Yael, Ruslan, and Moi.

Recently I had the opportunity to meet Yael Yitzan, President of OIMA, the Organization of Israeli Mosaic Artists, who introduced me to several wonderful contemporary Israeli artists in Jerusalem and Tel Aviv.

We met at a Gallery in Migdal Shalom, In Tel Aviv, where there was an exhibition of work by several artists of the organization. Very cool stuff. I admired the work of Nirit Kirin, Ilana Shafir, Yael Blumberger, Ruslan Sergeev, David Shamir, and others. There is an exciting aesthetic among the mosaic artists there, employing a lot of ceramic, marble, smalti on both 2D and 3D works.

Yael Yitzan introduced me to Ruslan Sergeev, who some compare to Niki St Phalle (I say his work is even more whimsical and unbridled). He is a prolific artist who works monumentally and has works all over Israel. He is a charismatic fellow, full of life and passion for his work. His studio is outside on a hilltop in Jerusalem- a big wide open unprotected space with views of the city, of the Dead Sea, of the mountains of Jordan- an unbelievable panorama.

Ruslan’s work is from another place, another world. When we spoke about what we both envision when we are creating, he said this.

“I am the bridge between the imaginary world and here”.

It is a wonderful thing to be able to bring beauty from your head and your heart to a physically tangible environment.

Thanks, Ruslan.

Depth.

There are some places on earth where the past is just below the surface. We tread on the ground not knowing what happened there or what lies under the layers below.

We sometimes cannot see the beauty or complexity of something because it is hidden by the debris of the present.

Layers of time can cover so much secret beauty; time to slow down and look not only where I have stepped but the foundation on which I walk.

Happy Birthday, Baby.

Happy Birthday you, happy birthday me.
You came here screaming and pissing and cooing
and my life has never been the same.
You demanded everything and asked for nothing
So strong , so determined, so full of heart.

I was so young and you were younger
I learned selflessness and love, from you-
You made my heart grow bigger
And my purpose clearer
Yours will be too, you are finding your way.
Happy Birthday my beautiful boy.

xxoo

Olives and Cigarettes

Carmel Market.

Best Kiosk combo award goes to Olives and Cigarettes. A close second held by Socks and Baklava, with Smoked Fish and Baby Sneakers coming in at a distant third.

Talkin’ ‘mongst ourselves.

One of the things I love most about being an artist is communication and the sharing of ideas and possibilities with other artists.

The way that this happens now is vastly different than 25 years ago – sitting around our studios, drinking wine or coffee- depending on the time of day, discussing work, intent, direction, technique and inspirations. This was an exquisite way to integrate with the world after isolating in our studios. These meetings were safe places to talk of our work and life. There was an unspoken respect between all of us, even though we were all vastly different in our approaches to creating art. We definitely didn’t agree with each other but we could listen and be cool with it.

Today, my computer (or as I used to call it -my TV with a typewriter- I am old school!) is the gateway to a infinite world of communication and networking with other artists. I have been very blessed with having made relationships of a lifetime that began on the internet. Yet, there is huge difference between the face to face discussions and online artist forums. When discussing work, live, in person, it is a visceral experience- the work is there to smell and taste and is as real and alive as the artist who made it. On the internet, there can be a wall; a distance, and sterilization. It is the image of a photo that has/can be manipulated and fit into my screen on my desk. It sure is convenient, and without the net I would not be privy to seeing new works of artists worldwide.

Many communities have formed over the last 10 years that address the issues of the isolated artist as well as those that want to look for inspiration and communicate outside their own backyard. These online communities are wonderful, but change constantly as the interest of dedicated artists wane. At some point, we need to stop typing about working and actually do some. I’m going to do just that in a minute:)…….

I think you will find artists going back to their studios, together, in a physical community, with wine or coffee, good and bad art, to talk about work face to face. Never underestimate the value of human contact and art seen in realtime not just in the virtual world.

Thou shalt grow a thick skin.

I am increasingly amazed and bemused by the number of artists that do not seem to have a sense of humility when it comes to submitting work to professional level exhibitions. Putting ones work out there is a gutsy thing to do; you set yourself up for rejection, at least that is the smart way to look at it. It takes a certain amount of experience and toughness to really understand what it requires to be an exhibiting artist and stick with it.

Especially the juried shows. They are subjective. To quote philosopher Forrest Gump, “…life is like a box of chocolates. You never know what you are gonna get.” Juried shows, you cannot predict what the jurors will select. It is a crapshoot. Don’t take it personally. I like vanilla, you like chocolate.

I hope my fellow artists hold their heads high and continue to push themselves in their work. A rejection can be time to reflect on what is important and ask questions of yourself, and the intent of your work. Steer clear of that ego, make work that is true to your vision, not of what you think some juror may deem worthy. It is easier to make great work if you stop caring what others think. Listen to critical discussion of your work, take what you need, and work from your heart.

Addendum:
“Thou shalt not harass exhibition jurors.”

Under rules of Professional Artist, section 2, #756, it states:

When a professional artist is not accepted into a juried exhibition, they will behave with grace and quiet humility, They shall reflect on their work, acknowledge that it is an artistic ‘lottery’ of sorts, and respect the selections made by the jurors.

Additionally, (section 2 #756-2.a) one shall not harass, conspire to humiliate, or disrespect a juror, particularly before the exhibition is hung.

Being a professional artist does not only mean creating fine work, it also means treating other members of the art community (jurors, curators, lecturers, instructors, gallery owners) with respect and kindness.

CoolGlobes in Copenhagen

One of my globes at the International Summit on Global warming, Copenhagen, 2009.

Dude, where’s my smalti?

Cliff Maynard “Chronic Artist” uses little bits of roach papers, that would be the paper at the very end of a mary-jane cigarette, to create mosaic portraits.

“I was studying mosaics in school” recalls Cliff. “I just remember sort of making this connection in my head between the tiles and roach papers. It’s when one sees the level of detail in Cliff’s work that the true amazement begins. Little bits of paper– otherwise thrown away– cut into delicate shapes and arranged together in such a way as to form a true work of art.”

Check out more of his ‘alternative’ mosaics at www.chronicartist.com