URGENT

Self Help Graphics needs your help! The beautiful building on Cesar Chavez in East LA has been sold by the Archdiocese. SHG needs whatever assistance you may be able to provide now more than ever. They have a little less than 6 months to find a new facility. Their program houses the most important print collection of the Chicano community. They have been facilitating artists in creating a sustainable income for over 3 decades. It is vital SHG continues to service the community of East LA, and continue to thrive.

In addition to a press conference on Friday, July 11 at 10 am to address the sale of the Historic Chicano/a Art Center and explore options, SHG will also have a community meeting and structured discussion on the future of Self Help Graphics on Thursday July 17th at 7PM in the upstairs auditorium at 3802 Cesar E. Chavez Avenue, Los Angeles, CA 90063. Please come to both and see how you can help this urgent situation.

 UPDATE: Press release for the conference.

Happy 4th!

Happy 4th everybody. Hope you are having a grand ole time. I am just hoping my dog will not get too scared tonight and try to run away. Fingers crossed. Yard boundaries secured.

I finally fished “the green one” which is now called “Argument Park.”

I also pretty much finished this freaky doll:

Okay bye.

She Dreamed She Remembered

She Dreamed She Remembered

That is the title of my upcoming show this fall at George Billis. It only took me a month to decide on a title for the show. It was driving me absolutely batty because the titles of things are so important to me. I feel like the show title has to really wrap up the basic meaning of the show, taking all of the pieces into account. I consider it the main answer to “What does this all mean?” When I am asked that, I can refer the person to the title and not have to do as much explaining in person. The title also gives a basis in which to write a press release, and just gives a life to all my focus. I mean, I could have just called it “A Year of Sore Feet and an Aching Back!” which also explains a lot.

I’m working on 2 different series for this show, the new series and an extension to the Black Hole pieces. All throughout I am drawing on lucid dreams and genetic memory. The new stuff is a combination of family inheritance, Ancestry, cellular memory, medication, Hebrew, and evolution. Many of the pieces contain what looks to be self-portraits, but most of them are what I like to call the Moppet Girl. That’s not a misspelling of Muppet, but it’s great that they sound alike because she is somewhat of a Muppet as well. She’s based on me, yes, but it’s more about how I can see myself as a separate character: an idea of what I could be. It is a fantasy of self-loathing, being able to laugh at oneself, inner voices, emotions, and embellished narratives.

This green painting is taking longer than one would think. I am only able to work on it a couple hours a day because I’ve been swamped with outside appointments and various distractions that working at home can bring. It seems I got a lot done there for a while, then things are slowing. I have a deadline for myself to complete this piece before July 2nd, which is slightly possible, but not really. I get to be with it all day tomorrow, so maybe I can get most of the painting done. It’s a bit more than half painted as it is. But it won’t be dry enough to start the sewing and embroidery by Monday, so I’ll shoot for next Thursday.

Sunday I am going to be at Self Help Graphics for the Print Fair and the Atelier Maestras V show. I hope some of you can come by, it’s going to be fantabulous! It’s from noon til 5pm. There is going to be a little after party at Yolanda’s studio. Email me if you’re interested in coming. Atelier #50 Maestras V, curated By Yolanda Gonzalez includes the following Artists:

Judy Baca
Barbara Carrasco
Magda DeJose
Carol Es
Emilia Garcia
Yolanda Gonzalez
Aydee Lopez
Poli Marical
Gina Stepaniuk
Linda Vallejo

Master Printer Jose Alpuche and Assistant to the printer Ivan Alpuche will be doing mono print demonstrations. Atelier #48 Series Landscapes Curated by Omar Ramirez will also be showing, and includes Brandy Flowers, Jose Ramirez, Omar Ramirez, ,Frank Romero, and Vincent Valdez. I have one of Vincent Valdez’s prints of Chavez Revine and it is one of the most amazing prints I’ve ever seen.

Atelier #49 “Homombre L.A.” curated by Miguel Angel Reyes, will also be there. Artists: Alex Alferov, Alex Donis, Ruben Esparza, Jeff Huereque, Rigo Maldonado, Luciano Martinez, Miguel Angel Reyes, Hector Silva, Paul Sweeney, and Joey Terrill. And a limited number of all the suites (same Number prints) will be available, including mine. Come see, come see, come hither!

George Carlin 1937-2008

My artist friend Pat Tierney sent this to me today. I had to post it.

The paradox of our time in history is that we have taller buildings but shorter tempers, wider freeways, but narrower viewpoints. We spend more, but have less, we buy more, but enjoy less. We have bigger houses and smaller families, more conveniences, but less time. We have more degrees but less sense, more knowledge, but less judgment, more experts, yet more problems, more medicine, but less wellness.

We drink too much, smoke too much, spend too recklessly, laugh too little, drive too fast, get too angry, stay up too late, get up too tired, read too little, watch TV too much, and pray too seldom. We have multiplied our possessions, but reduced our values. We talk too much,love too seldom, and hate too often.

We’ve learned how to make a living, but not a life. We’ve added years to life not life to years. We’ve been all the way to the moon and back,but have trouble crossing the street to meet a new neighbor. We conquered outer space but not inner space. We’ve done larger things,but not better things.

We’ve cleaned up the air, but polluted the soul. We’ve conquered the atom, but not our prejudice. We write more, but learn less. We plan more, but accomplish less. We’ve learned to rush, but not to wait. We build more computers to hold more information, to produce more copies than ever, but we communicate less and less.

These are the times of fast foods and slow digestion, big men and small character, steep profits and shallow relationships. These are the days of two incomes but more divorce, fancier houses, but broken homes.These are days of quick trips, disposable diapers, throwaway morality,one night stands, overweight bodies, and pills that do everything from cheer, to quiet, to kill. It is a time when there is much in the showroom window and nothing in the stockroom. A time when technology can bring this letter to you, and a time when you can choose either to share this insight, or to just hit delete.

Remember, spend some time with your loved ones, because they are not going to be around forever. Remember, say a kind word to someone who looks up to you in awe, because that little person soon will grow up and leave your side. Remember, to give a warm hug to the one next to you, because that is the only treasure you can give with your heart and it doesn’t cost a cent.

Remember, to say, ‘I love you’ to your partner and your loved ones, but most of all mean it. A kiss and an embrace will mend hurt when it comes from deep inside of you. Remember to hold hands and cherish the moment for someday that person will not be there again. Give time to love,give time to speak, and give time to share the precious thoughts in your mind.

Life is not measured by the number of breaths we take… but by the moments that take our breath away…

–The words of George Carlin after his wife passed.

Too hot to think

It is too hot to move, too hot to put clothes on, too hot to think. We are having a record-breaking heatwave here in Los Angeles and it’s a killer, I tell you! We weren’t affected much in San Pedro when this happened. In fact, no one I know had air conditioning in San Pedro. You didn’t need it.

But alas, I am not in Pedro anymore. I’m up here on the El Sereno/South Pasadena/Alhambra border. And while it’s beautiful, it’s HOT, even with A/C. I hear that northeast Pasadena is like 10 degrees hotter, so I feel bad for mjp. Luckily he is indoors in the AC.

I only managed to work a little bit on the green painting, but it’s slightly further along. It’s just hard to see in this blurry image. I spend a lot of time layering a lot of medium in order to get a rich, almost incandescent, coloring, something I’ve been doing a long time. I think it gives it a polished look in the end, but I don’t know if that’s a good thing or not. Often I just want to obsess less and see what would happened if I left it the fuck alone, but I’m not going to do that with this piece. I’m going to put all my efforts in like I do all my canvases otherwise I don’t feel right about showing or selling them.

pey2

I use a lot of underpainting for texture and depth, coating the top with either a thick (matte) or transparent oil color. The pattern paper I use takes a lot of abuse, first with sticking it onto the canvas with a clear acrylic polymer — which leaves a shine, and I hate that shine, so then I work with swirling a lot of acrylic matte color on top of the paper and over the polymer until the paper absorbs it and the shine diminishes. I’ll get a lot of rough parts in the paper, kind of spotty, in the areas that didn’t get sealed with the polymer. I kind of like that (depending) because it shows the paper getting roughed up, like scrubbing it until it almost starts to fall apart. It’s fun stuff. I try to be careful not to completely hide that manila color of the paper, even when it’s mixed with paint – I like to keep some of that original paper color present somehow.

I feel like I am giving away my secrets. I don’t know what compelled me to start typing about this stuff.

Anyway, after all that is done, I feel like then the thing is ready to be painted on. I know that sounds silly since I’m painting layers on it before that, but when I get to the point where I’m using pure oil paint and pencil, it’s all prep work to me. The basic composition is there, and the original vision, but then it’s time to expand on that and see where it all goes. That’s the “painting” part.

The stage you see here is me just starting to “paint” it. I can confirm, however, that the top left corner of this painting is 90% done.

When it’s all done being painted and it dries, I stitch on it: one stitch at a time. I poke the holes first, so I can see where I’m at from the back of the canvas because light comes through those holes and the light is my guide.

After that I’ll embroider some elements in the painting. That part is fun too, because it’s the ‘finisher” to the whole thing and I can start to see what the hell I’ve made. And I usually hate it until I can walk away from it for some days. Well maybe not hate as much as can’t be objective. That is a whole other process. The artist spends all this time with the process of creating and fabrication, having a very close personal relationship with the work in a way a viewer will never ever know, then the viewer is experiencing something the artist will never know because of the very intimate time we spent working on it. I can compare it to a mother raising a child, then letting that child loose to fend for themselves. You’re proud, yet horrified, terrified and cautious. You know you did your best, and now you must put the child to the test.

I guess I spent most of the day Tuesday working on this doll thing instead of painting.

doll2

If I can get it to where I want it, I’ll put it in the show and hang it from the ceiling, but I think this one is more like the prototype and not the one I’ll be happy with.

I did manage to finish the 2 dollar bill. I expected to sew on it, or embroider it, but I just painted something goofy on it. I’ll scan it when it’s dry and send it off to Mat Gleason.