One of the most challenging aspects of having an art blog is figuring out how much to share. It’s one thing to give readers a peek into the creative process after-the-fact, or while everything is going smoothly. But there are plenty of (if not more) failed ideas and experiments that one doesn’t necessarily want to make public.

Saucer & Spoon      ©2015 Elizabeth Fram      Step 1

My progress is rarely linear.  I find myself regularly weighing whether what I’m doing in a given week is taking me in a concrete direction, or is merely a detour leading to a dead-end. And while I think it’s important to follow most ideas to see where they may go, doing so publicly can be pretty scary.

But I’m finding there are also advantages to this cyber-space version of opening the studio door before I feel confident about what I’m working on — or where it may be headed. Not only have I found it tremendously worthwhile to be compelled to collect my thoughts in a coherent, readable form as a means of articulating to myself where I’m going, but I truly value the insights that some of you have chosen to share with me.

Preliminary     ©2015 Elizabeth Fram      Step 2

The most fruitful project I’ve taken on this year has been my commitment to draw every day. After 9-1/2 months, I’m beginning to see an ever-so-slight crack of light that is pointing me in what I hope will be a productive new direction that will spill over into my textile work. The challenge is in figuring out exactly how to bring these two diverse (one relatively spontaneous, the other decidedly more methodical) disciplines together into something new that doesn’t compromise the unique qualities of each. With color and composition as guideposts, I want to find a way to capture the feeling/immediacy of a drawing while capitalizing on the textural qualities of fabric and thread. Another goal is to strive toward an abstraction of the subject so that it becomes more than a mere translation of what is in front of me.

Saucer & Spoon     ©2015 Elizabeth Fram     Step 3    There is a lot to be learned through the distance of a photograph; lessons that are harder to see up-close and in-person. This “sketch” is too literal and has lost the vitality of the preliminary drawing above. There are passages here that I find cringe-worthy, (but also passages I quite like). Most importantly, it was a worthwhile exercise of discovery through color and mark-making.

I feel like I’m on the cusp of something quite interesting (to me, anyway!) but the big picture is still pretty muddy. The only path toward figuring it out involves time and lots of practice. If you’ll bear with me, I’ll bring you along.

PS – I try to keep this in mind: Time is rarely wasted in the studio. Although the “positive and negative” pieces from this past summer are leaning squarely toward the dead-end pile, who knows when whatever I learned from them may resurface and provide some nugget of info that is exactly what I need for a future piece. It pays to take a long-term view.