The One-Sentence Artist Statement

Having had a particularly difficult day today, emotionally, speaking - I want to turn the page back to last week when I had some fantastic epiphanies.

Since December and the Miami-Pool Art Fair trip, I have been trying to answer a question I received during my flight wait to Miami.  I was approached by a retired Military officer and asked "Where am I going? And "What do I do?"  One would think that I have a snap answer to that question, but I never have.  Maybe because I really work at breaking down my motivations and analyze my own psyche, I tend to answer in paragraphs or essays, NOT one sentence wonders.

So, I decided I needed to have that one-sentence answer ready the next time I am asked.

If you know me at all, and some of you do, I don't keep anything hidden, I am what I am, for better for worse . . . you know I am NOT a morning person!  I think better at night, I work better at night, and the mornings (i.e., anything prior to NOON) are not me at my best.  Last week, after realizing we would have ANOTHER SNOWDAY and that I could TURN OFF THE ALARM (woot!), I was given the great opportunity to slowly wake up and tiptoe through that twilight of sleep/dream and awake/reality.  What I realized, was that, in one sentence,:

 

I am the most broken item I have ever put back together.  It is a daily process, just like today, when I was literally ripped apart in a public forum for speaking my own truth about my rape.  I am stitching myself back together - I am a one-armed Raggedy Ann, restitching my dismembered arm back to myself.

The 2nd epiphany I experienced last week was the solution to an installation problem with "YOU MADE YOUR BED", a new series I will be installing in March at the "Ladies First", Top 10 Women Artists of Tennessee Exhibition at The Customs House Museum (in honor of women's history month).  Literally, laying 'abed' I visualized the installation solution and got it planned in my brain before I stepped onto the floor.  Here is 1/2 of the installation:

 

So, what I have learned this month?

1)  I realized what I do is, metaphorically and, literally, "I Put Back Together Broken Things", and

2)  Just as I am responsible for what my truth is, so are others, and there are deep and lasting crevices that are created from speaking one's truth.

 

 

 

 

One Week Until The Renaissance Center Opening!

 


n-cap.org and THE RENAISSANCE CENTER announces TAKE CARE: BIOMEDICAL ETHICS IN THE 21st CENTURY, a group exhibition.


Dickson, TN, January 7, 2011 – n-cap.org, along with The Renaissance Center, is proud to announce the opening of TAKE CARE, BIOMEDICAL ETHICS IN THE 21st CENTURY.  The artists of TAKE CARE began organizing the concept and exhibition in 2006-2007, and we are proud to bring the show near its birthplace, Nashville, TN.  Conceived by Nashville artist, Adrienne Outlaw, and organized with the assistance of fellow artist, Sher Fick, of Spring Hill, TN, the exhibition has traveled from Grand Rapids, MI, all the way to Miami, FL for the recent Pool Art Fair. 


Description: The TAKE CARE show highlights biomedical and ethical dilemmas, including: genetic engineering, pharmaceutical therapy, human reproduction/fertility therapies, mitochondrial DNA, familial connections, fetal annomalies, unregulated scientific testing, and the psychological/emotional impact of confronting these decisions, with the hope that viewers will take the opportunity to better appreciate the complexity of these personal decisions in a rapidly changing world.  Works include: ceramic sculpture, video art, mixed media, glass sculpture, embroidered paintings, and photography.


The Renaissance Center is located 35 minutes West of Downtown Nashville in Dickson, TN (855 Hwy 46 S).  The opening artist's reception will be Friday, January 14, 2011, from 6 -8 pm, and the exhibition will be viewable through Feb. 5, 2011.  Reception is OPEN TO THE PUBLIC and is FREE.

To read more about TAKE CARE, visit www.n-cap.org/take_care.html
 
TAKE CARE is a group exhibition including the following artists: Annette Gates (GA), Kristina Arnold (Bowling Green, KY), Adrienne Outlaw (Nashville TN),  Sher Fick (Spring Hill, TN), Lindsay Obermeyer (Chicago, IL),  Monica Bock (NE USA), Sadie Ruben (Copenhagen, Denmark), Jeanette May (NYC), and Libby Rowe (TX, formerly a Photography Professor at Vanderbilt University).
 
Excerpts taken from Art Reviews by Internationally-known critics, include the following:
 
“[T]he nine artists participating in TAKE CARE reveal that there is no definitive right answer to the question of biotechnological advancement. It is the informed dialogue that is paramount.”

“Through their artwork these artists explore the crucial social, economic, and ethical implications of biotechnological advancements and create a space for important dialogue.”

“As Dr. Sirine Shebaya, Greenwall, Fellow in Bioethics and Health Policy at the John Hopkins Berman Institute of Bioethics, writes, ‘The best way to avoid slippery slopes . . . is to have . . . a voice in arriving at decisions with such important ramifications.’ These artists are that voice.”

-          Tonya Vernooy, Art Critic/Writer

“The artists in this exhibition apply the unresolved implications of this phrase “TAKE CARE” to their personal experiences. Together they catalog a plethora of contemporary concerns.”
 
“The artists participating in “Take Care” confirm a distressing truth – today’s mothers do not appear to be bolstered by the collective wisdom of our species. Motherhood in the 21st century remains a lonely experiment racing to keep up with procreative advances at the outposts of human accomplishment.”
 
-          Excerpts from Linda Weintraub, International Contemporary Art Critic/Author/Lecturer

“TAKE CARE is an art show about the challenges of new life and especially those problems inherent in an increasingly technological world.”

“TAKE CARE addresses an issue which is at the heart of art practices, that is the nurturing and understanding of intentional and unintentional creation and it provides a range of aesthetic reactions to this crucial issue.”

“TAKE CARE is considered a “bioethical show” because it points at the departure from one era of motherhood and traces the outline of a new one.” 

-          Veronica Kavass, New York Based Artist/Art Critic

“The artists in TAKE CARE explore the ways that social and scientific developments influence our understanding of . . . connection and caring.” 

-          Ellen Wright Clayton, MD, JD - Rosaline E. Franklin Professor of Genetics and Health Policy, Professor of Pediatrics, Professor of Law, Director of The Center for Biomedical Ethics and Society at the Vanderbilt University Medical Center

Full Reviews of TAKE CARE (or reviews of works included in the exhibition), may be found on Artist Sher Fick's blog: Linda Weintraub, Chen Tamir, Rachel Bubis, Ellen Wright Clayton, MD, JD, and Tonya Vernooy.
 
For detailed directions, fill in a departure address at this link:
http://www.rcenter2.org/index.php?option=com_content&view=article&id=20&Itemid=25

The opening Reception, to be held Friday, January 14, 2011, 6-8pm, is FREE and OPEN TO THE PUBLIC, and includes additional exhibitions (see invitation, above).

Contact Information:  Jason Driskill, Curator & Gallery Director, The Renaissance Center, 615-446-4450
or Sher Fick, representing TAKE CARE Artists, Cell 615-975-1025.  All artist can be made available for interviews, (please contact Sher Fick at sherfickart@gmail.com for high-res, print ready images of TAKE CARE.

Miami Hangover - The Pool Art Fair

So, big happenings at Pool Art Fair - Miami 2010:

Our suite at the Carlton Arms Hotel was spectacular (it did look smaller upon arrival than the pictures), but our installation exhibit looked fantastic.  7 of the 9 artists of TAKE CARE participated:

The Opening was well-attended and included a live band - Pocket of Lollipops . . . and there were approximately 20 rooms and suites transformed into galleries, installations and group exhibitions.

Views of our TAKE CARE installation:

 

 

 Images:

  1. Adrienne Outlaw's FECUND SERIES
  2. Kristina Arnold's DRIP
  3. Sher Fick's  COPING SKILLS
  4. Libby Rowe's WOMB WORRIES
  5. Lindsay Obermeyer's SHADOW SERIES
  6. Jeanette May's - A.R.T. Series
  7. Sadie Ruben's ALIEN FETUSES

Every time this exhibition travels and installs we learn new things.  Miami taught us to consider non-gallery spaces and their lack of lighting.  What was required of us was a real collaboration, not of the artmaking this time around, but the actual logistics of the exhibition . . . we kind of all chose different hats and did the work that we were best at, including preparing literature, color correcting images, communication between artists and between the group and the exhibition organizers, printers, and graphic artists, the physical driving of the show in a van to Miami, installation, moving furniture, running errands, and then the glory part - attending the exhibition and 'manning' our suite during the 3 day event.

Luckily for us my husband, Don, was there and pitched in, too.  It is always nice to have someone taller, stronger, and cuter around!  We (Don and I) were lucky to stay on beautiful Sunny Isles Beach for the entire week and relied on the local buses for transportation - we really got the local flavor and saved so much money; for instance we took the 'Airport Flyer' from the airport for $2.35 each, vs. paying $54.00 for a cab - that really adds up when you are eating out every day.

The actual 'post-mortum' blog will immediately (within the week) follow this posting . . . where I will get into the deeper implications of Art Fairs, Grant Writing, Travel, and What Do Collectors Mean For The Artists????

Until Then,

Take Care

& For Art's Sake,

 

 

 

 

 

 

 

 

The Miami Countdown

5, 4, 3, 2,

1 - Yes, I am on the LAST day of the Miami countdown.

Upon reflection this countdown started approximately 4.5 years ago when Adrienne Outlaw first conceived the idea of the TAKE CARE exhibition.  It has been a 'long and winding road', but definitely one that provided tons of learning experiences.

It is amazing how well you can get to know an artist that you have never met face-to-face!  Although our work has obvious correlations, 'clicking' with personalities and life experiences is not a given.  We are all so blessed to have made friends and 'comrades' along the way.

Besides the countless 'unpaid' hours artists devote to their work and exhibitions, there is an emotional expense.  All we can hope for is that when the works are ultimately unveiled to the public that we reach a few people (well, to be honest, I have higher hopes for Miami as it is a 'contemporary' art fair!), people who 'get' us and our work - who might on some level appreciate the blood, sweat and tears that create the work and bring it to the public.

So, I head off to Miami with a few things in my mental pocket:

a)  excitement to meet some of my 'new' artist friends

b)  anticipation about watching the public viewing our exhibition

c)  hope that our work will be well-received by the knowledgeable International Art Community (including collectors, curators, and art enthusiasts)

d)  but, more than ANYTHING, I am looking forward to a sense of accomplishment, which is something that is beyond monetary value.

 The anticipation kind of feels like waiting for a baby to be born - we are all ready - now we are just anticipating "the day"!  We have high hopes for our impending creation:  TAKE CARE: Biomedical Ethics in the 21st Century!

 

 

 

 

The Beautiful View of Perspective

It is unbelievable to me that I have not posted since September 8th!!!! What a naughty blogger I am!  Since that time I have: -  celebrated my 19th anniversary with my hunky hubby -  celebrated my 1st born and only son's 18th birthday -  celebrated my youngest daughter's 8th birthday (including redecorating her room from Princess to Zebra Stripe) and we had a blast making her Zebra Birthday Cake, memory we will keep in our hearts FOREVER Claire Designed her own Zebra Cake -  hosted a friend weekend with 5 overnight guests and a party for 20+
Singer/Songwriter, Larry Winslow, entertains our guests
www.larrywinslow.com  -  traveled to Indiana for the annual Covered Bridge Festival and spent 4 days with my sisters and extended family -  instigated the renovation of my website (to launch VERY SOON!) -  had several full studio days that are reaping many fantastic assemblage pieces (hoping to finish and photograph the new work tomorrow) So, WOW, I think I am not accomplishing, but then I look at the above check list of accomplishments (which doesn't even include daily things like hours of chats with my teens, or the hours of assisting the 3rd grader with homework and 'projects', or finally spending some quality time with my husband and friends . . . I can see, with that beautiful view of PERSPECTIVE . . . that my life is so FULL. It is not only FULL of activity, but with: LOVE, SACREDNESS, fulFILLMENT, BEAUTY and the richness of DISCOVERY. Once in a while I might feel sad, that maybe because of back pain, or general 'rushedness' - I might not have fully paid attention to a daughter's drawing or school story, or that I didn't take care of myself by taking my daily walks - but, all in all, I find that the choices I made several years ago - to quit work and stay home with the kids, to work from a home studio, to be available to them every hour they are not in school - I truly did the right thing - not just for them, but for me! I am not saying there aren't days I wish I could be in New York City hanging out with the other artists and networking, or attending EVERY SINGLE art opening in Middle Tennessee . . . but, really, I don't think  I miss much, and I for sure have gained A LOT.
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Oh, The Places You'll Go . . . for Inspiration! Part I

InSPiRaTioN
1
a : a divine influence or action on a person believed to qualify him or her to receive and communicate sacred revelation b : the action or power of moving the intellect or emotions c : the act of influencing or suggesting opinions
2
: the act of drawing in; specifically : the drawing of air into the lungs
3
a : the quality or state of being inspired b : something that is inspired <a scheme that was pure inspiration>
Inspiration can be found in some very unexpected places.   Some of the more inexplicable locations I have found items:

IN THE GRAVEL PARKING LOT OF A SOCCER FIELD

Sept. 11, 2001  During 911 I was an art teacher at Bluewater Elementary School teaching K - 5.  I wasn't working on that Tuesday morning, but instead watched it all unfurl in front of my eyes on the TV screen.  I had on the Morning Show with Katie Courac (low volume) as I talked on the phone to both my mother-and-father-in-law in New Jersey.  As I hung up the phone, I turned up the volume,  just in time to see the 1st plane hit the 1st Tower!  I gasped, and immediately picked up the phone to call my in-laws back.  The phone lines to the NE were jammed and I was unable to get through to them.  My husband's older brother, Peter, worked in the Millennium tower,  just adjacent to the World Trade Center.  I couldn't get a hold of anybody . . . finally, I heard from my other brother-in-law that Peter had been able to send out an email AFTER the first tower collapsed and his building was being evacuated.  We all watched in continued horror as the 2nd tower collapsed.  As of the following morning, no one had heard from Peter and he had not returned to his home in suburban New Jersey (the ferries and subways off Manhattan island had been closed down). That afternoon I had to continue as if  NOTHING WAS WRONG . . . the kids still had soccer practice.  At the time we lived in Niceville, FL (just across the bridge from Destin, FL, and very near  Eglin Air Force Base).  We always knew when something was urgent with American security because the practice bombing and low fly-bys dramatically increased.  On that day, it felt like we were in the midst of war - the windows shook and the china tinkled in the cabinet, and you could feel the bombs low vibration from your heels to your head. On the way to the soccer field I remember thinking/praying "please not here", "please not here" - my fearful thinking assumed that the No. 1 Air Force Base in the U.S. might just be the next target?  We pulled into the play fields and parked.  The kids were frantic and just as chatty as usual, but the adults were somber and kept looking up into the sky and down on the ground.  Sometimes we would catch one another's eyes and just stare in understanding and shared agony.  Many of the parents worked at the Air Force base or had spouses already deployed.  We all knew - this was going to be something that would cause a huge change in the life of our Community, our Country, and our World. As I walked back to the van after delivering the kids to their coaches, I began quietly crying again . . . looking down at the gravel under my feet I saw an olive green toy soldier - it was broken.  I picked it up and worried it in my hand the entire hour I waited for the children to finish practice.  It later sat on my nightstand, then made its way into a box of treasures - and finally into an artwork - encapsulated in resin inside a toy capsule. The next day we finally heard that Peter had been evacuated between the collapses and he was one of the suited office workers dashing through the streets, ducking into doorways,  trying to stay ahead of the raining debris.  He finally caught a ride on the back of a firetruck heading away from GroundZero, but couldn't leave the island due to the shut down of the subway andferries.  He spent several nights on Manhattan Island before being able to return home to Lawrenceville, NJ.  To say the least, the experience LITERALLY changed his life forever. This is one example of my life being marked by items - reclaimed, found, manipulated - a visual timeline tracing backward and moving forward.  Here is one more example:

WASHED UP ON A SANDY BEACH IN ATRANI, ITALY

After a long 10 days of site seeing andtraveling in Sunny Italy in June of 2007, my husband and I retreated to a 5 day RELAXation in Amalfi, Italy.  We took the days leisurely, sleeping in, eating, walking through the town, hiking along the Mediterranean and basically doing very little . . . one of our days included a kayak trip along the coastline . . . on our trip back we decided to rest on a beach just South of Amalfibefore we turned in the kayak.  As we pulled it up onto the beach (which consisted of pebbly-gravel) of Atrani, we glanced at our feet andrealized we were walking on dozens of pottery shards.  Picking them up, we saw they had been tumbled to smooth edges by the sea - just like the sea glass we would find on the Jersey Shores in the States.  Upon further inspection we realized the shards were being dumped into the sea from the drainage of Atrani and washing back to shore, refined by the Sea.  There were shards of true Majolica and pieces I could only imagine were decades and perhaps, in my romantic inclinations, centuries old. Many people never look up, nor down . . . if you take the extra time to embrace the moment of NOW, you never know what you will find - what meaning it will have, or, how special the items can be to you.  Just as literature uses symbols, so does visual art. To the left is a box of items I have collected over time - as I work on pieces, I rummage through and find just the right EMOTION/item to include in assemblage work, collages, and sculptures.  I feel using these found items evoke a remembrance of what the item may have been imbued with on its long journey into my possession - that just like myself, it may have been abandoned, abused, and discarded.  What joy to be given the opportunity, as we each as human beings have, to reclaim and redefine our lives, our purposes, and - ultimately - our futures! What in your life do you treasure???
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In The Meantime . . .

I had every intention of posting weekly . . . especially chapters from the <i>Coping Skills</i>book as a 'tester' - but, as usual, life happens when your busy making other plans. My estranged Grandfather died and it took him weeks to be interred in his self-aggrandized mausoleum; I spiralled into an emotional whirlpool (i.e., emotionally flushed down the toilet); I had an exciting 2 days of working in the studio for a whopping total of 3 hours; and, whammy . . . back to one year ago with pain and general malaise.  Perhaps the surgeon did know what he was talking about - 1 year until I am as recovered as I will ever be. In the meantime . . . I'll just keep stitching my percocet bottles and putting them on display . . . In theory - this is progress.  Right?  I mean, it is something.  Not much, but something. This means that in 1 year I have finished, maybe (if we stretch it) 10 pieces???  So much for my legendary productivity and self-discipline. In the MEAN time . . . I am working on my PATIENCE.  My LIGHT & LOVE. I am reading books, playing on a DS Light, playing Beatles on the digital piano, watching every documentary available on Netflix Instant Watch, compiling my Good Reads Library (I am near 900 hundred 'read' books), and being the best mother that I can be from my couch.  For example, I now know that: I can say a few things about the artmaking and parenthood . . .  taking care of your own needs - that is just putting the oxygen mask on yourself (as they instruct you in life and death situations in an airplane) before connecting the child . . . if you go out - then no one is there to save the kid.   I am working on some new series (slowly) about how the woman is the womb of the family - even for her husband.  All the umbilical cords go from her - and thus connect the man to the child, but through her.  She is the keystone, if her foundation isn't strong - it all goes to hell.  If she doesn't feed herself - all connected to her will suffer.   A child is born . . . and then we train them to crawl, stand, walk, run . .. away.   There are days I want to run away to a job . . . because the multi-tasking of parenting is crazy.  But even as disabled as I am right now - - - I know that me being here - on the couch - allows them to have a center - they revolve around me . . . they boomerang out and then come back home.  It feels good to give them what they really need - an ear to hear and an eye to SEE them . . . every second that I can give that undivided and exultant attention - it is more than most mothers give in a lifetime.  My kids probably think I am a terrible mother, but I hope - that in the future - as they look back, that they will realize that I SAW them and HEARD them.   This year has taught me so much about myself and life in general - I guess it was necessary, and it is still hanging with me.  I don't know if I will ever be back 100 percent physically.  But emotionally and spiritually, I feel like I have grown 'backbone' . . . and that, even from my couch "Yes I Can, Have My Cake & Eat It, Too". So, In the MEAN time - What I have learned is that: "Yes You Can - Have Your Cake & Eat It, Too" Sher Fick, 2010 1 -   I am more than just my title of 'artist' 2 -   I still define myself as an artist, even though I cannot artMAKE right now 3 -   There is something, somewhere in the near future, that I will find - that 'ah ha' moment when I fully understand the benefit from this STATIC physical state. Hello, peanut gallery, what PRAY TELL, could that be???
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"Wrapped" by Rachel Bubis, seedSpace Curator

Wrapped By Rachel Bubis Notorious artist duo Christo and the late Jeanne-Claude deny that their large scale environmental work such as Wrapped Pont Neuf (1995) Christo's "Pont Neuf"  contain no deeper meaning than their immediate aesthetic. Within their work, however, art critic David Bourdon sees “revelation through concealment,” an apt insight not only into the work of Christo and Jeanne-Claude but also in the wrappings of artist Sher Fick at Seed Space (Bourdon, David: "Christo", Harry N. Abrams Publishers, Inc., New York City, 1970).  Through the process of wrapping/concealing prescription pill bottles, Fick reveals her means of coping with the physical and emotional battles that accompany a life-long illness.  Fick's Coping Skills (2009) and A Paxil a Day (2009) together make up the inaugural show at Seed Space, an 11 X 8 ft area that exudes a church-like feel due to the strong vertical emphasis of the high ceiling studio, stark white walls, and natural light spilling in from the clerestory above. In keeping with the religious atmosphere, Fick’s Coping Skills, a waist-waist-high wooden table flush against the back wall, resembles an altar. Atop the table’s mirrored surface sit dozens of prescription bottles all covered in stitched-together patterned fabrics that contain religious imagery.  Installation View of "Coping Skills" at seedSpace  Traditional church altars display holy relics, and for Fick, these relics take the form of old pill containers—the contents of which ironically not only bring her life but also debilitating pain and suffering. By wrapping these bottles, Fick covers the ugly reality of her pill bottle graveyard by sewing them shut with nostalgic vintage fabrics.  After looking at Coping Skills, the viewer suddenly spots A Paxil a Day on the opposite wall. Whereas in Coping Skills Fick carefully wraps and conceals her old bottles, in A Paxil a Day she strips the drugs down for all to see-- a grid of naked pills covered only by clear cellophane bags. In Coping Skills, the viewer walks up to the table and looks down on his/her own terms. A Paxil a Day however aggressively greets viewers as they leave—reminiscent, perhaps, of a warning Detail View of "A Paxil A Day"  memento mori at a church exit.  Memento mori remind people of their own inevitable death and the punishment they will receive if they transgress the rules of their religion. Rather than fearing the objects of her daily worship, Fick comes to terms with her mortality and reclaims control through the wrapping process. As a result, a new clarity and confidence appears in A Paxil a Day, where she reduces her struggles to the repetitive grid of pills--still wrapped, but this time in transparent plastic. Although Fick does not wrap an entire bridge traversing the river Seine, she brings revelation to one’s own capacity to cope through a concrete process of concealing.
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Sher Fick: Worshiping at the Altar of Biomedicine by Chen Tamir

Sher Fick:  Worshiping at the Altar of Biomedicine By Chen Tamir Coping Skills (2008-9) A Paxil A Day… (2008-9)  Viewer experiencing "Coping Skills" at seedSpace If there were a thing that consistently made me happy – that allowed me to be well, feel good about myself, do the things I value, and be loved by those around me– I would worship it. I would create rituals, even daily ones, and give thanks to the higher powers who have made me its beneficiary. However, my dependency on this hallowed thing would also stir anxiety caused by being at its mercy, hoping it will always be available, and resenting its power over me. Such complexity is evident in Sher Fick’s work. This all-American wife and mother works around issues of bioethics, gender, and discrimination. Fick has suffered from clinical depression and anxiety, along with chronic insomnia, pregnancy complications, and migraines. Her cure is a daily cocktail of prescribed drugs, which she uses as inspiration and defies the taboo of being a mother on anti-depressants. Fick’s interest in bioethics melds with her strong socialization as a Southern woman and her exploration of gender borrows from artists who deal specifically with materiality, symbols and even craft, such as Kiki Smith and Louise Bourgeois. Coping Skills is a sculpture comprised of 45 pill bottles ensconced in girlish fabrics and stitched shut. The bottles are arranged in three long rows over a horizontal mirror with a wooden frame, erected on wooden legs. The scraps of fabric stitched over the bottles are comprised of vividly colored, irregular patterns, often scraps of hospital receiving blankets inspired by cloying pop culture imagery. Some of the patterns have bits of texts on them, such as “please stay with…,” “Our Wedding,” “Viva Frida” (over an image of Frida Kahlo), and “Brassier.” The wide variety of bottle shapes and sizes suggests Fick takes a plethora of drugs, or has experimented greatly to find the right ones. In fact, the 45 bottles total her yearly consumption. The simple structure of Coping Skills amounts to what looks like a strange altar. It is also reminiscent of a lady’s vanity table, with dainty bottles of cosmetics that, like drugs, augment us to perform the functions of womanhood as society prescribes (pun intended!). When approaching the work, I glimpse myself over the mirror, and think instantly of Narcissus admiring his reflection. The mirror is one of our culture’s most ubiquitous symbols whose meaning runs the gamut of narcissism to introspection to doubling. All of these interpretations are valid here: The doubled person who enjoys two versions, the given one, and the one improved by drugs; the introspection and lonely battle of coping with mental illness; and the love for oneself at triumphing over it. In Coping Skills the mirror also fulfills an aesthetic function: doubling the bottles turns them into short tubes that resemble candles, bringing us back to the notion of a devotional altar. The shadow cast by the pill boxes above the mirror creates light reflected onto the back wall which adds a beautiful touch. The cast shadows resemble the gates of a baby crib, alluding to the post-partum anxiety and depression amplified in Fick’s work, and the bottles themselves resemble toys. The colorful bottles are stitched shut, ornamented with the care that comes from valuing precious heirlooms. However, a double entendre complicates the imagery here too. Damien Hirst's "Lullaby Series"  The bottles, lovingly covered, are also sewn shut, mummified and ensconced forever. Fick’s exploration of modern medicine and its social stigmas falls in line with work by artists such as Damien Hirst, whose Lullaby General Idea's "One Day of AZT" series (2002) are giant mirrored cabinets filled with rows of colorful pills, and Canadian collective General Idea, whose One Day of AZT and One Year of AZT (1991) are clear predecessors to Fick. Fick's work, A Paxil A Day…, Fick's "A Paxil A Day"
is  a more personal and modest piece consisting simply of various pills in clear bags pinned to the wall in a small grid formation. The pills’ numbing repetition of daily doses creates a calendar that counts down the passing months. Neither chalk marks on a prison wall nor happy celebrations of life - this work creates a foreboding tension between a Minimalist aesthetic and its loaded content.
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Woman Artist MIA for Two Months, Reappears, Injured, But Determined

Quick Update on Why I Have MIA on MY OWN BLOG . . . After a big health in October (dogging breast cancer but still needing to have a lumpectomy) and then having my former health issues of an injured back flare up again (culminating in a painful herniated disc) - the last month has been all about getting through the holidays, family visits, and getting myself to and from the chiropractor . . . I still have some very bad, pain-filled days which has caused me to be fighting off depression . . . but I think I have turned a corner today. Today I turned in my Fellowship Grant to the Tennessee Arts Commission.  It has been a goal for 3 years and this is the first time I didn't miss the deadline.  It almost happened, but somehow, with the help of friends and my supportive husband - that paperwork was delivered! As to the 'art', here is what has been going on since my last entry: Currently I am on the couch with my left elbow up so I can type with 2 hands.  This gets very tiresome, however, I can research and play lots of games with only my right hand! (note: I am not to sit more than 15 minutes at a time) So - more good news this week (if you haven't seen my Facebook updates) . . . 1.   I will be part of Miami Basel in December (hopefully, my pants shan't fall down as happened to a dear friend in the Miami Airport).  This will be the traveling exhibition I have been in Take Care  .  My work in it will be Coping Skills, see below. 2.   My art was featured on the Home Page of   OvationTV  (might still be there). 3.  Yesterday Adrienne Outlaw and myself were invited to be part of a museum exhibition (based on our pharmaceutical work) at The Customs House Museum & Culture Centerin Clarksville, TN for March-April  - which is actually an amazing place for kids and adults.  Not sure of exact dates or our exhibition title yet, but there you go!   The exhibition will feature 10 Distinctive Contemporary Women Artists - celebrating National Women's Month.   4.  I got the fellowship grant delivered 4 pm today to Downtown Nashville.  I don't want to throw away that 5K!  Keep your fingers and toes crossed - it would truly be a blessing to have those funds for attending a workshop at Arrowmont, to purchase more art supplies and studio equipment . . . it would be a miracle. So, if I can just live through this herniated disc, I can accomplish all these things.  I have decided not to travel to NYC for the (group) Queens, NY show in February at Flux Factory- but I will still travel to the Gulf Coast Florida show that I am assisting in the jurying . . . doing this with an art friend, Aletha Carr, because she can drive and I can be prone on her back seat . . .  so I have about a month to be mobile. Even more great things -   I made some new art a few weeks ago - it has many excerpts from emails sent by friends about encouraging me in my art.  Created from encaustic, tin, model magic, archival inkjet, tracing paper.  14"h x 12"w x 12"d.  Created for "CALL HOME" installation at Flux Factory, Queens, NY - February, 2010.   "YES YOU CAN . . . HAVE YOUR CAKE AND EAT IT, TOO" YES YOU CAN . . . HAVE YOUR CAKE AND EAT IT, TOO!           Detail view of "YES YOU CAN . . . " Currently (November '09 - March '10) I have an installation up at seedSPACE, Nashville, TN - it consists of site-specific installations and include: Coping Skills and A Paxil A Day: Coping Skills          Detail View of A Paxil a Day  above right: (detail of A Paxil A Day) - it actually covers a 4 ft x 6 ft wide area and can have as many as 169 units . . . Fresh off the press is "JUST DESSERTS" Just Desserts, 3"h x 11"w x 8"d        Detail of "Just Desserts" consists of: glass vanity mirror tray, foil candy cups, lucite cones, fabric, silicone So - I feel like I am completely unaccomplished, but I guess a few things are going on beneath the surface. So, what do you think???
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Unconfined Perspective

Obviously I have been lost for a month or so - at least to my blog.  It is the never-ending struggle of balancing my 'daily' life with my 'art' life, which somehow doesn't seem to co-exist very well during certain times of my life.  As you know, I don't have a 'day' job or a salary.  So, what, EXACTLY, do I do with my time??? I've been trying to figure that out myself.  When I do get down into my beloved, treasured studio - I am extremely productive.  In fact, I am amazed sometimes at the amount of work I can get accomplished overnight.  It is the 'getting down there' that is the problem at hand. Studio Image from Fall 2009 Studio Image from Fall 2009 Unbeknownst to some, the work of an exhibiting artists entails caboodles of paperwork.  Some days it feels like I have made work (let's say 1 day that week), but the rest of the time is spent marketing, proposing, begging for grant money, all in an effort to have that work get out to the public.  I've been struggling with this, too.  Is my work created just for me?  Would it be enough to make it and keep it hiding here in my house?  If I do keep it here, what does that make it?  A hobby? Finished Encaustic Assemblage Work - on studio shelf Finished Encaustic Assemblage Work - on studio shelf I think intent is so important here - my intent when I make objects or alter them is to make commentary on social issues.  Therefore, I have a calling to do social interpretation . . . which, therefore, requires a society to interact with them.  Would it not be so much easier if I just wanted to quilt something to keep myself and my loved ones warm?  Here is my stick - that isn't enough for me. So there.  It isn't enough for me.  So my calling is to make and my duty is to get it out there.   Towards that end I had the 2 trips to Grand Rapids for Artprize in Sept/October.  I still had my broken ankle and that made things more difficult - but the installations were great and it was seen by more than 10,000 viewers.  I found out during that trip there is still much gender-bias in the art world.  I am disappointed, but more determined than ever to move forward. Coping Skills, as lit at ARTPRIZE 2009 Coping Skills, as lit at ARTPRIZE 2009 Also during October were 2 of my kids' birthday parties (Claire's 7th was a happening in and of itself) . . . more company and then in November I had the honor of being chosen as the first ever seed SPACE artist in Nashville, TN.  [NOTE: seed SPACE is a lab for site-specific installation, sculpture, and performance-based art that brings attention to the excellence, diversity, and interest in contemporary art in Tennessee.  seed SPACE brings in nationally recognized art critics to write exhibition essays.]  My art reviewer was Chen Tamir the Director of Flux Factory, Queens, NY.  seed SPACE is currently developing their website - I will provide their link when it becomes available. Having an interview with a critic is not an easy thing.  I am a very open person (obviously) - but I find that each time I have had a one-on-one with an art critic (including Linda Weintraub) the experience has cracked my art spirit wide open - even further than it was prior to the interview.  I have likened it to having a living autopsy performed on oneself.  I maintain that opinion.  The benefit of going through this process is that the critic/reviewer, from their UNCONFINED PERSPECTIVE, can see all the connections and scars and various conditions of your lifework.  Talk about insightful.  Revelatory.  Cathartic.  I could go on and on. Thomas Eakins' THE GROSS CLINIC Thomas Eakins' THE GROSS CLINIC This all brings me to the following  responses about the experience:  the first draft review is incredibly astute and I appreciated the seriousness with which Chen viewed the work and our interview.  It  is invaluable to me, as a developing artist, to have such direct and unconfined perspective on my works to date.  Interestingly enough, these interviews always spur in me an even greater understanding of who I am becoming and my place in the world - let alone the deeper investigations with the works themselves. There are many other things which have occurred, including the beginnings of several new series, but November seemed to focus on investigating previous works as they are being exhibited.  Additionally, I have 3 years worth of blogs to re-load all the images for due to my Typepad/Wordpress transfer - total debacle! As I move into December, it begins another year of my life - my 43rd.  Although some have mistakenly dismissed me as a bored housewife, I can tell you - there is little that would be more difficult for me to attempt than to nurture my art at the same time I try to raise a family.  If I only needed to be entertained, i can think of much funner, cheaper, and immediately gratifying than being an artist.  It is not the easiest route.  Forging a new path never is.
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Afterthoughts - ArtPrize 2009 - Take Care

Entrance to Gallery 114, KCAD- Annette Gates "Colony" Series on Right Entrance to Gallery 114, KCAD- Annette Gates "Colony" Series on Right
Sadie Ruben's "Alien Fetus"; Sher Fick's "Coping Skills"; and Kristina Arnold's "Drip"
Sadie Ruben's "Alien Fetus"; Sher Fick's "Coping Skills"; and Kristina Arnold's "Drip"
  By Golly I am back . . . I lost a few posts due to the hacking of my blog and the subsequent confusion it caused. Eventually I had to delete EVERY SINGLE image from the transferred Typepad posts and delete several new Wordpress posts . . . Therefore, I have a huge hole to dig out of! It will take me some time, of course. Here are few quick images of the installation which took place at Kendall College of Art & Design, Gallery 114 during Artprize 2009. Obviously, we didn't win any of the money, but our exhibition was seen by more than 10,000 people!!! Coping Skills by Sher Fick Coping Skills by Sher Fick With the great assistance of the Curator, Sarah Joseph, and her brilliant gallery assistants - we were able to unpack and install the 9 artists exhibition in 2 short days. www.kcad.edu After 3 weary days in Grand Rapids, MI (I adore that city), I limped home by way of Indiana and was able to enjoy two visits my sister Lisa in Indianapolis and a large family get together as well. Once home, I prepared 2 birthday parties: Claire's 7th, an American Girl Tea Party, and Dylan's 17th - Gaming/Pizza Party.  Lots of help from my sister Susan and Mom & Don's Mom as well! Adrienne Outlaw's "Fecund Series" Video Installation Adrienne Outlaw's "Fecund Series" Video Installation What was amazing to me was that the many years of work that Adrienne (www.adrienneoutlaw.com) and I did - actually came to pass.  To see our work hung in a professional location, in a professional manner (kudos to myself) - it was astounding and very gratifying. It stood up admirably against every high-end, contemporary work I saw at ArtPrize.  Although the process was very costly (think: printing for brochures, travel to and from, hotels, gas, food, rental car . . .) - I believe it was worth the expense and time involved.  Note: no money has been made by anyone - in fact, all we have encountered is expense and unpaid work time . . . we are doing this in the hope that someone, somewhere, will find the social and economical value of our work and become either future venues and/or collectors.  What a shot in the dark!!!!  Does this make us stupid? Libby Rowe's "Womb Worries" Libby Rowe's "Womb Worries" The experience, after 3 years of research and hard work was satisfactory for the most part.  I feel I know this work inside and out and have a good feel for the importance of our viewpoint.  What seems to be disappointing is the gender bias we are still facing at the dawn of the 21st century.  One would think that males in 'art' would have evolved with technologoy - but that is not the case.  Those males in 'mid-power' postions were 'not interested in what we [women] had to say.'  They looked over the fact that we are a group of 9 highly talented artists.  That we cover the gamut of craftsmanship and technique.  All that was obliterated and ignored because they felt our message was 'not interesting' to their testosterone brains nor to their students - both male and female.  Well guess what - that really chaps my ass!  Our exhibition is not only about reproduction (which includes both MALE and FEMALE to get that going - apparently they didn't have sex education in high school), but the scientific and ethical issues which are now facing 21st century parents.  The very generation which is bringing forth ground breaking therapies, 'growing' their very own children - that subject is unworthy and below them!  Lindsay Obermeyer's "Shadow Series: The Blues & Red Hot" Lindsay Obermeyer's "Shadow Series: The Blues & Red Hot" with Monica Bock's "Fluid/Sac/Cord" in foreground So, eh hum, I lose major respect for any sculpture male professor who judges an incoming artist on their gender.  Grow up Neanderthals! Open your eyes - you are outnumbered according to the world census records and you will not be pro-creating with anybody if you continue your male chauvinist pig attitudes.  Plus - you suck! I am so proud of each and every one of our artists included in "TAKE CARE" - we prove the addage - those that can DO -  Do. . .. finish that phrase on your own if you have the brain power. Left: Jeanette Mays "A.R.T. series" with Annette Gates "Colony" Series on Right Left: Jeanette Mays "A.R.T. series" with Annette Gates "Colony" Series on Right This crap makes me so tired.  There seems to be very little respect in America for artists' time and expenses that they 'in good faith' enact with very SLIM chances of success.  There are a few good apples out there - but the way we are treated in the USA is vastly different from artists in Europe.  On my recent travels in Europe, when I replied that I was an artist - the people practically bowed to me.  Yes - what we do - when it is done well - is sacred and deeply deserving of respect. Yes - I will make art no matter the price.  But does that mean I should be a pauper and GIVE AWAY for free what I have spent money studying to do - I pay for supplies - etc? It is all so very confusing as I also have many dreams for my children and their educations, which also cost money.  So - I'm back - I did receive a $1,000 grant to reimburse part of my expenses . . . so all in all, I am only about $2,000 in the hole for being part of Art Prize.  I am hoping this ends up being a marketing expense and that someone out there sees the value of Art In America - and can free themselves from any bias to art created by women.
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If You Are Here, You Found ME!

Welcome to the 'new' blog . . . testing Wordpress . . . which I am determined will be easier than my technical challenges with Typepad. Amazingly, I am going on 2 years, this Fall being my 3rd year 'on-blog'. I hope I am getting better at entertaining or at least that you are enjoying the ride along with me as I fumble through my life and art career. A lot has changed for me in 2 years. I have surpassed many goals and am sad to say other goals were left behind in the dust. View of "Coping Skills" installation, from above View of "Coping Skills" installation, from above Seriously, even if inserting and labeling the images is easier, it is worth it to me! So, here we go, fasten your seatbelts - we are off!! Let me know if you are having any troubles with this format and I will try to work the kinks out.  I still have 1 week to finish setting my gallery on the website before I will really feel 'set' - but I promise to practice and keep you posted . . . so, bear (do you 'bear' with someone or do you 'bare' with someone?  English teachers???) with me while I get the hang of it . . . As always, each day, For Art's Sake, Sher
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New Work from the Studio - July 7, 2009

After weeks and weeks of very stressful paperwork, I spent Monday with my favorite art buddy, Aletha Carr (www.alethacarr.com).  We had a nostalgic lunch at Long John Silver's then spent about 2 hours roaming the aisles of Hobby Lobby.  We just love walking the rows and imagining different ways to use their products . . . and the sales are phenomenal. As usual, Aletha left with one bag and I left with my cart full and Aletha using her cart for the rest of my bounty . . . One of the great items we re-imagined was the use of these model acrylic displays:  First Comes Love First comes love, then comes marriage, then comes Jane pushing a baby carriage . . .   "FIRST COMES LOVE", July 2009   (Note: top fabric includes one of my children's hospital, flannel receiving blankets).     "SOCKMONKEY LOVE",Sock Monkey Love July 2009   Overall these new pieces are extensions of "Coping Skills" and will be collector items of smaller size.                          "VANITY TABLE I - RUBBER DUCKY, YOU'RE THE ONE" July, 2009 (detail below) 72yourtheone   I have tons of encaustic paintings started, but am saving those for days when I won't be distracted by children, the phone, etc.  I definitely feel the embers heating up - ready for a major production of work to result. Yippee!
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It's Official - Showing at Art Prize 2009, Grand Rapids, MI

Momentous day as contracts were finalized yesterday with Kendall College of Art & design (www.kcad.edu) for the exhibition of TAKE CARE!  TAKE CARE: The Art, Science & Bioethics of Motherhood (www.n-cap.org/take_care.html) will be on display in Gallery 114 at KCAD from September 23 - October 8, 2009. Artprize will provide a $250,00 grand prize to the artwork which receives the most public votes (visitors text their votes).  The top ten favorites will receive cash awards. So far, artists from around the world have entered and we are very encouraged to be in the first group of selections. Now we are rushing to update ourinformation for an up-to-date catalog which will be available during the event.  After Artprize, TAKE CARE will travel through 2013.  We are still scheduling venues, please contact us if you have any ideas about venues or curators who might be interested in exhibiting TAKE CARE. Please visit all the artists' websites, linked at the n-cap site, above. This process, from beginning to fruition has been one of persistence and commitment.  The first ideas of this exhibition were verbalized in 2006, artists were selected in 2007, and finally in 2008 some of the work was realized.  Marketing the exhibition has been a huge time commitment for Adrienne Outlaw (www.adrienneoutlaw.com) and myself . . . but as the reviews began coming in (see March/April archives), we started see the results of our ideas and confirmation of our groundbreaking viewpoints. So last night, Don and I celebrated with our friends and neighbors, Chad and Jennifer, by enjoying a gorgeous and delicious bottle of Primitivo Italian wine and some imported Sorrento Limoncello.  It was divine. Salute!
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Dream in Color - in Honor of Shanna, Carrie, Maureen & Haven

In honor of Carrie’s Studio, Shanna's New Abode for Writing, Maureen's New Cottage for Writing, and after visiting Haven's Writing Barn, I am offering up this Dream I had: Background Information: I always loved art as a child and would study on my own, but I went to a tiny church school with no art class. At this time in my family/community no one mentioned even the possibility of college . . . I thought when you graduated and/or turned 18, you were on your own. So, after high School  I worked full-time, moved in with an aunt in Texas, and then ran off and got married at 19. I kept painting, mostly watercolor and some acrylic, but not really knowing what I was doing. Got into the New Age movement . . . began to believe in my ‘gift’ and that it was part of my tautology. After a divorce I enrolled in an Art Institute while still working full time. One week before classes started I was in an accident and badly injured my back. I met Donny (he was my physical therapist). We married and planned and started our family.  The deal was, I would have art as a hobby and go to school when the kids reached pre-school age.   Above, 30 second gesture drawings from Drawing 101. This dream (of returning to school) came true when I was 27/28. I started with a night drawing class . . . then before I started Painting 101 - I went shopping for art supplies. choosing every tube of Galleria acrylic paint and each paintbrush with exceeding care and love . . .     I then had this dream while being part of a dream interpretation group. FLOWER TRAIN.   I am on a swiftly moving SILVER BULLET train . . . we are flashing through landscapes and the train slows as we come around a bend. I peer out the window and see breathing, pulsing BRIGHT FLESH and CREAMY flowers of an unidentified species. They are singing and throbbing with color and life.   I reach down and pat the baby car seat which is sitting next to me on the train-bench. The 'baby' is wrapped in a beautiful crocheted (which I made) cobweb of rainbow beams . . . I lift the blanket to reveal -   the new glorious tubes of paint and carefully arranged paintbrushes. I cry in recognition. THE END   Above, "Unveiled Sorrow" created in Painting 101 with Professor D. Anne Waters. So - the point being that this dream is when I came to the realization that I needed to nurture and foster my ‘gift’ of creativity to the same extent that I nurtured and fostered my own children.   Our family, around the time of this dream . . . Art is a part of me. I cannot give it away or neglect it. I cannot tell you the all encompassing effect this realization/dream has had on my life. It was my license to be who I was born to be.  . . . and then came Claire.
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Get Out Of Your Own Way

After a short mourning of "My Vintage Soul" (see previous post for details) I have gotten back on the proverbial horse/bicycle. Today I contemplated going back to bed at 8 a.m. (I went to sleep at 4:00 a.m. after playing Mahjong for 4 hours!), but instead I jerked myself directly from the front door as I waived good-bye to Claire and headed down the stairs. Into the studio. To look at the carcass:   After facing that . . . which felt very similar to viewing a newly dearly departed, I decided to work on some new techniques while I pondered what to do with the remains.  My instinct was to trash it, cremate it, send it on to its just rewards - but that is hurt and anger surfacing and some of my best works have been pieces that went 'wrong' and I had to re-work them to salvage them.  The only difference here is that it was finished to my great joy and I know any re-creation will be but a shadow of the original (such was my then state of mind). I decided to rummage through all my new supplies and chose to work with some new RF Paintsticks.  In the encaustic process I had been using, I would paint encaustic into the divots and distress marks and scrape the layers down.  It is back-breaking and time consuming work.  Can you imagine my delight when I was able to create this work within about 2 hours, start to finish, while simultaneously working on 4 others? Let me introduce you to "Traces of Time", 6"x6", Encaustic, Handwritten letter, Leather/silver watch band.   As I sit here typing this title, it occurs to me that I dealt with the very thing I was mourning - my loss of TIME.  Art is so amazing that way.  You do not even know what you are seeking, but it forms itself before your very eyes if you get your ego and brain out of the way.  Finally, after getting myself out of my own way, more works came forth.   "Run Away" 6"x6", Encaustsic, Vintage Fairy Tale pages, quickly followed the time-piece, and then came "Descent"   So, if I would only listen to my own advice I would save myself A LOT of heartache, right? I was excited to use some of the real butterfly wings Don and I had collected on our Lake Lure, NC 2006 vacation.  We came upon hundreds of butterflies hovering over puddles and upon closer inspection realized there were dozens of drowned butterflies.  Apparently some of their wings had become wet and weighed them down and they couldn't fly away.  The living butterflies appeared to hover in a mournfulness of collective spirit. Once again, my feelings are just bubbling up to be revealed in these new works . . . time, the need to 'run away', and mourning. One benefit to all the years of collecting is that I have an amazing resource of materials on hand.  To have them all, more or less, at my fingertips in the new studio is something I have never experienced before. I NEEDED those butterfly wings TODAY, and because I had taken time to unpack and sort - I knew EXACTLY where they were - safely encapsulated in U2's "All That We Can't Leave Behind" CD case. There are no coincidences.  There is only synergy.  The flow and flux as the energy transforms. Consequently (or not)!, what I ended up with today was three new completed works and the energy to begin or re-begin some other works. I now have all the butterfly wings dipped in encaustic and ready for the next 'calling', plus I infused multiple antique baby clothes for my textile version of "Ashes, Ashes", and, best of all, I found a technique that will increase my efficiency and save my body many aches and pains! Somehow, in less than one week, I have decided that this self-destruction of "My Vintage Soul" contained many valuable lessons.  I am looking forward to using these new techniques and insights to create new, and, hopefully, better work in the future. Don't forget: "I get knocked down, but I get up again - you're never gonna keep me down!" http://www.youtube.com/watch?v=GAM9diIDHqs      Chumbawamba- Tubthumping Here are a few images I took of the studio today  - I am, apparently, back in action!   Real butterfly wings (found) dipped in encaustic.     Vintage baby dresses, in the process of being infused with encaustic.   Vintage Baby Robe, infused with encaustic, hardened, standing on its own.   One shelf of collected figurines/vintage toys for future use in assemblages.   Mid-process of encaustic infusion, antique embroidered pinafore with safety pins in pocket.  
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Fear of the Studio

I have suffered the most devastating loss . . . my recently finished, yet to be acclaimed, masterpiece "My Vintage Soul" was destroyed last week.   Thursday night, as I dealt with my insomnia by blogging and shopping on eBay, at 1:00 a.m. an unearthly crash shook the house - and lying on the hardwood floor in front of the fireplace was the face-down remnants of "MY VINTAGE SOUL".  As my husband lifted and turned it face-up, we discovered that not only were all the ceramic, vintage figurines crushed, but many of the rolled fabric forms crushed.  Apparently the 150 lb (supposedly) picture hooks I used were inadequate.   I am thoroughly crushed and cannot even face going into the studio right now. This is a complete wash.  I can re-install some other figurines and re-work it - but this was the seminal piece of my new series and will never be able to re-capture the joy I felt as I created it - as it formed beneath my hands and revealed itself to me. It is a memory - a figment of my imagination. I am considering a burial or a cremation.  This was to be the highlight of my new exhibition. In deep mourning, For Art's Sake, Sher
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Part II - Durham Journal - Augusten Burroughs/Haven Kimmel

So Thursday everyone visited different things.
 
Kate, Baby Alice and I did a Thrift Store Bingo ride, led by the Tom-Tom. I found a few great things . . . in one store they didn’t even speak English . . .
 
Here are a few of the treasures I found in the Durham Thrift Stores:
 
 
 
Above you can see the great hat and dollhouse/shelf I found for Claire at "Everything Except Granny's Panties" - which had to be my favorite location of all.
 
 How could I possibly pass up these vintage copies of Laura Ingalls Wilder's "Little House" books?  Garth Williams, the illustrator, really inspired me as a child and I spent endless hours drawing women and girls in old-fashioned clothing and sunbonnets.  I can barely wait to use the aged pages in some collage encaustic paintings.
 
 
Also at 'Granny's Panties', I found these bizarre Lucite balls.  When placed on the fabrics (those were given to me by fellow blog baby, Carrie) they create bizarre distortions which I find greatly intriguing.  I also found and purchased Lucite cones:
 
I am very intrigued by these Lucite objects as I will be able to create some amazing sculptures, their characteristics also remind me of my 2006 series "Collected Works" were I suspended obje cts in resin and candle gel within toy capsules.  If they still have any left in July when we re-visit NC, I plan on buying them all.  Sometimes it is hard to know until you get home, how 'valuable' the items will be to your artistic production.
 
"Collected Works I" with detail.  2006. 2" toy capsules with found objects.
 
Around 2 pm, we made our way to GEORGE’S GARAGE (which was sadly George-less). The decor was unique and so was the set up . . . Mediterranean food  . . . purchased by the pound . . . so we all loaded up our plates and gathered together (hosted by Caryl) . . . unfortunately Linda and her gorgeous son SAM were held up at Chapel Hill and didn’t make it to the dinner.
 
Towards the end Caryl and I explained DEAR CARRIE’s “Fugly Bead” game . . . which brought her presence right in the room with us . . . Molly won the ‘ugliest bead’ so will receive a masterpiece from Carrie. Each bead was wrapped in lime green handmade paper tied with tiny twine - so I kept the remnants to use in future artwork.
 
Here is a view of two of Carrie's masterpieces, which I call my "Molten Sky-Drops"
 
 
As we left many pictures were taken, but not by me, because I was just STUPID . . . I think GiGi has the most pictures . . .
 
We then all visited the Regulator Bookstore (fabulous independent, they hosted the reading) which is just across the street. I already have every Augusten/Haven book, but I loaded up on some others (including one of Suzanne’s and lots of art journals).
We also went to a store called “Vaguely Reminiscent” nearby and Amber and I (we realized later) bought the same lovely handbags! Kate found some smashing vintage earrings . . .
 
We headed back to the Inn to freshen and dress up for the Reading . . . As we arrived at the Carolina Theatre around 6 pm we were greeted by Kimbits (a fellow blogger) who came up to us and explained “ARE YOU KATE AND SHER?” - we had our own ‘fans’ and had been ‘recognized’ on the street. It was thrilling and sweet. It was fun getting know them better and then we finally got to meet Linda and darling SAM . . . and on into the theatre we went.
 
We were all held like cattle waiting for the official seating. The Carolina theatre is GORGEOUS . . . even the vintage ticket box was evoking of the old, glory days. We were not worried because, thanks to Nora Barnacles a/k/a Sherrill, we had reserved rows of seats right up front. I had made some tags just like the t-shirts, so we were set!
 
 
Kate's daughter, Alice, waits for the seating . . .
 
I totally embarrassed myself by acting like a dork when I saw Kat (Haven's adult daughter) and her Gorgeous Boyfriend Tyson . . . I was like “Can I say HI???”  . . . but they were gracious and chatted like normal human beings, of course!
 
 
Here is a row of Official Blog Babies, holding our seat reservation signs.  From Left: Sam (Linda's son), Linda Carter, Molly, Amber, Kathleen, Maureen, ME, and Sherrill a/k/a Norabarnacles.
 
Here we see GiGi waiting with her collection of Augusten/Kimmel books.
 
Maureen and I had already agreed to sit together because we had not had a chance to ‘hang’ much. You could even get soda/wine/beer and popcorn to consume during the reading . . . wow!!!! I was driving and in pain so chose Root Beer and Milkduds as a lift me up.
 
Awaiting Haven and Augusten was fun in itself because you could see the family hanging around the entry door . . . the introductions were touching and then Haven did a beautiful introduction of Augusten. They then took their directors seats and began on a riff . . .
it was obvious we were attending the Haven/Augusten Show and not a typical reading. It was HysteriCAL. All the sudden they asked for questions and we all sat there enthralled and stunned.
 
They really need their own radio show!
 
Then the signing . . . which was standing in line for what seemed like hours and probably was . . . as we were in the end of the line!
 
They and WE prevailed and stuck there as they signed every book proffered. I had Haven sign a “Klattermaster” book for Claire and she made sure to say it was MADE IN AMERICA. I also had my much marked up, highlighted, flagged IODINE and she talked about the notes and symbols she used when she wrote the book. I told her I was working on my own index and she gave her blessings on that endeavor. For Augusten I had him sign a specific page in my Wolf At The Table Book - which made me cry as I stood in line choosing which page . . . I finally chose the one with “my mother couldn’t protect me”.
 
 I blathered at him as I am rather amazed that he is alive, that he never tried to commit suicide as a child. I am just so glad he survived with such resilience of spirit - that is something that is impossible to figure out - how some of us ‘dark place’ survivors actually blossom and others fall into an eternal abyss.
 
So now, at 10ish, we finally make our way back to the Inn, Linda and Sam joined us there . . . and we are trying to figure out where to eat in the lounge . . . I go to the bathroom and everybody disappeared except for Sam and Linda. We wait and wait . . . and wait . . . then we finally leave out of exhaustion as well.  Now, instead of ordering room service and taking a long hot bath and going to bed early as most sentient beings would do, I chose to  . . . follow this scenario:
 
I was painfully exhausted and all I wanted was my 2 bottles of Italian wine. I was determined. Kate was visiting with her brother, his wife, and newborn niece in our room so I went knocking on doors . .. Shanna wasn’t next door so I went on down the row until Molly and Amber answered - yippee!!!! - I petulantly refused to eat any of their chicken they had smuggled in from TGI Fridays . . . and Molly went downstairs to have the bartender open the bottle of wine . . . and, low and behold, everybody had re-gathered down there! But we decided to have our bottle of wine (which was already paid for!) in their room. We talked about breathing the wine, the bouquet, and the legs . . . they enjoyed the imported wine and we had a hoot. Talked about the reading, the barn, the whole experience and even went into relationships and surviving abuse. It was a great talk with much depth and moments of pure joy. I love me some Amber and Molly and I am encouraged that we have such intelligent, hopeful young adults to help us, as humankind, move forward into a bright future.
 
Before we made our way downstairs Maureen and Kathleen returned upstairs and Kate called begging for the party to convene to our room . . . so we all marched or 'ballet-ed’ over there.
 
I did a hysterical search for a corkscrew again, called the front desk in sheer desperation while Maureen suddenly appeared with one. Ooops, we ended up with 3 corkscrews. So we had the 2nd import and Amber and Molly offered up their White Zin . . . Alice slept through the entire 4 hour slumber party.
 
All I know is this: we are an amazing group and I want to know all of you the rest of my life.
 
I didn’t get to hang with Caryl or Shanna or GiGi 1/2 as much as I really wanted to . . . so I am thinking another get together is in order . . . to include all the missing Blog Babies this time . . .
 
After a quick goodbye to Shanna and Caryl in the lobby after Kate loaded up earlier and went to breakfast with her brother . . . we headed out of Durham with one last stop at the SCRAP EXCHANGE. What a glory that was.
 
Here is an Ode to Durham and our Blog Babies Retreat . . .
 
 
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Off the Hotplate . . .

  New work, just to prove that all those sleepless hours are bringing forth something! Above is a studio image of "My Vintage Soul", still on the easel.  Here are some detail views:       I really enjoyed adding this vintage puppy's broken tail nearby . . . This series took a surprising amount of time and a surprising amount of beeswax.  Measuring 24" x 24" and approximately 7" deep, it weighs at least 50 lbs! As I was forming the rosettes from the wax infused textiles, I though of the roses my mother creates for decorating wedding cakes. As I was working on this large, focal piece, I also experimented with smaller assemblages.   This diptych of boxes includes a guardian angel and other vintage figurines. After a rather bizarre dream of GIANT "little people' peering at me sleeping (thru a window), I had this idea.  These are the oldest versions of little people I could find . . . I hope to do many more works with Little People in them.
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