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This past year I have been a student at The Canopy Program, a year-long mentorship program for visual arts. Though it is based in NYC, many of the classes are held virtually.
Now, as a mature person with ADHD, I knew that sitting through three hour Zoom calls was going to be a tall task. In order to pay attention, I knew I needed to do something with my hands.
Now, as a mature person with ADHD, I knew that sitting through three hour Zoom calls was going to be a tall task. In order to pay attention, I knew I needed to do something with my hands.
One thing I have inherited are my grandmother's crochet booklets and crochet hooks.
The perfect ADHD mitigation device.
My first attempts were pretty humble. Mostly I goofed around, trying to understand how the stitches worked.
I believe that to learn something new, you must revel in being bad at it. Not just tolerate being bad at it, but actually enjoy being bad at it.
I believe that to learn something new, you must revel in being bad at it. Not just tolerate being bad at it, but actually enjoy being bad at it.
Slowly, I improved — and if I may say so, I’ve gotten pretty good.
As I learned, I began to understand how the patterns were constructed.
While busying myself with this, my art-brain was busy pondering how humans are constantly building, stitching, weaving, and constructing things. It seems fundamental to being human. But we don’t just construct physical objects — we also construct identities, beliefs, mental systems, and even our sense of reality itself.
We need to think of these things as solid, dependable, even eternal, but the truth is, they are all constructs, and they can unravel at any time.
So, I started to play with the idea of a doily coming undone.
At the same time, I was beginning my cyanotype experiments, and an unraveling doily became the first thing I exposed.
So, I started to play with the idea of a doily coming undone.
At the same time, I was beginning my cyanotype experiments, and an unraveling doily became the first thing I exposed.
It went from there.
Self Portrait with Undone Doily, 12x9 cyanotype and white gel pen on paper
People who saw these remarked it looked like a sea-creature, which inspired me further.
I learned several doily patterns with a spiral element.
I madly crocheted long, trailing tassels and prepared a long piece of paper with cyanotype solution.
The mad, un-spiraling doily.
Hanging the cyanotype up to dry, along with other cyanotypes
Exposing the doily on paper coated with cyanotype solution
Rinsing the cyanotype solution off in the tub
The Result!
Long, Un-spiraling Doily 14x40 cyanotype on paper
I’ve done multiple versions, and some of them I am quite pleased with.
Small Spiral Doily 12x9 cyanotype on paper
I’ve gone onto doing more spiral doilies, which I will be sure to share with you soon.
But this goes to show how goofing off and playing around can result in much larger, deeper works.
I guess I’ve finally learned how essential play is.
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Leaping Off the Page
Belief is my own small spinoff—a mini-series branching from a single page in my artist book Atlas.
Atlas explores lineage and cultural beliefs, through which I seek to piece together how my beliefs have been shaped.
Atlas explores lineage and cultural beliefs, through which I seek to piece together how my beliefs have been shaped.
One day, working toward that larger project, I began experimenting with the word BELIEF itself. I was fooling around with stencils on a 12x18 sheet of pastel paper, with the idea of it as a book page.
Another theme I am toying with is ornate gilt frames. They carry an odd authority. If you place almost anything inside one, and it suddenly feels important, sanctioned.
Another theme I am toying with is ornate gilt frames. They carry an odd authority. If you place almost anything inside one, and it suddenly feels important, sanctioned.
The original "Belief"
I tried to make my own frame stencil, BY HAND. It was difficult and the results were not great. (“That’s why nobody does it,” said my friend Bridget Benton.)
The last stroke was to actually cut out the word "BELIEF." It was fascinating to watch it as I turned the page in the book. But the pastel paper kept curling, and the image was... getting there, but not great.
The last stroke was to actually cut out the word "BELIEF." It was fascinating to watch it as I turned the page in the book. But the pastel paper kept curling, and the image was... getting there, but not great.
x₁ = x₀(1+r)ᵗ
With an upcoming exhibition through the Canopy Program on the horizon (more on this later!) and seeing as I need to have some actual, show-able art, I thought I could take Belief and spruce it up a wee bit, develop the idea a tad more, maybe on some slightly better paper…
The ideas proliferated wildly from there:
Yeah, that’s it. So simple!
- I could do it in cyanotype.
- I could create a transparency of an ornate gilt frame and use cyanotype to create it.
- I could also stencil letters on a piece of glass and expose it.
- I could even put different styles of letters on different layers of glass and stagger the UV exposure to create variation and depth.
Yeah, that’s it. So simple!
I ran out to Goodwill and bought four old picture frames, all 16x20, took out the glass and taped the edges.
I started stenciling.
I started stenciling.
I found an image of an ornate frame online, made it black and white and inverted it. I then printed it out on transparent paper.
So, if you’ve been following me for a while, you may remember that I am easily confused.
I was sure to number each piece of glass and label it with the exact time when I was to remove the glass from cyanotype.
I was sure to number each piece of glass and label it with the exact time when I was to remove the glass from cyanotype.
I stacked it all together and gingerly took it outside.
Here, all four sheets of glass are stacked on top of the ornate frame transparency.
Here, I have removed the top most piece of glass, allowing the cyanotype to continue to develop.
The Result
Here is just one of many versions I made.
But I didn't stop there!
Here, I have bleached a couple versions with Sodium Carbonite. (Arm & Hammer No Scent Detergent Booster)I also added gold paint or a coffee stain on each.
Here, I have bleached a couple versions with Sodium Carbonite. (Arm & Hammer No Scent Detergent Booster)I also added gold paint or a coffee stain on each.
In most of them, I also trimmed the paper to echo the frame’s shape.
Instead of using gold acrylic paint, I went for it and used gold leaf (not real!) which is a tricky material to use- but worth it for the way it catches light.
Instead of using gold acrylic paint, I went for it and used gold leaf (not real!) which is a tricky material to use- but worth it for the way it catches light.
"Belief" work in progress
In many of them I’ve cut out the word “BELIEF” and mounted it so it floats slightly above the surface, casting a faint shadow.
This will be placed in a shadow box frame.
But Wait- There's More!
I tried one version on green-blue paper, and this sent me into another spin off.
I love the way the gold leaf looks suddenly richer, deeper.
I love the way the gold leaf looks suddenly richer, deeper.
"Belief, Green-Blue" work in progress
Then, for some reason, I envisioned additional layers, an oval frame hovering above the rectangular one. I don't know why. In fact, I'm not entirely sure what will be placed in the cut away area... I think I like this unspiraling doily, but I am not certain.
No one knows.
No one knows.
"Belief, Green-Blue with Oval Frame" work in progress
Each layer is separated by a small gap, building dimensionality that only reveals itself as you move around it.
This will also eventually make its way into a shadow box frame.
This will also eventually make its way into a shadow box frame.
I must complete a few of these for my upcoming show with the Canopy Program in June. Keep your eyes peeled!
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This is the first blog post introducing my project Atlas — a series grounded in personal historical research. It explores time, lineage, and culture, while also delving into spirituality, religion, and art.
This could turn out to be quite a long project!
My intention is to document this process as I go along. If you would like to see any blog entries about this project, go back to my blog landing page, OR look for the tag "Atlas" under Categories in the right column of any blog page.
Links to Other Posts About Atlas
In addition, I will continually update this page with links to blog entries about Atlas listed below.
The Background for Atlas
The Sun’s Nocturnal Return ©Leslie Peterson Sapp
When I created my Archeology Art series, I chose the subject for each piece on a whim- whatever archeological find happened to strike my fancy.
Throughout the ages, people have used art to express their collective spiritual beliefs. So, of course many of the archeological finds I was inspired by reflected this.
Throughout the ages, people have used art to express their collective spiritual beliefs. So, of course many of the archeological finds I was inspired by reflected this.
But whenever I made art centered on Northern European artifacts, another layer of intrigue was added.
Though I had a very general idea that most of my ancestors were from Northern Europe, I began some basic genealogical research to get a more precise picture.
I became captivated by the idea that one of my ancestors may have actually seen some of these sacred objects. What forms of art and belief might there have been in my ancestral past?
Seahenge ©Leslie Peterson Sapp
The Structure of the Series
My goal is to research my ancestors and the places they lived, and transform what I uncover into a new series, comprised of stand-alone paintings and an artist book, which would emulate the form of an atlas.
An enduring fascination with sequence and time draws me to the artist’s book as a way to process complex ideas. Atlas unfolds as an evolving book, its imagery developing intuitively as I engage in historical research.
Below are a few images of the beginning framework of my "Atlas"— the skeleton, you might say.
Leaping Off the Page
At times, certain pages call for expansion, evolving into standalone wall pieces that extend beyond the confines of the book.
As I create the pages, certain concepts and materials draw me to delve into them deeper, creating "spin-off series" as I go.
Green-Blue Belief with Oval Frame and Unspiraling Doily, 12x18 cyanotype, gold leaf on paper
You can see more of these stand-alone pieces by following the links listed above.
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Over the years, I have gone through some drama about making art while on vacation.
First I had to admit I was plagued by what I called "The Shoulds"(as in, I should do this or that.)
Then, I had to relinquish how I labeled and limited myself as an artist, and learn how to play.
Finally, I figured out the perfect set up for my art supplies.
So, on our most recent Mexican vacation, I seem to have finally cracked the code to happy artmaking while traveling.
In fact, I have even elevated my experience into a personal, mini art retreat!
First I had to admit I was plagued by what I called "The Shoulds"(as in, I should do this or that.)
Then, I had to relinquish how I labeled and limited myself as an artist, and learn how to play.
Finally, I figured out the perfect set up for my art supplies.
So, on our most recent Mexican vacation, I seem to have finally cracked the code to happy artmaking while traveling.
In fact, I have even elevated my experience into a personal, mini art retreat!
Not a bad life, eh?
The "Portfolio"
In the past I have made a sort of "sketchbook" with various papers held in a temporary binding that I eventually bound as a finished "artist book." This time I didn't want to think of it in those terms, but decided to make myself a sort of "portfolio."
I made a beautiful cover from a "failed" cyanotype and a strip of blue and white cloth. Inside the covers I glued some reproductions of traditional Japanese woodcuts.
Then I filled it with various papers, folded over and held in with elastic bands. But I also included some loose papers, including some cyanotypes and stenciled experiments I had laying around that I could paint and draw on top of. Just for fun.
Then I filled it with various papers, folded over and held in with elastic bands. But I also included some loose papers, including some cyanotypes and stenciled experiments I had laying around that I could paint and draw on top of. Just for fun.
A "failed" cyanotype
Cyanotype is a camera-less photographic printing process. It involves painting chemicals on paper (or cloth, or even glass,) then placing something on that paper and exposing it to UV light, such as the sun. Whatever is exposed to the light will turn a gorgeous Prussian blue.
I brought a measuring cup, bowl, and foam brush, plus the chemicals in a couple of travel shampoo bottles.
I could only paint the chemicals on the paper at night.
After applying the chemicals, they must dry in a dark place away from UV light. Where to put them in a hotel room?
Ah! My empty suitcases!
I could only paint the chemicals on the paper at night.
After applying the chemicals, they must dry in a dark place away from UV light. Where to put them in a hotel room?
Ah! My empty suitcases!
The Experiments
I had lots of fun experimenting with laying my hands on the cyanotypes and seeing what happened.
Sprinkling water on the cyanotypes while they were being exposed makes a beautiful speckled effect.
With this one I had two passes- first one you see on the left. Then I added more chemical in the middle of the hand, placed a plant on it and exposed it again.
In this one I wrote the lyrics of a 1984 Laurie Anderson song, Hothead.
One of the themes I am interested in are ornate gilt frames. I think that if you put anything in an ornate gold frame, that thing attains an it air of legitimacy and importance. Before leaving to Mexico, I happened to by playing with some frame stencils. So, I just popped them into my portfolio.
I wondered what a cyanotype would look like in the stenciled frames.
I wondered what a cyanotype would look like in the stenciled frames.
I was having such fun with water and hands, I decided to see what a big ol' wet hand print would look like.
Another theme I am investigating is things coming undone or unraveled. I have been learning to crochet, largely so I can make imperfect, unraveling doilies. (I’m not sure where I’m going with this concept, but it seems juicy!) I brought an undone doily with me and made a cyanotype from that.
After, I drew a self portrait with white gel pen integrated with the cyanotype.
After, I drew a self portrait with white gel pen integrated with the cyanotype.
After, I drew a self portrait with white gel pen integrated with the cyanotype.
I also took some cyanotype experiments from home and drew all over them- just for fun.
Pile It All On!
This last one is two sides of the same paper. It is a combination of:
- Cyanotype on top of stencil
- A bleached and tinted cyanotype
- Stenciled frames
- Watercolor pencil
Serious Play
I don't know if I will actually use any of this in my project Atlas, but I do know that the ideas and associations I forged during my time of "play" will serve me in ways seen and unseen.
Below is a video of my portfolio before and after my mini art retreat.
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My vision for what Atlas will look like continues to slowly, slowly become more focused.
I have finished a couple of pieces, but mostly I have been doing research and experimenting with materials and methods.
I have finished a couple of pieces, but mostly I have been doing research and experimenting with materials and methods.
Cyanotype of lace doily on taupe paper
Different “tones”
Because this is a book, time and sequence are an element I am working with.
I hope to achieve the ability to change the “tone” going from page to page, so that the viewer will have a varied experience while going through the book.
I will do this by using color, materials, and variations in text font.
I hope to achieve the ability to change the “tone” going from page to page, so that the viewer will have a varied experience while going through the book.
I will do this by using color, materials, and variations in text font.
Cyanotypes in the Dead of Winter
Cyanotype is a type of camera-less photographic printing process. It involves painting a chemical on paper (or cloth, or even glass,) then placing something on that paper and exposing it to UV light, such as the sun. Whatever is exposed to the light will turn a gorgeous Prussian blue.
Cyanotype by Christine So
Often people will place flowers or other objects on the paper to create a simple, beautiful design.
Others will print photos on clear paper to create a haunting photographic image.
Lush Peonies by Claudia Hollister
Simple enough, yes?
No!
No!
I tried my first experiments near the winter solstice when UV rays are at their weakest.
Furthermore, I tried it on a cloudy day.
Things didn’t go according to plan.
(However, I did manage to make this “mistake” into a solid finished piece. I leveraged its qualities by adding painted text and an ornate frame pattern.)
Practice makes... okay, not Perfect, but at least better!
I experimented a bunch with colored papers, and playing with the application of the chemical to create different effects.
Distressing Paper and Making "Parchment"
My vision for Atlas draws from the look and feel of old books, field notebooks, and timeworn documents. This is a popular aesthetic and there are about a billion YouTube videos on how to make materials look aged, a process called "distressing." Most of the tutorials are for making journals and scrapbooks- in other words, crafting.
When I was in art school, a "serious" artist using crafting techniques was anathema. Oh, the horror! The line between “craft” and “art” has long been debated, yet it remains a barrier that is classist and frankly gendered.
So it is not without trepidation that I allow myself to be inspired and taught by the many very talented crafters out there, who so generously share their skills.
Coffee baths, wrinkling, ironing, treating with glue, roughing with a serrated knife, inkpads, so many techniques to explore.
"Parchment"
In this project I am actively exploring the concepts of belief and faith. To me, nothing says religious orthodoxy like a medieval manuscript. So I began searching for a way to make paper that would look to me like old parchment.
Real parchment is made from animal skin.
I learned that in England, there is one parchment producer using the traditional techniques and tools - very cool video of it HERE.
Parchment was laborious and expensive and was largely replaced by paper about 1500.
My parchment is rice paper, treated with a combination of arcylic medium, water, and instant coffee.
I then glue it to another distressed piece of paper, but only around the edges.
I have been experimenting with different pens and paint to see how they reacts to this unusual surface.
Working in Concert
As I said, I am aiming to have different styles and moods interweave throughout Atlas. My concern is that all these styles hang together, while also varying widely.
I have been not only playing with styles and materials, but the order in which they will be placed in the pages. I am doing this by using a lot of tape! Nothing is cast in stone (or glue) yet.
I have been not only playing with styles and materials, but the order in which they will be placed in the pages. I am doing this by using a lot of tape! Nothing is cast in stone (or glue) yet.
Below is a 2 minute video of me flipping through what I have done so far. Some of the images are well developed, and some are merely sketches.
Remember, there is a lot of tape involved!
Remember, there is a lot of tape involved!
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For my new series and artist book Atlas, I explore time, lineage, and culture, while also delving into spirituality, religion, and art.
For the first few pages, I revisit the adventures of my younger self, searching for meaning and engaging in a number of inspiring and enlivening communities such as New Age and Wicca, and attempt to depict a fanciful vision of these pursuits.
I envisioned a pop-up page.
Pop-up books are a whole artform in itself, and I am just beginning my first attempts at integrating them.
I envisioned a pop-up page.
Pop-up books are a whole artform in itself, and I am just beginning my first attempts at integrating them.
First, I needed to make a pop-up mock-up to see how it works.
When I got that down, I created a mandala-like shape using a stencil. I utilized a number of iridescent and interference acrylic paints to make the sparkly effect. Then I cut out bits of it to make it lacey.
Solving the Witch Problem
I really struggled with how to paint my fanciful witchy-women! It seemed the more I worked on it, the worse it got!!!
So I started looking online for examples and kept running into these adorable pictures of women's circles from the early 1900's- the height of the Spiritualism Movement! So I thought, "Screw it! Why not just trace it?" And I did, and I love it.
So I started looking online for examples and kept running into these adorable pictures of women's circles from the early 1900's- the height of the Spiritualism Movement! So I thought, "Screw it! Why not just trace it?" And I did, and I love it.
Unfortunately, I was so involved with my project, I neglected to take many work in progress pictures. So here is my finished result.
I cut out the dancing witchy-women, and all the trees. I painted the trees a bluish black and glued them down. Then I applied my mandala.
I cut out the dancing witchy-women, and all the trees. I painted the trees a bluish black and glued them down. Then I applied my mandala.
But of course, in order to appreciate a pop-up page, you have to see it move! Below is a video of me turning the page.
You may notice that after the pop-up page, I turn to another page with a similar image. This page is a work in progress, and I am still developing the concept- it is inspired by the left-overs from this finished pop-up page.
You may notice that after the pop-up page, I turn to another page with a similar image. This page is a work in progress, and I am still developing the concept- it is inspired by the left-overs from this finished pop-up page.
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​When I created my Archeology Art series, I chose the subject for each piece on a whim- whatever archeological find happened to strike my fancy.
The Sun's Nocturnal Return ©Leslie Peterson Sapp
​
​Throughout the ages, people have used art to express their collective spiritual beliefs. So, of course many of the archeological finds I was inspired by reflected this.
But whenever I made art centered on Northern European artifacts, another layer of intrigue was added.
​Throughout the ages, people have used art to express their collective spiritual beliefs. So, of course many of the archeological finds I was inspired by reflected this.
But whenever I made art centered on Northern European artifacts, another layer of intrigue was added.
I became captivated by the idea that one of my ancestors may have actually seen some of these sacred objects. What forms of art and belief might there have been in my ancestral past?
My goal is to research this, and transform what I uncover into a new series, comprised of stand-alone paintings and an artist book, which would emulate the form of an atlas.
How Much (Research) is Enough?
​Though I had a very general idea about where my people are from, I began some basic genealogical research to get a more precise picture.
Genealogy, I quickly learned, is a rabbit warren of branching paths I could easily lose myself in! Each branch of the tree leads to another, and another, and another. How far and how deep to go has been a real balancing act.
​
​
So far, I have done basic research on the four main branches of my tree. Along the way, I have become obsessed with mapping.
I have even created an interactive Google Map marking each ancestor’s birthplace, which you- yes you, dear reader- can explore yourself below!
I have even created an interactive Google Map marking each ancestor’s birthplace, which you- yes you, dear reader- can explore yourself below!
​Having done all this work, I needed to get real about actually producing artwork!
On the one hand, research is a legitimate and necessary aspect of making art with real depth.
One the other hand, when are you researching, and when are you AVOIDING?
Each artist must sense this in their own way, on every step of the journey.
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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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It was a looooong trip.
All in all, we traveled on nine airplanes, two rental cars, and a boat. It was just shy of a month.
In case you can’t see it, this little fold out feature reads: Athens-Crete-Santorini-Plitvice-Zadar-Split-Milna-Hvar-Vis-Mljet-Korcula-Dubrovnik-Athens-Home
Seeing that this is an artist blog, I will stay on the topic of art and art-making. But, I do have a photo-album of the trip on my personal facebook page HERE.
Seeing that this is an artist blog, I will stay on the topic of art and art-making. But, I do have a photo-album of the trip on my personal facebook page HERE.
What's On Your Bucket List?
While I loved the whole trip, seeing Santorini and the ancient frescoes of Akrotiri have been on my bucket list! Those of you who have followed me for a while know that many pieces in my Archeology Art series are based on these same frescoes. Seeing them in person was truly a thrill!
If you would like to read more about the frescoes of ancient Thera, read my blog entries The Saffron Gatherers: Delight Amid the Ruins and The Adorant- Large and Small.
Art-Making While Traveling
Most artists I know (at least, most female artists I know,) lay a little guilt trip on themselves. They plan to travel and they pack some art supplies, telling themselves they are going to make art and have a deeply creative, spiritual travel experience. Then they don't do it, or do it only once, and they beat themselves up for not being a "real artist."
This was me.
I even wrote a blog entry about it a few years ago entitled My Vacation From the "Shoulds".
2024 sketch
Part of the problem was the way I have labeled myself. I had always thought of myself as an "observational painter." I don't know why I thought of myself this way, but I did. So, when I went on a trip I would haul out my little watercolors or whatever and try to paint what I saw. But it always seemed like work to me, and it was a bit draining. Not exactly inspiring.
But I don't do that anymore. I no longer put myself in a box.
But I don't do that anymore. I no longer put myself in a box.
I accepted that I really don't want to paint my surroundings at all.
Last winter I went to Mexico, and created my own sketchbook to bring with me. (You can read and see pictures HERE.)With newfound freedom I doodled and sketched and collaged and scribbled notes.
What is ironic and revealing is that I ended up making art about my surroundings quite a lot, only instead of being straight representation, it was about what I experienced, what I saw, and how I thought and felt about it. So much more than just a picture.
The Perfect Set Up
Another barrier to art-making while traveling is finding your perfect little set-up.
This looooong trip wasn't a relaxing stay in a Mexican resort. I couldn't just hunker down with a bunch of stuff, spread out and go for it. I had to travel light, compact, and be able to pull my art stuff out of my suitcase and put it away again easily.
First, I had to make the perfect sketchbook.
In this blog entry "Cool Little Travel Sketchbook" you can see what I made before I left. It is about 6x8", and I used hinged keyrings for a binding so I could lay it flat. I could also add or switch around pages as I went.
Then, I had to make my art supply set up.
The black container is a semi-rigid zippered box that used to contain attachments to a now-defunct chirogun. In it I had three small ziploc bags with:
- watercolor pencils and a waterbrush
- various pens and pencils
- two large acrylic markers and the all important glue stick!
Also included was a snap-off exacto blade, a small smoothing tool, and a pencil sharpener.
I also had two larger ziplocs; one was for an 8" gridded ruler and my collected ephemera, the other held the sketchbook.
(The only thing I forgot was a hole-punch!)
I also had two larger ziplocs; one was for an 8" gridded ruler and my collected ephemera, the other held the sketchbook.
(The only thing I forgot was a hole-punch!)
As I went along, I gathered tickets, maps, brochures, etc. About every three days I would take a break, pull out my stuff and immerse myself. I was interested in keeping a general chronology, and found I was about 3-5 days behind in any one location. So, for instance, I would work with what I had collected in Zadar three days later in Split. I even worked for several hours during our home-bound layover at Heathrow airport.
The result is a combination of collage, doodling, drawing, and journaling.
The result is a combination of collage, doodling, drawing, and journaling.
When I got home, I worked on the last few pages. Then I created the frontispiece and put fabric on the covers.
To be frank, I am not quite sure what to do with this.
It was created under limiting circumstances, and so when I look at it, I see many pages that could be improved. And yet if I go back into it and improve it, it is no longer an artifact of my trip.
So, I suppose I must allow it to be as it is, and present it to the world in its imperfect perfection.
Below are a few images of some of the more interesting pages. Below that, you can see a video of me paging through the book and unfolding a few pop outs as well.
It was created under limiting circumstances, and so when I look at it, I see many pages that could be improved. And yet if I go back into it and improve it, it is no longer an artifact of my trip.
So, I suppose I must allow it to be as it is, and present it to the world in its imperfect perfection.
Below are a few images of some of the more interesting pages. Below that, you can see a video of me paging through the book and unfolding a few pop outs as well.
Video of Greece and Croatia
(8:25 minutes long)
- Published on
What the heck is an astrolabe?
That's what I wanted to know.
For my Archeology Art series, I created a painting entitled The Ba'al of Motya. It is inspired by an ancient Phoenician temple complex on the tiny island of Motya, off the coast of Sicily.
The painting is an enchanting combination of the archeological site as it is today, along with references to the wonder of the spiritual environment it once embodied.
For my Archeology Art series, I created a painting entitled The Ba'al of Motya. It is inspired by an ancient Phoenician temple complex on the tiny island of Motya, off the coast of Sicily.
The painting is an enchanting combination of the archeological site as it is today, along with references to the wonder of the spiritual environment it once embodied.
Archeologists found a temple complex oriented toward significant constellations and planets. They found remnants of a statue of Ba'al, a god widely venerated in the ancient Mediterranean world.
At the center of the site lies a shallow pool, believed to have been used to reflect the night sky—an element which was paramount to this seafaring culture.
At the center of the site lies a shallow pool, believed to have been used to reflect the night sky—an element which was paramount to this seafaring culture.
There is a lot going on in this piece, and some of the aspects of it, such as the lay out of the temple complex, are depicted in ghostly white lines. To read more about this piece, go to my blog entry about it, HERE.
If you look closely at the lower left of the painting, there is a diagonal feature in pale white line.
This was found by archeologists among the ruins. It is a small, brass pointy-thing.
This, I learned was an alidade, which is a part of a navigation and timekeeping device called an Astrolabe.
How long astrolabes have been in use, and what forms they have taken over the millennia is not clear. Most surviving astrolabes are from the medieval and renaissance eras, which is interesting, because the temple complex on Motya is much, much, much earlier, like about 1500 years earlier.
Here is an astrolabe made in 1574 CE, now housed in the British Museum.
Here is an astrolabe made in 1574 CE, now housed in the British Museum.
A Gift to Myself
And now here is MY astrolabe!
I bought it from Wavytail, "maker of Astronomical, Mid-Century & Aviation Goodies." It's made of laser-cut wood, with a clear, acrylic rete.
Let me be absolutely clear: I have no idea how to use this thing.
I have always struggled with ciphering, numbers and complex instructions. I even have a learning disability called dyscalculia! But, the way my special mind works (remember the crazy timeline project? What about my new, old typewriter?) is that I enjoy learning most by jumping into things and messing around, sort of like a child playing in a ball pit.
The Night Sky
Many of my paintings include depictions of the night sky. Sometimes I look up, and I realize I know nothing about it at all.
My hope is that by playing with my astrolabe, I will get a different sense of what it means to be in this world, stuck on this planet as it whirls and hurtles through infinite space.
My hope is that by playing with my astrolabe, I will get a different sense of what it means to be in this world, stuck on this planet as it whirls and hurtles through infinite space.
