Backtracking slowly forward

Wonderful world of images

2010-04-09T11:24:00+02:00

We live in a world of images. Daily, we are confronted with an abundance of images, pictures, photos - whatever we call them. In print or digital; they're everywhere; some praise the abundance others are critical and see it as bombardment. Personally, I love this abundance.

Media wouldn't be the same without images. I scour the media for images. Different media use and present images differently and the outcome of my image search is correspondingly different. The printed press where my approach is kind of leisurely, is the place where I tend to stumble across my best finds. This gives me an uplifting feeling of surprise and luck. Like a treasure hunt. Online, however, I have to do more of an active search which involves other emotions, like impatience or frustration but also accomplishment. Tv and film offer images too, but are no good for my purpose.

What am i searching for? People. Well composed photos. I like portraits, so what catches my eye is usually photos of people. I study them, look for poses, cropping, colours, angles; whatever I can draw on in my own portraits.

In newspapers and magazines I often come across fascinating portraits or interesting scenes with people in them. The portraits are often of such quality that I completely forget the journalistic context. Some scenes are just incredible and tell me more than the text does; like this one above. Some Hungarian women go to the European Parliamentary election dressed in national costumes while lots of other Europeans didn't even bother to vote. More than one story there!

I found the photo outstanding and cut it from a newspaper years ago. Turns out, I wasn't the only one to admire it; Time Magazine picked it as "Pictures of the week" in June 2004. The photographer is Hungarian Laszlo Balogh at Reuters. Reuters had it in their "Oddly enough" collection for sale for a while. I found more of Balogh's work on the web, but searched in vain for some info about his background. So what, his work really speaks for itself.

Here is another photo I've saved for inspiration, the cutting didn't show a signature and I recall searching in vain for the photographer's name everywhere. I believe it's from 'Times', so if anyone recognises it I'd love to hear about it.

The first example is cropped close in order to show what initially caught my eye. The next one I cropped to emphasise colours and shapes. The last one is untouched, as I found it, with a relevant, but disfiguring text in one corner. As my eyes scan around for people and faces I have made a habit of searching for the photographer's name as well. Not the easiest to detect, even today.

It doesn't help when the name is in miniscule print and sometimes it's only an agency's initials. I'm curious about the eye behind the work and it upsets me when the press uses a photo merely as icing on the journalistic cake. There are many fantastic professional photographers who's work I admire even if I don't know their name.

It's so easy to take their work for granted, particularly when in bad print quality like news papers. Sometimes an initially good photo put there to support a text becomes something barely noticeable. The artistic eye, the focused mind and all the work behind will too often go unnoticed, unappreciated. That's a pity. Try to present the same photos in good print in a white-walled gallery..... Then, see if we notice!

As I said, these photos inspire me. And it seems they always have. The cutting below is a good example. I've had it since I was sixteen or so. (Click on it for full size.) At that age I was really into cut-outs and arranged these images carefully on a raffia wall hanging, serving as my poster board. A show off thing (I recognised that back then, as well). Show off to prove I was a sensitive and mature person; well aware of world politics and deeply engaged by all unfairness and suffering in it's wake. So there!

Not true. I wasn't the least bit engaged in anything but horses, myself, books and boys. In that order.
However, this particular clipping did mean something to me. Because of the faces. The person is Aldous Huxley. First as a child, then as a family father and finally a year before he died. Seeing them now, it occurs to me that his face through all stages personifies what I at sixteen longed to express. Namely, deep, creative and interesting thoughts and feelings.

Clearly, there must be extraordinary artists behind pictures that create such strong emotions. Strong then, when I found them and strong now that I see them again.
Unfortunately I have no recollection of where I found this photo nor the name of the journalist who put the three photos together, it's just luck that I have kept the scrap of paper for so long.
The childhood photo bears no signature, possibly it's from a family album, but a great portrait, whoever took it. So much attitude in that small, reluctant subject.
The photo in the middle is taken by Dorothy Wilding and the one of old Huxley is Ted Streshinsky's work. The old Huxley dates from 1962, California, one year before he died. So simple and so strong. One eye looks inward the other outward. (click on it for detail)

Dorothy Wilding is well represented in the National Portrait Gallery's collection on the web.(A great service, by the way). She did several Huxley portraits, I checked, but couldn't find this particular one. Take a look at another Wilding portrait of Huxley and his son from 1932. (Sorry, can't show it here, you have to use the link.) It's just so, oh, so good! Check the poses, the cropping, how the father is taller and could have been dominant, but he's standing slightly closer to the edge than the boy, so it's actually the little boy that gets the focus and holds the viewer's eye.

Then, take a look here at a Dorothy Wilding self portrait. She was much in demand and did lot's of celebrity portraits, royalties included. But do take a close look at herself; she really was a cool something!
Ted Streshinsky was a photojournalist who also created portraits of many prominent personalities. I did a web-search but found mostly book references, no images on the web. After the Huxley portrait I would love to see more of his work.

When I have something good to share I so much want to show and tell and hope this honours the artists and justifies showing the clippings.
If anyone knows more about these three photos, or object to me showing them here, please let me know.

Stitch by stitch

2010-01-30T18:35:47+01:00

A new link to Inger Johanne Rasmussen world. I wrote about her here once before. You would think once should do. I mean, she still does the same. She still uses the same technique: hand-stitched textile puzzles, same material: hand-dyed felted fabric, same size: mostly huge, same mind: utterly fascinating. I can't get enough of these carpets. So when she gave me this link to her updated website with lot’s of new work, I was lost for hours. Make sure you have plenty of time when you open the link; it’s a wonderful website.

There is something about her work that appeals to me on so many levels. Her material; felted wool is prosaic as such, but to me it speaks of winter, childhood and clever women. I remember wool was durable, often hard also warm and had unlimited potential in the hands of creative women. Her colours lift me. Her patterns, the geometrical, reassure me of piece and order and the floral; how I thrill that she shamelessly uses flowers for what they’re worth. Pure immodest beauty. To me, that’s pretty daring. Never cute, but beautiful and intriguing, as thought provoking details materialise by closer look. Inger Johanne’s carpets bring about memories I cannot recall by will.

The compositions are complex and layered. Virtually thousands of pieces of felted wool, cut and coloured are painstakingly sewn together in a perfect fit, like intarsia work. Stitch by stitch, by hand!
How doe she do this? When does she eat and sleep?
I can’t shake off a feeling of fairytale magic. Like the millers daughter in Rumpelstiltskin who spins straw into gold night after night. But the millers daughter has magic help. Inger Johanne says she loves to sew and that she is somewhat impatient throughout the process, so anticipation at the result and eagerness for the next project drives her to finish each stage. That seems to work well too.

She makes it sound easy but this is monumental work in size and numbers. What also fascinates me and what I admire, is her unfaltering energy and incredible will to see something through. In these carpets I find a personal take on reality, a reality of rearranged fragments held together by millions of small stitches.
Uncannily close to magic.

Colour - more than meets the eye

2009-03-12T20:50:59+01:00

The best illustration for colour I've ever come across. Thanks to Michael Maggs at Wikimedia Commons for this brilliant photo. It holds the key to all my experiences and relations with colour. It's the kind of picture I'd have treasured as a child and stored in my special box in layers of light blue cotton wool.

Colours are what I remember best from my earliest encounters with places and houses.

GREEN is the first colour I have distinct memories of.
The greens of my grandmothers garden. I was small and the garden seemed vast and the green lawn endless with old and young fruit trees in different shades of green. Green dominated the flower beds with heavy headed peonies and rows of berry bushes offered a drier, spicier green. Being small brought me close to this intimate lushness. I could pass just beneath the dense foliage of the lilacs, into a hidden world of dark and earthy green. Unseen from the outside. I could crawl in below the fragrant leaves of the red currants to find wild strawberries in the soft green grass never reached by the lawn mover.

Later I climbed trees. Best were the tall birch trees flanking the allé from my grandparent's house to the main road. Two rows of mature, white stemmed birch trees. Each tree differently equipped with branches fit for either sitting or stretching out; I ranked the trees according to how climbable and comfortable they were. I would sit hidden, high up in a tree for hours, reading, behind a green filter of soft leaves. I thought I could smell the green light; in this atmosphere of chlorophyll even the light seemed to have a fragrant quality. Today, whenever I dress in green, I feel intensely well.

My next significant colour experience was with white. The grandparent's big house was white. A dragon style inspired "Sveitser-villa"; a white painted wooden house with carved details. (Like this). The bed room I slept in was white - the light lace curtains were white - the bed linen was white. Some mornings the pale northern sunlight would shine in through the carved white veranda and I would wake up to a shimmering white-in-white pattern on my bed.

Again I felt embalmed in colour, the light was white rather than bright. I wish I could paint the memory of being in that white light.

The essence of my memory has been beautifully captured, though not by me, but by the Norwegian artist Ida Lorentzen. An esteemed painter of interiors, light and space.

Her interior above; Pastel "Interior from Nyfossum", came to my knowledge after I started writing this. Do look up the links on her website as they will take you to pictures more typical of her work. Photo courtesy of Ida Lorentzen.

Blue is next on my list. Whereas my memories of green and white stem from my first four years, my attraction to blue came later. Obviously from a more verbal stage, because my memories of blue colours are related to words more than feelings. Skye blue, powder blue, angel blue, Lavender blue, Hepatica blue, aquamarine. Blue words - blueberry blue - these words stir up visions more than emotions. Scenes and objects, but also fragrance. Still, certain sky blue colours conjures up a whole array of emotions and scenes, and I feel a surge of hope, or anticipation, or optimism, maybe? It's particularly strong when I see a certain dotted, blue sky typical for Renee Magritte; in my mind I call it "angel blue".

White, green, blue - why not red? These three colours meant something to me long before I recognised colour as a concept. Why do I feel so strongly about them, and why particularly the green and white? Naturally, it occurs to me that Norway has two dominating seasons; white winter and a very green summer. The sky looks blue (sometimes). But that can't explain it? Yet, I have no similar memories of red and yellow. One memory of red shoes comes to mind, though. But hey, that's shoes! Who doesn't remember red shoes? Of course, the intensity of these memories can easily be attributed to other sensory experiences from sources like light, smell or temperature. Most of us are sensitive to sound or smell, to a degree that a certain smell or a piece of music may bring back memories, good and bad. I guess one could say I have a very strong affinity to colour. Accordingly, when seeing a certain green I should have this childhood memory popping up? But I don't! Strangely, it's thinking the word "green", that vividly brings it back - the light and smell and the whole scene. Merely seeing green colours does not have the same effect.

I had to find out more - the internet is wonderful. How we relate to colour interests me on all levels. How we sense them, see them, use them and remember them and depend on them.

Colour has intrigued various sciences for different reasons. The study of colour as a phenomenon is far from new. Newton's colour theories "Opticks" 1704, based on the physics of light and prisms, has been an important stepping stone for further studies. One hundred years later Goethe challenged Newton's ideas with his "Theory of Colors" 1810.
New and interesting research is constantly added from very different angles. So much, I cannot even begin to cover it, but check the links below. To mention some; biophysics deal with colour vision and wavelength. Studies in neurobiology and psychology look at vision, perception and cognition in relation to colour stimuli and the brain. Colour is a source of interest in philosophy and anthropology as well. And some linguists, like Paul Kay, study colour because it helps them testing theories like "linguistic relativity". Paul Kay was kind enough to correct the following blue text so it's up to date with the latest research. Thank you P.K.!
It may not be the logical place to start, but since I'm already so caught up in words, I've chosen the linguistic field of research. Maybe it can shed some light on why colour has such a strong hold on me.

Here's a little taste of what I've picked up.... :
We naturally perceive the colours around us from an early age, apparently in much the same way in all cultures (at least in the ones studied). In order to communicate that we not only perceive colours, but also distinguish one from another, we have to be taught to identify colours by the names, or terms, common to our language. How our native language relates to colour is a different story; It's the number of colours that we put a name to that varies across languages.

Black + cool colours Light + warm colours

Some may have as few as two terms; one that covers black plus the cool colours including all shades of green and blue, and one term for light plus the warm colours, including red, orange and yellow.
Languages with three terms usually retain the black plus cool term. Then the remaining colours are divided into a white or light term and a third warm term that includes red, orange and yellow. Languages with four terms most often divide the black plus cool term into a “black” term (that can include brown or purple or both) and a green-or-blue term. Languages with five terms almost always have terms for black, white, red, yellow and green-or-blue. Most of the languages of the world don’t have separate simple words for green and blue. Six term languages almost invariably have simple words for the colours black, white, red, yellow, green and blue, which are called the Hering opponent colours after the work of the great German physiologist K.E.K. Hering.

Modern researchers have termed these six colours "universal focal colours". Universal, because all tested language groups seemed to relate to the same "most typical representations" of white, black, red, yellow, green and blue. Even when a language didn't have individual terms for all six colours some tests have shown that the speakers of the language still related to more or less the same representations of the six colours, but some of these results have been disputed.

In languages with still more terms "brown" or "purple" is often added next, later "pink",, "orange" and "grey". Apart from "orange", these eleven terms are pure colour names with no inherent meaning pointing to an object that exemplifies the colour. This selection is typical for English and quite a lot of other languages. Apparently Greece, Turkey and Russia have twelve standard terms; splitting the blue region of colour space into a light blue term and a dark blue term. Of course there are lots and lots of other colour names that you and I and the paint shop on the corner will use, but they may be specific to a product, a culture or to each and one of us, and hence not termed "universal".

What is colour memory? Or rather, what is it not? I still don't understand the nature of my "colour memory". But I know this:
- Thinking "green" brings up a memory of a scene dominated by green where most other colour details are faded.
- It's an amalgam of green; not one specific green that I can replicate or pick out from a colour sampler.
- The source of my memory is a toddlers perception of "green"; based on the experience of seeing and sensing.
- The word "green" triggers a memory from an age when I most likely didn't relate to my surroundings in colour terms yet. Then, why do words have such an impact?

Where in my brain is the memory lodged? It must be filed under vision, sensory and speech. Summing it up, I realise that I'll have to search in other fields of colour research. More neuro and psycho - It's all quite mixed.

Anyway, to me the memory is more than a coloured image in my brain as it also holds the key to different sensory aspects of the colour. Brought together, this is my idea of green. My essence of green.

Memory about colour, like what I share here, has nothing to do with having a physical capacity for "colour memory". Studies tend to show that we are not equipped with a precise and reliable memory for colour; we do rather badly when tested.
But there seems to be a tendency to remember focal colours more accurately than other colours, even across speakers of languages with different colour naming systems.
From what I have been able to gather there is no colour equivalent to the perfect pitch we know from music.
We do get better by practice and we are better at remembering a colour scheme than a single hue. Take an interior: red walls, white ceiling, grey floor, blue doors, yellow chairs etc. This makes up a a whole picture where each colour stands in relation to the others. They define each other. This picture can convey a mood; sad, cheerful, sombre or playful - like a piece of music. Designers and artists learn many skills and knowing how to use colour to create or recreate a mood has for me been one of the most intriguing and fulfilling.

Colour work demands precision. Clearly it's futile to rely on memory. Fortunately there are tools. Colour can be organised according to different colour theories, systems and standards. The colour wheel being the simplest and most commonly known system for organising. Based on a given system, colours can be referenced with numbers and letters and written down like music.

Already by observing and learning the names of the rainbow, a spectral phenomenon, a child will have acquired a reference for seven colours. By further studying the rainbow a child will also perceive that those colours follow one another in a floating way. And when wondering about why this is so, the child will have taken the first step into the marvel and mystery of colour.

More links:
Johan Wolfgang von Goethe
Albert Henry Munsell, American painter, invented the Munsell Color System with atlas (1915).
Nicolas Claidiere: Colour categories research
Sandy Gautam : Musings on cognitive and developmental psychology seasoned with occasional linguistic digressions and diversions.
Colour matters - with lots of links

Philosophy links:
Barry Maund "The Philosophy of Color " Stanford Encyclopedia of philosophy
Hardin " A green thought in a green shade" The Harvard Review of Philosophy

For children and parents:
Why are things coloured? Explaining colour
About rainbows
Kind of rainbow
Double rainbow

"Where Rainbow Rises" photo Wing-Chi Poon, Wikimedia Commons

Waxing new ways

2009-03-08T00:36:04+01:00

Last spring and summer went by in a blast; for several reasons. Moving to a new house, and the fact that there was no summer to speak of North of the Mediterranean Alps, was a magnet to visiting friends. This was great, but kept me busy.

In fact, the move was not to a new house but to an unmistakably old house, built in the 1830's.
When we found the house, it had already been lovingly restored and nursed back to life, or it's true character, by the nicest French couple, Laurence and Olivier. They apparently have a knack for bringing old houses back to life.

The house is like a noble old lady; discretely demanding. We didn't have to change a thing, but still her aged beauty forced us to fine tune furniture colours and other interior details. The house has gracefully taken us in, accepted us, and our new ways of decorating and living.

It's soon spring again and I believe changes of all sorts are good and should encourage new and refreshed ways of living and thinking. Moving was a particularly good in that sense. So, in this spirit I will try to look at some work with fresh eyes and present some attempts and failures. Something I have promised, but not done, so far.

For a year or so, before the move, I had attempted to familiarize myself with the encaustic medium. Googling "encaustic" I came across all sorts of sources; one was about Sheila Marbain who did wax printing at Maurel studios . Screen printing is part of my education and the combination of wax and printing appealed to me. I decided to try screen printing with wax the way I thought it was done at Maurel Studios.
But I must have gotten it slightly wrong when I read it. I assumed she had used a screen with a design/drawing and printed the traditional way; only replacing the standard ink with a wax emulsion smooth enough to print through the screen. However, i couldn't find any hint of recipes for such an emulsion. Annoying.
Rather than reading really thoroughly once more, I impatiently set out to experiment until I achieved something resembling the result I had imagined.

Later, when reading the text again, I realised that it was done quite differently. It was a good source. It's just that I only saw what I wanted to see. My interpretation of the text was tainted by my preconceived ideas of what 'wax printing' should be and look like. By sheer luck, I managed to come up with a formula that worked to my satisfaction in the first experiment - not done in the strong vibrant colours I had aimed to use though. Still, I'll show you the result. Unfortunately the enamel-like finish of the wax doesn't show well in the photo. As for the image - it just happened to be on the screen. I hope to set up a work space where I can try out printing line drawings in bright colours on coloured background - at the moment they only exist on my computer.

I tried another more common use of the encaustic as well.
While experimenting with making my own coloured wax I wanted to test the hardness and hold of it.
I had no picture planned so I simply started by covering a suitable MDF substrate.
A nice sky blue, but sort of a waste to leave it like that, I thought, and then my eyes fell on some cheese cube wraps on the floor.

The wrapping of my absentmindedly eaten lunch was now littering the place. Nicely coloured foil in an interesting shape had nearly escaped my attention. Now, they were just what i needed in order to test the adherence of the wax. Would the foil stick to the wax or would it need a top layer of wax to hold it?

It's still good, so I stuck with the recipe from Joanne Mattera's excellent book "The Art of Encaustic". This was my first attempt at tempering the wax, slightly heating the wax after a new layer is added. I knew it could look smooth as enamel. Boy, did that take me many trials, and I was not even getting close. I won't even start to tell you how many times the little foil shapes moved out of position. But I'm learning. And I like learning.

Flattening out the little foil scraps this cow's face reminded me that the brand name of the cheese cubes is "La vache qui rit " - "The Laughing Cow ". What a good title. But I looked at my sky blue little test piece and thought; "This is not a laughing cow".... most certainly not! And then I really had the title.
"Ceci n'est pas une vache qui rit"

Incidentally, I've become quite fond of this little piece. It started to grow on me when I named it; - a double homage à Magritte with the sky-blue background and the title.

Ceci n'est pas une vache qui rit

Coolstop

2007-12-01T00:06:16+01:00

Something really nice happened to me at the end of summer. I opened e-mails long overdue (finally I had found myself and my iMac a corner in the new home) and saw this message:

Hi,
I'm pleased to let you know that your site, Backtracking slowly forward, is Coolstop's Best of the Cool Daily Pick for 07/21/07. My review of your site appears on the main page of Coolstop (http://coolstop.com/) on 07/21/07 and is archived at http://coolstop.com/reviews/?seek=http://tittin.typepad.com/.
Thanks! Joe Jenett

Well, at first I wasn't even sure it was that nice, as I'm very sceptical of most messages with an unknown address.

But after checking it out I was speechless.
Obviously Joe Jenett who wrote the review had actually read my comments about my work!
And what's more, he had totally grasped what I've been trying to convey - it could have been myself describing what I talk about. Only he did it better than I would have.
I'm a bit ashamed that it has taken me so long to acknowledge Joe Jenett's perceptive and generous review.

I'm as curious as this guy above - I had to find out; who is Joe Jenett? I still probably don't know.

But I'm certainly glad I tried, because what I found was plenty interesting. Joe Jenett has a lot of webthings going on. It has to do with photos, with words and creativity, sharing and interaction. His own photos and words are just sublime.
The more i read, the more I'm honoured that he picked my site.

He has written tons of reviews over many years. Randomly I opened links to the reviewed sites or blogs. Everyone I opened had quality and all the reviews I read were informative, decent and made me want to go to all of these sites.
He's reviewing all sorts of art sites; photo, design, painting, dance, writing and photo, photo, photo.
Coolstop is what is says - now I've spent hours clicking on links in random reviews and all the stops have been cool.

Further, I found more cool projects under his name. Have look at these two;
The ageless Project - About how irrelevant age is for "the personal, creative side of the web". Read "Don To Earth" and see for yourself.

Colorspeak - To quote Joe Jenett: "We view the world through the web more than we ever have and colorspeak is an experiment to explore how we perceive and associate the colors of the so-called safe palette with words, sounds, people, emotions, and events in our own experience".

There is much more; :random e-motion, dailywebthings, intersect, Jenett photo, simply prsonal - click and see. Oh yes, do go to "simply personal" then click "words" and then choose "the tgif series" where you find ten poems. They touched me - they scratch on my soul. It struck me how bizarre it is that a few selected words, tightly crammed, can stir up feelings of recognition - of thoughts half expressed but never nailed.

It seems I made a mistake the other day when listing seven blogs I like - there should have been eight +........

Tagged into talking

2007-11-29T16:00:50+01:00

For weeks I hadn't even been checking my stats; that would give you a hint about how busy I've been!
I barely checked my e-mails. Then i found this in my mail:

"You've been tagged. If you want to, and have time, the idea is to list seven little-known facts about yourself, and then list seven blogs you find interesting. It's to increase readership and linkage. And to promote your wonderful site to others cheers, e"

"E" is Edith Dora Rey, my art blog friend.
Thank you Edith, your challenge kept my thoughts on the blog even when I couldn't find time to write. So did other good web friends by letting me know that they'd noticed my silence. Thank you all. I haven't stopped blogging really. We just moved during summer.

New house, and a bad summer in Scandinavia lead to a rush of guests. - I've been a tad preoccupied, one could say. However, now when my time is my own again, here's my response:

Listing blogs i enjoy - that's pure pleasure, there are so many good ones. (I have to add more to my blog list)

The other part is harder. But in between sorting stuff and stuffing boxes and moving boxes I reflected upon what is little known about myself. A lot, really. I mean, we don't know that much even about the people we think we know. Anyhow, I tidied books and thought about childhood and decided to let the circumstances dictate the themes; reading habits, memories and dreams:

While tidying books:
1) Out of curiosity I counted the books in the stack that had been piling up at my bedside since September last year - 45 books. About one book per week. That is less than I used to read in my twenties but more than when my boys were toddlers.

Packing books reminded me that:
2) Every summer I try to re-read one of Karen Blixen's books. People tend to know "Out of Africa" but her other titles don't seem to be as well known. I recommend book-lovers to try to find them.

Sorting and packing design work made me remember:
3) I'm always torn between clean graphical design and a still-lasting childhood infatuation with a perfectly rendered rosebud.

Packing the children's books and memorabilia brought back this:
4) As a child I wanted to become an archaeologist. My grandmother's vegetable garden was the perfect site for alternatively playacting the representative of an extinct culture's hidden treasures and buried dead - and the lucky archaeologist digging out the interesting site.
My finds would be all sorts of small household artifacts and more valuable trinkets like my grandmother's silver coffee spoons.
Maybe I outgrew my interest before I had completed digging out the last site - or I was more skilled as Egyptian burial chief than archaeologist; because years later my younger cousin found a silver spoon in that very same corner of the garden. Everyone wondered how it got there...
Right: Silver coffee spoons, by courtesy of Corey Amaro

Packing all that boy's stuff brought another thought back to me:
5) I've never wished I were a boy or man. Up to the age of about thirteen I thought boy's brains were a little underdeveloped.
I have later been forced to modify this view.

Now packing skiing gear thinking about winters:
6) If I get cold I'm numbed into apathy. My brain freezes into a state of non-thinking. Most depressing.

Left: My favorite one of Edith's winter tree paintings - this actually stirs up some nice winter memories. By courtesy of Edith Dora Rey.

Then looking up and taking in my Mediterranean surroundings again:
7) I've always dreamed of having a lemon tree. A lemon tree is a sure sign of a friendly climate. I now have a lemon tree - for that I'm grateful.

The seven blogs - representing the diversity of my blog list:

1) Check "Doreyme" Edith's art blog for her paintings and the way she lets you in on her thoughts of her daily toiling with motifs and colours. Edith continuously shows new work - a painting a day - which always makes it worth checking.

2) "Tongue in cheek". Corey Amaro's personal observations about living in France rendered with unusual warmth and precision. She's sharing her eye and flair for capturing all things warm, human, fragile and beautiful in text and painterly photos. Check out her collections of vintage decorations.
- My Christmas-gift-Reading to those who haven't discovered her yet!

Right:Photo by courtesy of Corey Amaro; her vision of books.

3) Life 2.0 - Nick Smith's blog address is what i give to friends in need of a kick or a pull to live life more inspired, more attentive, right now, right here. Philosophical about life, business and human interaction in general.

4) "Charlotte's web" by Charlotte Otter. Charlotte is a writer, sure, but she paints with words - this is good reading and inspiration. About books, living, food, kids, writing. Entertaining about ex-pat living in Germany.(Also see her husband Thomas Otter's blogs).

5) "Freedomwig" - by Martha Rich. What an intriguing title! Found her a few months ago. I'm not sure i want to share her with you, but then it deserves sharing. Art blog again, unpretentious, active, refreshing and sharing.

6) Of course "Art for housewives" by Chyntia Kortzekwa - Wrote about it here.

7) "Self versus self" by Hazel Dooney. Young Australian painter. Not a typical art blog but thoughts by someone who seems quite committed to making art. Her frankness makes the blog very personal. At times it borders on the private but Hazel Dooney writes so well - it's hard not to be drawn in.

It was May when Edith tagged me. I'm so glad I've never promised to post regularly. That would not fit my profile - see former post.

I would have liked to finish with a splendid picture of lemon trees but I couldn't find one. Enjoy these happy snails in it's place. Quick is not my way!

The face - an obsession

2007-03-21T15:59:23+01:00

Museum and art shows sometimes make a lasting impression. For different reasons obviously. Some years ago I had an unusual museum experience that often comes back to me; an exhibition at the museum "Kunsthaus Zurich", Switzerland. I love this museum; for it's collections, the atmosphere and the shows it hosts.

This was a grey February morning. The fact that is was cold and rainy outside, didn't lessen my anticipation as I entered the bright, warm, hushed museum atmosphere. Impatiently I read the exhibition poster; "THE FACE - AN OBSESSION".
THE FACE! This was meant for me! Studying the face is what I do when making portraits. Exhibitions don't often deal with the face - I felt so lucky.

- Now, it is not my intention to turn these posts into lectures, but in order to share what took an unexpected, but interesting turn, I have to back it up with some facts and history. The exhibition presented the life and work of Johann Caspar Lavater (1741 - 1801). Born in Zurich; a clergyman by profession and a renaissance man by nature.

I didn't discover Lavaters background right away, as I have the bad habit of skimming through at first. However, what instantly did capture my attention was a large collection of detailed studies of the human features - beautifully presented. (See the eye below. Pastel on blue paper with painted mock framing).

This part of the exhibit was labeled "Physiognomische Fragmente". 'Physiognomy' - not really a word I use much. A dictionary cites "a persons face or facial expression". Sounds innocent enough - it describes exactly what I study when working on a portrait. I was thrilled to come by these studies, as I scrutinize eyes and noses too!

Slowly it dawned upon me that Lavater was not a fellow portraitist. I hadn't found a painter, but a priest. He was merely writing about features and faces. How disappointing!
I set out from the beginning again; paying attention this time. It turned out to be quite interesting after all. Historically, yes, but also because I find it fascinating to learn about a person's motivation. Above all, it made me reflect upon how I see a face. What I notice, and what I certainly don't look for, in a face.

Anyhow, these are the facts that I learned: The exhibition showed selected pieces from Lavater's original collection - containing about 30.000 works, carefully mounted according to his instructions. The drawings and prints founded the base of his principal four-volume work; "Physiognomischen Fragmente" with the subtitle; "Zur Befoerderung der Menschenkenntnis und Menschenliebe". ("To promote knowledge and love for mankind").

The material was collected or commissioned by Lavater himself. But for another purpose than portrait painting. He studied physiognomy in order to "reveal secretes of the human character". Just like a few other contemporary thinkers and educators, Lavater sincerely thought that classifying and deciphering the human features would promote "love ('Menschenliebe') and understanding" of the human nature!?
I guess psychology is what covers this field today. Even if Lavater got a bit carried away (my opinion) - measuring angles and distances between eyes and mouth and dividing and subtracting and whatnot - his research was clearly done in the spirit of "Menschenliebe". According to many sources he was a highly intelligent and religious man, genuinely caring and thoughtful.
(Below: Lavater at his desk)

The exhibition showed samples from Lavater's widespread correspondence; a collection of more than 20.000 letters. He stayed in contact with several of the big thinkers of his time; amongst them, Goethe and Herder. In fact, Lavater was an active contributor in a vast network of correspondence between influential Europeans. It was common understanding that these letters were not solely for the eyes of the recipient; on the contrary, the letters would be openly discussed and referred to. Whenever he found it relevant, Lavater made not only his own letters publicly available, but the incoming letters as well! He clearly took 'linking' seriously!

In addition to his correspondence, his studies, writings on physiognomy and his priesthood, he also travelled extensively. No wonder Lavater was, and still is, regarded as a communication genius. He was indeed a multitasking guy. I can see him as a blogging psychologist if he had lived today!
Still, even with this capacity for networking, Lavater could easily have been forgotten, if not for his ambition to turn his theories into a science.
(Below: Goethe, rendered by Georg Friedrich Schmoll).

The more I learned, the more I was impressed by Lavater's persistence. For years, he collected these prints and drawings. - The famous, farmers, geniuses or "idiots" - they all interested him. He also commissioned drawings by artists and art-students. He had a whole 'staff' of well known artists; Daniel Nikolaus Chodowiecki, Johann Heinrich Fussli, a childhood friend, the illustrator Johann Rudolf Schellenberg, the portrait painters Heinrich Pfenninger and Georg Friedrich Schmoll. They did studies of details like eyes, noses, mouths - the "fragments of physiognomy" - Lavater classified and wrote comments. He was simply obsessed with collecting evidence to promote and support his theory on physiognomy.

Just when I began to appreciate and admire the extent of the work and the attention to detail, I discovered a new dimension; I started to read the accompanying texts. Being so far from how we think today the texts had me completely confused; a person described as wise, noble and honest looked just plain silly to me? Based on the most bizarre interpretations of human features Lavater's comments revealed pretty preconceived judgements. Quite disturbing - but also an interesting peek into European culture two hundred years ago. I was hoping the texts reflected Lavater's time more than his personal attitudes. I mean, he connected dishonesty or greed to a certain type of lips! It made me wonder how he chose his friends - I'm guessing; not by his own criteria?
For my part, I hardly notice the details of a friends face. That is, until I draw or paint it..... and I most certainly don't choose friends by the angle of their nose.

According to Lavater, there were even specific national features that accounted for a more or less heroic character. See for instance how he describes a "typical Russian":

"Fig. 5.-This head is visibly Russian. At least there will be no hesitation in answering the question - Is it English, French, Italian, or Russian? The retreating of the upper parts, the high eyebrows, shallow eyes, short, somewhat turned up nose, and the large under part of the countenance, show the Russian. Worthy, faithful, good, brave; one to whom all wish well."

When I saw this Russian I knew he reminded me of someone. A Russian of today. Now, I'm sure Putin won't have a problem with Lavater's flattering words, as he certainly resembles this heroic figure to the left, illustrating Lavater's description. His last sentence makes me wonder though. How much is political correctness? (Middel and right:two photos of Putin).

Even if I find noses intensely fascinating I like to consider myself lacking the prejudice of Lavater's century. Still, I wonder if other discriminating attitudes could lie dormant in my subconsciousness? Can i really trust myself never to judge someone by their mouth or nose? I don't know. After all, our features are part of our body language. Consciously or not, we still read that language. A distinct and expressive language when used on the stage. Take wrinkling of the nose for instance - the interpretation of that expression is bound to be universal.

But let's get into the 'Lavater mode' again - he doesn't deal with expressions. He's interpreting the actual features, as shown in the selection and comments below.

Have a look at these nose-studies, and see if you find one that matches the nose of Putin or his predecessor.
I'm not quite sure which one to pick. But it seems to be either nose number two, three or six. Possibly number two? Now, let's have a look at Lavater's interpretations of these three:
- Number two says 'verstandig und roh' - that means 'wise and raw, or brutal'.
- Number three: 'merklich schwach' - means 'oddly weak'.
- Number six is a funny one too; 'schwachgut' - this means 'good, in a weak way'.
Pretty intriguing number three. - Why is it odd that a nose has a weak form? - Or does he really mean that a person with this nose is weak? That's nonsense! Or is it? Nice nose on a girl or a small child. Bit of a baby-nose, really.
Again I check myself; Do I assume that someone with a baby-nose is aggressive and dominant or rather pleasant and good humored? (I know. I shouldn't go there!).
Then, number six, 'good in a weak way', what does that imply? I find it more 'merklich' that this should be a weak nose at all - looks pretty common to me. But then again, maybe Lavater thought it pretty common to be weak?

If I had lived in Zurich during the last part of the 18 th century maybe I would have been making portrait drawings for Lavater and writing notes like this one: "Kunstler aug, nur sollte der Winkel spitzer sein", or "Artists eye, but the angle should be sharper".

For my portraits Lavater's field is worthless, besides it's a minefield today. Even if I have noticed odd links between particularly well curled eye lashes and a specific form of the nose tip and upper lip, I couldn't possibly reveal any secretes from lips and eye lashes. Lavater thought he could; that's why he's still not forgotten.

I'm glad I 'met with' Lavater, but why did I not forget him?
I have this thing about enjoying learning even more than achieving so apart from learning about him and his mission in life, did I learn something useful? The answer is Yes - if I count being reminded about this; whenever I'm provoked and have strong reactions and emotions like disappointment, indignation - or excitement, for that matter, it's really because I'm confronted with traits of my own character. I need to be reminded that provocation is about meeting myself; my prejudiced sentiments, my negative sides - the 'me' I'm not always proud of.

PS Originally, I meant to mention Lavater briefly; merely in the context of drawing and painting the human face. Discussing and showing how the tiniest changes of a line alters the mood or expression of the model altogether. However, Lavater, a strong personality, took over completely. This will have to be a theme for another post.

Hands off - the design is good!

2007-03-03T00:10:05+01:00

Now, try not to ruin it!

Being a designer I ought to know not to attempt at redesigning an already perfect design. As a parent I hope I have succeeded in keeping my hands off enough.

As I see it, I've created three really exceptional designs. I must admit it has been in collaboration with my husband.
I'm writing this because right now, in the beginning of March we'll celebrate the eighteenths anniversary of our first co-production - a live and kicking man cub. - I have babied numerous ideas that made it into production. But my children are certainly the most precious creations I have nurtured.

Today our oldest, once a nameless, hairless, helpless bundle handled over to me to care for - for life I realised - thus feeling more helpless than the baby even looked, is taller than his dad.
(Although, I was wrong in assuming that he was nameless. It turns out that the minute his dad held him in his arms, he decided to name him after himself. But let me assure you that the next two times I was prepared and at the ready with names so we wouldn't have four Sig's in the family. Never underestimate the bonding moment between fathers and babies!).

Today, the dad already a tall man, will be kissed upon the forehead by his, at times, affectionate son. Mothers aren't kissed that much these days. I guess I have to live off the signs of affection accumulated during the first sixteen years. And I can do that, easily, I find. I have observed other young men change back again a little later. I can wait. Mothers wait a lot anyway.

Back to the design. I will not pretend to think I/we could or should influence the outcome that much. They come as they are. By that i mean, he is shaped by a remix of our genes, otherwise he his totally himself. Based on genes and imprint he's destined to repeat certain patterns as well. But he's free to choose to keep, or change these patterns.
All in all, he is free to choose who to become in life. I hope he has already absorbed that knowledge, as well as the difference between "what to become" and "who to become".

For his eighteen years I find him surprisingly clear;
He doesn't hide who he is. (Nowadays hormonal rush may obscure it, but he doesn't choose that).
He has a big heart in his tall body, and a clear mind in a fast brain.
He has never ever shown sign of jealousy. He is extremely honest and fair minded.
He can express gratitude, will easily forgive you and he detests waste of any sort
He's easily absorbed in complicated tasks and just as easily bored by meaningless tasks.
He also has a fierce temper, but will easily ask forgiveness.
He still enjoys learning and strongly dislikes being taught.
He's a tolerant friend and can explain complicated matters clearly and patiently if he thinks you need it. If he doesn't think you need it, you are brushed off.
He spent much time in his dad's care as a baby. (My work sent me places). Maybe that explains the length of this list.

All these traits were manifested at different stages from an early age. All are good, particularly one at a time. But in combination they don't always make his life that smooth.
He has been an interesting person to be around. Not always easy, certainly never boring and definitely challenging - more often than not in a good way. He has been a child that forced me to expand my attention and knowledge. He has drawn out my worst sides, but also the best.

At his best, these days, he looks like a lean, serene elf from "Lord of the Rings". Tall, with long blond hair in a ponytail. Open, wise, dark eyes under dark eyebrows (listen to this gushing; biased, proud mother).
But I hear and see enough of the other him to normally sound quite moderate in my appraisals. On a normal morning he looks far from wise, due to he fact that his eyes are barely open, and if open, they can be angry as well. He has a loud voice and can be very dominating and acting as supreme in the universe.
However, I see these sides as temporary traits just like disturbed sleeping patterns and total amnesia when it comes to admitting to repeated verbal abuse of mother at wake up times.
I'm sure he will learn to get over the hormone induced temporary traits. I trust life will teach him to adjust the others.

Mothers are often fretting over their inadequacy as parents. Thinking we should have done different, done sooner, done later, done more - but rarely less. I have rethought this.
I now hope I haven't done too much, that I have kept my hands off enough. That I haven't changed a design that is intrinsically good. Because they all are when they are handed over to us.....

And to my son - lets drink a toast to him! - As we live far away from family and old friends I choose to say some words here . - I hope he appreciates that I earnestly try to be hands off! The damnedest difficult thing for a parent to do, designer or not!

From Trash to Treasure

2007-02-09T17:54:39+01:00

Introducing ART FOR HOUSEWIVES - a recycling blog
This is a blog review. It also explains how I was drawn into blogs and blogging, and how I consequently got BAD. (According to Nick Smith I may suffer from "Blogging Addiction Disorder"?). Explaining is always a detour; but so what! I'm really good at making a short story long. Another disorder perhaps? So here it comes:

Because I needed to find better ways to transfer images onto..? anything, I went on a googling spree.
Through many tours and detours, I stumbled across Jen Worden's blog; I liked what I saw and read, then started checking out her links. One link was "Art for housewives". My bookmark reveals I've been reading it since January 2004.

Reading, is perhaps not the word; browsing. Browsing led to reading and more link-checking and subsequently more reading again. But it was a one-way experience and finally I couldn't stand my non-existence anymore, net-wise I mean. Alors, I started blogging and got really BAD.

I still vividly remember stumbling across "Art for housewives" thinking; "HOUSEWIVES! - oh, come on, who's a housewife?....." and then; "Yeah, well, I guess I'm one, so let me see..." And I'm so glad I did. But at first I had no idea what hit me. - Because that's what it does; this HITS you:

A brick-pink page with blue, red and purple text opens. Then you realise there are also different fonts in different sizes, all peppered with links and photos.

Completely confusing but also utterly intriguing. All those links - what's behind them? I had to check, and then I was hooked. The links were like tempting wrapped sweets - i opened one after another - just one more, and one, and another and.... oops, I was late for picking up the kids.....

Your fault, Cynthia Korzekwa, but you're forgiven!
She's the driving force behind all this. She says "Make art not trash!" - she herself does. Above, an embroidered piece and detail by Cynthia: "She added to his collection"
But let me finish describing the blog. There's so much information; about artists, about crafters, about recycling, about ecological projects and much, much more. It seems endless. Of course all isn't art as such, but there are artful ideas and creative projects. A quite remarkable collection of information, comments and links. Below from Cynthia's photo portfolio. I just love this one.

I'll let Cynthia tell you how it started;
"You know I began ART FOR HOUSEWIVES because I am truly worried about the environmental situation. And mainly because of my children and potential grandchildren. I mean, I didn't raise my kids just to have them die of thirst because there's no water left because some slobs had to overdose on consuming this planet's natural resources. For two years I researched via internet and books anything related to making art using second hand materials (the best ideas come from third world countries).
The results are in a graphic book I wrote called Arte per Massaie (Italian for art for housewives) that should be published at the end of March.
What I really wanted to do is to devise projects using household trash to make, you know, functional art. Two times functional because you not only make something useful, you also help clean up the environment as well. Having taught in highschools, I know that the mechanical aspect of creating, for some people, is easier than the conceptual aspect. Handwork is, for often, easier than head work. Like paint-by-numbers."

The more I see, the more I wonder how she handles all this? What kind of energy-phenomenon is this lady?
Cynthia herself, is an artist, that I know. And her web sites are as intense and rich as the housewifeart thingy. They're not just full of art, but of thoughts, reflections, words and definitions and quirky ways of putting things. Like these mad cartoon-like pictures that make complete sense when you read the text.

While I write this I'm just checking some of her work links, and I find other pages with Cynthia's art that I haven't found before - like the "Cardboard Retabolos". There's still a link to a page called "she just wanted to blend in", started in 2001 and ended in 2005. But the pages are there and the links work.

As does the whole concept - it really works. But you have to have some time on your hands, to sit down and really dig into it, or bookmark links to save for later. Bookmark straight away, is my advice. You may think you'll be able to come back and find something again, that may take more time than you expect; it's so vast!

I have noticed that I hardly buy glossy magazines any more. Now i bookmark blogs and web pages, saving them for a rainy day, for curling up with a warm cup and a good read!
Thanks to people like Cynthia Korzekwa and lots of others, that is possible, and it's more than just a good substitute.
Sorry, glossy publishers! You sell, but Cynthia and her likes, they share.... Beat that!

All photos courtesy of Cynthia Korzekwa

Textile Tales Retold

2007-02-04T17:41:23+01:00

Finally I'm ready to add some spice here, by introducing art and artists that I go completely double-wow! about.
I actually intended to - and looked forward to - pointing you to other artists!
- Great contemporary artists that you'd normally discover only by chance.

Even if I do keep in touch with artist friends in Norway, our conversations don't always cover every corner of the art scene. So, i must admit; I probably miss out on a lot of important exhibitions and news.
Like this extraordinary textile artist - Inger Johanne Rasmussen, from Norway - she nearly escaped my attention!

Fortunately I had to visit this winter-cold place recently and was meeting with long-missed friends from student days. We had three short hours to catch up and cover news and not-news from our respective fields of art.
The conversation raced and bounced like a chased rabbit.

It was great. Textile-art came up a lot and my friend Hege just happened to have the most beautiful art catalogue in her bag. No time for reading, but I had to have it!
Later, at home with time to read and absorb, I realised this was sharing-material.
I wanted everyone to see Inger Johanne's art!

Let me just say; to me, these images represent a synthesis of childhood memories, the comfort of wool, or protection by felt, women's amazing craftiness, large scale patterns dwarfing me, painterly colour-use, recycling of material and patterns - and still textile art at the very best.

Below, you can see Inger Johanne at work and read her own words (green text) about how the carpets evolve.Then, some of her thoughts on patterns. Further down in red; more from the exhibition catalogue "Retelling".

About making carpets
"All my carpets are made of felted wool; mostly military-issue foot cloth. The material is dyed and cut to size; The pieces are placed side-by-side and glued with the adhesive and stabilising interfacing Vliselin. Thereafter all the bits and pieces are sewn together by hand, as with appliqué: I like sewing most of all.

When I sew; I look forward to being finished so that I can start designing a new carpet. Therefore I sew very fast and take paraphernalia with me wherever I go. I'm an impatient draftsman because I can't wait to see the colours in
the material.

Often I start cutting into newly dyed, half-dry material because i just can't wait till it dries completely. Cutting the material is great fun but sort of daunting, because it's easy to ruin a lot of material in no time; and it always turns out slightly different than I anticipated. I cut quickly because I'm impatient to glue the pieces together and see how it looks. I can't get a proper impression of the whole thing before all pieces for the carpet are cut, so it's always a rush job. Sometimes I have to re-do this stage several times, and that's a pain because I'm always looking forward to sewing again. That's how it is."

About what one can read in a pattern
"Patters can be read in a number of ways - according to which culture it stems from; which era and which temperament. What do you meet in a pattern's colours and rhythms?
You can follow some patterns as though they were a supple movement. Some stiffen their necks, or stumble along. Some allow you to slumber in lightness and dreams. Some can be played with; others can be counted and ordered. You can dance with some patterns, or laugh. Some cause you to shrivel with bad memories. Others are so reliable and familiar that you think - here it is good to sit, as among friends."

Excerpts from the cataloue text; Else-Brit Kroneberg shows how IJR's work explores not just the familiarity of traditional patterns but also the connotations of familiar household objects and textiles. She ends the text with an analysis of the the carpet below:

BETWEEN THE ORDINARY AND THE ELEVATED
By Else-Brit Kroneberg, curator at Soerlandets Kunstmuseum, Kristiansand

"...'Magnetic Home' (2005) is another work thematizing domestic life. Here, Rasmussen makes a variation on the traditional red-and-white-checkered kitchen pattern. Along the textile's mid axis, the pattern disintegrates around seven "magnetic" points. Here the pattern is sucked into a vortex where various objects are portrayed - e.g., a house, a door, a chair and a bed. All the objects befit a home. The pattern seems to hold onto the objects, but also to disappear into them, as a reciprocal relation of belonging.

"Magnetic home" also creates a connection with the viewer. At the seventh station a mirror is represented. The mirror's ability to reflect its environment binds the one who looks in the mirror to a picture.
Here the viewer is bound, pictorially, also to the home and safety."

I'm still a little surprised at how strongly I reacted to these images. Mind you, I have not seen the carpets 'live', only in photos. Even that touched me deeply. In fact, the whole project fascinates me; the size of the carpets impress me, the magnitude of stitches. The thought of taking this on!
Then, I'm just thrilled by the story behind the foot rags - and that they turned up practically at her doorstep (at least at a friends doorstep). All the work behind the hand-dyed cloth is something I can appreciate too, having dabbled in the field. Enlarging familiar patterns could have been a no-brainer, but not with Inger Johann's ingenuity and feeling.

But the best part - she's mastering colour like a painter. Although restrained by the somewhat slow process of cutting, she's still making it work like generous, spontaneous splashes of colour - that's what really gets me! Chapeau!

Later, I learned that visitors to her exhibition at Soerlandets Kunstmuseum, had expressed similar reactions. - Feeling really moved, even to tears! Clearly I'm not the only one feeling the whole childhood and a little more, welling up.

For more pictures or further reading e-mail ingerjohanne@chello.no or tittin@rinde.com to get the catalogue as a pdf file. Price info carpets - Inger Johanne.
Inger Johanne's web site is not active at the moment. Link will come later.

IJR has more exhibitions coming up.
"Risoer Kunstforening" One man show February 2007,
"Radoy Kunstsenter" May 2007
"Kunstnerforbundet" Oslo October 2008
She's also participating in an exhibition at "Norsk Folkemuseum" at Bygdoy in Oslo this summer 2007.

The exhibition at Norsk Folkemuseum, "Nothing disappears", will show works related to recycling. All exhibitions take place in Norway, so if you plan a travel there in near future you can treat yourself to some visual goodies.

Photo by Renato Langfeldt