Recipe #1: Blue Election Dream Fricassee

The first "Recipe for Creation" is complete! If you haven't yet read about the premise for this collaborative exchange, please check out the last blog, which explains our vision and goals for the project. Otherwise, read on and enjoy!

Above: "Into a New Era," my interpretation of Recipe #1.

Ingredients:

• a smattering of election ballot or other political paraphernalia
• a dash of electric blue
• a hand-stitched image
• a word or image from a dream.

Directions:

1) Begin with a dream you remember vividly. Choose some dreamy music and warm up by dancing out your memory of the dream. You can dance out the roles of the different characters, the action that took place, or just the overall feeling of it. Do this blindfolded.

2) Choose something from your dream dance that stood out to you. It can be a word, a sensation, a person, a scene… Whatever! This is your starting point.

3) Tear up some newspapers from election week. Tear for the sheer pleasure of tearing! Take a couple of scraps from your mess, or use your absentee ballot, or other political paraphernalia and add it to the mix.

4) Go wild choosing blues, wielding your needle and throwing in whatever else strikes your fancy. Don't think too much. Work quickly, freely and most importantly, have fun!

Above: Joui's interpretation of Recipe #1. To read about the making of her piece, including the dream that inspired it, please visit her blog.

The Dream behind My Piece
I started Recipe #1 in response to a dream I had several weeks before the presidential election.

In the dream, a black man was a passenger on an old-fashioned steam train. There was some kind of turmoil on the train, and the sense that it was headed in the wrong direction, about to enter a very dark, narrow tunnel.

The man clambered outside the train, holding onto the side ladder. Even though the train was passing over a deep ravine, which dropped hundreds of feet below, he let go, and fell backwards, soaring in free fall. Miraculously, he landed at the bottom unscathed.

Into a New Era
I felt like the man in this dream represented the courage and fearlessness it takes to break with an old way of being, and let go into the new, the unknown.

I titled this piece "Into a New Era," in honor of the dream, and this pivotal time in our country. If you look closely, you can see bits and pieces of election materials – scraps from my absentee ballot and voting materials – peppered throughout the piece. The figure is flying forward, leaving behind a cityscape, and about to exit the canvas, into…???

Above: Detail from "Into a New Era."

Art without Borders
I really enjoyed creating this collage. In fact, I was so caught up in working on it, that when it came time for me to depart for Mexico (where I am now) I couldn't bear to leave it unfinished, so I smuggled it along in my suitcase. I've been sitting in cafes at night here in Guanajuato putting the finishing stitches into the canvas and attracting many curious glances from baristas and waiters.

The other night I had a young barista approach me shyly and ask "How much will that cost when you're done?" I told him: "One million coffees!" We both had a good laugh.

Above: Me working on Recipe #1 on the terrace of Alma del Sol, in Guanajuato.

So that's the tale, on my end, behind the completion of Recipe #1. To read about Joui's experience of working on this first project, please click here. Thanks for following along, and please do drop us a line if you have an idea for some ingredients to go into our next recipe, or if you have created your own version of this one. Hasta luego!

Above: A "buzon", or mailbox, here in Guanajuato. Don't forget to write!

Recipes for Creation: A Collaborative Art Exchange

Above: "Fancy a taste?" Chef Ahnabella caters to every palette.

A sprinkle of chance, a dash of collaboration and a whole lot of play are the main ingredients in "Recipes for Creation," a new collaborative project that fellow artist-friend Joui Turandot and I schemed up over lunch at a kebab restaurant in San Francisco recently.

Above: Chef Turandot dishes up some piquant fare.

Here's what we've got cooking: Every few weeks one of us will devise a list of at least four random ingredients to be used in an art project of our choosing. For example:

• tinsel
• toy soldiers
• something blue
• something dug out from a dumpster
• the first sentence from a cheesy romance novel.

As you can see, the possibilities are limitless. Anything goes! The main rule is to have no rules, although it's probably also helpful to ensure that the suggested materials are available (in this dimension).

Above: "Please sir, can I have some more?"

The person may also choose to include a short set of instructions, containing any particular suggestions for how to go about creating this crazy art concoction. For instance, a suggestion might be to begin the process blindfolded, or warm up with a dance. The instructions can be anything to help shake us out of habituated ways of creating.

Above: Warning - may cause indigestion.

After sending out the recipe, each of us will set to work in our own studios to see what happens! We will, of course, include you in the fun. Images of all the creations we cook up will be posted here for your delectation. We also welcome you to participate by emailing images of your own interpretation of the recipes, or by making a suggestion for a future recipe that we may wish to try.

Check back soon to see what's cooking…

Above: "Hmm... An interesting bouquet. Though perhaps a bit too oleaginous..."

Creative Play in Times of Change

If asked to describe the current cultural milieu in this country, I think I'd say that it feels like America is holding its breath.

Above: Ahna and Amy blow bubbles in the park.

With so much change afoot, it's hard not to feel a bit afraid. Staying open in times of groundlessness is no easy task.

We tend, instead, to become tight, adopting rigid ways of responding to situations in our lives when we don't feel totally secure.

We forget that in times like these we can still access our innate creativity and sense of play, that they can help us to find new ways of responding to difficult situations.

Above: A moment of adversity...Mortimer seizes Ahna's scone.

Play, spontaneity and laughter come from the opposite place of fear. They bring release and freedom, while fear is clenched and holds energy in. When we relax into a playful or creative state, we open the way for new life and fresh insights to move through our systems. Who knows what other shifts this may inspire?

Above: Amy and Ahna bust out some improvisational dance moves.

Given the current state of affairs, there couldn't be a better time to do something that gets us out of stagnant patterns—rollick in the grass, blow bubbles, bake cupcakes, throw a tea party—anything to bring in new energy!

Above: Tea party invitation for Amy.

So this past weekend, in celebration of my friend Amy's birthday, that is exactly what we did. The two of us set off for the park with a cargo of fine china, tea-time morsels and stuffed animals.

Above: Tea party invitees (left to right): Teddy, Rainbow Kitty, Scruffy, Chip and Cotton.

After chowing down on blueberry scones and chocolate cupcakes and dancing on grassy knolls till dusk, we closed the day with a night-time poetry reading by flashlight.

Above: Amy listens to Ahna read.

I hope that these pictures help share the day's magic and perhaps even inspire you toward a playful manifestation of your own. If you'd like to see more tea party photos, the complete album is up on my flickr page.

Above: All the tea party attendees enjoying the day.

Until next time, may you find new ways to play, make art of your life, and remember to write and tell me about it…!

Sketches from Spain

Above: "Female Mask," one of the drawings from my art journal.

Last week's journey through London and the south of Spain was deliciously rich on the art front. I loved meandering through the new Picasso Museum in Malaga and seeing some of the striking street art in Granada. Perhaps the most memorable visit, however, was to the childhood home and birthplace of my poet hero, Federico Garcia Lorca.

Above: The cover of my art journal, collaged with scraps of the Picasso Museum brochure, plane ticket stubs and a photo of Lorca.

By all accounts, Lorca was quite a special soul. Reading his biography one is treated to numerous tales of his silliness, pranks and child-like delight with life.

Above: Lorca in Uruguay, 1934.

One anecdote describes how he and a friend "coated their faces with rice powder, donned bogus nuns' habits and boarded a city tram, where they cast lascivious glances at their neighbors."

When Lorca visited New York (having convinced his parents he would study English), he didn't learn a lick of the language. Instead, he chose to spend his time visiting aquariums, playing with toys in dime stores and wandering the city streets. According to one friend, his favorite English phrase became "I DON'T UNDERSTAND ANYTHING," which he would "shout while standing in the middle of the street, arms flailing, his face red with laughter."

I think Lorca was definitely on to something.

Above: collage from my art journal with photo of baby Lorca taken from Lorca museum brochure.

Aside from this happy pilgrimage to Lorca's home town, our trip provided many lovely moments filled with park picnics, impromptu puppetry, art-making on airplanes and sitting in the plazas watching pigeons, wedding parties, accordionists and other forms of life pass by.

Above: Picnic with family and friends in Regent's Park, London. I finally get to meet Francesca (front right), a fellow artist/writer whom I first connected with right here in the blogosphere!

Above: "Two Feet," pastel and watercolor paintings from my art journal.

Here are a few more images from the art journal I kept during our trip. If you'd like to see more photos from London and Spain, along with the rest of the sketches and paintings from my travel journal, please visit my flickr page.

Above: "Male Mask," pastel, pen and watercolor on paper.

Above: "Winged Creature," acrylic on paper.

Above: "Maskuline and Feminine," pastel and watercolor on paper.

Above: "Toro" collage using corrugated coffee cup holders, London tube tickets, magazine scraps, etc...

"Of Beasts and Prophets" Art Show Opening

Many thanks to all of you who turned out for my first solo art show, "Of Beasts and Prophets."

Amy, Ahna and Chris, the proud set-up team for the show.

I was moved by the outpouring of enthusiasm and energy at the event, by the community of people who came together around the art, engaging with it, and with each other, through the experience.

Good people, good music and bounteous art...What more could a girl ask for?

My greatest reward as an artist is in the act of creating itself, but it feels like a double bonus when the art is seen and strikes a chord within other people, perhaps providing inspiration or catalyzing some new energy in their own lives.

An art-appreciator takes in "Portals V" (a.k.a. "The Door").

Art is so mysterious in this way. When we make it, we never know how it will affect others. We can only strive to be true to ourselves and to the process, and then let go and allow our creations to do their work in the world…

Above: "The Spinx Speaks in Moon Language," acrylic and pastel on canvas.

For those of you who couldn't be present at the opening, I hope you'll enjoy some of the photos from the evening. I'll also be posting a bit of video footage up here in the near future. To see the pieces that were included in the show, please visit my online gallery. To view all of the photos from the evening, please visit my flickr page.

Thanks again to everyone present (in person and in spirit!) for lending support and good energy during this "opening." Viva el arte!

Below: After the crowds depart, Ahna and Amy bust out some interpretive dance moves.

'Of Beasts and Prophets' Art Show: Save the Date!

Dear Friends,

This summer I've been visited by a host of strange characters... Sphinxes, unicorns, circus elephants, mangy dogs and prophets, to name a few.

With such company, there's rarely a dull moment in the studio!

Please join us (yes, all of us) for an evening of art, wine and live middle eastern/flamenco music by guitarist Douglas McCarron. Here are the details:

'Of Beasts and Prophets' Art Show
Sunday, September 21, 4-7 pm
at the Art of You Studio
3060 Adams Ave., Suite B, San Diego, CA 92116

Below is a sneak preview of some of the characters that you may get to visit with at the show.

Thank you so much for your continued support, and I look forward to seeing you there!

Ahna

Above: Pariah Dog, mixed media on paper. 9 X 12.



Above: 'The Circus Elephant,' mixed media on paper. 11 X 14.


Above: 'Prophet', plaster and acrylic on an old cutting board. 21 X 24.

Weekend Workshop with Jesse Reno

I came across mixed media artist Jesse Reno's work as I have so many other good things in life: by fool's luck and a few too many hours on the Internet.

Following a chain of random links, I stumbled upon Jesse's website and was immediately drawn in by the depth and dimensionality of his work, along with its profusion of curious creatures, (which I have a penchant for, as many of you surely know by now).

Above: Jesse at work on a painting

Despite my historical misfortunes when it comes to finding art classes (that don't make me fume or fall asleep), I followed a good hunch I had about this Reno fellow and signed up that very night for his three-day workshop at Carol Parks' studio in North Hollywood.

I've just returned from the workshop and am happy to report that the trusty gut didn't lead me astray—I got all the weird creatures I could want, and so much more…

Above: "Baby Mastodon's Last Sunset," one of the paintings I worked on during the weekend.

Finger-painting, Overpopulation and Other Tricks of the Trade
In the interest of sharing with you a bit of what I learned this weekend, I've compiled a list of some of my favorite art process tips from Jesse (paraphrased in Fenderly parlance) that may also be of use to you. Keep in mind that this list includes only a hastily grabbed handful from Jesse's bag of art tricks, but nonetheless, I hope that you'll find something here that furthers your own creative process:

1) Get back to basics. Try starting your piece by painting with your hands. Let yourself revel in the sensual feel of the paint as you smooth it across the wood or canvas. Later on, if you get stuck with the brush, move back to working with your hands as a way to loosen yourself up.

2) If you build it, they will come. Add layer upon layer of paint, pencil, or other media to your surface and watch as surprising forms and patterns evolve. Trust the layering process to lead you organically to an image; pay attention and see who (or what!) wants to take shape.

Above: The first layer of work.

3) Overpopulate, rather than under-populate a piece in the beginning. That way you'll have more directions to go in. Filling your painting with crazy shapes and lines creates fertile material for something rich and mulit-dimensional to take shape.

4) Block it out. When something catches your eye or stands out to you from the rest of the colors and forms in your painting, use a single color to "block out" the space around it and make it pop forward. See what it looks like to isolate the form and bring it to the foreground in this way. You can always paint over it if you don't like it!

Above: This is the same piece, with a few more layers added. The swatch of blue paint in the right hand corner is an example of the "blocking out" technique.

5) If a painting is fighting you, strike back! Slop on an ugly color. Graffiti over it. If necessary, break things! Don't be afraid to make bold moves…You may be surprised at what happens, and following the energy can often mobilize you out of a rut.

6) Create your own pictorial language. Notice the themes, symbols and characters that reappear in your work. What is the story that's trying to tell itself through you? By observing your work from a place of curiosity, you'll stay open to new developments and can learn from what the art has to tell you rather than just repeating what you already know.

Above: At this point, Jesse is nearing the end of his demo (after a few hours of painting, split up over the days). The painting is not yet complete, but already has so many layers and dimensions. Can't wait to see it in its finished state!

7) Work on multiple paintings at once so you don't become too attached to the outcome or get myopic while focusing in on a single piece. Moving between several paintings will help to keep your work fresh and loose and may also make it easier to walk back into the studio, pick something up and go to town, rather than procrastinate about tackling a single, formidable piece.

Above: I worked on three pieces over the course of the weekend. This is the biggest, an old door that Carol gave me to paint on.

The Gift of a True Teacher

Part of the joy for me in working with Jesse was about coming into contact with a fellow artist whose approach to art process mirrors my own in many ways, but is different enough to inspire newness in my work and invite different ways of seeing.

Above: close-up of the door painting in process.

Jesse did not try to impose his views or techniques upon the artists at his workshop. Instead, he offered his experience and personal work style as a single possibility, while inviting others to experiment in order to find the ways that worked best for them.

To me, this is the true role of a teacher, in art, or any subject matter: to inspire you to explore new ways of seeing, to encourage you to work outside self-created limitations, and to develop and strengthen your own voice.

Above: "Blind Martyr Marathon," the final painting I worked on during the weekend.

To see more artwork and photos from the workshop, please visit my flickr page.

Art Ruckus Shop Now Open!

Greetings, friends,

I'm pleased to announce that the Art Ruckus gallery and shop is now open and ready for your perusal: http://www.artruckus.com/shop/

Above: New work now up in the shop. "The Transmutation." 24 X 24.

As you'll see, the shop link on my website leads you directly to my page on Artbreak, which is an online community for artists to show and sell their work.

I've chosen to set up my shop through Artbreak because I like the community feel of the site, and the sense of being linked to other artists all around the world who are sharing and selling their artwork.

Through this site I've had the pleasure of connecting with artists from Argentina, Poland, Spain, the U.K., Malaysia and many other places around the globe. What a modern privilege and delight!

Above: More recent work. "Dancing Man at Cantina." 32 X 18.

I hope that you will also enjoy visiting this site, browsing my shop, and seeing the work of other international artists. You can view all of the artwork without establishing an account, but if you'd like to purchase or comment upon my or another artist's work, you'll need to set up an account, which is free and only takes a moment.

I'll now be uploading all of my most recent work directly to the gallery/shop, so please check back in periodically to see what's new.

Happy browsing and thank you for your continued support!

Ahna

Recycled Frames 101: Trashy Tips for Artists on a Budget

Along with the paint-flinging frolics and fantastical play of creating come a handful of rather unglamorous tasks that are often a necessary part of bringing art into the world.

Things like organizing, documenting and framing work may be far less fun than the creating of it, but there's a certain satisfaction in bringing the process full circle and finding ways to add interest and inventiveness to even these more practical aspects of artistry.

Above: "Piranha." Rusty nails wrapped in wire add prickly appeal to this piece.

The Fundamental Pain of Framing
Framing work used to be number one on my blacklist of odious tasks in the art-making process. Part of what I didn't like about it was that it felt so remote from the spontaneity of my creative process. Framing seemed like it was all about making a polished product, with clean glass gleaming for gallery-goers, something expensive-looking and weighty to "contain" a piece and somehow make it more worthy of sale, or fit for display. Blehck! These connotations were enough to make my innards revolt, and I'd often just stash a canvas away in my studio rather than have to deal with this perceived unpleasantness.

Above: "The Displaced." I claimed this frame from a woman cleaning out her storage space. Score!

A Helping of Junk Art Jubilee
Enter Rodney McCoubrey, my kooky collaboration buddy, whose wizardry with recycled junk totally transformed my outlook on framing. I remember the first time I came to Rodney with one of my paintings, and a drab frame I'd salvaged from an Aaron Brother's dumpster. With a screw gun, some paint, yellow electrical wire and some odd bits of rusty junk, suddenly the frame came alive, sang with the piece, harmonizing with it like a back-up singer supports a lead vocalist.

Above: "Shaman." Rodney's and my first junk art frame co-creation.

Although the framing techniques I use now vary from piece to piece, that first junk-bejewelled frame made with Rodney changed my way of holding this formerly loathsome task, making it into an extension of the creative act. Sure, I still have to deal with mundane minutia like threading screw eyes and cutting glass now and then, but at least I no longer dread the framing process.

If you also find framing to be a pain, here are a few ways I've learned to make the process less precise and pricey, and more creative and spicy!

How to Make Your Own Recycled Frames:

1. Why pay when you can dumpster dive? (I'm only partly kidding). Frames in art stores or frame shops are ludicrously overpriced. Why break the bank when you can go to a garage sale or thrift shop, or, better yet, get it for free? I make a habit of frequenting my local art stores to see if they have any frames that have been chipped, broken or damaged and are headed for the dumpster. You'd be surprised at the handsome finds that get tossed away each day for their presumed imperfection!
2. Paint, scratch, scar, layer and prepare your own one-of-a-kind surface. Paint multiple layers of color and then sand through to reveal the shades beneath. Use a knife or other sharp object to create texture in the wet paint.
3. Garnish lovingly with rubbish. Sometimes, after the second step, a frame will feel complete. Other times, you may want to get out some old metal scraps, rusty nails, wire or other miscellaneous junk to bump your frame up to the next level.

Above: "Torero con Flor." The cowbell was the coup d'etat on this baby... A finishing touch by Rodney.

Most importantly, listen to your art. Ask it what colors it wants to be surrounded with, or what found objects would play on the themes or textures already present? What would further its aliveness?

Framing art yourself may take more time and effort than going to the pros, or buying a readymade frame, but I find that it's kind of like conferring a final blessing on a work before it goes out into the world, or onto the wall. Surrounded with a bit of love, and some creative ingenuity, it can sally forth from the studio, into a life of its own.

Above: "Death of a Unicorn." A discarded frame and a dash of electric blue paint are enough to make even a dead unicorn look lively!