven't discovered her yet!

Right:Photo by courtesy of Corey Amaro; her vision of books.

3) Life 2.0 - Nick Smith's blog address is what i give to friends in need of a kick or a pull to live life more inspired, more attentive, right now, right here. Philosophical about life, business and human interaction in general.

4) "Charlotte's web" by Charlotte Otter. Charlotte is a writer, sure, but she paints with words - this is good reading and inspiration. About books, living, food, kids, writing. Entertaining about ex-pat living in Germany.(Also see her husband Thomas Otter's blogs).

5) "Freedomwig" - by Martha Rich. What an intriguing title! Found her a few months ago. I'm not sure i want to share her with you, but then it deserves sharing. Art blog again, unpretentious, active, refreshing and sharing.

6) Of course "Art for housewives" by Chyntia Kortzekwa - Wrote about it here.

7) "Self versus self"  by Hazel Dooney. Young Australian painter. Not a typical art blog but thoughts by someone who seems quite committed to making art. Her frankness makes the blog very personal. At times it borders on the private but Hazel Dooney writes so well - it's hard not to be drawn in.

It was May when Edith tagged me. I'm so glad I've never promised to post regularly. That would not fit my profile - see former post.

I would have liked to finish with a splendid picture of lemon trees but I couldn't find one. Enjoy these happy snails in it's place. Quick is not my way!

   
 

The face - an obsession

Museum and art shows sometimes make a lasting impression. For different reasons obviously. Some years ago I had an unusual museum experience that often comes back to me; an exhibition at the museum "Kunsthaus Zurich", Switzerland. I love this museum; for it's collections, the atmosphere and the shows it hosts.

This was a grey February morning. The fact that is was cold and rainy outside, didn't lessen my anticipation as I entered the bright, warm, hushed museum atmosphere. Impatiently I read the exhibition poster; "THE FACE - AN OBSESSION".
THE FACE!  This was meant for me! Studying the face is what I do when making portraits. Exhibitions don't often deal with the face - I felt so lucky.

- Now, it is not my intention to turn these posts into lectures, but in order to share what took an unexpected, but interesting turn, I have to back it up with some facts and history. The exhibition  presented the life and work of Johann Caspar Lavater (1741 - 1801). Born in Zurich; a clergyman by profession and a renaissance man by nature.

I didn't discover Lavaters background right away, as I have the bad habit of skimming through at first. However, what instantly did capture my attention was a large collection of detailed studies of the human features - beautifully presented. (See the eye below. Pastel on blue paper with painted mock framing).

This part of the exhibit was labeled "Physiognomische Fragmente". 'Physiognomy'  - not really a word I use much. A dictionary cites "a persons face or facial expression". Sounds innocent enough - it describes exactly what I study when working on a portrait. I was thrilled to come by these studies, as I scrutinize eyes and noses too!

Slowly it dawned upon me that Lavater was not a fellow portraitist. I hadn't found a painter, but a priest. He was merely writing about features and faces. How disappointing!
I set out from the beginning again; paying attention this time. It turned out to be quite interesting after all. Historically, yes, but also because I find it fascinating to learn about a person's motivation. Above all, it made me reflect upon how I see a face. What I notice, and what I certainly don't look for, in a face.

Anyhow, these are the facts that I learned: The exhibition showed selected pieces from Lavater's original collection - containing about 30.000 works, carefully mounted according to his instructions. The drawings and prints founded the base of his principal four-volume work; "Physiognomischen Fragmente" with the subtitle; "Zur Befoerderung der Menschenkenntnis und Menschenliebe". ("To promote knowledge and love for mankind").

The material was collected or commissioned by Lavater himself. But for another purpose than portrait painting. He studied physiognomy in order to "reveal secretes of the human character". Just like a few other contemporary thinkers and educators, Lavater sincerely thought that classifying and deciphering the human features would promote "love ('Menschenliebe') and understanding" of the human nature!?
I guess psychology is what covers this field today. Even if Lavater got a bit carried away (my opinion) - measuring angles and distances between eyes and mouth and dividing and subtracting and whatnot - his research was clearly done in the spirit of "Menschenliebe". According to many sources he was a highly intelligent and religious man, genuinely caring and thoughtful.
(Below: Lavater at his desk)

The exhibition showed samples from Lavater's widespread correspondence; a collection of more than 20.000 letters. He stayed in contact with several of the big thinkers of his time; amongst them, Goethe and Herder. In fact, Lavater was an active contributor in a vast network of correspondence between influential Europeans. It was common understanding that these letters were not solely for the eyes of the recipient; on the contrary, the letters would be openly discussed and referred to. Whenever he found it relevant, Lavater made not only his own letters publicly available, but the incoming letters as well! He clearly took 'linking' seriously!

In addition to his correspondence, his studies, writings on physiognomy and his priesthood, he also travelled extensively. No wonder Lavater was, and still is, regarded as a communication genius. He was indeed a multitasking guy. I can see him as a blogging psychologist if he had lived today!
Still, even with this capacity for networking, Lavater could easily have been forgotten, if not for his ambition to turn his theories into a science.
(Below: Goethe, rendered by Georg Friedrich Schmoll).

The more I learned, the more I was impressed by Lavater's persistence. For years, he collected these prints and drawings. - The famous, farmers, geniuses or "idiots" - they all interested him. He also commissioned drawings by artists and art-students. He had a whole 'staff' of well known artists; Daniel Nikolaus Chodowiecki, Johann Heinrich Fussli, a childhood friend, the illustrator Johann Rudolf Schellenberg, the portrait painters Heinrich Pfenninger and Georg Friedrich Schmoll. They did studies of details like eyes, noses, mouths - the "fragments of physiognomy" - Lavater classified and wrote comments. He was simply obsessed with collecting evidence to promote and support his theory on physiognomy.

 

Just when I began to appreciate and admire the extent of the work and the attention to detail, I discovered a new dimension; I started to read the accompanying texts. Being so far from how we think today the texts had me completely confused; a person described as wise, noble and honest looked just plain silly to me? Based on the most bizarre interpretations of human features Lavater's comments revealed pretty preconceived judgements. Quite disturbing - but also an interesting peek into European culture two hundred years ago. I was hoping the texts reflected Lavater's time more than his personal attitudes. I mean, he connected dishonesty or greed to a certain type of lips! It made me wonder how he chose his friends - I'm guessing; not by his own criteria?
For my part, I hardly notice the details of a friends face. That is, until I draw or paint it..... and I most certainly don't choose friends by the angle of their nose.

According to Lavater, there were even specific national features that accounted for a more or less heroic character. See for instance how he describes a "typical Russian":

"Fig. 5.-This head is visibly Russian. At least there will be no hesitation in answering the question - Is it English, French, Italian, or Russian?  The retreating of the upper parts, the high eyebrows, shallow eyes, short, somewhat turned up nose, and the large under part of the countenance, show the Russian. Worthy, faithful, good, brave; one to whom all wish well."     

When I saw this Russian I knew he reminded me of someone. A Russian of today. Now, I'm sure Putin won't have a problem with Lavater's flattering words, as he certainly resembles this heroic figure to the left, illustrating Lavater's description. His last sentence makes me wonder though. How much is political correctness? (Middel and right:two photos of Putin).

Even if I find noses intensely fascinating I like to consider myself lacking the prejudice of Lavater's century. Still, I wonder if other discriminating attitudes could lie dormant in my subconsciousness? Can i really trust myself never to judge someone by their mouth or nose? I don't know. After all, our features are part of our body language. Consciously or not, we still read that language. A distinct and expressive language when used on the stage. Take wrinkling of the nose for instance - the interpretation of that expression is bound to be universal. 

But let's get into the 'Lavater mode' again - he doesn't deal with expressions. He's interpreting the actual features, as shown in the selection and comments below.      

 

Have a look at these nose-studies, and see if you find one that matches the nose of Putin or his predecessor.
I'm not quite sure which one to pick. But it seems to be either nose number two, three or six. Possibly number two? Now, let's have a look at Lavater's interpretations of these three:
- Number two says 'verstandig und roh' - that means 'wise and raw, or brutal'.
- Number three: 'merklich schwach' - means 'oddly weak'.
- Number six is a funny one too; 'schwachgut' - this means 'good, in a weak way'.
Pretty intriguing number three. - Why is it odd that a nose has a weak form? - Or does he really mean that a person with this nose is weak? That's nonsense! Or is it? Nice nose on a girl or a small child. Bit of a baby-nose, really.
Again I check myself; Do I assume that someone with a baby-nose is aggressive and dominant or rather pleasant and good humored? (I know. I shouldn't go there!).
Then, number six, 'good in a weak way', what does that imply? I find it more 'merklich' that this should be a weak nose at all - looks pretty common to me. But then again, maybe Lavater thought it pretty common to be weak?

If I had lived in Zurich during the last part of the 18 th century maybe I would have been making portrait drawings for Lavater and writing notes like this one: "Kunstler aug, nur sollte der Winkel spitzer sein", or "Artists eye, but the angle should be sharper".

For my portraits Lavater's field is worthless, besides it's a minefield today. Even if I have noticed odd links between particularly well curled eye lashes and a specific form of the nose tip and upper lip, I couldn't possibly reveal any secretes from lips and eye lashes. Lavater thought he could; that's why he's still not forgotten.

I'm glad I 'met with' Lavater, but why did I not forget him? 
I have this thing about enjoying learning even more than achieving so apart from learning about him and his mission in life, did I learn something useful? The answer is Yes - if I count being reminded about this; whenever I'm provoked and have strong reactions and emotions like disappointment, indignation - or excitement, for that matter, it's really because I'm confronted with traits of my own character. I need to be reminded that provocation is about meeting myself; my prejudiced sentiments, my negative sides - the 'me' I'm not always proud of.

 

PS Originally, I meant to mention Lavater briefly; merely in the context of drawing and painting the human face. Discussing and showing how the tiniest changes of a line alters the mood or expression of the model altogether. However, Lavater, a strong personality, took over completely. This will have to be a theme for another post.

Hands off - the design is good!

Now, try not to ruin it!

Being a designer I ought to know not to attempt at redesigning an already perfect design. As a parent I hope I have succeeded in keeping my hands off enough.

As I see it, I've created three really exceptional designs. I must admit it has been in collaboration with my husband.
I'm writing this because right now, in the beginning of March we'll celebrate the eighteenths anniversary of our first co-production - a live and kicking man cub. -  I have babied numerous ideas that made it into production. But my children are certainly the most precious creations I have nurtured.

Today our oldest, once a nameless, hairless, helpless bundle handled over to me to care for - for life I realised - thus feeling  more helpless  than the baby even looked, is taller than his dad.
(Although, I was wrong in assuming that he was nameless. It turns out that the minute his dad held him in his arms, he decided to name him after himself. But let me assure you that the next two times I was prepared and at the ready with names so we wouldn't have four Sig's in the family. Never underestimate the bonding moment between fathers and babies!).

Today, the dad already a tall man, will be kissed upon the forehead by his, at times, affectionate son. Mothers aren't kissed that much these days. I guess I have to live off the signs of affection accumulated during the first sixteen years. And I can do that, easily, I find. I have observed other young men change back again a little later. I can wait. Mothers wait a lot anyway.

Back to the design. I will not pretend to think I/we could or should influence the outcome that much. They come as they are. By that i mean, he is shaped by a remix of our genes, otherwise he his totally himself. Based on genes and imprint he's destined to repeat certain patterns as well. But he's free to choose to keep, or change  these patterns.
All in all, he is free to choose who to become in life. I hope he has already absorbed that knowledge, as well as the difference between "what to become" and "who to become".

For his eighteen years I find him surprisingly clear;
He doesn't hide who he is. (Nowadays hormonal rush may obscure it, but he doesn't choose that).
He has a big heart in his tall body, and a clear mind in a fast brain.
He has never ever shown sign of jealousy. He is extremely honest and fair minded.
He can express gratitude, will easily forgive you and he detests waste of any sort
He's easily absorbed in complicated tasks and just as easily bored by meaningless tasks.
He also has a fierce temper, but will easily ask forgiveness.
He still enjoys learning and strongly dislikes being taught.
He's a tolerant friend and can explain complicated matters clearly and patiently if he thinks you need it. If he doesn't think you need it, you are brushed off.
He spent much time in his dad's care as a baby. (My work sent me places). Maybe that explains the length of this  list.

All these traits were manifested at different stages from an early age. All are good, particularly one at a time. But in combination they don't always make his life that smooth.
He has been an interesting person to be around. Not always easy, certainly never boring and definitely challenging - more often than not in a good way. He has been a child that forced me to expand my attention and knowledge. He has drawn out my worst sides, but also the best.

At his best, these days, he looks like a lean, serene elf from "Lord of the Rings". Tall, with long blond hair in a ponytail. Open, wise, dark eyes under dark eyebrows (listen to this gushing; biased, proud mother).
But I hear and see enough of the other him to normally sound quite moderate in my appraisals. On a normal morning he looks far from wise, due to he fact that his eyes are barely open, and if open, they can be angry as well. He has a loud voice and can be very dominating and acting as supreme in the universe.
However, I see these sides as temporary traits just like disturbed sleeping patterns and total amnesia when it comes to admitting to repeated verbal abuse of mother at wake up times.
I'm sure he will learn to get over the hormone induced temporary traits. I trust life will teach him to adjust the others.

Mothers are often fretting over their inadequacy as parents. Thinking we should have done different, done sooner, done later, done more - but rarely less. I have rethought this.
I now hope I haven't done too much, that I have kept my hands off enough. That I haven't changed a design that is intrinsically good. Because they all are when they are handed over to us.....

And to my son - lets drink a toast to him! - As we live far away from family and old friends I choose to say some words here . - I hope he appreciates that I earnestly try to be hands off! The damnedest difficult thing for a parent to do, designer or not!

From Trash to Treasure

Introducing ART FOR HOUSEWIVES - a recycling blog
This is a blog review. It also explains how I was drawn into blogs and blogging, and how I consequently got BAD. (According to Nick Smith I may suffer from "Blogging Addiction Disorder"?). Explaining is always a detour; but so what! I'm really good at making a short story long. Another disorder perhaps? So here it comes:

Because I needed to find better ways to transfer images onto..? anything, I went on a googling spree.
Through many tours and detours, I stumbled across Jen Worden's blog; I liked what I saw and read, then started checking out her links. One link was "Art for housewives". My bookmark reveals I've been reading it since January 2004.

Reading, is perhaps not the word; browsing. Browsing led to reading and more link-checking and subsequently more reading again. But it was a one-way experience and finally I couldn't stand my non-existence anymore, net-wise I mean. Alors, I started blogging and got really BAD.

I still vividly remember stumbling across "Art for housewives" thinking;  "HOUSEWIVES! - oh, come on, who's a housewife?....."  and then; "Yeah, well, I guess I'm one, so let me see..." And I'm so glad I did. But at first I had no idea what hit me.  - Because that's what it does; this HITS you:

A brick-pink page with blue, red and purple text opens. Then you realise there are also different fonts in different sizes, all peppered with links and photos.

Completely confusing but also utterly intriguing. All those links - what's behind them? I had to check, and then I was hooked. The links were like tempting wrapped sweets - i opened one after another - just one more, and one, and another and.... oops, I was late for picking up the kids.....

Your fault, Cynthia Korzekwa, but you're forgiven! 
She's the driving force behind all this. She says "Make art not trash!" - she herself does.  Above, an embroidered piece and detail by Cynthia: "She added to his collection"
But let me finish describing the blog. There's so much information; about artists, about crafters, about recycling, about ecological projects and much, much more. It seems endless. Of course all isn't art as such, but there are artful ideas and creative projects. A quite remarkable collection of information, comments and links. Below from Cynthia's photo portfolio. I just love this one.

I'll let Cynthia tell you how it started;
"You know I began ART FOR HOUSEWIVES because I am truly worried about the environmental situation.  And mainly because of my children and potential grandchildren.  I mean, I didn't raise my kids just to have them die of thirst because there's no water left because some slobs had to overdose on consuming this planet's natural resources. For two years I researched via internet and books anything related to making art using second hand materials (the best ideas come from third world countries).
The results are in a graphic book I wrote called Arte per Massaie (Italian for art for housewives)  that should be published at the end of March. 
What I really  wanted to do is to devise projects using household trash to make, you know, functional art.  Two times functional because you not only make something useful, you also help clean up the environment as well.  Having taught in highschools, I know that the mechanical aspect of creating, for some people, is easier than the conceptual aspect.  Handwork is, for often, easier than head work.  Like paint-by-numbers."

The more I see, the more I wonder how she handles all this? What kind of energy-phenomenon is this lady?
Cynthia herself, is an artist, that I know. And her web sites are as intense and rich as the housewifeart thingy. They're not just full of art, but of thoughts, reflections, words and definitions and quirky ways of putting things. Like these mad cartoon-like pictures that make complete sense when you read the text.

While I write this I'm just checking some of her work links, and I find other pages with Cynthia's art that I haven't found before - like the "Cardboard Retabolos". There's still a link to a page called "she just wanted to blend in", started in 2001 and ended in 2005. But the pages are there and the links work.

As does the whole concept - it really works. But you have to have some time on your hands, to sit down and really dig into it, or bookmark links to save for later. Bookmark straight away, is my advice. You may think you'll be able to come back and find something again, that may take more time than you expect; it's so vast!

I have noticed that I hardly buy glossy magazines any more. Now i bookmark blogs and web pages, saving them for a rainy day, for curling up with a warm cup and a good read!
Thanks to people like Cynthia Korzekwa and lots of others, that is possible, and it's more than just a good substitute.
Sorry, glossy publishers!  You sell, but Cynthia and her likes, they share.... Beat that!

All photos courtesy of Cynthia Korzekwa

 

Textile Tales Retold

Finally I'm ready to add some spice here, by introducing art and artists that I go completely double-wow! about.
I actually intended to - and looked forward to - pointing you to other artists!
- Great contemporary artists that you'd normally discover only by chance.

Even if I do keep in touch with artist friends in Norway, our conversations don't always cover every corner of the art scene. So, i must admit; I probably miss out on a lot of important exhibitions and news.
Like this extraordinary textile artist - Inger Johanne Rasmussen, from Norway - she nearly escaped my attention!

Fortunately I had to visit this winter-cold place recently and was meeting with long-missed friends from student days. We had three short hours to catch up and cover news and not-news from our respective fields of art.
The conversation raced and bounced like a chased rabbit.

It was great. Textile-art came up a lot and my friend Hege just happened to have the most beautiful art catalogue in her bag. No time for reading, but I had to have it!
Later, at home with time to read and absorb, I realised this was sharing-material.
I wanted everyone to see Inger Johanne's art!

Let me just say; to me, these images represent a synthesis of childhood memories, the comfort of wool, or protection by felt, women's amazing craftiness, large scale patterns dwarfing me, painterly colour-use, recycling of material and patterns - and still textile art at the very best.

Below, you can see Inger Johanne at work and read her own words (green text) about how the carpets evolve.Then, some of her thoughts on patterns. Further down in red; more from the exhibition catalogue "Retelling".

About making carpets
"All my carpets are made of felted wool; mostly military-issue foot cloth. The material is dyed and cut to size; The pieces are placed side-by-side and glued with the adhesive and stabilising interfacing Vliselin. Thereafter all the bits and pieces are sewn together by hand, as with appliqué: I like sewing most of all.

When I sew; I look forward to being finished so that I can start designing a new carpet. Therefore I sew very fast and take paraphernalia with me wherever I go. I'm an impatient draftsman because I can't wait to see the colours in
the material.

Often I start cutting into newly dyed, half-dry material because i just can't wait till it dries completely. Cutting the material is great fun but sort of daunting, because it's easy to ruin a lot of material in no time; and it always turns out slightly different than I anticipated. I cut quickly because I'm impatient to glue the pieces together and see how it looks. I can't get a proper impression of the whole thing before all pieces for the carpet are cut, so it's always a rush job. Sometimes I have to re-do this stage several times, and that's a pain because I'm always looking forward to sewing again. That's how it is."

 

About what one can read in a pattern
"Patters can be read in a number of ways - according to which culture it stems from; which era and which temperament. What do you meet in a pattern's colours and rhythms?
You can follow some patterns as though they were a supple movement. Some stiffen their necks, or stumble along. Some allow you to slumber in lightness and dreams. Some can be played with; others can be counted and ordered. You can dance with some patterns, or laugh. Some cause you to shrivel with bad memories. Others are so reliable and familiar that you think - here it is good to sit, as among friends."

Excerpts from the cataloue text; Else-Brit Kroneberg shows how IJR's work explores not just the familiarity of traditional patterns but also the connotations of familiar household objects and textiles. She ends the text with an analysis of the the carpet below:

BETWEEN THE ORDINARY AND THE ELEVATED
By Else-Brit Kroneberg, curator at Soerlandets Kunstmuseum, Kristiansand

"...'Magnetic Home' (2005) is another work thematizing domestic life. Here, Rasmussen makes a variation on the traditional red-and-white-checkered kitchen pattern. Along the textile's mid axis, the pattern disintegrates around seven "magnetic" points. Here the pattern is sucked into a vortex where various objects are portrayed - e.g., a house, a door, a chair and a bed. All the objects befit a home. The pattern seems to hold onto the objects, but also to disappear into them, as a reciprocal relation of belonging.

"Magnetic home" also creates a connection with the viewer. At the seventh station a mirror is represented. The mirror's ability to reflect its environment binds the one who looks in the mirror to a picture.
Here the viewer is bound, pictorially, also to the home and safety."

I'm still a little surprised at how strongly I reacted to these images. Mind you, I have not seen the carpets 'live', only in photos. Even that touched me deeply. In fact, the whole project fascinates me; the size of the carpets impress me, the magnitude of stitches. The thought of taking this on!
Then, I'm just thrilled by the story behind the foot rags - and that they turned up practically at her doorstep (at least at a friends doorstep). All the work behind the hand-dyed cloth is something I can appreciate too, having dabbled in the field. Enlarging familiar patterns could have been a no-brainer, but not with Inger Johann's ingenuity and feeling.

But the best part - she's mastering colour like a painter. Although restrained by the somewhat slow process of cutting, she's still making it work like generous, spontaneous splashes of colour - that's what really gets me! Chapeau!

Later, I learned that visitors to her exhibition at Soerlandets Kunstmuseum, had expressed similar reactions. - Feeling really moved, even to tears! Clearly I'm not the only one feeling the whole childhood and a little more, welling up.

For more pictures or further reading e-mail ingerjohanne@chello.no or tittin@rinde.com to get the catalogue as a pdf file. Price info carpets - Inger Johanne.
Inger Johanne's web site is not active at the moment. Link will come later.

IJR has more exhibitions coming up.
"Risoer Kunstforening" One man show February 2007,
"Radoy Kunstsenter" May 2007
"Kunstnerforbundet" Oslo October 2008
She's also participating in an exhibition at "Norsk Folkemuseum" at Bygdoy in Oslo this summer 2007.

The exhibition at Norsk Folkemuseum, "Nothing disappears", will show works related to recycling. All exhibitions take place in Norway, so if you plan a travel there in near future you can treat yourself to some visual goodies.

Photo by Renato Langfeldt

See me, see me, ADMIRE ME!

Oh, Hugh!  Thank you for the kind words on your blog!
With mixed feelings I thank you for throwing me out there too, into the gaping void?
Not so empty,maybe. But scarily vast it gapes at me.

For the extremely few who don't know him; who is Hugh?
Well, apart from being a phenomenon, he's an artist, cartoonist, a networking marketing director blogging up business. Besides, he's a dear house-friend who easily fits into a house full of teenagers.
For anyone tired of their boring, old business card, have look at Hugh's blogcards!

I was kind of hoping to stay in obscurity with my blog until I'd got into the habit of dealing with the responsibility of 'existing'. I'm of course talking about existing in the blogosphere, of potentially being visible and heard and of responding to that.

My normal sphere is very limited now that I've ventured into the realms of art making. It's lonely work.
Come to think of, I don't actually see many people during a day. I'm not being heard so much either - now that all of my three boys will be teenagers in a few months.

But back to existing. Just when I wrote - 'the responsibility of existing'  - it occurred to me how little I take that into account in my daily tasks and encounters  - however few they are. (Later I'll ponder this some more - too serious for my current mood....)

One of my slogans is that 'we all need to be seen'. Being seen, in the widest sense, is 'having one's existence confirmed'.

Hugh has a sharp eye for our weaker spots and his cartoon today is taking my point a notch up...   '... see me admiringly!'

So go ahead - start today. Begin the year by showing your admiration for someone!
I'm sure they'll start to shine and exist more brightly.
(Maybe beyond your point now, Hugh? But still... I know I need it!  And I do admire you!)

 

Searching, Learning and Mastering

I love mushroom hunting. The anticipation. The search. Knowing what trees and soil to look for, recognising the signs of being on the right trail - and then spotting the promising site.
Or maybe not quite, or just one specimen, or a few small ones. And then, looking further, still sharp but not so apprehensive any more - then you see them - a whole cluster full of perfect samples. And then, still further there are more and you eagerly walk on, then to the left, then to the right - sniffing like a dog. Best way to get lost in the woods - but I always get back though.
Oh, that was a goood day out in the woods!

Forget mushrooms - this is an art blog really. But I do sometimes feel like this when looking for information for my work. The net is my woods. And a new recipe or technique are my mushrooms. The hunt is the exact same. And I do get lost. But my, are there lots of generous people out there willing to share information.

Some information is plain good, some makes me really confused but then there are the gems. Clear, with facts and references and the beauty; they describe how to carry on when all looks wrong. They make you not give up.

Jeff Bryant's site is a gem. He calls it 'Wax Egg Oil' and those three ingredients are indeed his basic paint medium. He"s really generous with the recipes he collects and uses. But the best part is he is so clear about what works and not - explaining how to overcome difficulties in a very pedagogical way. Don Jusco's super-extensive site "Real color wheel"  covers everything from 'history of art mediums', art history, teaching to color theory. David Wasserman gives great tips and recipes for homemade paint formulas on "Modot cookbook for artists". Steven Saitzyk's site is based on his book "Art Hardware" an art info guide describing artist's materials. Lots of good info but the site doesn't navigate that smoothly.

Anyway, what I wanted to describe were my fruitless tests of one recipe after the other. All goes well to a certain point. But in the last addition of a substance the medium goes funny, runny, sticky or off. Definitely not as described. That's when this wonderful guy, Jeff Bryant, explains exactly how it looks, feels and smells like when it's wrong and he leeds you step by step to save it again.
And lo and behold, then it really happens! A grainy casein/wax mixture becomes wonderfully creamy, like mayonnaise, just as described. Success, finally - oh, the beauty of mastering....

Mastering the chainsaw - an unusual combination of Wood and Mushroom

Bigfoto

 

 

Drawing it out

Doing maths is a "feel-good" thing for my son. For me, the "feel-good" thing is drawing.
Like most children I was drawing before writing. All normal. I just kept on doing it through all stages. It was like my fingers were itching to do it. It wasn't about achieving anything, it just felt calming, made me feel good.

That feel-good thing should have led me straight to a suitable education. It nearly did. But because it was too strongly assumed that I would choose art, I had to revolt and started training to become a nutritional dietitian.

To get there I had to study maths and loads of "feel-not-so-good stuff". In order to survive I took to "comfort-drawing". That blocked all learning - so I dropped out.

Through several detours - all involving drawing - I got myself back on track and studied art and design after all.
In art school everyone was drawing and everything was drawn. Four and a half years of drawing more than writing makes you pretty unsought for by most employers...

Eventually I majored in printed fabrics and ventured into textile-design; my chosen career path. I ended up engaged in interior-design as well as industrial design. Now I was drawing interiors and patterns - human surroundings empty of people. To compensate I kept up diary-sketching. The sketches were always of people.
I collected faces and features - my impressions of expressions.

It took me three kids and quite a while to find time for my own work. Having three kids was an alibi good enough to stop taking on design projects. Alas, I stopped drawing for some time too.

About ten years ago I decided to pursue my former intentions; to use portraits based on photographic silkscreen printing in combination with my hand-printed fabrics - tools and images I was well familiar with.

However, I needed to know that I would be able to actually recapture someone without a photo at hand. Otherwise it felt like cheating. Hence the drawing and painting exercises.

I started by painting portraits from live models. I felt really rusty, but had to make sure I could master portraits if I wanted to. It was difficult.
In order to warm up before painting I did quick sketches in charcoal - that felt good.   

Now, drawing live models turned out to be fascinating and rewarding, and finally my portrait-painting picked up. So I've kept on doing this for quite a while. In fact it took me a long time to get back to experimenting with digital photos, printing and transfers.

I still paint some portraits, and drawing I do all the time. It frustrated me (and still does) that I can't paint the way I draw. I'm constantly looking for ways to get there....

"Freedom was the default"

The context is copyright. The quote is from the book "Free Culture" by Lawrence Lessig, with following subtitle; 'How big media uses technology and the law to lock down culture and control creativity'.
Creative freedom used to be the default - not so any more.

These issues concern me deeply.
In my small world it merely causes frustration and more work.
On a larger scale it's more dramatic. Lawrence Lessig is talking about "Theft of our common culture"!

Thomas Otter (my husband's biking and blogging friend at SAP) alerted me to "Free Culture" as a follow up on a discussion we had about copyright for images.
I had been pouring out my frustrations about having to delay posting certain pages because they included photos I had 'borrowed' and altered. I knew it was wrong. But how wrong?

- The photos depicted subjects perceived as icons. Of course they were not mine.
But I have seen them so often that they are part of my cultural reference background.
The idea of them is mine, and everybody else's. We all more or less agree upon their characteristics.
That's why I used them in an art project about identity. I merged my face into the existing; a sphinx, queen Victoria, Chaplin, Warhol, Monroe, Mona Lisa and lots more. I couldn't use an anonymous person for this.

Now, this was work in progress with an unsure course. In the end I may not have shown the work at all.
Then came the blog. I wanted to illustrate what I communicate, and could no longer afford to be indifferent to do's and dont's of the public cyber domain.
Below: Example of taking, and altering, without permission.*

Altering, and taking without permission is a bit too much even on a blog that hardly anyone knows about.
I don't want to be a thief and even with permission from the source, altering is a whole other issue.
In the end I'll find new photos to illustrate my post, or make drawings of the altered ones.

Even if some photos are free (under certain conditions), others are not. Marylin Monroe in white dress is typically not. Of course I shall not use it, but take my chance at showing it as an example.
( If anyone objects to this I will of course remove it).

But being 'inspired by' is still (if only barely, I feel) allowed. So when freedom is stifled inspiration is stirred.
In this case it forced me back to the drawing board. Literally, my drawing table, which was both fruitful and healthy for me. Too much 'photoshopping' may be damaging to physical skills!
Below: Homage à Milton Greene  - My face, my drawing - borrowed pose. *

 

However, the www is there with new demands to our ethical values. We have to become sharper and more conscious to foresee the consequences of the stand we take upon ownership of intellectual property.
According to Lawrence Lessig it is already late - "Creativity and innovation is controlled and owned." (listen to his talk on "Free Culture" ).   

This heightened concern about who's the owner of 'intellectual property' - be it an image, idea or a handful of sentences - is working it's way through every creative corner of society.
Of course there are grave cases of real theft like obvious plagiarism, that's not new.
But there seems to be a notion that anything has a potential value if presented on the net, and thus a potential source of copyright infringement. Lessig is right; our common culture is owned and controlled.

Do I really want to accept control so meekly? In saying: yes, yes I'll change my work, replace the photos, rethink my ideas....... Because that's were it takes me in the end - I have to rethink.
In my particular case that may not be such a tragedy; as mentioned, it may be for the better.
But there are others out there with more important ideas in fields that could make a difference. They could just as easily feel stifled and stalled unless they are more rebellious than me and say; "Sod the law and lawyers!  My matters are more important than that!"
Rebellious minds have always brought us forward.

As for where I stand on this? No, I do not want creativity controlled! No, I do not want to accept control of intellectual property to the degree we see now.
I think there's far too much ownership out there! I don't want to accept the consequences.
Being rather more of a coward than a rebel, I have to find other ways than fighting the law to make a difference.

I can go the 'open source' way and say; OK, you like something? Take it. Copy it. Print it onto anything. Use it for whatever. It would be nice if you told me, showed me or credited me as the 'source'.
I don't see this could harm my work. I'm the one with the originals, and they are protected left right and centre, as we know.

Notice that Lessig alerted us already four years ago (and probably before, too), while I didn't experience the consequences until lately.
Writers and journalists exprience new dimensions of the change in attitude as well; see this article by Charles Isherwood in International Herald Tribune on Des. 6. Eye opening and amusing on copyright, self-expression and self-commercialisation issues in the literate world.

Finally I cannot help but wonder whether the storyteller is affected too? There's been a revival of the old-fashioned storytelling but the tales are not necessarily old. Does the storyteller then have to pay royalty to someone before he retells a modern story?
I don't know the correct answer. Following guidelines for the web it ought to be "yes".
But  if we want to preserve a 'common culture' to build on, "yes" is the wrong answer in the long run......

 

There are plenty of sources to free photos avaiable just by googling. The resource page "When image is everything" is particularly good. It not only lists sites - it offers detailed information about different search engines, explains copyright issues and image file formats.

For more copyright info check out these links:

• 14 Copyright tips for Bloggers
• 4 Basic Questions About Copyright and Weblogs
• COPYRIGHT & RELATED ISSUES FOR MULTIMEDIA AND ONLINE ENTREPRENEURS
• "Creativ Commons"  - change your copyright terms from "All Rights Reserved" to "Some Rights Reserved."

* Sam Shaw - photographer; "his work on The Seven Year Itch created the iconic image of Marilyn Monroe (in white dress) over the subway grate".

* Milton Greene - Photograper 1922 - 1985. Created numerous beautiful series of M.M. Like the "Ballerina Sittings".