Showing posts with label archetypal. Show all posts
Showing posts with label archetypal. Show all posts

Friday, May 27, 2022

solitude is a place

Q  Where have you been?  

A   I've been visiting a place that encourages me to work by instinct.

Q  What is the name of that place?

A   Solitude.

Q  Don't you get lonely?

A  Sometimes.  Most of the time I'm fine.  

Q  What do you do all day? 

A  I make my own coffee and don't follow my usual routine. 

There is absolutely no agenda on the weekends. 

However, during the work week,  I work.

The difference is that the solitude gives me a feeling of freedom.

I can't explain it. 

I don't think about the work first.   I don't plan it.

I just start.  

It's as if I am a four year old child and the adult who loves me gives me construction paper and scissors and  crayons and says:  "make art".  

So I just start.  The adult who loves me (myself) tells me to. 

Q  Can you give us an example?

A  One example is the new quilt that I started two weeks ago.  

I didn't know that I was going to make it when I went to bed the night before.

It's a huge piece, at least 100 inches square, but very light. 

I am using up the cotton that I painted with iron water dots in July 2020.

That cloth had been folded up in a basket for nearly two years.  

Q  So you follow the materials?

A  Yes. 

I also think that something intuitive happens with the passage of time and personal and world events.    

My brain didn't know, but my spirit and body did.

"knowledge grows slowly like a wisdom tooth"  said poet Adam Zagajewski

Q  Any other examples?

A  I did make some break throughs in other media.  I may post about them in the future, not now.  

Q  Tell about the circle stitching that you are doing.

A  After mounting the exhibition last fall I had started an embroidery on some wool cloth dyed with avocado.  It was like hugging myself, going round and round with the running stitch, but I had put it aside.  I picked it up again in May.  I hope to finish it this summer.   

Q  So this avocado piece was not planned either?  

A  That's correct.  The two pieces in this post have no plot.  They tell a story, but there is no plot.

Q  But I thought that you sketched in your sketch book and worked with the design wall.  

A  With these pieces, I sketch them after I've stitched on them rather than before.  

I figure out what to do while I do it.    

Q  How come you have solitude in May?

A  Well, it's a busy time for my husband so he's been going in to work rather than working from home.  He's also been away opening our cottage for one of the weekends and this last week, he's been on a fishing retreat with the guys.  He comes back home today.  I will be glad to see him and have him here with me at night.  

Q  Do you always have projects like this when he is away?

A  Probably.  But I think that this year something is different.

I seem to trust myself more.  I don't care if I please others.   

I don't know where it is coming from, but I am letting it come.

Q  Please tell us about your unique mark making.

A  Timeless geometric motifs have become my language: Circles, dot grids and simple running stitch.  

And like a mother tongue, I speak them without thinking. 

They seem so normal to me, yet at the same time,

I know that they are not normal because the way I use them is my own personal language. 

Q  Do you have a philosophy?

A  I am a woman artist.

I look at the horizon from my window or I sit outside and listen to birds.

I always have stitching in my lap.

The archetypes and the female in me rise up like clouds and stars in the sky and I let them.

Carl Jung struggled with understanding his own unconscious. 

He tried to find an image for the feeling, as if that would help him understand the feeling. 

He identified the first shapes that all humans seem to understand.  

It is difficult to translate our inner reality into a visual symbol.

Abstract art is a valid way. 

Abstract art with the touch of my hands it my way.   

"Classical art depends on inspiration.  It exists in the mind, it doesn't exist in the world.

Many artists live socially without disturbance to mind,

but others must live the inner experience of mind,

a solitary way of living." 

Agnes Martin. 

"I found a means to express my vital concerns as a woman; 

my body, my feelings, my relationship to others, my frustrations 

and my values: tenderness, resourcefulness, endurance."  

Radka Donnell

Thursday, April 11, 2019

monumental simplicity

The installation of the work in this space at One Sky is celestial.
The pieces are like stars in a constellation, each in its place yet connected to the others with invisible power lines.
Monumental Simplicity is part of this exhibition.

I made it in 2012, the thesis piece for my UK degree. 
A large ‘empty’ square.
with a horizon
and repetitive small marks that distract the eye just enough.

More images of this exhibition are here.

Thursday, June 07, 2018

the sun, the moon, and also the stars

moon, wool thread, wool felt 2018  Judy Martin

sun  wool thread, wool felt, acrylic paint ( in progress)  judy martin 

and also the stars  wool thread, wool felt, 2018 judy martin
 
Intuition and conceptual thought are married in most of my work.
And some of the time they live happily ever after.

But there is usually some tension along the way.

I need to make my work as true as I can.
Believable.
Real

I rely on the archetypal shapes of circle, cross and dot and use them as language.
The works in this post are the under-sides of pieces made last winter  (see here)

They are the backs I suppose.
Felt drawings
I plan to display them so that the original 'first side' will not be shown.

I don't mind that the original designs will be secret.
Believe me.
I took them outside and laid them in the garden, amongst the caterpillars
and forget me nots.
from left to right:  sun (february)  and also the stars (march and april)  moon (january)  2018
These three pieces document each day of January, February, March and half of April 2018.
I used velvet and found fabrics to make small collages on wool felt

which were then attached together.

I kept going until I ran out of felt.

Then I turned them over, and used the felt 'backs' as if they were pieces of paper
and made completely fresh and new drawings.

Drawings that don't have anything to do with the winter.
These new drawings will have their first showing in Halifax Nova Scotia this summer.
Penny Berens and I have produced an exhibition entitled Cloth Of Time.
the underside of the leaf
cool in shadow
sublimely unemphatic
smiling of innocence

Tuesday, February 20, 2018

I am the boss of me

On New Year's day, I challenged myself to make stitched collages as a form of daily practice throughout 2018.

I began by cutting plant dyed velvet and flannel fabrics into archetypal first shapes such as circle, cross, square or triangle and stitched them to wool felt pieces.   January 1 is in the center with January 2 (the super moon) stitched to its top edge.  Jan 3, 4, and 5 lined up in a row that fit onto the side of those first two 'days'.  I continued spiraling around the center with Jan 6, 7, 8, 9 on the bottom, Jan 10, 11, 12, 13, 14, on the right side and along the top Jan 15, 16, 17, 18, and (not shown in photo below) Jan 19 and 20.  Thus the collage was built like a quilter constructs a log cabin block.
daily practice number one  January 1 - 20 2018 (shown in progress)

In the second piece, started January 27th, I used previous inspirations now abandonded (UFO's) instead of the flannel shapes.  I am still using the dyed velvet, the wool felt base and the log cabin method of arrangement.
In the photo above, you can see a stitched cross.  When i chose it I felt that it would be a perfect central hearth for the new construction, but as you can see in the photo below, that cross is covered up.
I removed the cross because as I went along, it no longer felt right.  I found some beautiful and moody cyanotypes of clouds from twenty years ago and they changed the atmosphere of the piece.  I went back to the drawers of the unfinished and pinned ten or so different false starts over the cross.  Some of those trials are pictured below.
couched circle
This is not knowing as method 

This is self gathered up

This is trust that I know what I'm doing even though I do not know.
embroidered crosses on curved piecework
Because we do not know what each day will bring. 

Life is an adventure.
a densely stitched light house
Penny Berens and I are in an exhibition together this summer.  The premise of our show,  Cloth of Time is our daily practice and the passage of time.  I will be showing not to know but to go on  and cloud of time and if these stitched collages work out, I will include them.  Penny is showing daily scratchings, criss-crosses and her stone pathwaysPenny is a master of observation, and her work is a record of what she sees and touches.  It connects us to the natural world. 
stitch resisted indigo
Mine is a connection to the inner world
paper pieced star appliqued to wool
My daily practice is about the act of making itself.
  
People learn about themselves through the things they make (Richard Sennett idea)
reverse shows construction on felt base
Because I am the boss of me I made my own guidelines.

One:  work relatively small in these collages
Two:  the pieces are separate from each other and can vary in length of time depicted, technique and materials.
Three:  once I start I need to be honest and work every day until I feel it is done. 
daily practice number two  January 27 - February 16 2018

My next wall piece will be slightly different than these two.
I'll begin it in a few days.

Art is an adventure, and I am the boss of me.

Wednesday, January 03, 2018

daily practice

I make large hand stitched drawings.  
My work reflects upon the place I live, a sparsely populated island in Lake Huron, Canada.
I use the aesthetics of simplicity, time, labour, and repetition in combination with the sense of touch.
I spend quiet time with the work, and make repeated, interesting marks.
At the same time, I keep hand written journals (about 200 so far) where I document my daily life, my thoughts, and notes on what I have read. 
Perhaps because I am a parent of four children, I’ve been interested in how mother artists and writers manage their creative lives.  

I have a daily practice of journal-writing.

This year I am paying even more attention to my journals.
I'm re-reading them.
I feel as if I'm really knowing my self.

I'm reminding myself about who I am, because its hard to stay true when one is easily inspired.
On New Years Day there was a super moon.
I stood outside and looked up at it around midnight.
It was awesome, large and bright, with a large ring around it.
The air was super crisp and cold.

I'm starting a new daily practice of stitched collage, using up a piece of contrary felt that I purchased in Alaska in 2009 as a base to stitch into.
A new thing here is that our daughter April will be based out of our house in January.
Her energy is sure to influence how I spend my time.
I look forward to being with her a lot, but I also want to hold on to my self.

My own work.
I feel that these collages will give me a place to play with patterns.
I will allow patterns.
We are given these shapes or archetypes or patterns and we just need to record them.

It's destiny.

In most of my work I try to pare extra shapes away, in order to give more empty space for dreams,
but in these collages, I will let them come.
The first shapes.   

Thursday, June 30, 2016

Jouissance

Joyful passion that extols female sexual pleasure and the maternal.
The tremendous strength of the female spirit.
This time last year, I was in England, and visited Levens Hall and saw these joyful trees.

circles, domes, eggs, spheres,
boxes, biomorphic shapes, body like materials,
fragmentary, non-linear
are abstractions that represent the female

Lucy Lippard said this in the 70's

Monday, October 12, 2015

family traditions

The walk on the ridge when the turkey is in the oven
Pie. Baked by Oona with Charlie's apples,and archetypal markings
Happy Thanksgiving Canada!