On Looking at Past Work

I was not very precious about my art school work. There are many reasons little of it survives today. Moving between three provinces in the last 17 years, too many different houses and apartments in each of them, lack of storage options, but mostly I had a lack of connection with many of the pieces. I have heard many artists say that they feel as if their artwork is a child to them.  I don't have that sentiment. I have pride about my work, I remember feelings and situations I had while making it, but I do not feel any where near the attachment to it as I do my children.

I don't think that it is because the work is not good, though in some cases that is the reason. Overall, it is just a desire to see it out in the world and functioning as it was intended.  To be viewed and enjoyed by other people. I have made a few pieces that are personal mementos and so those I feel attached to.

As I look back on my student work, I have discarded more and more over the years. Recently I had one piece that I did keep framed and it now hangs in the bedroom I share with my husband. This piece along with two small self portraits called out to me earlier this year. They said that they were an important part of my evolution as an artist. I did think for a moment that there may have been other pieces that would have spoken to me this way had I kept them. There is nothing I can do about that now, and honestly I think my work has evolved so much since I finished art school that leaving those "lost" pieces behind is best anyway.

This piece titled How Many Landscapes? from 2000 is embroidery on paper collage.  The text is a poem I wrote. It was the first use of embroidery in my work. It's a big leap in the evolution of who I was in that moment as a young art student. This work is about the conquering spirit of humanity; questioning our desire to own every land mass, every piece of solid ground.  Looking at this each day reaffirms my current path.  It is like a promise to myself about what I am doing, and why I am here. I'm glad I kept this one.

JJ

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Summer Schedule

As an artist with two school age children I have come to rely on the hours that my boys are in school. This potentially uninterrupted time is easier to schedule and I am able to get into a rhythm each day. Granted this took several months to establish after my youngest went to Kindergarten last fall, and after starting part-time work in March I had very little time to luxuriate in my new found quiet studio time. Regardless, of where I may have been this summer, I had personal deadlines in the back of my mind. That meant stitching happened in several places that are unconventional.

While waiting one and a half hours on a bridge ramp after a serious car crash shut down the roadway.

Or at the public swimming pool during two weeks of daily half hour swim lessons. There has been campfire side stitching, park bench or blanket stitching and while it may not have the solitude or focus of studio work, it allows me to feel a sense of accomplishment in the busy days of summer with young kids. I am grateful to have this time with them and for myself.

JJ

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