Hello! It's been forever. Much has happened in the last three years- got married & had a baby daughter... plus totally new artwork. You can now find me at:

www.jaynepena.com

thanks!!
Jayne

three recently completed sculptures

I am always surprised just how long it takes me to finish artwork, especially sculptures. Aspects of these sculptures were begun fall of 2009, generally finished in July- only to have me go back and resolve them further this past August.

It's almost as if each phase of work has to "marinate" for awhile before moving into the next working phase or resolution. I currently have at least 10-15 other projects in the studio in various stages of either being worked on, or "marinating". In this particular series, there are about 5 or so more pieces coming...

"vessel #1(us)" 4.5'x2.5'x1', terracotta, handmade paper, thread, silk, wire, wax

"vessel #1(us)" DETAIL. 4.5'x2.5'x1', terracotta, handmade paper, thread, silk, wire, wax

"vessel #2 (hiding place)" 23"x20"x16", steel, handmade paper, terracotta, leaf, thread, wax, pigment.

"vessel #2 (hiding place)" DETAIL. 23"x20"x16", steel, handmade paper, terracotta, leaf, thread, wax, pigment.

"vessel #3 (contemplation)" 3'x2'x32", steel, wire, silk, wax, terracotta, thread.

"vessel #3 (contemplation)".DETAIL. 3'x2'x32", steel, wire, silk, wax, terracotta, thread.

a few small paintings

I believe these are done, though sometimes you never know :). I just might jump back into them after a few months...

 

"the source" 8"x6"

"the finding..." 12"x12"

"goodbyes" 5"x5"

"journey" 6"x6"

"scramble" 6"x6"

basics

The very first thing I thought when sitting in the studio this morning was "today is a day for drawing".

Woke up today and shuffled out to the studio half asleep, with a large cup of black tea in my hand. Off of my "immediate pay" job today, I have most of the day to work. Hate to waste a rare day such as this, but my initial encounter with the recent works in progress has fallen flat. Everything is moving along pretty nicely, overall... yet each piece is at some sort of cross-roads and needs special attention. This is that point where I can easily "make it or break it" with the work. Some days I am fully up to this aspect of artmaking, ready to implement the next steps, whatever they may be.

As I'm sure I have written before, I have learned not to force work just because I can work. This will inevitably lead to disaster. Yet at the same time, today is an art day and must be taken advantage of.

Time to step back and think. Get back to some basics and spend the day drawing and thinking over ideas and processes.

I am really enjoying my "new" working method of giving myself plenty of time for sketching and ideas without imposing deadlines for completed work at this time. This is a recent addition to my work-time, inspired by a trip to Spain in March. Saw a million beautiful and amazing things, but was especially struck by the Picasso studies for his painting "Guernica" at the Museo de Reina Sofia in Madrid. The completed painting was amazing... but the dozens of studies were almost equally so. I was struck by the sheer amount of time and practice he spent working up to this painting- and it has shifted my own approach to artmaking since my return.

So, looking forward to a day for thinking and playing with ideas that have been bouncing around in my head, without the pressure to "complete". A few drawings at several angles of a June bug I found while digging up my dead Bird of Paradise plant last night. Some nude studies of people running. Winged limbs. And some sketches and notes about where the works in progress should go. Full day!

Here are just a couple iphone images of some recently completed studies for myself:

Woke up feeling like I am drowning in something warm, viscous and heavy. Nothing specific, I have known this feeling well since I was very young, though I have found ways to attach various meanings to it over the years.

Wake up, walk dogs, drink tea, throw in laundry, pick up kitchen, pack lunch, get child ready for school...

Here is what I "researched" this morning.

http://www.youtube.com/watch?v=PsNlLLSBWLU

New work/work in progress

 After a few weeks of exploring ideas and feeling a great deal of creative energy in general,  I awoke yesterday with a paralyzing feeling of anxiety about the work I have been focusing on lately. Given that I had one of those rare full days of working in the studio in front of me, I wasn't about to give up. However, it was a great reminder that positive creative energy can only last so long before the other half of my brain steps in to inform me how silly and futile my ideas are as well as all attempts at art-making in general. Quieting that special critic that lives within is no easy task, but I was able to get the volume turned down to simply "critical" so that I could actually get some work done.

When this voice began, what used to happen to me was that I became incredibly depressed and hopeless, and abandoned whatever idea I was working on. I then would stay in a terrible creative rut until the energy struck again. Not a great working process overall. When I went back to school I couldn't stop working when this happened because of the deadlines pressing down on me. I had to work through it. Still, many, many tears of frustration were shed and ideas still abandoned.

This still fresh in my memory, I resolved yesterday to not abandon these ideas, whatever happened. Certainly not every piece I am working on is successful, and what may be successful in my eyes could be a total failure in someone else's, but it's the process of fully exploring and fleshing out a series of ideas to their fullest that I am focusing on. What lies on the other side? Several failed pieces to be sure, but perhaps a few successes that I could never have achieved without this level of difficulty.

From now on I am viewing that often debilitating feeling as a gauge that I am on the right track. That for me, I am somewhere, for me, that is "unsafe"- and that, artistically speaking, is exactly where I want to stay and push my artwork.

This is also a great time for me to take some pictures and step back to reflect on where I am at this point. Below are some paintings I recently made on some clayboard I had lying around the studio. It is the first time I have attempted to work in color since school... What is interesting for me is that they are done with acrylic ink- leveraging the drawing that I love and leaving behind my major difficulties with paint in general.

Below are a few (very much) works in progress in the sculpture studio. The "bowls" are made from leaves and tea bags cast into a plaster mold. The people are currently made from plasticine, and I am playing with their positions and shapes. At the end of today I bought a box of terra cotta air dry clay to begin making the people in a permanent material. Also, the pins I have used to pin the bowls to the wall are visible. ugh. That needs to go away, but I have yet to resolve how I want to mount them.

I will have pictures of the metal pieces I am working on in the next post.

it keeps spilling and spilling

I have been almost obsessing about this subject lately, easily brought to tears every time I hear news on the radio. Oil is a symbol of some of the highest levels of greed and corruption in today's society, while the men who died, plants, animals and the people whose livelihoods are potentially gone end up being helpless casualties of this. What are we doing about this? What can we do about this? Personally, I feel completely overwhelmed by the level of devastation. Only 21 years after the crisis of the Exxon Valdez. What have we learned? What next?
These  thoughts have been finding their way into my latest sketches and paintings. Just having fully embraced color once again, the last few days I find myself picking up the burnt umber and carbon black to use liberally in each piece. I don't know how this will resolve itself, both in real life and in my artwork. More to follow.

Here are a couple of excerpts from Wired Magazine. First article is about the current crisis. Second article was written last year, about the long-term findings after the Exxon Valdez spill:
"High concentrations of oil are acutely toxic, but low concentrations have more subtle, widespread effects. As oil percolates through food webs, it retards plant and animal growth, leaving them vulnerable to predation and disease, and less fit to reproduce. With the Deepwater Horizon spill already too large and unpredictable to contain, the question is no longer whether it will cause damage, but what form damage will take"

Read More http://www.wired.com/wiredscience/2010/05/gulf-tipping/#ixzz0oKPqsrX6

"Researchers expected the oil to break up in a few years. Instead, it will take more than a century. They found that oil’s compounds, especially polycyclic aromatic hydrocarbons — carcinogenic molecules that attach to fat, and refuse to break down in water — are toxic at levels hundreds, even thousands of times lower than was previously believed.

The Valdez pollution set off a cascade of environmental effects that have yet to be fully understood, but have at least been measured. Few of the region’s fish, bird and marine mammal populations have recovered. To the naked eye, Prince William Sound is beautiful and wild — but beneath the surface, it is profoundly damaged. As the Exxon Valdez Oil
Spill Trustee Council recently reported, oil in many areas "is nearly as toxic as it was the first few weeks after the spill.""

Read More http://www.wired.com/wiredscience/2009/03/valdezlegacy/#ixzz0oKRaVgGC