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I guess you could say I’ve retired from being “retired.”
I’ve been at a crossroads with my art career, and I want to make work that is personal, honest, and something only I could create. I was looking for a program that could help me bring my work up to the next level, and now I’ve found it!
The Canopy Program is a year-long mentorship program with a rotating roster of six faculty-mentors who work with a cohort of 10 artist-students each(that’s me.)
While two of the groups are based in New York, four of them are entirely virtual, which is why I am able to attend.
My faculty-mentor is Amir H. Fallah, whose bold narrative paintings resonate with my desire to tell stories with my art.
The backbone of the program is that each of us in the cohort will provide support and critique to one another under the guidance of Amir.
In addition, there guest artist mentors who provide critiques or classes on subjects such as art history, theory, research and writing, professional practices, and independent study.
I’m very excited to begin! With the experienced mentorship of Amir, visiting artist faculty, and insights from an my cohort, I’m ready to forge ahead in this next and most exciting stage of my creative life.
My faculty-mentor is Amir H. Fallah, whose bold narrative paintings resonate with my desire to tell stories with my art.
The backbone of the program is that each of us in the cohort will provide support and critique to one another under the guidance of Amir.
In addition, there guest artist mentors who provide critiques or classes on subjects such as art history, theory, research and writing, professional practices, and independent study.
I’m very excited to begin! With the experienced mentorship of Amir, visiting artist faculty, and insights from an my cohort, I’m ready to forge ahead in this next and most exciting stage of my creative life.
I'm Magical! 14x11 ©Leslie Peterson Sapp
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In several paintings and woodcuts in my Film Noir series, I integrated typewriters into the drama.
I had actually bought an antique, non-functional typewriter off Craig’s List as a reference.
I had actually bought an antique, non-functional typewriter off Craig’s List as a reference.
We met in a parking lot, and exchanged it from one car trunk to another for cold, hard cash-like some kind of nerd's drug deal!
It's a big, beautiful machine, weighing in at probably 30 pounds!
I recently took a new creative direction by making artist books, where I utilize collage materials and text. Rather than merely depicting typewriters, I wanted to actually TYPE stuff and integrate it into my books.
So, I wrestled my Woodstock back into my car and had it repaired at Type Space, Portland’s Vintage Typewriter Shop!
So, I wrestled my Woodstock back into my car and had it repaired at Type Space, Portland’s Vintage Typewriter Shop!
My first typed page!
Several months later, it has came back to me. I had assumed it was from the 1930's or 1940's. It turns out it was built in 1917!
Even refurbished, it shows it’s age. It’s sort of a beast, I must admit, and the results are well… unique.
Even so, I love it and am already incorporating typed pages into my artist books.
Below is a video of me tussling with my new contraption.
In the video, I am writing a piece about having ADHD, which I will use in my new artist book, Analyze.
Curiously, the act of typing echoed what it can be like to have ADHD. The process was long and laborious, and the result is a bit messy and garbled, yet totally unique and beautiful in its own way.
Typing also made me reflect on this unique moment in our history. Now our keyboards require a light touch, and with tools like spell check and AI, we can rattle off whatever pops into our head, unthinkingly. Combined with the web and social media, this can lead to oversharing, thoughtlessness, and even trolling. It made me imagine a world past when we had to be so deliberate with our communication-where everyone had to take a breath and consider each word before committing it to the page.
In the video, I am writing a piece about having ADHD, which I will use in my new artist book, Analyze.
Curiously, the act of typing echoed what it can be like to have ADHD. The process was long and laborious, and the result is a bit messy and garbled, yet totally unique and beautiful in its own way.
Typing also made me reflect on this unique moment in our history. Now our keyboards require a light touch, and with tools like spell check and AI, we can rattle off whatever pops into our head, unthinkingly. Combined with the web and social media, this can lead to oversharing, thoughtlessness, and even trolling. It made me imagine a world past when we had to be so deliberate with our communication-where everyone had to take a breath and consider each word before committing it to the page.
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In 2007, I launched upon a project.
Births, deaths, a deepening relationship, and an profound shift in identity had thrown my life into complete upheaval. My very sense of self was being torn down and rebuilt.
At the same time, for the first time in my adult life, I didn’t have to worry about paying expenses. I didn’t know how long this situation would last, but I recognized it for what it was: an opportunity to really throw myself into building an art career. I wanted to see if I could “make it” as an artist.
At the same time, for the first time in my adult life, I didn’t have to worry about paying expenses. I didn’t know how long this situation would last, but I recognized it for what it was: an opportunity to really throw myself into building an art career. I wanted to see if I could “make it” as an artist.
Polka Dot 2008 ©lesliepetersonsapp
I wanted to make something of myself.
I worked hard to create a cohesive body of work in a style I felt viewers would enjoy and want to own. I built a website and learned the basics of self-marketing. I answered calls to exhibit. Eventually, I got gallery representation. My career was on an upward trajectory—better galleries, better shows, more sales, and higher prices for my work. Until…
- One gallery I thought was going to represent me backed out.
- Another gallery, (my crown jewel in Carmel, CA) turned out to be untrustworthy, and I was obliged to fight to get paid and get my art returned to me.
- Another gallery closed because the owner died.
The upshot is that the first eight years of my career was ascendant, and the second eight years have been a retraction, to the extent that, for the large part, I’m back pretty much to where I started- or at least where I was in about 2011.
Maybe if I had worked harder, things it would have gone differently. Perhaps if I had made better choices here and there, I would have had a different outcome.
But truthfully, probably not- at least not substantially.
The Bigger Picture
I knew that being an artist was hard. I just didn’t know how hard. Perhaps I was naïve.
One of my earliest newsletters!
The world has changed so much over the last 16 years.
The economic recession has still left its mark. The wealth gap and soaring rents have affected the economy in meaningful ways. The internet has inexorably changed the artworld. And then there was this little thing called COVID!
My art has changed, too.
From my initial series of Vintage Snapshots, I moved to the tempestuous world of Film Noir, and then onto my exuberant exploration of Archeology. Over 16 years, I’ve created around 450 salable pieces of art, and sold roughly half of them.
The economic recession has still left its mark. The wealth gap and soaring rents have affected the economy in meaningful ways. The internet has inexorably changed the artworld. And then there was this little thing called COVID!
My art has changed, too.
From my initial series of Vintage Snapshots, I moved to the tempestuous world of Film Noir, and then onto my exuberant exploration of Archeology. Over 16 years, I’ve created around 450 salable pieces of art, and sold roughly half of them.
And I have changed.
I was approaching my 40th birthday when I started- now I’m 56! The man who was then simply my boyfriend is now my devoted husband. I’ve lost both of my parents. And I’ve gone through that infamous hormonal transformation that compels every woman to experience a fundamental shift in perspective.
I was approaching my 40th birthday when I started- now I’m 56! The man who was then simply my boyfriend is now my devoted husband. I’ve lost both of my parents. And I’ve gone through that infamous hormonal transformation that compels every woman to experience a fundamental shift in perspective.
I’m unbelievably fortunate. I have love, support, fun activities, and close relationships with family and friends. In truth, I have an absolutely wonderful life- the question is: how do I want to spend it?
I do know one thing: I want to keep creating.
I do know one thing: I want to keep creating.
A page from my journal.
My work has gotten more personal as the years have gone by. More personal, and frankly, better. My direction may not be to everyone’s taste, but its complexity and depth has grown with experience. I am a better artist now than I was 16 years ago, and I intend to get better.
In the meantime, I’m deeply exploring what drives me to create—the "prime mover" behind my art. My hope is to eventually be fully aligned with that force.
In the meantime, I’m deeply exploring what drives me to create—the "prime mover" behind my art. My hope is to eventually be fully aligned with that force.
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Tree Burial II is a veritable layer cake of symbols and artistic impulses. Follow along to untangle this gritty, glorious web.
Tree Burial II ©Leslie Peterson Sapp
Tree Burial II is a continuation of images and concepts I developed for Tree Burial I and The Nebra Sky Disc. It is a free-wheeling jazz riff on elements I gleaned during research for these pieces, elements including, but not limited to:
- Solar Boats
- Bronze Belt Plates
- Sun Spirals
- Tree Trunks Made Into Coffins
- Experimental Archeology
- Scandinavian Petroglyphs
- Tree Spirits
- Ancient Boat Construction Plans
- The Life/Death Cycle.
You can learn more about the two pieces that inspired all this crazy scientist research by reading the blog entries I have written for them. Click on their titles just below.
The Nebra Sky Disc
Tree Burial I
The Nebra Sky Disc
Tree Burial I
Cosmological Seacraft
It all started when I tried to understand the strange “smiley face” at the bottom edge of the original Nebra Sky Disc, an element that I simply could not include in my artistic rendition of it. (Read the blog entry and you'll know why.)
© Kenneth Garrett
In my research I learned about something called The Journey of the Sun.
By studying various Nordic Bronze Age artifacts- such as rock art, gold votive offerings, bronze razors, and belt plates- experts have been able to piece together a generalized belief system that goes like this:
With the assistance of various cosmological creatures, the Sun traverses the arch of the sky, and at night, completes its return journey beneath the land and sea to reemerge the following day. This cycle of light and dark, day and night, symbolizes the cyclical nature of life and death.
Nordic Petroglyphs
The reason why I was so intent on following this train of thought was because I was (and still am) confused by the shape of the "solar boat" (smiley face) on the Nebra Sky Disc. It is an almost perfect arch, and yet Bronze Age depictions boats generally have a flat, shallow keel.
This led me to learn more about ancient boat construction, and the various experimental archeology projects that seek to reconstruct found boat remains.
Reconstruction plan of the Hjortspring Boat
Sun Spirals
Tree Burial I and II are inspired by an amalgamation of several tree burials from the Nordic Bronze Age, especially one known as Egtved Girl. She was buried in Denmark around 1370 BCE. Because of the conditions in the burial mound, her clothing is in an almost perfect state of preservation.
One of the most striking elements of Egtved Girl's burial is her bronze belt plate. It's 6 inches across, and is etched with a tight spiral motif.
One of the most striking elements of Egtved Girl's burial is her bronze belt plate. It's 6 inches across, and is etched with a tight spiral motif.
Egtved Girl's Belt Plate
Anni Brøgger is a professional dancer who did her own form of experimental archeology.
She performed a dance wearing a copy of Egtved Girl's costume. During the dance, the sun glinted and danced through the spirals on the shiny bronze belt plate. In a time with no lights and very little reflective metal, it must have seemed like magic.
She performed a dance wearing a copy of Egtved Girl's costume. During the dance, the sun glinted and danced through the spirals on the shiny bronze belt plate. In a time with no lights and very little reflective metal, it must have seemed like magic.
My Artistic Process
Confession: I tend to overthink things.
I usually embark on making a piece of art with a plan. I know, more or less, what I'm gonna do, how I'm gonna do it, and more or less, what it'll look like when I'm done.
It's safer that way.
Safe, like staying indoors, yet casting furtive, envious glances out the window to see your pals playing in the mud.
It's safer that way.
Safe, like staying indoors, yet casting furtive, envious glances out the window to see your pals playing in the mud.
Not so, with this piece.
Tree Burial II started its life as a 48x40 drawing on a roll of watercolor paper. After working on it a bit, I changed course and purchased an even larger, 60x40 wood panel, which became Tree Burial I.
I put the original drawing aside.
But then I was seized by the desire to... tear it up!
I put the original drawing aside.
But then I was seized by the desire to... tear it up!
The beginning...
Just before I tore it up.
Visual Impressions
People sometimes ask where I get my ideas. Well, I often get visual impressions in my mind, which serve as a launching point.
What happened next.
I had a visual impression of tearing the sides of the drawing off and mounting it on a 48x24 panel.
Once this happened, the piece changed in fundamental ways.
Art mediums (paint, charcoal, collage, etc) can be used in two ways: It can be used to create a cohesive, alternate reality, OR it can be used to refer to itself.
And once I tore that paper, it no longer became a representation of a tree, it became a piece of torn paper with an image of a tree on it.
The abstraction grew from there.
Once this happened, the piece changed in fundamental ways.
Art mediums (paint, charcoal, collage, etc) can be used in two ways: It can be used to create a cohesive, alternate reality, OR it can be used to refer to itself.
And once I tore that paper, it no longer became a representation of a tree, it became a piece of torn paper with an image of a tree on it.
The abstraction grew from there.
Geometric Tendencies
I find myself attracted to square and double-square formats. In this case, I used a 48x24 panel, which I stained with burnt umber to bring out the wood grain, referring to the wood of the tree and tree coffin.
Since the double-square panel is made up of two 24x24 inch squares, I used my huge compass to describe two circles, each emanating from the center of each square. It looked a bit like a figure 8. The number "8" flipped on it's side makes an infinity symbol.*
Led by another visual impression, I was inspired by this tiny painting by Fra Angelico in 1424. It's actually an "S" in an illuminated manuscript.
Led by another visual impression, I was inspired by this tiny painting by Fra Angelico in 1424. It's actually an "S" in an illuminated manuscript.
Madonna of Mercy with Kneeling Friars, c1424, Fra Angelico
I love the fishes twirling and consuming each other, with the calm presence of the Madonna in the center. It brings to mind the Ouroboros, another symbol of the life/death cycle.
Solar Boat Petroglyphs
Spurned on by my fascination with The Journey of the Sun, I sought out Nordic solar boat images that would suit.
Most surviving examples are from Scandinavian Petroglyphs.
Most surviving examples are from Scandinavian Petroglyphs.
Simrishamn rock carving, ©SSfPA
Madsebakke-schiff Solar boat petroglyph, Bornholm, Denmark.
I started to add drawings of the petroglyphs around the circles. I also created a boat-like shape, seen from above. This boat-like shape stretches from top to bottom, enclosing the figure of Egtved Girl inside. It is reminiscent of an aureole surrounding a spiritual being.
Another tendency of mine is that I want to explain things in a literal fashion. Perhaps it is an artistic failing. OR maybe it's the way my mind works.
I really, REALLY want you all to know these are boats. I know they sort of don't look like boats. Let me show you a boat.
Enter, the Hjortspring Boat.
The Hjortspring Boat is actually from the Iron Age, but whose counting? It was deposited in a bog as an offering, and it is a somewhat intact boat from pre-Roman (before written language) Northern Europe. It's a good example of what Bronze Age boats were probably like.
Plan of the Hjortspring Boat
I love the graceful, precise elegance of the boat plans. They contrast beautifully with the earthy, gritty textures of wood grain, charcoal, and torn paper.
Unlike some of my other pieces, the images in this work are not inkjet prints. Instead, they are hand-drawn tracings of the plans.
Unlike some of my other pieces, the images in this work are not inkjet prints. Instead, they are hand-drawn tracings of the plans.
Following a Trail
In this series of Archeology Art, I find my inner bloodhound is taking a lead role.
Merriam Webster's second definition of bloodhound is "a person keen in pursuit."
Keen in pursuit. I am putting aside self-doubt in exchange for beguilement.
Merriam Webster's second definition of bloodhound is "a person keen in pursuit."
Keen in pursuit. I am putting aside self-doubt in exchange for beguilement.
An addendum to this entry is that Tree Burial I begat yet another piece about boats, stars, and sun-cycles entitled The Sun's Nocturnal Return. You can see and read about it HERE.
Tree Burial II 48x24 Acrylic, collage, charcoal, conte, archival ink, acrylic heavy gel on panel
Appendix:
Want to make an infinity symbol?
For a MAC, press Option 5 on the keyboard.
For everybody else, hold the ALT key and type 236 on the number keypad on the right of your keyboard.
For a MAC, press Option 5 on the keyboard.
For everybody else, hold the ALT key and type 236 on the number keypad on the right of your keyboard.
∞
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This large 60x40 painting is inspired from am amalgamation of several different tree burials from the Nordic Bronze Age.
Tree Burial I, 60x40 acrylic on panel ©Leslie Peterson Sapp
Tree trunk, or log coffins were not an uncommon way for elites to be buried. Versions of the practice have been found in Europe, Africa, China and even Australia. In Europe, it was practiced from prehistoric times all the way up to the Medieval period.
The first time I saw an image of a tree burial, what grabbed my attention is the thought of something so grand, and well, so vertical would be felled, and buried beneath the earth, eternally horizontal, to intern the dead.
With a modern, conventional coffin, the tree is no longer a tree, but a series of dressed planks, fashioned into a box.
With a modern, conventional coffin, the tree is no longer a tree, but a series of dressed planks, fashioned into a box.
But a tree trunk coffin is simply split length wise, with its inside hollowed out, like a canoe. The beloved is laid out with grave goods that were meant to assist the deceased in the afterlife.
This implies that the loved one is still somehow living in the tree trunk, like a tree spirit.
Tree spirits are a world-wide phenomenon. In Greek mythology, the Dryads were spirits of the woodland in general, and Hamadryads were spirits that lived in a specific tree itself.
I'm sure I'm reading into this in my own, artistic, unscientific fashion. Log coffins were probably used because of the way they preserved the body of the deceased. But I can't help myself.
There is something so juicy about the tree as a symbol of the life/death cycle.
This implies that the loved one is still somehow living in the tree trunk, like a tree spirit.
Tree spirits are a world-wide phenomenon. In Greek mythology, the Dryads were spirits of the woodland in general, and Hamadryads were spirits that lived in a specific tree itself.
I'm sure I'm reading into this in my own, artistic, unscientific fashion. Log coffins were probably used because of the way they preserved the body of the deceased. But I can't help myself.
There is something so juicy about the tree as a symbol of the life/death cycle.
Dryad, 1884, Evelyn de Morgan
The Egtved Girl
In 1921, near the town of Egtved, a farmer dug and spread soil from a mound on his farm. In it he found a large, recumbent oak tree trunk.
Log coffins had been being unearthed for about a century in Denmark, so, he knew what he had run into. He wrote a letter to the National Museum of Denmark, telling them what he’d found, with a request that they hurry up and come take a look, because, after all, he had work to do.
The Egtved Girl ©National Museum of Denmark
After excavating the log coffin, they transported it to the museum and very carefully investigated, using the most advanced techniques available in 1921.
It was determined that the log coffin had been made in about 1370 BCE.
It was determined that the log coffin had been made in about 1370 BCE.
One of the fascinating things about human remains is the often odd, unpredictable ways in which they are preserved, especially when they are in an environment that lacks that great decomposer, oxygen.
Often, they are mummified, but the results of this mummification varies from find to find. In the case of Egtved Girl, the hair, brain, teeth, fingernails, and every stitch of clothing was preserved.
But the skin, muscles, the very bones, had simply dissolved away, leaving the clothes empty, like someone had been carefully considering an outfit, and had laid their clothes out to look at.
Often, they are mummified, but the results of this mummification varies from find to find. In the case of Egtved Girl, the hair, brain, teeth, fingernails, and every stitch of clothing was preserved.
But the skin, muscles, the very bones, had simply dissolved away, leaving the clothes empty, like someone had been carefully considering an outfit, and had laid their clothes out to look at.
Grave Goods
Egtved Girl's age and gender are unique in such a rich grave. From her teeth, we can tell she was about 16-18 years old when she died. In the coffin with her are:
- a pretty comb
- a small earring
- two arm rings
- an awl in a small birch-bark box
- a bark bucket with remnants of beer
- yarrow blossoms (showing she was buried in the summer)
- a bundle with the cremated bones of a small child.
But it is her clothing that makes her so famous.
She wore a short, wool blouse. She had a quite short skirt made up of cords, so that when she moved, you could probably see her nether regions through it. (This caused a scandal back in 1921 when it was discovered!)
But her signature fashion feature was her bronze belt plate.
She wore a short, wool blouse. She had a quite short skirt made up of cords, so that when she moved, you could probably see her nether regions through it. (This caused a scandal back in 1921 when it was discovered!)
But her signature fashion feature was her bronze belt plate.
It hung on a woven belt, and is nearly 6 inches across.
It is adorned with intricate engraving, including two bands of a spiral motif.
Spirals and circles are symbols of the sun, so it is probable that the belt plate was an expression of the sun worship of the Nordic Bronze Age. (I wrote a bit more about this in my entry about The Nebra Sky Disc.)
It is adorned with intricate engraving, including two bands of a spiral motif.
Spirals and circles are symbols of the sun, so it is probable that the belt plate was an expression of the sun worship of the Nordic Bronze Age. (I wrote a bit more about this in my entry about The Nebra Sky Disc.)
My Creative Process
In making Tree Burial, I chose to include elements from various tree burials, though Egtved is the main one.
As I mentioned, this piece is on a 60x40 panel.
Working large is always an educational experience, and I had the extra bonus lesson that 60x40 is ABSOLUTELY the largest size I can fit into my beloved Kia Soul.
I got it in with a quarter inch to spare, with my knees hitting the steering column as I drove.
First, I did an energetic drawing of the Egtved burial, but instead of it lying prone in the earth, I set it vertically, in, or hovering over, a large oak tree.
As you can see, I am already contemplating a horizon, and a large circle seemingly emanating from the belt plate.
Next, I painted the tree a dark purplish color, and rendered oak leaves.
Here is where I started to integrate images from other tree burials.
On the right, a plan of the site Borum Eshøj, drawn by Konrad Engelhardt in 1875.
On the left, a photograph of workers excavating the Guldhøj site in 1891.
On the right, a plan of the site Borum Eshøj, drawn by Konrad Engelhardt in 1875.
On the left, a photograph of workers excavating the Guldhøj site in 1891.
These I traced onto my panel using transfer paper, which I then re-drew with pencil and paint.
Next I worked on that belt plate.
I painted it with bronze colored paint. It looked quite arresting there, near the center of the painting!
Getting the spirals correct took a bit of time.
I painted it with bronze colored paint. It looked quite arresting there, near the center of the painting!
Getting the spirals correct took a bit of time.
After this, I reinforced the circular shape that seems to hover over the entire scene.
How do you think I drew such a large circle? (Best Christmas gift ever!)
At the bottom of this entry, you can see a fun video of me using this big beauty!
Life, Death and Wonder
Presumably, we make art so that someone will hang it on their wall.
So, sometimes I have to pause and ask myself; why would someone want a large painting of a burial, no matter how interesting it might be?
In my series, Archeology Art, I find myself dealing with some pretty macabre subjects, such as burials and remains. But I guess, I just don't experience them that way.
In pre-modern times, death was all around us, all the time. The loss of a loved one is difficult for anyone, regardless of how frequently death visits. However, people in the past seemed to have a very different relationship to human remains, handling them with aplomb, even with creativity. They dressed them, provided for them, moved them around, took them from one grave to another, disarticulated their bones, even took pieces of them home to live with them and their families, a sort of eternal house guest.
Our modern world has moved away from this cozy relationship with the dead. This shift is understandable; it's human nature to avoid pain, especially the existential terror that accompanies losing someone. And yet, it is just another way that we have been cut off from the natural world.
In Tree Burial I, I blend elements of death (coffin, corpse,) and life (tree, yarrow, sun-spirals,) along with tokens from the modern excavation.
I creatively explore the theme of the life/death cycle in my unique, modern way.
So, sometimes I have to pause and ask myself; why would someone want a large painting of a burial, no matter how interesting it might be?
In my series, Archeology Art, I find myself dealing with some pretty macabre subjects, such as burials and remains. But I guess, I just don't experience them that way.
In pre-modern times, death was all around us, all the time. The loss of a loved one is difficult for anyone, regardless of how frequently death visits. However, people in the past seemed to have a very different relationship to human remains, handling them with aplomb, even with creativity. They dressed them, provided for them, moved them around, took them from one grave to another, disarticulated their bones, even took pieces of them home to live with them and their families, a sort of eternal house guest.
Our modern world has moved away from this cozy relationship with the dead. This shift is understandable; it's human nature to avoid pain, especially the existential terror that accompanies losing someone. And yet, it is just another way that we have been cut off from the natural world.
In Tree Burial I, I blend elements of death (coffin, corpse,) and life (tree, yarrow, sun-spirals,) along with tokens from the modern excavation.
I creatively explore the theme of the life/death cycle in my unique, modern way.
Tree Burial I, 60x40, acrylic on panel, ©Leslie Peterson Sapp
Video of My Cool Compass...
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Ah, the life of an artist.
Lately, I have been feeling like I’m going down a stream, with one foot on one boat, and one foot on another boat.
I have started my new Archeology Art series.
I have also had a very busy show schedule, all focused on my Film Noir Art series.
I have started my new Archeology Art series.
I have also had a very busy show schedule, all focused on my Film Noir Art series.
A tiny doodle from my journal.
One boat is Film Noir, the other boat is Archeology.
One boat is public-facing promotion, the other is private art practice.
One boat is a confident beating of the drum, the other is diffident exploration.
One boat is public-facing promotion, the other is private art practice.
One boat is a confident beating of the drum, the other is diffident exploration.
Look! I'm somebody!
Over four months, I had FIVE different shows.
- In total, I had 4 group shows and a solo show.
- I spoke on stage.
- I was filmed by our local community television station.
- I had an artists salon.
- I won an award.
- My art was on the cover of an online magazine.
- All the while, I executed a social media BLITZ about each and every bit.
Meanwhile, I was carving out an hour here or there to do some deeply challenging experimentation in the studio.
With my new series, I feel particularly sensitive because I’ve never done anything like it before.
The result is, I've totally stalled out on my social media posts.
The result is, I've totally stalled out on my social media posts.
Behind the curtain...
Like a lot of things, posting on social media is easier the more you do it, and the less you do it, well... the less you do it.
Social Media- a blessing and a curse.
Having a social media presence is practically a must for an artist these days.
I have long since came to terms with the fact that I am not, and probably never will be, a social media sensation.
I have long since came to terms with the fact that I am not, and probably never will be, a social media sensation.
My Instagram Page
Nevertheless, for an artist like me, posting regularly is almost like a portfolio in itself. It lends "legitimacy" to an artist, like a calling card, showing prospective collectors or gallerists that you are active, responsive, interesting, and aware of your public.
There is even a rule of thumb about having a certain percentage of "work in progress" (WIP) content, finished artwork content, and "slice of life" content to have on your social media page for maximum engagement.
Typically, I document the intimate details of how I develop a piece of art with photos and videos, and post them on social media as I go along.
There is even a rule of thumb about having a certain percentage of "work in progress" (WIP) content, finished artwork content, and "slice of life" content to have on your social media page for maximum engagement.
Typically, I document the intimate details of how I develop a piece of art with photos and videos, and post them on social media as I go along.
But you know folks, I just can't seem to make myself do it.
Despite of, or maybe because of, having to appear confident for all the shows I've been having, I have been particularly reluctant to show my process like I normally would.
What I need to do, is start afresh.
What I need to do, is start afresh.
A Social Media "Sabbatical"
How about if I let it all go for a while? What if I trusted my "audience" will still be there, even if I am not constantly trying to grab their attention?
What if I gave myself a break?
Remember when? Remember before social media when we went about our days without that constant buzz in the background?
What if I gave myself a break?
Remember when? Remember before social media when we went about our days without that constant buzz in the background?
Fortunately, I am old enough that I do remember those times. Bringing back a bit of that peace and privacy may be exactly what I need.
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Libraries aren't just for books!
I’m very excited to say that I have been invited to participate in the Lake Oswego Reads program.
The Lake Oswego Public Library organizes this annual, immersive program that encourages all members of the community to read the same book, discuss its message, and celebrate an atmosphere of learning amongst all age groups. Additionally, a small group of artists are invited to read the chosen book and create a piece inspired by it.
This year the book is The Seed Keeper by Diane Wilson.
In addition to being an author, Wilson is the former Executive Director for Dream of Wild Health, an Indigenous non-profit farm, and the Native American Food Sovereignty Alliance, a national coalition of tribes and organizations working to create sovereign food systems for Native people. Wilson is a Mdewakanton descendant, enrolled on the Rosebud Reservation.
The Seed Keeper
This dense, multi-layered story is about Rosalee Ironwing Meister, a Native American Dakota woman, and her quest to become whole. Interwoven into the story is the recounting of her ancestors’ struggle to survive the “Indian Wars,” relocations, boarding schools, and the collective trauma caused by these events. Throughout the book, the theme of seeds, traditions being handed down, and the evolution of farming techniques binds it all together.
My inspiration and interpretation
In this piece, I integrate several objects and moments in time into a single image.
©lesliepetersonsapp The Seed Keeper
Set in a pristine snowscape, a grove of trees is in the distance. A solitary set of footsteps lead into the empty expanse. A pictograph of a house, almost like a child’s drawing, is simultaneously an envelope, and hovers like a specter over the scene. In contrast, warm and earthy tones depict a cob of corn laying on the earth, seeds huddling in the soil, and a cornstalk reaching toward the sun.
The books protagonist, Rosalie Ironwing is a loner. She has had a tumultuous and insecure young life.
She meets and marries a white farmer, John Meister when she is very young. John is a deeply flawed human being, who nevertheless is able provide Rosalee with a place of rest, security, and unconditional regard, even love.
The scene in the book that created the most vivid visual image for me takes place early in their marriage. On a clear, cold day, she attempts to walk through deep snow to a grove of trees across a large field, but cannot manage it. John silently provides snow shoes for her. With dogged persistence, she is eventually able to reach the grove of trees.
About this same moment in the narrative, in the pantry of John’s old, crumbling white farmhouse, Rosalie finds an envelope full of seeds that John’s mother had stashed many years before. In time, through trial and error, she learns how to grow a garden.
The scene in the book that created the most vivid visual image for me takes place early in their marriage. On a clear, cold day, she attempts to walk through deep snow to a grove of trees across a large field, but cannot manage it. John silently provides snow shoes for her. With dogged persistence, she is eventually able to reach the grove of trees.
About this same moment in the narrative, in the pantry of John’s old, crumbling white farmhouse, Rosalie finds an envelope full of seeds that John’s mother had stashed many years before. In time, through trial and error, she learns how to grow a garden.
When John dies, she goes on a quest to make peace with her past, and in so doing regains contact with her family and her heritage.
Her aunt Darlene presents Rosalie and her son with seeds and a tiny, wizened corncob, kept in a small pouch.
I see the envelope, the pouches, and even the old white farmhouse as being safe places for seeds and souls to rest and incubate. From that place of rest, growth is possible.
Creating an encaustic-like effect
The technique I used to make this piece is part of a new method of artmaking for me. I wished to create an encaustic-like effect by using layers of different types of acrylic media.
Encaustic is painting with hot wax. It is an ancient painting medium that has seen a rebirth since the 1990's. Because it is wax, it has a beautiful, foggy opacity. The wax can be applied and fused in layers, so there are often multiple images peeking through, creating depth.
First, I drew and painted the main image. Then I covered it with Golden Clear Leveling Gel, then Golden Heavy Matte Gel. Then I drew the house/envelope. I added more color and detail to it. Then, using a scumbling technique, I intensified the white snow in the center of the image by adding titanium white and pearlescent silver. Many of the effects and details cannot be properly seen in a photograph, because there is depth iridescence and a wee bit of sparkle.
Encaustic is painting with hot wax. It is an ancient painting medium that has seen a rebirth since the 1990's. Because it is wax, it has a beautiful, foggy opacity. The wax can be applied and fused in layers, so there are often multiple images peeking through, creating depth.
First, I drew and painted the main image. Then I covered it with Golden Clear Leveling Gel, then Golden Heavy Matte Gel. Then I drew the house/envelope. I added more color and detail to it. Then, using a scumbling technique, I intensified the white snow in the center of the image by adding titanium white and pearlescent silver. Many of the effects and details cannot be properly seen in a photograph, because there is depth iridescence and a wee bit of sparkle.
The Lake Oswego Reads Art Exhibition will hang at The Dee Denton Gallery in the Lakewood Center for the Arts, then move to multiple venues throughout the state of Oregon.
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A series on how film noir inspires my art- Final Entry!
So, Why Noir?
Being an artist may look like fun, but it is tough.
Putting yourself out there for others to see is perennially disquieting. In order to make it all worth it, the subject and method has to be captivating.
Putting yourself out there for others to see is perennially disquieting. In order to make it all worth it, the subject and method has to be captivating.
©lesliepetersonsapp Miss Darger II 24x30
I am compelled to tell a story with my art. No matter if it is based on Shakespeare, mythology, or film noir, I am driven to explore and share the landscape of my imagination.
©lesliepetersonsapp The Knave of Swords 30x20
Similar to the myths and stories of old, the characters are driven by forces larger than themselves and are so very, very human. Often being brought down by their own drives and weaknesses, they are driven by a futile effort to cheat Fate. The themes are undying elements of what it is to be human.
By utilizing the elastic armature of the elements of film noir, I create art that is charged with longing, adventure, romance, and intrigue. I am able to expand and deepen my skills as a person and an artist, all the while having the time of my life.
©lesliepetersonsapp Circle Mirror 36x36
For now, I am entirely caught up in the dark labyrinth of film noir.
But who knows what future stories my art will tell?
But who knows what future stories my art will tell?
Need more noir?
Check out The Film Noir Foundation, which restores films noir and shows them at their film festivals.
It's founder, the Czar of Noir, Eddie Muller, is also a host on TCM's Noir Alley, which shows films noir every Saturday night and Sunday mornings.
Check out The Film Noir Foundation, which restores films noir and shows them at their film festivals.
It's founder, the Czar of Noir, Eddie Muller, is also a host on TCM's Noir Alley, which shows films noir every Saturday night and Sunday mornings.
Why Noir? is a series! Read 'em all.
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A series on how film noir inspires my art- Entry #9
Why is Shakespeare still so popular after all this time? It's because his stories and characters are timeless. There have been countless versions of his plays where the settings and characters’ identities are changed to bring new interpretations to the story presented.
The characters in noir are as vivid and fundamental as an archetype. They are so solid they can be dressed up in any outer appearance and still resonate, still express the noir sensibility.
The characters in noir are as vivid and fundamental as an archetype. They are so solid they can be dressed up in any outer appearance and still resonate, still express the noir sensibility.
There are a profusion of examples of crime novels that star characters of many kinds, from the famous private eye Easy Rollins, to tough gay guy/investigator Dave Brandstetter.
The themes are universal and can be ascribed to any individual. So, I can change the outer identities of my characters, and it can still be noir.
©lesliepetersonsapp Bars 16x20
The scenes in my artwork are presented without irony and are imbued with an immediacy which invites the viewer to experience the scene as a contemporary moment.
They don’t coyly refer to themselves as being "film noir" or use signifiers to make them seem like cultural artifacts. There is no breaking down of the fourth wall.
It is as if we could walk through the picture frame and become part of the action. If this could be possible, what would we see, and who would be there?
©lesliepetersonsapp Incognito 10x8
©lesliepetersonsapp The Hanged Man 32x18
It is easy for me to depict white, cis-gender women. It’s more of a stretch to depict scenes with people outside my personal lived experience.
But the figures in my work and in my imagination sometimes take on a life of their own, and want to be expressed as they are: male, non-white, queer...
To not follow these impulses would, in effect, be negating their existence.
Whether I handle this successfully is a question I continually ask myself.
The adaptability of film noir characters allows me to enlarge the limits of my understanding and expression.
©lesliepetersonsapp Keys 40x48
Why Noir? is a series! Read 'em all.
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A series on how film noir inspires my art- Entry #8
When we are engrossed in a mystery novel, the complicated plot tangles we must unravel keep us entranced.
©lesliepetersonsapp Pursuit 24x48
The characters in noir are caught in a web of intrigue and moral ambiguity. Their exploits involve daring and danger, plot twists and betrayals. They usually believe they can manipulate a situation to their advantage over another.
The dream I weave in my paintings is a version of myself who is, in a word: clever.
Very unlike who I really am.
The dream I weave in my paintings is a version of myself who is, in a word: clever.
Very unlike who I really am.
In my artwork, the space can be complicated and sometimes difficult to navigate. The claustrophobic, multi-layered space illustrate the sometimes-turgid complexity of our minds and relationships.
The identity of figures is often obscured, sometimes visually competing with shadows that seem more alive than they are.
©lesliepetersonsapp Search 48x40
The hall of mirrors scene, The Lady From Shanghai
Mirrors, doorways and windows proliferate, creating dazzling illusions, and act as apertures into other worlds. The dark, chiaroscuro lighting symbolizes obscured meanings and secrets withheld.
Like getting into a good novel or movie, my paintings invite you to take time and decipher what is being presented.
©lesliepetersonsapp Many a Moon 38x38
Why Noir? is a series! Read 'em all.