Interlude: Pre-Fall 2020

by Kathy Colt on September 10, 2020August 22, 2021

Fall approaches and, as expected, we are all still riding the pandemic wave, hopefully able to adapt to this new meta-reality, one which is not likely to change for some time. I will soon follow this post with a studio update, but I had a few ideas to share in connection with a book I recently read (actually listened to, since I spend a lot of time working in my studio) – The Death of the Artist: How Creators are Struggling to Survive in the Age of Billionaires and Big Tech, by William Deresiewicz. It was published in July of this year but was written pre-pandemic. The book is dense and there is plenty of commentary and criticism to explore elsewhere online. However, the book definitely stimulated my thinking about what it means to be an artist in the early 21st century. I don’t agree fully with its conclusions or some of its recommended solutions, but much of the book rings true. If you refer to yourself as an Artist, you will want to read the book and draw your own conclusions. Here are just a few of my own (surprisingly motivational) observations – maybe they will resonate for you too.

The posts on this platform address my experiences as an artist / designer / craftsperson* – these have not fundamentally changed during the current pandemic. As noted and evident throughout Deresiewicz’s book, navigating The World and its economic terrain as a creative professional** is fraught with chills and spills, to which I and every artist/designer/craftsperson I know can attest. I love what I do, but challenges exist. Wherever we are on the continuum, we have to attend to the needs of body (as well as mind and spirit). Choices must always be made and for most of us that means, in part, doing something to pay the bills. I have worked “in the world” to meet many of those needs. I am currently able to work full-time as an artist / designer / craftsperson and a lot of that work still takes place “in the world,” except that it is nearly always provisional (a fact on which I prefer not to dwell). Committing to a life as a creative professional without a financial safety net requires a certain amount of blind trust, incredible motivation, and a deranged desire to manifest a personal vision. It can be pretty daunting (if not impossible) to sustain this level of energy and commitment day-in-day-out, especially as one ages. Throw in a pandemic and attendant economic downturn and it might be downright suffocating – exposing and nearly extinguishing the fire at the heart of what has always been a fragile and uncertain proposition. And, as Deresiewicz notes, these insecurities have an impact on the nature of the Art one makes.

However…..In the face of the current and continuing challenge to the arts and artists on all fronts, I find numerous bright spots. First, I think this pandemic era, as horrifying and dislocating as it has been, has given us an opportunity to see and appreciate with greater depth our humanity and our frailty. This feels crucial: artists must be able to take this perspective if we are to speak to the concerns of our time with authenticity. Second, importantly, we have the opportunity to look at our historical past as a point of reference for understanding our current lives and predicaments. Where art/artists, etc. are concerned, the body of historical evidence demonstrates that the means and media of transmission, the financing of the work, and the nature of one’s audience are neither stable from one era to the next, nor generally within our control. This we know with certainty. For example, step back a spell and rather than “Billionaires” and “Big Tech” (to use Deresiewicz’s behemoths), you find the Church. For centuries, the Holy Roman Empire garnered the power to profoundly influence the type of art being made, the manner in which it was made, and the lives and exertions of those who made it. On this point, Deresiewicz reminds his readers that the makers of art during the “Middle Ages” (much of it architectural and commissioned by the Church), comprised countless anonymous artisans and craftspeople. The concepts of Art as a stand-alone discipline and Artist as individual/inspired genius did not come until later.

That leads me to some closing thoughts (and thank you for persevering). We are likely living through another great transformation. Historians will be able to put it into clear perspective later, but it is apparent that ideas, information, and other cultural and social underpinnings (not to mention our physical world) are in serious flux. That can feel pretty destabilizing, and it is actually. But is also full of possibility, and that is an energizing prospect. Adopting a broader historical perspective, whenever possible, can help to dissipate some of the anxiety we feel as individuals, whether as creative professionals/practitioners in contemporary culture, as members of a civic body, or as friends, spouses, parents, children, sisters and brothers. Further, if we define Art as the product of “individual creative (wealthy/well-appointed) geniuses”, then it has historically only been easy for and accessible to the lucky few (notwithstanding the seemingly arbitrary nature of the criteria for their selection). That mean that the rest of us still have to get up every morning, face our limitations and do the Work anyway, because we have been “called” to do so. Thinking about ourselves as creative beings traveling along a historically rich and varied continuum feels more inviting, inclusive and open-ended.

Embracing my life as a creative expeditioner has given me “permission” to renew my commitment, to mark the spot and get busy making (and living), each day hoping that the mastery of balance between needs of the body/mind and the needs of spirit will be forthcoming!

Notes:

The scope of my practice layers the sensibilities embodied by all legs of the primary triad of creative disciplines: Art, Craft and Design.

**I know the word creative is off-putting to some but I am using this is a broad sense to include the full spectrum of the arts, “fine” art, literary arts, the “applied” arts (design, craft), as well as the performance arts. Deresiewicz looks at the broad categories gathering anecdotal evidence from practitioners to support his arguments.

Indigo Spring

by Kathy Colt on June 18, 2019January 10, 2022

It has been a full month since my last post. Teaching/facilitating technique through one-on-one, small and large group gatherings has become a more regular feature of my weekly activity list. Among other things, Indigo has figured prominently in this work. As noted elsewhere, I have also increasingly incorporated other natural dyes into my creative practice and will be facilitating another workshop this July at the Southeast Fiber Arts Alliance. See the sidebar for the link.

I have had three opportunities to share the indigo experience this year so far. One I mentioned in my last post. The two most recent were quite contrasting experiences: In one case, I worked with pre-reduced indigo serving 80+ participants during a “Family Fun Day” at the Michael C. Carlos Museum in Atlanta; in the other, I facilitated a gathering of two at my home studio, where we worked with resist paste and an organic indigo vat. Both events were inspiring, energizing and life-affirming. Here are some images:

From the Carlos Museum/Indigo on the Quad:

From the Organic Indigo Vat workshop:

The Return

by Kathy Colt on July 24, 2018July 24, 2018

I recently visited a friend in the fair city of Guanajuato, GTO Mexico – I have been there before and in fact posted in this blog about that trip as well. This visit was a bit different as life-altering experiences had emerged in my recent past, as well as that of my friend. As a result, we both set out with the intention of sewing the seeds of rejuvenation. It really became a launch of the essence of “re” – a return, revisiting, renewal, reinvigoration, revitalization, restoration, revisiting and review on the way toward a new point of beginning. Signs and signals, resources and connections began and continue to be revealed to both of us as we progress through this new terrain.

My images from this trip varied but seemed to have a decidedly architectural focus, especially where roof/facade and sky meet. I was also understandably attracted to the many templos (churches and cathedrals) which populate the religious landscape of Guanajuato (Gto). The architectural residue of a bye-gone colonial era is enriched with structural and superficial decay, but these buildings endure – maybe that was a metaphor taking hold. Even in cases where the buildings have been renovated or “restored” with a nod to another era’s sensibilities, their original presence does not fade. I realize in retrospect that this was a profound symbol of solidity and grounding after a year of standing on shaky ground. In any case, these buildings are essential landmarks which give the entire State of Guanajuato its character, along with the many-colored domiciles stacked on the slopes surrounding the city’s natural structural essence – that of river valley. Indeed, when I arrived, the rainy season had just begun and the imperative of the geographic low point repeatedly asserted itself during my trip as flooding from recurring thunderstorms regularly inundated parts of the city. Of course, the rain also brought a renewal of a green, lush landscape latent during months of seasonal drought in this high desert region.

Rain notwithstanding, I was pleased that we were able to make it outside to see art and eat excellent food, including the most moist and delicious tamal I have ever tasted (thanks to, my sincere apologies to vegetarians, lard). ¡Nos veremos en el futuro, sin duda, Guanajuato! For a slightly different perspective on the trip, visit my wearable site’s journal.

Templo de la Compañía

The slopes of Gto

Down an Indigo Calle

Teatro Juarez

Templo de la Compañía

Mercado Hidalgo

One view of the city

Chaos and the Leading Edge: Part I of Many

by Kathy Colt on May 30, 2016January 29, 2019

The High Museum of Art in Atlanta recently hosted a collection of works by the Dutch designer, Iris Van Herpen (“IVH”) (Iris Van Herpen: Transforming Fashion). The show was diverse and complex and I am grateful I was able to make it to the museum before it closed earlier this month. I was immediately inspired to write about it. Interestingly, the process of writing opened up a whole new way of looking at my own work. Before I returned to my modest exertions in the studio though, I recorded these thoughts and observations about the exhibition.

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Point of beginning: I am rapidly drawn in by the unconventional, diverse and harmonious use of materials and form. The pieces, all presented on the female figure, are vibrant, innovative, and impeccably crafted.* The human form as an armature sets the sculptural limits of each piece, but within their respective envelopes, there is room to explore a variety of 3-dimensional ideas. With chain, leather, polymers, film and other materials, through hand, laser, and 3-d print technologies, a coherent vision emerges. This work exemplifies the holistic nature of design: a fusion of artistic sensibility, utility, and high craftsmanship. My designer-mind turns at fever pitch to process all of the surface nuances and architectural splendor of the pieces. At times, I feel I am practically hyperventilating from excitement. A fresh encounter like this is potentially life-altering. I am having an IVH “moment”, and I recognize this kind of experience as one of the hallmarks of my growth as an artist/designer/maker – the very best of creative cross-fertilization.

There are conceptual underpinnings to Iris Van Herpen’s work, to be sure. Technology is a strong driver but at its core is the notion of chaos. This one idea, chaos, has so thoroughly captured my imagination that I am sure I will never look at anything the same again. This is not the “chaos” of common parlance (as in disorder or break-down), or the formless, primordial reality posited by the ancient Greeks; but rather, the mathematical concept relating to non-linear systems dynamics.** While I certainly have an incomplete understanding of the concept (and intend to apply myself further to the task of improving that understanding), I begin to appreciate this notion of chaos as a core dictate of process embodied in the exhibited works. Via bundled and recursive layers, each piece is a composite of complex inputs. Each suggests a semi-permeable system, one of feedback loops, altering vectors, potentialities, of scaled iterations, re-curving, reorganizing, and unfolding to infinity…except that they are all neatly arrested in space and time as discrete finished works. There is a sense that this designer/artist/visionary has, in the completion of each piece, dialogued with chaos and deepened the scope of her dance with it. One aspires to the level of individual and collaborative creative freedom, technical prowess, and innovation on display at this extraordinary exhibition.

There are a lot of other ideas that might be explored in connection with this exhibition, and I ran the gamut as I refined this post: fashion and sustainability, the promises and limits of technology in the face of environmental degradation, holistic creative practice, to name a few….but these topics are for other posts. For now, I am content to rest in the strange, paradoxical comfort represented by chaos. Maybe that is the seduction of the exhibition and of Iris Van Herpen’s work – the hope, light, and magic in these pieces are reminders that we are each manifestations of pure, unfolding process, modified at points in space and time by myriad influences, each exerting forces with varying degrees of potential or predictable outcome. We are indeed, living, breathing chaos, emergent processes of vectors known and unknown. We might as well relax and enjoy the ride!

Footnotes:
*Throughout this article, I make a distinction between the sculptural, exploratory pieces and the more “accessible/market-friendly” couture (as seen, e.g., in the runway footage looped in conjunction with the exhibition).

** Apparently the term “chaos” belies the true nature of the dynamical systems it signifies although it continues to be used. See James Gleick, Chaos: Making a New Science, Viking Press, 1987.

K.C. May, 2016

Guanajuato on My Mind

by Kathy Colt on October 21, 2015January 29, 2019

I recently took a trip to Mexico to see some close friends who are currently living in the city of Guanajuato (Gto). My image gallery is below but kindly indulge me while I sing Guanajuato’s praises! It is a wonderful city rich in history and culture. This capital of the State of Guanajuato, is situated roughly between Guadalajara and Mexico City (or about 3 hours Northwest of Mexico City), just about in the center of the country. It is on the UNESCO World Heritage list, and is the birthplace of two cultural signifiers: the Mexican Revolution (for Independence from Spain) and the painter, Diego Rivera.

I have been to Gto in the past and it was a delight to return. This time, I was based again in the neighborhood known as San Javier and specifically timed my visit to coincide with the annual Festival Internacional Cervantino (dedicated to the city’s adopted philosophical and literary muse, Miguel de Cervantes (author of Don Quixote). Mexico has a quite admirable, serious and extensive appreciation of world art and culture, and this is affirmed by the care with which the Cervantino is organized and presented each year. A full spectrum of international arts (visual, music, theater, and dance) is represented during the festival, which comes to an end right before celebrations centered around El Dia de los Muertos.

I spent much of my short visit this time enjoying the visual arts in the “centro” or old center of the city. The centro of la ciudad Guanajuato is peppered with glorious, weathered Spanish colonial cathedrals and churches, and other architectural monuments, including the cavernous central market (Mercado Hidalgo), which was designed by Ernesto Brunel in 1910. In conjunction with the Cervantino, galleries throughout this small but dense city are replete with painting, sculpture, photographic and other visual art exhibitions, many directly relating to the theme of this year’s festival “the science of art/the art of science.”

By foot, car and bus, my energetic friends led me all over the City during my visit. Between meals and afternoon coffees, my legs and feet began to become accustomed to the hard and irregular surfaces of the myriad calles and callejóns (alleys) linking the city’s plazas and landmarks. One day we visited the Museo Diego Rivera, which is part monument and part art gallery. There one finds the Mexican master’s earlier works, some studies for later murals, his exquisite Popol Vuh renderings, as well as adjunct galleries showing varied works from contemporary artists. I also toured the Museo de Historia Natural, a monument to the career of Alfredo Dugès. Dugès was a French émigré who settled in Guanajuato at the turn of the 20^th century. He was a serious amateur naturalist and spent his life cataloging Mexican flora and fauna, as well as documenting these findings through detailed renderings. Think: Mexico’s Audubon. The extensive taxidermy collection housed at the museum (now under the auspices of the University of Guanajuato), languished for years in storage before it was “rediscovered” and properly archived.

Perhaps one of my favorite visits was to the University of Guanajauto’s main art gallery where I was delighted to find 2 concurrent fiber art shows. In one gallery recent fiber works by Trine Ellitsgaard are currently on display. Ellitsgaard is Danish by birth but lives in Oaxaca. In the adjacent gallery hang felted tapestries and mixed-media handwovens. This collection pays homage to the many facets of the corn (maíz) plant, its value to Mexican culture, and its vulnerability in the wake of continued proliferation of genetically modified corn seed (the cultivation of which goes hand-in-hand with the burden of chemical (and thus financial) inputs not part of traditional agricultural practices); for a society deriving much of its sustenance (both literal and metaphorical) from corn, this is a serious issue. The pieces in this exhibition were designed by the painter Francisco Toledo (who is married to Ellitsgaard), and were produced by a felting workshop situated in Oaxaca, at the Centro de las Artes de San Agustin.

Finally, I cannot fail to mention another highlight of this particular trip – As it turns out, in conjunction with the Cervantino, the City-centro is also temporary host to a collection of fantastic large bronze sculptures marking entrances to important alleys and terminuses along the city’s labyrinthine layout. These pieces are based on original small-scale wax models created by the British surrealist artist Leonora Carrington. Carrington, primarily a painter, made Mexico her home for a most of her adult life. What good fortune to see these pieces (and window into Carrington’s vision) at such a scale!

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Guanajuato is a riot of color and texture, teeming with a beautiful, bustling population moving here and there along crowded streets and alley-ways. Even absent the tourists now pouring into the city for the Festival, this city is dense and compact and it does not sleep for long…automobiles, busses, and pedestrians do an amazing and complex dance on the busy avenues. To that vibrancy add the host of colorful rectilinear dwellings perched atop each other on the surrounding slopes, looking down on the old city below. Here in the “suburbs” (which are all walking distance from the centro), you might run into a wandering cow or burro as these newer neighborhoods quickly give way to country here in the high desert.

I could go on…so much…of everything. Did I mention my trip was excellent? I am deeply grateful to my hosts and new friends for making my stay such an inspiring and stimulating experience. I hope to return soon!