Postcards from Paducah, day 30

Have you had the experience of a life mask? Tonight is my first. Secretly I hope that Char Downs has forgotten her request to cast my life mask, because that was almost 30 days ago. She has not. I don't admit to her that I'm claustrophobic, that I'd prefer passing on this opportunity, and I am glad.

This is cool! Char is adept with the plaster strips (remember plaster body casts?), and is prepared with swim cap, vaseline, and towels for comfort and practicality. The casting feels like a spa treatment, or what I imagine a spa treatment to be, and is over within minutes. The Pinecone Studio artist will use the multitude of her castings - friends, family, fellow artists - in a 2015 exhibit. In the meantime, Halloween night is the premier of the second of Char's Phantasmagoria happenings: in the dark, by gallery-goers in masks with flashlights. I will miss it, but I do have a piece in the show and have had a sneak preview.

Earlier in the day, over lunch at Shandies followed by coffee and a cookie at Etcetera, Rosemarie Steele and I conduct an informal exit interview. She comments that I am one of the most low-maintenance artists-in-residence, and that I have provided great marketing of Paducah and the Paducah Arts Alliance via my blog. It's a fair trade for a month's experience in this rivertown, creating and exhibiting art, and interacting with the LowerTown artists. Thank you for the invitation, PAA.

As I leave: should you have the chance for a life mask casting, don't hesitate. It's not claustrophobic after all.

Postcards from Paducah, day 29

Only 2 hours to uninstall today, compared to the 5-hour install last week. Disassemble, roll, pack, and store away until June 2015 when the artwork makes its debut in Greenville, SC. In the interim if you become homesick for my art, the piece "Postcards from Paducah," donated to the Paducah Arts Alliance, will be on display somewhere here in your hometown. Enjoy!

Before I depart Studio Mars, Paul Lorenz gifts me with CDs and a booklet (essentially liner notes) for Line and Sound, The London Recordings and Merida Sessions. Although intended for my musician son, it will first be read and previewed before sharing. In the process of learning more about Paul's foray into music, I find myself signing up for yet another site online: Tumblr. Which is probably the first of several online sites I'll be joining, as I've been taking notes on the use of social media from the October/November issue of Professional Artist.

Following the uninstall, visiting Lily Liu's studio is a welcome outing and, while for a week I've been admiring her creations from the street-side of the window, it is even more rewarding inside. I consider her (and Helene Davis's) transition from ceramics to fiber, hard to soft media, a fascinating one. Lily's background is in clay - porcelain to be exact, although now she creates fiber vessels. Wondrously organic vessels crafted by tying together miniscule fabric-strip-rolls, often thousands of them. You have to see Lily's work to appreciate it fully.

In her studio, when the tabletop wool-combing machine captures my attention, Lily graciously demonstrates the hand-operated device. In part, what has drawn me is its assortment of "pointy things." Forgive me for this phrase as it is one my family uses to describe sharp objects, ranging from cat teeth to wood rasps to, well, now a wood-combing machine. This tool is quite efficient; Lily handles it with proficiency and ease. She then incorporates the combed wool into women's wraparound scarves that she fashions. 

The sun is setting, time to meet the very first artists to participate in Paducah's Artist Relocation Project: Charlotte and Ira (Ike) Erwin of Working Artist studio. Several rooms spill into one another, offering art supplies as well as Charlotte's marbling on fabric and paper, and examples of Ike's bookbinding. Including a ridiculously tiny book-within-a-book that demands me to suspend disbelief in the limitations of bookbinding. Before leaving, I cannot resist a sample of Charlotte's craft, a fabric done in the "feathered nonpareil" style.

I am already homesick for Paducah, but I will be posting to the blog at least one more time upon my arrival in SC. Perhaps once there, I'll begin a blog, "Greetings from Greenville." I like alliteration, can you tell?

Postcards from Paducah, day 28

Unassuming on the exterior, once inside Jefferson Street Studio I am transported to another world. Helene and Bob Davis are the creative forces here; she with hand-dyed fabric and world-class quilts, he with beadmaking. Helene and I stroll into her garden, traverse through her various studios, and converse until I am a cup that is so full it is spilling over.

As we walk past her extensive art library, Helene plucks a favorite book from the top shelf on Irish-born/American-based oil painter Sean Scully. He is an influence, his career-long dialogue with stripes. Now she, too, using her beautifully crafted fabrics in quilts, explores the possibilities of stripes. I believe that I previously met Helene's quilts, in Schweinfurth Memorial Art Center in Auburn, NY. It would have been in their annual Quilts=Arts=Quilts several years ago; an exhibition in which Helene participates regularly. I love it when I am fascinated first with the work, and then with the artist.
I'd like to insert a segue that transitions from the wonderland of Jefferson Street Studio to the balance of my day, but it escapes me. The rest of my day is quiet, the kind of unobtrusive passage of time that usually eludes. It is absolutely this gift of time that is such a boon to my art life during this residency (in addition to a multitude of new friendships). Unfettered, uninterrupted, focused time, that rare commodity. I do not miss television, radio, or the contents of my mailbox. I do miss my family and cat. Ah, but the gift of time for reading art magazines cover to cover, for depositing ink in my sketchbook (although the pages show more art journaling than sketching), for digesting critical feedback on the art installation, for peering into the crystal ball of the future, and for the silence that allows creative nuance to seep inside.

In the evening, I flash back to Helene's cookbooks; the ones she retrieves from the shelf but the recipes of which she does not necessarily implement. The artist finds it pleasurable reading. What more can I say, as this is too cool for words!

Postcards from Paducah, days 26 & 27

Sunday begins with news: an artist loses a daughter, one who is also her mother's muse. Shock, sadness, and a poignant moment in the community. I proceed with my residency, even while all our lives are now touched with grief.

At 1pm, I meet proprietor and ceramic artist Carolyn MacKay, who opens Stornoway Gallery for me while busily unpacking following a day with the art cart. It seems such a hassle, but Carolyn claims there is a rhythm to the process. Yesterday she made a sale via the art cart; the venture a bit more worthwhile.

Monday finds mud poet Michael Terra and logistics manager/spouse Victoria unpacking, having perfected their rhythm over a dozen years. Memphis was their latest destination; Louisiana the next. They are back in Paducah only an hour before I appear on their doorstep; but Michael and Victoria graciously usher me into Terra Cottage for a tour and cup of coffee. I appreciate the playfulness of Michael's relationship to letters and words ("Rtist" is just one in his alphabet cup series), and the professionalism of his craft.

After dark, the couple joins me and Rachel Biel for a private visit to view the installation at Studio Mars. Do check out Rachel's TAFA page (Textile And Fiber Arts is a web-based membership organization showcasing fiber artists and textile businesses). While we sit on the Studio Mars stoop in the tranquil October evening, Rachel draws my attention to paper artist Allison Svoboda on the TAFA site. I Evernote-clip this artist to my growing archive; inspiration at my fingertips.

Before the Terras return to their 1800s home/studio, I solicit their thoughts on my installation, especially the walk-in suspension. Artists always pose such good questions and make intriguing suggestions. "What if you add to the inside of the walk-in, offering a different interior personal experience than the exterior public one?" I'm letting that simmer and brew.

Students also offer thoughtful queries. Earlier in the afternoon, Cody Arnall, Artist-in-Residence at the Paducah School of Art and Design, accompanies his Sculpture I class for a tour of the installation. We talk concept, process, materials. And just prior to their departure - literally a one-block walk to the School - another gallery-goer arrives. Nancy Flowers, owner of Gallery 600, is following her frame shop assistant's directive to check out the "interesting" exhibit at Studio Mars.

And speaking of interesting, here's Michael's and Victoria's cat (actually one of several) dining in a highchair out of a "monstrous" bowl! Insert huge grin here - an actual one, not an emoticon.

Postcards from Paducah, day 25

One month, one-half tank of gas. That's the "easy" part of Paducah living. I set out as a pedestrian again today because it's too gorgeous to remain indoors. Here's a snapshot: an end-prostate-cancer fundraising rally, sunshine on the late Sarah Roush's tiles, the "art carts" setting up in historic downtown, the two remaining available Artist Relocation buildings, and the homes/studios of artists Linda Ogden, and Maureen Ursery. And finishing my piece for Char Downs' "Phantasmagoria" happening.

Let me expound a bit on today's snapshots. According to Zero Cancer, "one in seven American men will be diagnosed with prostate cancer in his lifetime." To learn more about the organization's efforts to "create Generation ZERO - the first generation of men free from prostate cancer," visit their website.

Sarah Roush's tiles brighten the facade of the downtown Paducah School of Art & Design, and a building near MarketHouse. The artist retains a posthumous virtual presence online; everyone I've encountered speaks admirably of her, softly and with sadness. Not having known her, I am merely grateful for her tiles.

The Artist Relocation Program, offers a property at 421 North 5th Street that can be acquired for $1 and an accepted proposal process. My guess is that you'll also need hundreds of thousands of dollars for rehabilitating this abandoned structure, even with the financial incentives and historic tax credits. The Lower Town buildings that have been transformed are noteworthy, as are the new buildings constructed on Artist Relocation lots.

The "art carts" are, indeed, wooden push carts used by local arts/crafts vendors for sharing their wares at the gazebo in downtown Paducah, weather permitting. It appears to be a component of Paducah's UNESCO creative city designation. The carts are wheeled out at Noon; I'm too early...another day.   

If you're looking for real estate in Paducah, I know of another house for sale: the home/studio of sculptor Linda Ogden (pictured), perhaps best known locally for her design/construction of the black granite and bronze Korean War Memorial. She is yet another of the prolific artists in Lower Town. As is Maureen Ursery, part of an informal artist group that exhibits together and dines together monthly. I was fortunate to be included in their gustatory gathering following my installation opening. Good food, interesting conversation.

Did I mention that I'm packing my suitcase with as many memories as possible during this final artist residency week?

Postcards from Paducah, day 24

If you missed the opening of my installation at Studio Mars, you missed the delicious homemade coconut cake with hibiscus sauce. While the cake has disappeared, the artwork remains through Tuesday, but is uninstalled Wednesday. Then it's time to disassemble and pack the suspensions for a return journey to Greenville, SC, where a number of the pieces will reappear in a 2015 exhibit. In fact, the director of Greenville Technical College's Riverworks Gallery just set a mid-June date for my installation. I'll share a "Postcards from Greenville" blog with Paducah when it premieres!

I understand this is a good turnout for a Paducah Arts Alliance exhibit; I count more than three dozen gallery-goers. Some are following this blog, others saw the Paducah Sun article or the Facebook posting, and a few are just walking down the street. The response is positive, and this Artist-in-Residence is encouraged.

What I find interesting is the difference in tactile response to artwork that hangs on the wall versus artwork that dangles from the ceiling. No one touches the cradled wood pieces on the wall. But there is little hesitancy, or none, with the suspended pieces. Admittedly, I am surprised. Although I create the suspensions with durability as one factor, there is a delicacy in my work. Okay, I do intentionally invite attendees into the walk-in piece.

Personally, I find that receptions are the most challenging time to view a show's artwork: eating, socializing, straining to be heard above the crescendo of conversations, bumping (literally) into people, attempting to remember names, red wine's potential to spill on pristine surfaces, chocolate fingertips looming. One young man mentions, as he leaves, that he'll return in the quiet to experience the installation. Agreed.

So, if you would like to see the installation, please give me a call (864-360-8652) to make arrangements. Before Wednesday. Thank you, Paducah! 

Postcards from Paducah, day 23

I'm exhausted, in a good way, following 5 hours of installing my exhibit for tomorrow's opening at Studio Mars. A big thank you to artist and Paducah Arts Alliance-member Paul Lorenz for loaning his beautiful gallery, to Rosemarie Steele for a helping hand and for such excellent communication, to Anita Stamper for reception food, and to all the PAA members. The interview by Laurel Black appears in this morning's Paducah Sun, page 7B; the word is out. It would be great to have a big turnout. The energy is always so juicy.

I meet one person this morning, Betty Martyn, who recognizes my name from the newspaper article. She is a member of PAPA - Paducah Area Painters Alliance - who is gallery sitting their downtown location. We chat, and she shows me her work in watercolor and acrylic. I love the way Betty describes her feelings about each medium: watercolor makes her feel "softer" while acrylic makes her feel "bolder." The work absolutely reflects this. During Betty's show-and-tell, she notices the absence of one of her pieces. Mild panic morphs into elation, as the explanation is chronicled in the PAPA log: "sold." Congratulations, Betty!

The artist residency is a fleeting one. When I first arrive, I hear, "We're so excited that you're here," but now that I am into week four, the question is, "When are you leaving?". Too soon.

This pic is a teaser from my exhibit. It's the interior of "Postcards from Paducah" - the piece where I print my blogs, then shred and insert the strips into a polymer grid. When the light strikes the top, it glows. Come see for yourself.