Jaime Lyerly Art : In Progress

Showing posts with label In Progress. Show all posts

Monday, April 26, 2010

Thread Sketches - Process and Elaboration

In my post, Thread Sketches - Exploration of Universal Symbols through Machine Embroidery, I gave you a peek at some of my newest non-encaustic / fiber related work.

Now, I want to show you a little of the process and the elaboration that has occurred with these pieces. First, the process.

I was inspired by drawing/carvings on leaves done by Ana Mendieta whom I wrote a research paper on recently.

To give you a taste of this work, here are some of the leaves scanned from the book Ana Mendieta: Earth Body by Olga M. Viso.

Leaves by Ana Mendieta, from Ana Mendieta: Earth Body by Olga Viso

I started my exploration with machine embroidery on fresh magnolia leaves.

Fresh Magnolia Leaves

Here is me working on the leaves (with my freshly dyed purple hair and purple finger tips).

Here are the finished projects two days after they were completed. They have already began to lose their coloring around the stitches.

Machine Embroidery

I then started hand embroidering and pricking designs on the leaves at home. These took much longer than the machine embroidery, but were easier to control.

I could embroider through thicker and bigger leaves with this technique.

Hand Embroidery

This leaf was scanned in about a week after it was done. The white slowly covered the entire area that had been pricked or manipulated.

The back side of the leaves look different than the front.

I continued this exploration of hand embroidery about a week later, shaping them into forms with the thread.

I used a variety of techniques on these leaves.

We began needle felting in my fiber class, which is using wool roving and a barbed needle to puncture the roving through felt.

Here is a short video on needle felting by artist and author Rice Freeman-Zachery called Needle Felting 101

To learn more about needle felting, you can check out Outback Fibers which is where we get the roving.

After a few tests on felt, I knew that this technique would work on my magnolia leaves.

Needle Felted

Here is how this Thread Sketch changed over a week.

I liked how the felt looked like it was growing out of the leaves, so I enhanced that by punching the felt on the "wrong" side.

So what did we learn?

You can embroider or needle felt through anything that you can get the needle in
Natural materials change over time in interesting ways
Anyone can do embroidery or needle felting!
Experimentation is GOOOOD!

That last one is the reason I write this blog - to support other artists by showing them my experiments in hopes that they will be inspired to create.

Your Turn:
Experimented with any new media or techniques recently? Ever tried embroidery or needle felting on something other than cloth? I would love to hear about it! Leave your comments here and share it with us.

Happy experimenting! ~ Jaime Lyerly

Wednesday, March 31, 2010

Segment Collaboration with Sunshine Vekas – Part 2 – Process: Waxing

Did I hook you yesterday with this picture or my list? I do hope so!

If not, that is okay. Here is more to whet your appetite for process art.

As I said in Segment Collaboration - Part 1 – Establish your system, my cohort Sunshine Vekas and I are doing a unique art experiment where we work separately on each other’s art pieces therefore making it a collaborative art piece without actually working together in person.

We are both process-oriented artists, so this leads to exploration with materials that we normally wouldn’t chose for ourselves.

In this post, you get to peek into inside my head and my studio to see how I changed Sunshine’s piece above “SC #5c” into Fiber, Rubber and Encaustic sculpture “SC #5d.” This post is part one of the process.
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Before we jump into the process, I need to make a note about the naming system of this collaboration.

Sunshine has developed a system to track the progress of these process pieces. She assigns each piece Segment Collaboration with a number and a letter.

This piece as started in her possession as SC #5a. Each major modification has been assigned with the next letter.

When I received the piece, it was entitled SC #5c. My modification will change it to SC #5d.

I love scientific nomenclature.

The nerd in me cannot resist the twist of taking this fiber and rubber piece, and assigning it a technical, scientific name. It expands it from the realm of art into art as exploration. Onto the process...

Segment Collaboration with Sunshine Vekas – Part 2 – Process: Waxing

After much fighting with my inner critic and self-doubt about myself as an artist, I finally got started on my half of the collaborative project, SC #5d.

The piece has a history before I got to it that (if I can convince her that you readers are interested in it) Sunshine has documented via personal logs and photo documentation.

For now, this post will consider the pictures above and the beginning of this project.

As with many of the fiber creations I make on my own, the first thought for this piece was that it "needed some wax." On a Wednesday afternoon, I heated up my griddle and set up my video camera and camera to document the process.

My encaustic griddle was melting two loaf-sized containers of mixed natural yellow and white beeswax, R&F's transparent Rose Madder, Indian Yellow and Sap Green encaustic paints, all undiluted with medium, so that they are in their richest, creamiest, most potent state.

This photo is not exactly the same palette I used, but it is similar enough to give you an idea of my set-up.

I dipped the first little tuft of fabric. I loved the way the beeswax clung to the transparent cloth, making it more and less transparent at the same time.

I dipped the second tuft into Rose Madder encaustic paint. It was so thick it looked shocking on the transparent cloth. "Oh no, I ruined it!," I gasped.

But I let it stay and trusted in the process to develop.

After dipping each piece in beeswax, I was enjoying the process. However that blood red piece needed to be connected to the rest of the segment. I lightly brushed the Rose Madder encaustic paint, catching only the tips of some of the pieces.

I used my heat gun to soften the edges of the red color, fuse the wax, and shape the tufts. The heat helped to melt the wax which had covered the rubber at the base which looked sloppy compared to the tufts.

Excessive manipulation of the piece with my hands and the heat led to a few tufts at the end of the segment to loosen from their glued rubber holders. What to do now?

The removed the loose tufts from their rubber gaskets, and rearranged them on the segment. I connected the ends together which formed a traditional feminist icon of the V shape.

At this point, I took some photographs and let the piece cool for the day.

Waxed! Want to see what happens to it next? Come back for Part 3 next time!

Your turn:
Am I being a tease by only showing part of the process? Maybe, but the posts are detailed which should make up for it. The process of documenting while it is being made and blogging with critical thought is exciting for me. But I have to ask you...what do you think of the process so far? I would love to hear your comments!

Happy Collaborating! ~ Jaime Lyerly

Friday, March 5, 2010

The Psychology of Collaboration

Collaboration.

Working together with another artist(s) to produce something that is part of you both (all).

Sounds like a good thing, right?

Maybe; but I am not sure it is for me. Here is why:

Last year, I tried to be a part of a collaborative mail art group. I failed miserably at this collaboration.

The idea :
Start a small art work that can be shipped in a 8X5 padded envelope. You could have up to 5 pieces and then send them out to members your group. They would have one week to work on it and pass it along to another artist. You would eventually get it back when it has gone through about 4 people. You also work on whatever comes in the mail for you, and send it on to the next person. Simple enough, right?

Well, not for me. I started three pieces and sent them out. I never received anything in the mail until a month later when I was in the apex of the semester and getting ready to go in May on a two-week study tour to China and Japan.

But it isn't the fact that I received the pieces later that made me fail at this. It was that I never thought about the psychology of collaboration. Here is my definition:

The psychology of collaboration is all the questions and inner struggles that you face when you are working a piece of art was started and belongs to another artist.

I'll admit, I procrastinated a bit on getting my own pieces started. I wanted them to be perfect - but that will never happen.

Finally, I sent them off into the world to be worked on by other artists that I didn't know well. It was just when I received other artists' work that became a procrastination nightmare.

These thoughts went through my head when I received the mail art:

Wow, these are so cool.
I could do this, this, and this...
Maybe I can add this to the piece and take this out...
Wait, what if I do this, and she hates it...
Maybe I shouldn't be doing this...
I wish this was my piece...
What if I "ruin" it?
What if I make bad art...
These are professional artists - what the heck am I doing with them...
Maybe this is a bad idea...
How could I have thought that I could do this...
I have so little time now, I will work on this later when I have more time...
I cannot "deal" with this now...

Then the piece gets put aside until I can "deal with it," which is never.

Then the embarrassment and self-consciousness of holding onto the pieces too long (and not working on them at all because of fear) becomes so great that I start making myself less available. The pieces never get sent back either. I "lose" them in my other mail for months.

Collaboration falls apart and I have let everyone down - including myself.

At the time, I never thought that this would be the end result of my first attempt at collaboration. Everyone looked like they were having so much fun!

For someone who is obsessed with process, the idea of documenting a piece of art work at each stage of development is very exciting. I loved seeing what everyone else in the mail art groups (there were 2 others) was posting up on Facebook. It was amazing to see the transformations.

Yet, I hesitated and do what is very familiar to me now, "choosing by not choosing."

If you wait long enough, your choices of what can happen are limited. Wait too long on a scholarship/grant deadline, you will miss it. Forget to pay your bills, you get a late fee. Decide not to enter an art completion, you will never get in.

I know all these things, but I still do them.

And this time, my procrastination and self-doubt robbed me of an opportunity to participate in something special. I was not only hurting myself by procrastinating, but letting my group down.

So, through this mail art experience, I realized that I was not ready for collaboration.

Almost a year has gone by since that experience. And I am taking a small step into the realm of collaboration - this time with new rules and new eyes.

An artist friend from my advanced sculpture class, Sunshine, mentioned on the first day of the semester that she was looking to do an art collaboration with someone. She said that she wanted to exchange a piece with an artist, and we both work with the pieces for two weeks then exchange back again.

Sunshine is an amazing artist who has a BA in metalsmithing. She attends my advanced sculpture class for the critiques and to continue her mentee relationship with the instructor Richard Keely.

I am a great admirer of her work and her dedication to exploring her own process. So when she mentioned collaboration, my first instinct was "YES, I want to do this!"

But then my self-doubt compelled me to admit my hesitancy. I explained to her my previous failure at collaboration. She was understanding and still interested in working with me.

Here is what makes this collaboration different (and I hope more likely to succeed):
I know the artist that I am working with
I know her current work
She knows my current work
I see her every Friday, therefore cannot "avoid her" as easily
She is very friendly, and understanding
We are peers
She is interested in process
She has a similar aesthetic interest as myself

We started our collaboration three weeks ago. She brought me this amazing rubber and fiber piece to work on. Sunshine said that it was a piece that she had been working on for a while and still wasn't happy with it. She wanted to see if I could work on it, which would let her look at it again with fresh eyes. I loved the piece from the start, which is a good and bad thing. I also had ideas right away of what I wanted to do with it.

I hesitated to start, though. And I hesitated even more to bring her something of my own to have her work on. Nothing I had seemed "worthy" of her time.

Finally, I started heating up my beeswax to give the tufts a thin coat of wax. This would change it into something that I could understand - fiber and wax.

Here is what was going on in my head again, while working on Sunshine's piece:
This piece is so cool...
I wish it was mine...
I am going to give it a coat of wax and see how that looks.
But what if she hates it?
What if I ruin it?
Maybe I can take the rubber apart and shape it.
But then it would never go back to its' shape.
What if that is what she liked about the piece.
I wish this piece was mine so that I wouldn't have this pressure.
Okay, lets put it in the wax.
Hmm, that looks interesting. How about the red wax.
Oh no! I am not sure about that one. Why didn't I test it out first?
Is it ruined now?
I am confident that Sunshine is improving my piece, and what am I doing here...
Maybe this was a bad idea.
Maybe I am just not meant to collaborate.
How can I be so bold with my own experimentation and so timid with this piece?
I wish this piece was mine.
I will let it dry and then see how that looks.
Looks cool, now for some embroidery on it.
Oh, the needle puts a hole in the fabric that cannot be hidden!
Did I just ruin it?
Just finish this embroidery, Jaime, and stop thinking about this so much.

Even more questions than before! I knew I needed to work out some of these issues, so it was time for the journal. I wrote in my journal about ten pages about how I didn't expect this collaboration to be such a thought-provoking process. I thought it would be more about working with new materials and making it a part of me.

Instead it has been a process of not only making art, but also examining my own artistic self-doubt and worthiness as an artist. Powerful work, to say the least.

This collaboration is not done. Sunshine was not in class last Friday so that I could give her the piece. So my doubts are still crackling in the air.

But I am now aware of the psychology of collaboration. And will continue to explore these mental processes while working with the physical materials.

My hope is that this collaboration with Sunshine will help me redeem myself as someone who is able to collaborate.

I will continue to explore my own inner landscape of doubt, while pushing forward to create.

Your Turn:

Collaboration: Friend or Foe? Have you collaborated with other artists? Was your inner critic on high volume while working on the piece? Anyone else have more struggles with your own inner voice more than the material before you? I would love to hear your stories.

Thanks for letting me share my process with you! ~ Jaime Lyerly

Monday, November 9, 2009

Encaustic Sculpture Experiments - In Progress Wax Works by Jaime Lyerly

Three pounds of beeswax in cold pan. "Warm it up, Jaim!" "I'm about to!"

It has been a busy weekend preparing to teach Encaustic Technique at the San Diego Women's Caucus for Art Retreat this weekend, November 13-15, 2009 at Camp Stevens in Julian, CA.

I admit that I haven't been doing encaustic often within the last month because of my super busy school schedule and the fact that it has been 90+ degrees during the day! But now that it has finally cooled off here in San Diego, I couldn't resist doing some wax experiments even though I was supposed to be preparing medium for the retreat.

Preparing about 7 lbs of encaustic wax medium was one of my goals this weekend. This should have been the final result. Pretty cakes of clear medium cooling. This image was taken when I was making encaustic medium for the Escondido Municipal Gallery Workshop in July 2009.

Saturday started off just fine with me melting 4 lbs of wax in my pan. It seems so good! (We need smell-a-vision screens for this blog post!)

However as it melted, and I added the damar resin to harden it, the urge to USE the wax instead letting it melt overcame me. I thought about all I had been doing recently without my wax. I have been knitting and knotting fabric and rope pieces to be dipped in wax for my Art Actions. I won some fabrics from artist Carolyn Brown Sadowski. I have some vintage books pages that needed to be waxed, and some more books that my friend Starry just gave me. I rationalized that I haven't turned on my wax in a month and that I NEEDED to wax just a few things to get back into the swing of working with wax to teach at the retreat...

It was a lie.

I WANTED to use the wax for myself. So I did.

I ripped up a vintage book and tossed the pages in the beeswax bath. The damar that I put in was melting and sticky. I soaked these papers. I also dipped individual pieces of paper and shaped them. It was fun to experiment and get messy with the wax.

After experimenting with the paper, I took out the fabric pieces. Dipping materials, especially things like fabric uses A LOT of wax. As I was dipping the fabric pieces, some of them made a sizzling noise. This tells me that there was probably a synthetic material in the fabric that had a lower burning temperature than my wax does. But these are all experiments; so I share my knowledge with you. If it sizzles, it is too hot! You knew that right?

Even though I burns some of the fabrics, they turned out more interesting than I expected after only one trip to the wax bath. They look like leather and I think they are so cool. The images are not the best, but they give you a taste of what they are like. Check them out below.

The last image I only covered partially in wax, which kept some of the original coloring while shaping the piece. I am not in love with these pieces, yet, but I am intrigued enough with them to ask for a second date.

One thing I know about them is that they need a place to hang out and lots more friends! I plan to do more experiments soon, but this time without any guilt of what I SHOULD be doing.

Warning: for all of you ready to start dipping object in wax - it "taints" or "dirties" your wax. The wax that I used for these items was clear refined beeswax. Now it is brownish yellow. Not a big loss, since now it has been labeled "collage wax."

After pouring my collage wax into the muffin pans, I cleaned out the pan and put in fresh pounds of beeswax and made some medium. Here they are cooling in their mini muffin pan.

So I ended up making about 3 lbs of encaustic medium for the retreat and will finish making the medium later this week.

I am so excited to teach this weekend! It will be a full house, but I hope each student will get a taste of working in this exciting medium. I never tire about explaining, showing and working in encaustic.

For those of you not coming to the retreat, I will have some pictures up for you to experience it online. Let me know what you want me to post on my blog. I aim to please!

Until then, happy experimenting! Enjoy the journey! ~ Jaime Lyerly