Welcome to my workspace where the post-Antarctic phase of the Long View project is developing.
My studio, along with three others, is situated over the Unimart shop in San Francisco’s SOMA district. The distinctive green building lies 3.5 miles east of the Academy.
Two skylights and a large picture window bathe the room in natural light throughout
the day. As the project ramps up, the tidy work surfaces at this end are bound to evolve…
…into something resembling this end where I create my sketchbook entries. The piece
seen in progress here is page 003, shown completed below.
I originally expected to fill my sketchbook with technical notes and drawings in figuring
out how to create this project, but it’s not proving necessary. Kind of disappointing
since Leonardo-style notebooks are so utterly cool, but at least my approach fulfills
its aims. Which is to say, I’ve come to formulate the direction of this project more
clearly with every cut-paper composition I create.
How is that possible in the absence of diagrammatical plans? Because the challenge
isn’t in engineering the final structure (I worked that out in my head weeks ago) as
much as in sustaining an improvisational, experimental approach to creating my art-
works from start to finish. That process can’t be planned; however, it can be practiced
and that’s what I’m attempting here.
I’m working on several sketchbook entries at once. I jump around from page to page trying different shapes, experimenting with arrangements, trying to keep it spontaneous. (Or at least spontaneous-looking…) I’m not as concerned with the color palette (yet) as I am with developing the image vocabulary.
So far I’ve posted pieces I like. By the time I get around to showing the duds, I hope to have some nice sculptural pieces to show instead;)
That part should be under way within a couple weeks. I just found the specialty hinges that will string my vignettes together, a necessary step in determining the type of panels I’ll build my assemblages on. I’ll elaborate more on these technical aspects when the time comes. Till then, more cut paper and found Antarctic objects to follow…
My recent sketchbook entries are stream-of-consciousness pieces that allude to my Antarctic collections and recollections. I’m less interested in literal depictions than capturing the essence of these objects and experiences. I’ve found that a less med-
itated approach often yields more interesting and energetic compositions — in and
outside of the sketchbook.