Saturday, March 30, 2013

The Aimone Workshop has finished!

And quite well, after all! Here's Steve as he gave feedback at our end-of-session circle.

By the end of the day everyone was tired. It's been physically draining and emotionally/mentally challenging. And that's wonderful since at the end all of us seemed creatively energized and also so grateful for the experience of this workshop.

This is my third workshop with Steve and each time I learn something new about myself and about my ways of working with visual media. I'm introduced to more ideas about design, composition, concept, and how the art making process can be ABOUT the process and not just depend upon describing things. How it can tell us so much through the energy put onto the surface by the artist. You can read more description about the workshop at this link on his website--
That description is only the tip of the artistic iceberg, however. You have to experience a Steven Aimone workshop to know what I mean!

By the way, Steve mentioned today that there are two openings in an upcoming workshop in Maine, but otherwise his workshops are full for the rest of the year.

The negative feelings about my own work that I expressed yesterday were not so strong today. Part of the reason that I felt more positive was that I had wonderfully encouraging feedback from Steve and other participants, as well as several online friends. Although I didn't make the post to seek approval or pats on the back (although I'm very grateful for those), I made my comments because I think that many people have similar feelings and sometimes one thinks one is all alone in feeling that way. By writing my feelings as I made the post I realized that I've been through this cycle of up and down many times before. And most artists who I know also experience this. Recognizing the circular nature of the creative process is key to helping me remember and know that things will look differently tomorrow... probably. And if not actually tomorrow, at least sometime in the future. from today and in no particular order! Thanks again, Steve, for another grand experience. Thanks to all of the rest of the participants who plunged to it all with such verve. Back to reality tomorrow!

I'll start with a photo that Cheri took of me yesterday as we worked with one of the exercises... this one was to set up rhythm with a tool held in a way that connected to the body but wasn't "normal"--if you think that holding a brush or pencil in one's hand is "normal."

Here I'm making rhythmic pattern with a brush taped to a long roll of cardboard, and with my elbows against my body. Later, those marks were cut up and collaged to create yet another rhythmic arrangement.

Steve's wife, Katherine, takes in one of the works from today. Katherine is an amazing artist and writer.

One of Katherine Aimone's paintings on the wall... she brought one in for us to see.
And below are some of Steve's works that he showed us after the workshop ended:

And... I'll end with a photo of the state of my lovely working space in the studio at the last of the workshop today. Almost everything in the car and ready to drive to Georgia.

Thanks again, Steve!

And here are links to my 2008 and 2012 workshop blog posts about my Steven Aimone workshop experiences:

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  1. Tommye,

    You are a continuing source of inspiration to me. Just when I thought the muse was gone forever, I read your post. Thank you!

  2. Tommye,
    I'm intrigued by some of the technical aspects of the workshop. For example, would you please share info on the type of paper used, and how those huge sheets are attached to the walls?

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  4. The paper was an acid free paper suitable for both graphite and acrylic paint. I don't know the brand of the paper, however. It was in rolls that were about 42" wide and were torn the size that Steve suggested for each exercise, either as a more square format or a longer rectangle. One of the photos shows Steve and his assistant ripping the sheets by using a metal edge against which to tear.
    We attached the sheets to the walls with pushpins. To make the surface even less likely to tear as we got it very wet with paint and worked hard against the surface, it could be coated with acrylic medium first (let that dry).

  5. Thank you sooo much, Tommye, for the info on the paper. The tip on first coating with acrylic medium to reduce likelihood of tearing gets right to the heart of my question. I've found tape unsatisfactory because it distracts so much (I really love being able to work right to the edge, as you folks seemed to in the workshop), and I didn't realize that a few push-pins could work to stabilize the paper on a vertical surface for when working so vigorously and wetly as I do and as your photos indicate you did in the workshop. The pushpins weren't visible at least to my eyes when I looked at the photos on your blog. Once again, thanks for responding to my technical questions; I do recognize that you blogging on this workshop was about so much more of deeper significance than the technical aspects!