Author Archives: Elizabeth Busey

What does HOPE look like?

I love art installations. I have yet to create an installation purely of my own work, and so I turn to my greater community for help. Thankfully, the congregation at First United Church in Bloomington, Indiana is tolerant of my needs and gladly participates when I ask.

This winter, I was obsessed with finding hope. I asked the congregation, as well as the community groups that use our space, to send me images of hope from their cell phone cameras. My comment to them was that unless it was an image of their grocery list or the book they wanted to read, the content was probably something that other people might find hopeful.

wave of photographs on blue paper

An installation of photographs on blue paper creates a wave of hope in the hallway of First United Church, Bloomington, Indiana.

Assembling the wave of hope

Over the course of a month or so, I received 120 images, which I downloaded and sent off to be printed. My challenge was to combine these images in a way that made a statement, but did not require expensive framing and could be displayed easily on a painted cinderblock wall.

A few years ago, I had seen an installation of solar printmaking using cardboard and small loose-leaf binder rings. I decided to augment this idea to create what I was seeing as “A Wave of Hope.” I purchased four colors of blue scrapbooking paper — thick enough, but not too heavy — along with 500 1/2 inch binder rings. With a newly acquired ATG tape dispenser, I mounted the photos in either a landscape or portrait format on the blue paper. I drilled holes through the stacks of paper, and took the entire set to the site for assembly.

 

The challenge of the actual installing

With the help of my daughter Hannah, we created a makeshift armature out of dowel rods and the hanging system in the art hallway. We formed chains of imagery, linked with these rings and attached each one invisibly to the armature with fishing line. The chains moved up and down as if they were waves, but were attached to one another so that they did not twist and the entire piece had a bit more stability.

I don’t hear huge exclamations when people pass the installation, but they slow down and seem absorbed in the imagery. I think that is what hope is like — it will sneak up on you if only you are open to receive it.

If you are so moved– why not attach a hopeful image in the comment section?

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Making the Invisible Visible

Clouds move. They may appear static, but they are really being driven by wind — a force which we cannot see.  In my latest linocut, I play with repetition in the form of a diptych to think about cloud movement as an illustration of that that illusive wind.

©Elizabeth Busey. Revealed by the Clouds … a Gust of Awakening. Reduction Linocut Diptych. 12 x 12in each image size, 22 x 21 in framed size each, edition of 16.

Repetition and two images are the key

As I noted in a previous blog, a diptych is a pair of images that are created to be displayed together. Here I chose to stagger the same long cloud formation, where part of it is somewhat repeated in each image. I was not concerned with making this repetition apparent, so you can only see the actual repetition in a few places. What I wanted you to see is your eye perceiving separate frames, like Eadweard Muybridge’s famous running horse demonstration.

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Art festivals are lessons in mindfulness

I sometimes get wrapped up in my own message. For me, creating artwork is a way for me communicate images and ideas to others via a particular medium. Sometimes people want to receive my message…and sometimes they don’t. My weekend at one of the nation’s top rated art festivals was a lesson in mindfulness.

The weekend started out auspiciously, because I avoided having my tent rolled by severe weather. I had a favorable site near a children’s activity area, and away from the talented yet resounding musical acts. The forecasted rain never materialized. It was staffed by numerous volunteers who wanted to meet my every need. Conditions were favorable for people coming to experience my message…

art festival tent

My art festival tent is set up to be peaceful and inviting. I wish I could bring a small settee…

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A creative life well lived

The world lost a creative soul recently. Donovan Walling was an example of someone who truly embraced every facet of his innate creativity. He was an educator by profession, one who traveled during his lifetime between the classroom and the scholarly world. But all the time, Donovan found the time to create.

I had the pleasure of touring his home once in search of artwork for an ekphrasis (writing about art) project I was doing with our congregation. The home he shared with his husband Sam is filled with paintings he created throughout his life. Earlier works were more geometric — including one above the living room fireplace that is six feet tall and was created on his garage floor. More recent work, such as Peace Like a River, are looser and more flowing. Donovan was never afraid to try something new. “I can always paint over it,” he insisted.

Donovan Walling. Peace Like a River. Acrylic on canvas. Installed at First United Church, Bloomington, Indiana.

Donovan wrote about his inspiration for Peace Like a River:

Peace Like a River was inspired by the hymn of the same name. My sense is that peace is a complicated concept. From a distance, the stylized blue river in this painting is a placid stripe against a neutral background. But when you look closer, the river of peace flows across a backdrop that is nuanced and chaotic, just as every life, close up, is more complex than it seems from a distance.

He wrote poetry, fiction and non-fiction. Because of his professional work, he developed publishing skills which he used to produce self-published volumes that he generously shared with his friends. Last fall he invited me to co-produce a volume focussing on justice issues with the congregation of First United Church, Bloomington. (You can read my contribution in this post.)

His creativity was fueled by every part of his life, some of which I had the pleasure of learning more about during his convalescence at home. Donovan was creative is the best way. He didn’t consider whether something he created would find a home with someone else or not. He was compelled to create as a way of sharing the honest details of who he was as a person, inviting others into his life. His was a creative life well lived.

 

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Can artists do math?

Besides the joys and challenges of art creation, artists are always faced with making decisions about how they will display their work. The options are many, but I have been lately struggling with the question of “national” juried shows. The following musings may be heresy for some, but I do think artists who wish to be professional — i.e. actually sell their work and make a profit — must remove their rose colored glasses for a moment when considering these shows.

I’m frequently tempted, especially by the shows that specialize in printmaking or works on paper. When I had work accepted into the Boston Printmakers 2013 North American Print Biennial, it was a heady experience. I even made a pilgrimage to Boston to see the show. The Boston show is arguably one of the premier printmaking shows in North American, and having it on my resume is probably beneficial.

Breath Intertwined

Breath Intertwined was featured in the 2013 Boston Printmaker’s Biennial.

The importance of reading the fine print

Whenever I see a call for submissions, I always have a rush of “oh yes! let’s enter this one!” But I make myself read the fine print regarding commissions and shipping requirements. My work is larger than some printmakers, and even when framed with plexiglass it is cumbersome. This makes it difficult and expensive to ship. In these juried shows, the artist is almost always required to pay for shipping both ways. Some places require proof of return shipping payment before they will hang the work at the show. (Note: if you get a Fed Ex business account, they will print a return label that will only get charged to your account if it is used. I haven’t been able to accomplish this with UPS.)

And then there are the commissions. I have seen required commissions on any sales between 30 – 50% for these shows. This is after I have paid a $35 – 50 entry fee for 1-2 images, with additional costs for more submissions.

Asking the forbidden question

When you do the math (yes I said math) I wonder just how much this “exposure” is worth. Even if my work was sold (and didn’t have the return label used) after my materials and framing costs, I would lose money.

I realize it sounds crass to talk about losing money… But why are creative professionals expected to exist on such a ridiculous financial knife’s edge?

My own decision-making plan

I don’t have the answer this question, just some guidelines that I have set up for myself to balance my desire to have my work seen, with the realities that the IRS needs to see me make a profit if I am to be considered a professional artist and not a hobbyist.

  • I look for shows that are within four hours driving distance. Transporting my larger work by car is still cheaper than shipping.
  • I look for works on paper shows that still ask for the work to be sent unframed — possibly just matted — to be displayed under plexiglass. The Boston Printmakers Biennial did this is 2013 and it made all the difference. Sadly, they have changed their requirements and now require black metal frames — something I never use.
  • I look for shows that have 30% commission or lower. Any higher, and I lose money because framing works on paper is expensive.
  • I spend most of my effort and marketing dollars on local and regional efforts. I am more than willing to drive the four hours to a group show opening, in the hopes of making another regional contact. These efforts have been much more fruitful than many of the juried shows I have entered. I know this limits me — as I’m close to Chicago, but not to the coasts.

Saying no to oneself is difficult. Weighing (very unlikely) accolades against your bottom line requires the cold light of day. This artist still needs to do the math.

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Finding the reset button means getting focused and motivated

April has come and gone, and so has my solo show. After the flurry of art making and promotion, I find myself in that strange place of limbo, not knowing exactly what to do next. No wonder authors of a successful books find it hard to write their next book. How do creative people go about finding the reset button?

This situation happens to me occasionally. Complicating matters, my quiet house/studio will be changing soon with the arrival of my young adult children who are home for the summer. So planning and motivating are crucial before my house becomes noisy and my schedule challenged.

The blessings of a road trip

As an environmentalist, I am chagrinned to admit that I love driving. Spring in the Midwest is intoxicating — where you are enveloped with every color of green and the clouds are unimaginably spectacular. On this particular road trip, my destination was Cincinnati, Ohio (about 2 and a half hours southeast) because I wanted to visit the non-profit gallery Manifest.

large storm clouds over fields

Rolls of storm clouds press upon me as I travel east.

Fantastic waves of storm clouds rushed me east. At Manifest, I was delighted to see work by my former relief printmaking professor Ed Bernstein in a group show entitled Drawn. At lunch, I was treated to a fast moving torrential downpour, followed by azure skies and staggering cumulus clouds. I began to ponder doing some small tonal studies of cumulus clouds, perhaps making use of mica powder. A new idea begins…

heavy clouds over Woodburn neighborhood in Cincinnati

Heavy clouds over the Cincinnati hills soon release their moisture.

Church spire seems to touch the rapidly moving clouds.

Churches are everywhere in Cincinnati. This one in the Woodburn neighborhood was so high it felt like I could almost touch the clouds rushing by.

Libraries are candy for the soul

This morning brought a Facebook post entitled 11 Nonfiction Books All Artists Will Want to Read. If I am honest, I often retreat into the world of murder mysteries, which are diverting but not very challenging to me and to my art. A quick visit to our local library yielded these beauties:

two memoirs by artists and writers

Two memoirs by artists and writers.

A quick stop in the science area, and I picked up some more inspiration…

books about weather and clouds

I am fascinated by the highway of clouds that flow above me and wonder about the science behind them.

Now for the real planning by getting focused

One danger with all this inspiration is that I buzz about my home studio, having lots of ideas but not accomplishing anything. I learned the value of planning at least six months ahead from Alyson Stanfield, so I grabbed a sheet of Stonehenge paper and started writing down categories of activities. The details — the to do’s — followed.

my own six month plan on paper

Emptying my brain of all of the goals and to-do’s helps me focus.

I love a good list, but acknowledge that without saying WHEN something will be done, the list is useless. With the exception of actual deadlines, I shy away from putting specific dates down. So I began circling things that needed to be done immediately in red. Other colors followed: end of May, end of July, end of summer. Today I will create goals for May, and every Sunday night I plan out the week. I’m posting this poster nearby to remind me of where I’m headed.

How do you reset and get motivated?

 

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What is a diptych anyway?

If one is good, two must be better. My latest linocut, Iridescent Argosy, is comprised of two 24 x 13in blocks that are intended to be framed separately, but be hung close together to create one display. This is my version of a contemporary diptych.

Two panel linocut of brilliantly colored cumulus cloud.

©Elizabeth Busey. Iridescent Argosy. Reduction linocut diptych. 24 x 13in (each block), ed of 12, $600 set.

The origins of the diptych begin in antiquity, when lesson books were two wax-coated plates linked with a hinge. Later, low relief artwork that was related in topic was used. In the Middle Ages, clergy began using this format, allowing for the safe transport of icons. Several famous altar pieces are actually three joined panels, or a triptych. In these examples, one side was related to the other, but each side could also stand alone.

A modern version of the diptych

My interest in the diptych was inspired by printmaker and painter Yvonne Jacquette. (Follow this link to see a 2016 interview with the artist.) In her woodcut Hudson River Diptych, Jacquette uses two blocks slightly separated to show the expanse of a harbor scene. For me, this artistic choice emphasizes the vastness of the subject, and also gives the feeling of gazing through a window into a different world.

Using two blocks is also logistically helpful in some ways. Smaller blocks are easier on my hands and elbows, and smaller paper and framing materials are less expensive. But I’m mostly drawn to the notion that this image was just too expansive to be contained within one frame.

And now I can spell diptych…

 

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Metallic inks put the shine on

Art-making is compromise.  Those who say that you can make whatever you want are simply mistaken. Art making is a compromise between what you have in your imagination, and what you can accomplish with your materials. In reduction printmaking, this compromise has to do with the number of shades, colors or details you would like versus the amount of ink your paper is willing to accept. Apply too much ink, and you are finished.

What is an overzealous printmaker to do? In many of my linocuts, I turn to metallic inks to finish the piece, even if I wasn’t quite finished myself.

silver and gold metallic inks on a carved linoleum block

A blend roll of gold and silver metallic inks are the last layer on my latest cloud linocut.

Why metallic inks are different

Metallic inks are different from other printmaking inks. The pigments are not ground as finely as other colors so they can reflect light. Gold inks are simulated with combinations of copper and zinc (yielding a sort of bronze) and silver inks are made from aluminum. As these inks dry, the metals rise to the surface.

How shiny these pigments appear depends on the surface on which they are printed. On my very absorbent Rives BFK, the inks aren’t too shiny unless they are the last in a series of ink layers. With the above inked block, these inks are going over six other layers of ink, so the paper is nearly sealed. If you printed on a very slick surface, the results would be shinier. If a very reflective result is required, you would need to resort to foil printing — a fascinating technique with which I would love to experiment.

cans of metallic gold and silver printmaking ink

Cans of metallic inks can bring a shine to any situation.

Mixing brands of ink — apologize later

Gamblin –the maker of my other relief printmaking inks — does not make metallic inks. I have had my Handschy gold and Kohl & Madden silver inks for years. Straight out of the can they are very dark and strong, so I mix in some Gamblin Relief Transparent Base and some tack reducer to get the strength I need. So far my mixing of different ink brands has not resulted in a visit from the ink police.  I also use a bit of metallic ink to make an ink less transparent, without adding white — which can lead to too-pastel colors.

I just applied a layer of metallic gold and silver blend roll to my latest cloud linocut, and I think it is finished. It is a diptych, so I am working on just the right way to display it on-line.

In the meantime, consider if a little metallic ink might help you put your shine on.

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If only every mistake could be fixed with Bondo

The English language needs a word for that chilly feeling of regret that washes over you, followed by the hot flush that confirms that you just made a terrible mistake. In relief printmaking, this comes when you have carved away a portion of your block that you had not intended. This happened to me recently, and after I discarded the possibility of having a toddler-style tantrum on the floor, I turned to Google.

Thankfully, me eyes soon rested on a blog post by Erich Neitzke on how to use Bondo to repair a linoleum block. My only experience with Bondo comes from my childhood, when I would help my father use Bondo and fiberglass mesh to patch our 1967 Volvo. After reading Erich’s blog, I headed to the hardware store to give Bondo a try on my block.

Can of Bondo

Yep, they still make Bondo. You shouldn’t need the fiberglass kit.

My trouble came from my carelessness when using a mask or frisket to block out part of the linoleum. A mask is simply a packing tape covered piece of tracing paper that physically covers part of the block so the roller can’t deposit the ink. The result is an ink/no ink line. The actual mask that I created was slightly different from the lines on my tracing paper drawing, but I had forgotten this, and merrily began carving away the incorrect lines. This would mean that there would be a strange white space between my yellow sky and purple mountains. There was no way to glue back the pieces of linoleum with Superglue, which only works on minute areas where the linoleum is somewhat attached.

Masking tape around the mistakenly carved linoleum.

Masking around the area means that you will have less area to sand later.

Armed with my Bondo, I first masked around the area I wanted to fill with blue tape. I mixed a small amount of the white compound from the can, with a tiny amount of the brick red paste from the accompanying tube. I used a Dixie cup as a container and a popsicle stick for mixing and spreading. Make sure to use gloves and have proper ventilation. (Don’t do this inside.)

Bondo is spread over the area.

Press the Bondo firmly over the area, and don’t scrape down too deep. You want it to be a little bit higher than the block at this point.

I quickly spread the Bondo firmly into the channel I wanted to fill and scraped down some of the excess. You will want to leave a raised mound that you can sand. Bondo cures, rather than dries, so I was able to start sanding after an hour.

The linoleum has been patched by Bondo, but must be sanded.

Remove the masking tape. Now it is time to gently sand by hand.

After removing the masking tape, I began sanding with 220 paper. I was careful not to sand too far down, as then I might get small lines around the filled area that might print. This patch will work if you have relatively small areas to fill, or if you fill in several steps. It might be hard to fill an area that is not surrounded on most sides by linoleum.

Pencil marks now show the correct place to carve.

The correctly carving marks are transferred to the block, with a written reminder.

After the sanding, I carefully transferred the correct marks to the block, and reminded myself where to carve. It is always better for colors to overlap slightly than to have those unsightly white lines. You can always carve away more later.

After two colors, the Bondo area is still holding well. My diptych of cumulonimbus clouds was saved. If only other problems were so easy to solve with a simple patch and some sanding.

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Artist writes about herself

April is a month of exhibits for me. My solo show “Ephemeral and Enduring” at the Ivy Tech John Waldron Arts Center features my cloudscapes and landscapes. One of my cloudscapes — Cantata for Eventide — was accepted as part of the Indiana Artists Annual Exhibition at the Indianapolis Museum of Art.

The dreaded artist statement

All of this exhibiting requires not only artwork, but also words. For the solo show, I needed to write an artist statement to explain why in the world I made these massive linocuts. As a rule, I find artist statements an exercise in hyperbole where the reader feels inadequate to even be viewing the artwork.

Five cloudscapes and landscapes from Ivy Tech John Waldron show.

Five of fifteen cloudscapes and landscapes create a peaceful, contemplative exhibit at the Ivy Tech John Waldron Arts Center.

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