Americorps Exhibition at VSA N4th Art Center

Hey folks,

I have been a little busy co-curating an upcoming exhibit dedicated to all the hard working Americorps at VSA N4th Art Center. Exhibition details can be seen on the postcard to your right and below.

It has, from what I understand, been a tradition to offer an exhibition to those artists who come to work and teach their talents; offering their skills through N4th's programs. Such talents range from theatre, music, visual arts, and more- they all are more than grateful for this opportunity to display their artistry. So...

Come out and support those who have dedicated their time, energy, and talents; opening reception is June 3rd from 5 pm. to 7 pm. at:

Support Some Good Folk

Hello All,

I wanted to divert from typical posts and throw out some support for friends, family, and just a couple of random things I just happen to like.

I would like to start with music, and with music, it is easier to listen than read; so I will keep it brief. The Albuquerque Boys Choir (ABQBC), a a'cappella, acoustic, folk band; two ladies I had the pleasure of working with my first year as Americorps; sound pretty good and not to mention, friends:)

ABQBC has this thing at there house every once and again that they call, "Communion," where a bunch folks get together and play music and such and have a good old time. Anyhoo, those little shindigs led me to mention, The Good Ship S.S. Perry, good luck in NYC. Which all led me to Bandcamp a website for musicians- where I found lots of stuff to listen to while making art, like  Lemelo (cool to be the first from NM to buy:), Jeans Boots, and many other great bands (that I don't personally know but like their music).  Point being support friends and small bands and stuff alike, cus well I'm a small, (uh- artist) myself.

Speaking of artists, a little reminder, Allyson Packer, and also check out another friend, lamagnolia. Easier to see than me write; but they are worth a looksy.

I don't want to forget my sister sells stuff, so check out hurricanehetta. Stuff she makes, stuff she finds, stuff that's vintage, stuff that's a good price.

Also if you know me, or- eruh- I guess don't know me, shoot me a link of similar subjects and I will post it (as long as it is not to objectionable).

Thanks for reading, and looking, and supporting, and well anything else
Jonathan

*ABQBC photo credit Eric Parthum

Artwork by Exploratory Arts Studio Artists; from VSA N4th Art Center

Hello Readers,

I would like to take a moment and share with you the upcoming exhibition of artists from VSA N4th Art Center's Exploratory Program. 

I had the pleasure of working with many talented artist within Exploratory as part of my first year through Americorps. It is nice to see their efforts move out into the community. So, if you are in or from around Albuquerque, or know someone who is, come and support the artists and your local community. The exhibit will be taking place at Hookah Kings Westside, 9784 Coors Blvd. NW (First right after Irving Blvd.) Albuquerque, NM 87114.

Thank you for reading, and thank you for supporting your local artists
Jonathan Parks

P.S. You can also visit VSA N4th art center to see more of the artists work. To learn more how you can support, visit:
4904 Fourth Street NW

Albuquerque, NM 87107

http://www.facebook.com/VSANorthFourth
http://vsartsnm.org/

Glass Landscape

There is this most ridiculous of places to leave a person in wonderment. Situated far to close to the Rio Grande River in Albuquerque, NM- in what should be prime riparian habitat; yet I can not help but accept it's presence.

Environmental blight or spectacular dreamscape, this dumpsite which was repeatedly burned to remove waste has left behind a glittering landscape to behold. I realize what harm such a place held and holds on the environment; particularly so close to the river. However, as an artist I like to see the potential in what has already come to be. Some say leave it be, some sort of beautiful place everyone should visit. Some go rake and bucket in hand to seek out their treasures. Some would demand the clean-up of what could easily be labeled- environmental hazard; return what was made wrong and make it right again.

I can see where most rational opinions can have a place. As someone who cares dearly for the natural world I wish such things would not be. Treating this place as some sort of historic site or preserving it's place in the world seems a bit much in my opinion. People learn from their own and their predecessors mistakes; accepting what is and finding something new and good in it all- also is where I stand. However, I don't think someone should visit digging with a rake or shovel for that special find; only to stir it about- health hazards I imagine abound. I expect mercury and lead amongst the black dust and glass. Remnants of pasts lives, mostly broken (lol, the glass- not necessarily their lives), some not broken, some melted, ceramic shards, and occasional pieces of metal. Bottles may still even have their caps- joking if you are to open one of those scarcities you may unleash the plague, but unlikely.

I can imagine there are places like this all over the world; but, this is almost in my backyard. The leftovers of decades of seemingly endless glass- left behind when all else has smoltered away by ignorance. Have to say you need to see the beauty in it and move past to something better- like melted lightbulbs :)

Thanks for Reading!

Allyson Packer

Allyson Packer; fellow artist and friend, is having an upcoming exhibition of her work in Albuquerque, NM at the Harwood Art Center; I wanted to take a moment and offer her my support.

Allyson Packer works in a variety of media, taking subject matter from her own life and using it to examine the human need to seek out structure and understand our place within it. She received her BFA from the University of North Carolina, Chapel Hill and has shown nationally in Maryland, Minnesota, and New Mexico. She was the recipient of the Harwood Art Center's 2010 Crissey Emerging Artist Fellowship and has been named a 2011 fellow at the McColl Center for Visual Art in Charlotte, NC.

Her upcoming exhibition, "As Much as I Can Carry: Personal Plans for Survival," the artist creates installations reflecting on her experiences surrounding time she spent living in New Mexico. Using the theme of survivalism in the desert, her artwork tells the story of an individual searching for meaning in a desolate environment. Serving as a site for the projection of an internal conflict, the desert reveals both the conscious desire for autonomy and subconscious desire for comfort and inclusion.

You can find out more about Allyson and her work at these websites, http://allysonpacker.com/ and http://www.youtube.com/user/allypak.

So if you are in ABQ, go see Allyson's show, Opening Friday, July 1, 2011 6pm-8pm.

As Much as I Can Carry: Personal Plans for Survival

At the Harwood Art Center main gallery

1114 7th Street NW
Albuquerque, NM 87102
(505) 242-6367

http://harwoodartcenter.org

Thank you for reading,

Jonathan

P.S. Thanks A.P., for the info :)

Art Materials (Model Kits?) Continued

As promised, I want to briefly update you all on the, "Art Materials (Model Kits?)," adventure with encaustic paint.

The future plan is to paint or dip these, roughly 3.5 inch plastic people in encaustic paint and then add them to a sculpture; generally speaking that is. I have been more inclined to work three-dimensionally for some time now and want to place a human element in some pieces.

I thought I should test how the encaustic and it's processes effect the plastic with the scraps first; for example, see what might happen under heat. I am also slightly concerned about how the wax will stay stuck to something like this; maybe I should rough it up a bit. Anyway, here are a couple of pics to show you up close what they look like out of the box.

Thank you for reading and don't forget to check back for future updates.

Teaching Wax Monoprints

I recently taught the basics of wax monoprints to a group of high school individuals as a part of my Americorps position at a non- profit organization that provided outreach as a component of VSA North Fourth Art Center's many programs. The programs are geared towards, or facilitate arts for/in the community. I along with other members of the outreach team travel around to different sites in Albuquerque, NM with the purpose of  offering art based lessons and activities.

At this particular location we offered art and other lessons to high school students that are part of a after school program through Catholic Charities. The lesson this day was a basic encaustic, or rather, wax monoprint/monotype project; a project that I love to share. Unfortunately a budget commands crayons over real encaustic paint; however, the project was still successful- even with the wind. Yes, I said wind. Not to say that we couldn't have done the project inside; but, we all opted to work in the courtyard.

With kozo paper, watercolor paper, paper towels, rocks :) to keep the wind at bay, and a bucket of crayons instead encaustic, ten or so students created some great first pieces. Everyone was given both 90lb watercolor paper and Japanese kozo paper to see the diferences between the two; how paint sits and soaks into the surface creating two very different looks.

In the future I hope to make encaustic sticks using a crayon or candle mould. Especially if the student or individual has participated in the crayon version. Crayons worked well for this project, making them okay, and of course taking the account of sticking with a budget. Also, not to mention, blocks of encaustic are hard to handle sometimes when making small marks and lines. A baren for pressing the paper down on the palette and a handfull of tools for manipulating the paint on the palette would have been handy; forgot to bring those. However, there is always next time and for a first go at it, along with trying to document the whole process, I call it a success- especially since everyone had a good time and learned something new. Below are some of the students work.

Thank you all for reading,

Jonathan

Art Materials (Model Kits?)

Not just for glueing and painting, then playing with or staring at; all though, I will be making something that will be stare at. Technically this is a Japanese toy model kit from the 1980's; leaving me to title this post the obvious: "Model Kits?;" honestly, I don't know what to title it. Not to say anything bad, but I'm not a model kit kind of person. So the strangeness that I find in this may only be in the fact that I lack model kit knowledge. All of my memory of such things were of airplanes, cars, and alike; not necessarily people. The reason I bought it (from a thrift store) was for a art project; and a art project it will be.

Working mostly with encaustic I am likely going to cast them or dip them in wax. Concerning me with how the plastic and glue will react to massive amounts of heat (somewhat avoidable heat); maybe a good reason just to build it and cast it. I like the fact that they are flesh tone and not some other nondescript color of plastic such as grey. If I decide to dip them I may just use a clear coat of medium to retain some of that fleshy plastic look; who knows.

With literally hundreds of ways of using such things in your artwork the possibilities are endless. And if anyone has any ideas they would like to share, please do so; particularly if you use such things already. My problem is only in that I don't want to open it now because I found similiar kits selling online anywhere from $65 to $100; yikes! Well, if anything- maybe I sparked some ideas for you. I am looking forward to posting more on what I end up doing with it.

As Always: Thanks for Reading,
Jonathan

Art Materials (Stuff #5)

This post is about wood; you don't have to be a sculptor, carpenter, or woodworker to have a reason to seek out wooden objects; painters and alike have good reason to keep their eyes peeled. Also, you don't need to go to a wood supplier to get all that you need; even-though, places like Rockler Woodworking and Hardware, Japan Woodworker, and Woodcraft can supply you with much of what you need. Panels from frames can be painted on, cabinet doors are pre-made panels with frames, sides of furniture also, backs of old cabinets are often left quite intact even with the rest falling apart, and tops of tables and dressers are usually a nice solid piece of wood.

You can learn more by reading Wood on the Tools and Techniques page of the Encaustic Resources Pages.

Buying local is always the best way to go; that and there is usually a wood supplier around most places & oddest places. FSC wood is good, or if it is really local you will know why the tree was cut in the first place; maybe even exactly what tree it was. Houses get built, roads laid, storms topple, and trees rot; sources you need not feel bad for salvaging wood.

Local wood suppliers often carry local wood; also odds & ends that normally would be scrap. Like this piece of walnut I bought from the scrap box at the local Woodcraft here in Albuquerque NM. Part of an encaustic series on landscapes that I am working on- and is long overdue; hope to post on that at some point.

Speaking of that project, I've been using turning stock, like this black palm (see below), often 'green' stock which can pose a problem. If you not aware, wood is typically kiln dried; moisture is drawn out of the wood in a controlled environment. What you buy from the lumber store will stay relatively the way it was purchased with kiln dried products.  However, turning stock is often green wood; wood that has not been completely dried or dried at all. Green wood is great for turning a bowl on a lathe, but not so good for many other projects. As the wood dries- checking, cracking, splitting, twisting, and warping can all occur; particularly if the wood dries really fast. This environmental effect I actually like, and I am working to incorporate that in my series; also a effect that I am not necessarily choosing to be a part of the piece- yet keeping it in mind.


Wood comes in many different species and from many regions of the world; from Gabon ebony to longleaf yellow pine. I stress this point: that if you must have a certain species to get exactly the look you want, and there is no other option, pay attention to the practices of the company or business that it is purchased from. Also I have been incorporating veneers (a thin covering of wood typically placed over lesser valued species; common on the surfaces of plywood). I use the veneer when I want a more exotic look; I am able to afford more species and veneer is less damaging on the environment. It does not make since to damage what I am trying to protect. You might be asking yourself: why use it at all? Well, think about fair trade coffee; buying properly managed wood products from reputable companies, through organizations that pride themselves on sustainability and providing employment to people who need employment- just makes sense. You won't be able to completely eliminate the harvesting of wood, but you can pick who you buy it from; support the companies with good practices- thus eliminating the alternative.

Thanks for Reading
Jonathan

Art Materials (Stuff #4)

What is practical in art supplies? Uhhhh, I mean you know what it is used for, and that 'is', what it will be used for, instead of not knowing like before.

Brushes, rulers, tools, paint, glue, pigment, sandpaper, wood, whatever it is, you know how you are going to use it. Like this self inking number stamper used in the mailing industry, I will now be using it to number my prints; up 999,999 of them. Ok, I am probably not going to make 999,999 of anything, but it's nice to have the ability. A super handy purchase and picked up in a thrift store for just a few bucks; what I like the most is a trigger on the back-side that will advance it by an addition of one. It does need to be cleaned and a archival ink used, but it's worth it.

Practicality I reckon is in a item's usefulness; really it is all in how you look at things. Take for instance this print of knots; the practicality is in it's information; not in the physical use. But if you have no use for, say shards of glass, then practicality is individualized.

I personally like to think there is some practical use in things that give you inspiration; inspiration that drives one to create.