COLLAGE EXPLORATIONS: THE GOOD AND THE BAD

"Red on the Hill"  10" X 8"  collage on paper,  Lori LaBerge 2018

While searching for art on Netflix, I was lucky enough to find the documentary "Eva Hesse". Parts of her diary are read and it explores her doubts. She questions her work, should she continue, what would happen if she did not, how could she make her work better, feeling stuck, etc. It explores what all of us feel at one time or another.

Hesse's friendship with Sol Lewitt and his letters to her struck a note with me. He tells her to explore, to make terrible work, to create nonsensical work and to forget about others opinions (basically, "F--- Them." He mentions not letting your own ideas hold you back. He gets down to the idea of just making work whether it is good or not.

Another take was Hesse's comments on the longevity of her work. She really didn't care, it was the art in the moment that mattered and up to museums to worry about any deterioration of work. This made me think about how maybe art is in the moment, maybe it is not meant to last. It may be meant to move forward with the new.

"Cavern"  10" X 8"  Time spent exploring organic shapes ending in compositional problems

While "Red on the Hill" shown at the top of the post is worthy of framing, I'm not seeing "Cavern" as anywhere near that level. I see the former as the good and the latter as the bad. Too many compositional problems. (I'll give myself a break as it was 3 a.m.) There are, however some interesting sections to it. I decided to rotate the work, exploring the colors and shapes,looking for what I may be able to use in future pieces.

When the work was turned upside down, I liked the idea of what appears to be lightning created by the white edges of ripped paper. The colors work well together and the L-shape created by the blue, green and black frames the red. (Note how the thicker L-shape is created in "Red on the Hill" by the greens and pink).

"Red on the Hill" was started with a clear idea, while "Cavern" was not. For me, this makes a difference in the outcome of a work. I don't need a full design in mind, but an idea helps me to move forward. With "Cavern" the idea never really developed and the thought of a cavern didn't hit me until it was finished. The piece may have been better had I come to that idea sooner.

SCULPTURAL TEXTILE ART "SANCTUARY"

 "Sanctuary" in progress, 15" X 11" X 8"  Lori LaBerge 2016

I had to think about creating sculptural pieces for the July landscape show.  I began to think about my many walks through the woods.  What if during a walk something unexpected appeared in front of me?   Something I could explore in the landscape.  "Sanctuary" is the first result of that thinking process.

The work consists of industrial felt, yarn, thread, beads, copper crimps, a fishing sinker, washers, a bolt and paint.  

 Close-up of upper portion

An opening was created and beads and a sinker were placed inside.  I found that the felt had to be cleaned as it shed heavily when I began work.  I vacuumed and used a lint roller to clean off as much fuzz as possible.  It would be best to use a mask if you attempt this process to prevent breathing in too much felt dust.

 Back portion in progress

As I usually work in 2-D, I finish the back of pieces but don't have to worry about how they are viewed.  3-D presents the added concern of how the piece looks from all angles.  I am in the process of creating a ladder for the backside of the piece.  This will be painted and stitched to the felt.  Fishing lures will be stitched on either side of the top of the ladder.  The above photo gives an idea of how they will be placed.

I have also been enjoying two new books that arrived this week:

"Alberto Burri: The Trauma of Painting" by Emily Braun and others

Burri's work consists of deconstructing in order to reconstruct in a new way.  His work and time spent as a war time doctor are seen in his method of art.  One can see fragments of burlap and clothing with torn edges roughly stitched together.  The rawness of the work is quite startling at some times.  He also worked with wood, steel, tar and plastic.  The use of materials unexpected to the canvas presents a unique approach to collage work. 

"destroy the picture: painting the void 1949-1962" by Paul Schimmel

This book focuses on an exhibition of post-war deconstructivism.  It goes well with the Alberto Burri book mentioned earlier and his work is included in this book also. The effect of wars is brought out in these artists' works as one sees battered canvases representing the feelings of the artists as their world changed. These are works that can have a profound effect on the viewer once the context is understood. 

The question "What if?" is one of the best gifts an artist can give him or herself.  Let this question lead you to new explorations in your work and have a great day.