When I took a drawing course at North Country Studio Workshops several years ago the instructor, Gerald Auten, made a comment as he was pacing the room that has stayed with me since. I can’t quote him exactly, but the overall gist of what he said was to work deeper and deeper into a drawing, being careful not to call it “finished” too quickly. He was encouraging us to keep digging in order to see what discoveries would arise. It’s a point that has remained in the back of my mind, and it’s been with me all this week in my exploration of the ways that texture and color can work together to influence each other.
In Process ©2015 Elizabeth Fram
It’s wonderful how sometimes the simplest of remarks can make such a huge difference. I would love to hear about any shared insights that have had a strong impact on your practice. Or, to turn it around, is there something that you have discovered in your work which you’d be willing to pass on to the rest of us?
YES! I love the adaptation of your teacher’s comment to your term “mining with a needle!” Long ago (film days!) I did a workshop with a great nature photographer, Dewitt Jones, who challenged us as we were photographing to ask ourselves “what turns me on about this?” and then really zero in on it to show those elements. Although the terminology he used now feels a bit dated, the sentiment is very current. Finding “what turned me on” could. of course, include cropping or moving in /out but not that alone. Lighting, a composition the showed those elements and gave them balance, the overall textures of the photograph, all were important. In the end the photograph became so much more about those elements that “turned me on.” I too have never forgotten his words to the point that it is just what I do much of the time and, whenever I am feeling lost or uncertain, I take time to really look and see what is there and try different ways to show it.
I’m enjoying the communication of yours! Now I want to see more of your work!! When’s your next showing?
I am always instructing my students to think about their surroundings based on their emotional or sensory memories of those places…is the wind blowing? Where is the light coming from? What time is it? What do you like best about this place? How will you bring the viewer there? In my own work I am always considering the nuances of the place and time and how can I stitch them into the work in a way that will communicate what I am feeling to the viewer.
In my abstract work there seems to be a consistent replay of certain stitch combinations and colors – especially thread colors and I am beginning to think of these as additional “signatures”. The work doesn’t seem complete without their presence.
What great advice Pam! Your work really does bring those qualities to a viewer — I am thinking in particular of your winter pieces – and the recently finished Alaskan work.
What I really enjoy hearing John, is that while this approach may lead you to hone in on one thing because of a particular spark, you are then in turn led to something else, which leads to something else again. The fact that this method has become something of a “rock” for you to return to when you are uncertain, experiencing it as a reliable “path” rather than a formula, really reveals its wisdom. Thank you so much for sharing!
I forgot to mention that I will be exhibiting work in the East Gallery of the Hartness Library of VT Technical College from mid-August through mid-October. Appreciate you asking.
“I forgot to mention that I will be exhibiting work in the East Gallery of the Hartness Library of VT Technical College from mid-August through mid-October. Appreciate you asking.”
I just saw this. I’ll have an exhibit in the West Gallery at exactly the same time!! What fun. Have you finalized what you’ll be hanging? If so, let me know. I’ve not finalized mine and would love to do so in a way the complements your work.
What a wonderful coincidence John!
I’ll be in touch via email so we can discuss.