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Thoughts on the Act of Editing: Photographic Reality, and How you Look at a Forest Fire

December 6, 2020 by Iskra Leave a Comment

 

Forest Tree Portrait photograph by Iskra
Interregnum, ©Iskra Fine Art (Available in two sizes, click image to see details.)

New Directions: Western Landscape Photography Part 1

 

Today I have been living with this tree, captured originally in full color (though muted and overcast) in a forest east of the mountains. I say, “this tree,” but you, the viewer, might not be seeing the same tree I am. You might be seeing the tree on the right, scorched by fire, and interlaced with the bleached needles of a pine that may or may not see spring. I am aware of that tree also. But in the moment of stepping into this meadow what stood out against the uneven and patchy hill was the shimmering tree with yellow leaves and white bark. In a soundscape emptied of birds the wind in its leaves made the only sound.

As I go back in time to this moment the digital darkroom allows me to ask “What is this story about?” countless times, and each time to come up with a different answer. A voice I’ve heard often says “People don’t like dark. Make it light, make it hopeful.” Leonard Cohen speaks up on another station and says, helpfully “Make it darker,” as for that poet the darker the shadows the brighter the illumination. In developing a photographic print I cycle through decision after decision, undoing, saving, revisiting, doubting, knowing, unknowing. Each revision of value rewrites light’s story, saying: the point is the mountain, or the pines, or the sky. Finally it may land on this, perhaps a tale of the heroine in white, surrounded by courtiers and knights and armies in the distance.

In the forests around Yakima the shape of the aspens tug at a memory of the archaic, and make me think of Joan of Arc in a book I saw as a child. The pages of the book were engraved and brown at the edges, pungent with age. Joan sat on her horse deep in a copse, her armor camouflaged by dappled light, her sword glinting. The style was detailed, each leaf individually drawn and burnished against a pewter sky. In the grove, momentarily safe, Joan was thinking, and gathering herself. On my hikes I kept looking for her, expecting her to ride forth, tossing her hair as she leaned under a branch, turned a corner on the trail, and paused to look out into the distance. What would Joan have said? Dark or light, or a middle tone? I am not sure, but her horse would have led up the canyon into the fire, which was still smoking. [Read more…]

Filed Under: Photography, Prints Tagged With: evans fire, forest fire photography, hope versus reality, landscape photography, Leonard Cohen, photography and reality

Pandemic Angel Art from Iskra

November 27, 2020 by Iskra Leave a Comment

Painter's Angel with Moon

Painter’s Angel (with Moon), © Iskra Fine Art 

The Story of the Pandemic Angels

In September, the week of 9.11, I took a brief trip to Whidbey Island to escape the smoke from the California fires. For the first day the weather was balmy, with a perfectly clear blue summer sky. I wandered the beaches, filled my pockets with shells, and felt the euphoria of the traveler, a feeling I have missed acutely during the pandemic. Later that night the smoke came in. The horizon vanished, and whether to risk the outdoors became a calculation fraught with hazard. On my last day on the island, restless from being housebound, I went for a morning walk in nearby Woodsman cemetery. The air held a strange amber light, and pink smoke veiled the grave markers at the edge of the forest. I was captivated by the aura of the place, with its moss-covered headstones and weathered statuary dating from pioneer days. As I walked through the dry grass the angels seemed to emerge from the smoke like emissaries from another time. I began to study them and take their portraits.

I am a student of angels, and I had not seen these before. The faces of the little ones captured a blend of innocence and gravity that seemed both timeless and completely of our time. Beauty, grief, mourning, serenity, loss, longing for another time: the combined cataclysm of the fires and the pandemic require a vocabulary all its own. The phrase “smoke elegies” seemed to describe the mood in the air and the bigger moment. I decided then to do a series about the angels, (which got delayed by a journey to Tieton and the beginning of a photographic series of landscapes of the America West – but that’s another story!) Perhaps it is the coming of December, with its dark weather and mystic illuminations, but I woke up a few weeks ago possessed by the image of a winged statue. I decided to drop everything else on my plate and see where this body of work might go.

The archetype of the angel is far from my usual subject matter. Angels for many evoke religious associations, and as a result, for a contemporary artist it can feel precarious to go into this territory. For me angels do not represent religion, but instead act as a universal icon offering comfort, protection, rescue and transcendence. Their form is a devotional shape into which I can pour the unironic emotions of this time of isolation and worldwide loss. The pandemic has taken nearly 1.5 million lives world wide, and for many of those deaths there has been no ceremony of mourning, no bedside visitation, no funeral. A cemetery and the sense of ritual that accompanies it looks very different in the light of this new reality.

Homage to Faiyum angel print by Iskra

Homage to Faiyum, © Iskra Fine Art

Working on these images has been a contemplative and personally transformative process. The angels are built from a slow, painstaking method of collage that has led me on a path to rediscover what it was I saw in the smoke, at the edge of the woods. In the process I have researched the pictorial treatment of angels and marveled at the long fascination they have held for people through history, from ancient Crete to Victorian England all the way up to today’s video gamers in VR headsets. Some of these pieces reference the mourning theorems of American folk art, and others the shrouds of Faiyum. Others embrace Victorian intricacy and that era’s unabashed romance with sorrow. As I have been living with the faces of the angels I have also been living with history, and putting the present difficult moment into a deeper sense of time.

Pandemic Angel Iskra Print

Pandemic Angel, ©Iskra Fine Art

Devotional practice often focuses on one image and repeats it again and again. In my years as a calligrapher and student of Buddhism I might do one character from the Heart Sutra for weeks. In that tradition, I have chosen only a few images, and worked with them in sequence, finding more to understand each time I look at subtle differences in color, texture and context. The result is a series of prints in variant editions. They are created through my unique process of digital assemblage, built up with layer upon layer of subtle surface and color from my photographs and ink painting.  All of the prints are available in my shop, in a variety of sizes and prices. For the holiday season, everything in my shop is 20% off through January 2nd with a minimum purchase.

The collection to date is included here, as the resolution for retina display on WordPress is best in the blog rather than the portfolios. Click on any image to be taken to the listing.

Blue Angel Cherub Print by Iskra

Blue Angel [Read more…]

Filed Under: Digital Collage Tagged With: angel art, art in pandemic, cherubs and angels in art, contemplative art, fine art prints, Iskra holiday sale, mystic art, smoke elegies

SAM Gallery and Gift Shop Now Open through the Holiday at the Seattle Art Museum

November 23, 2020 by Iskra Leave a Comment

SAM Gallery Open November 2020
From “Industrial Strength,” 2017, with work by Iskra Johnson and Kellie Talbot

Good news here in the pandemic closures during November! Because SAM Gallery and SAM Shop are both considered retail, they are open now through December even though the museum is closed. No ticket is required, making it easy to shop local and support Seattle Artists and craftspeople. Hours are 10-5 Monday through Friday, with entry on First Avenue. 206.654.3120 for more information. You can also order and shop online. Art in the gallery is available to purchase, rent or rent to purchase, with pricing for every budget. Sixty artists are represented at the gallery, in a wide variety of media and styles, and the list includes many of the Pacific Northwest’s finest painters and image makers. Click on the list below to go to the gallery inventory page.

Seattle Art Museum Gallery artist Inventory
Seattle Art Museum Gallery Artist Inventory, click through to see each artist’s selection.

I urge you to support the Seattle Art Museum and local artists and creatives this year in any way you can. The holiday season is when many in the creative community make the majority of their income for the year. Without crafts sales or open houses due to the pandemic, many artists will struggle to stay afloat. Every sale at the Seattle Art Museum supports both the artists and the museum itself. Let’s make sure when the city re-opens after the pandemic closures that we have a vital creative infrastructure. Every bit of support you offer now will ensure the future cultural life of the city!

Seattle Art Museum
Photo from Shutterstock.com

Filed Under: Uncategorized Tagged With: SAM Gallery Artists, SAM Gallery open, SAM Gallery Pandemic hours, seattle art museum, Seattle Art Scene

Collage Life, Refiguring Art and Friendship in the Pandemic

August 30, 2020 by Iskra 10 Comments

Correspondent Letter collage by Iskra

The Correspondent, ©Iskra Johnson

(This late summer dispatch breaks all the rules of “newsletter.”  August is a time of slow thinking and revision, thought and word pasted and lifted and re-placed in an order based on considerate disorder and association, ie. on the structure of my mind. If there is no news (I have been immersed in art history which is by definition old news) there is still, however a “letter.” This post is about letter writing itself, and how personal correspondence can mean the world and re-make the world of our creative lives. Settle into a deep chair, with good light or a rustling tree and a cat at your feet. Consider that the post office would love it if you bought some stamps.)

On this particular morning, about 214 days since the pandemic became the official organizing principle, I am sitting at my kitchen table drinking Earl Grey and looking at a stack of books and magazines and letters accumulated since spring. In April my friend Jennifer began sending me her monthly Poetry subscriptions along with pages torn from magazines. Every page is pre-read and annotated with trenchant scribbles in the margins, curated personally just for me. Jennifer has reached the place in life of casting off. I am still bringing things into my house, desperate for distraction, but seem to have confused doom scrolling and pulp novels with The Great Books. I gather romances from the Little Free Libraries on my walks and have not made it beyond chapter 1.

When the first poetry letter arrived I was ecstatic. Mail! Brown paper and string! And delivered by a man in blue socks and shorts, as though it was 1958, a sandwich meant Mayonnaise on Wonder Bread, and Lassie the Collie still roamed the earth in his white socks, teaching us what heroes look like. The letters have ignited a connection that feels bigger than just the two of us, my friend and me sitting alone dangling face masks on our wrists in our separate homes. Over 20 years we have corresponded by email and post, with a dedication that is Victorian. When we compose a sentence to send to each other it is with the knowledge that we are writing, not just the tourist postcard’s “wish you were here,” but miniature novellas painting scenes or memories that cross space and time. We write to bring each other actually here, and we take great care. [Read more…]

Filed Under: Collage, Digital Collage, Essays, Photocollage Tagged With: collage art, collage life, Curation, history of collage, Pandemic art, Pinterest critique, W.H. Auden, women friendships

The Water Tower Project from Iskra Fine Art

July 12, 2020 by Iskra Leave a Comment

All that is Solid print by Iskra
“All That is Solid….” limited edition archival pigment print ©Iskra Johnson

The Water Tower Project

It might have been enough to face off with a pandemic. But the center does not hold, “all that is solid melts into air,” and across the world cities are aflame with protest and an expanding movement for social justice. As structures of order crumble, as statues are de-platformed and sprayed with graffiti, as the jails and hospitals overflow, we huddle in isolation, transfixed by news that is alternately exhilarating and disturbing. Can you blame a person for looking for something to hang onto?

In the chaotic urban environment, the water tower shines for me as a beacon. I think of it as the German Shepherd of architectural structures: noble, tastefully proportioned and faithful to its purpose, which is to gather the heavens in a bucket and gift it back to us glass by glass. It sits high atop the city, merged at times with the clouds, and calling down from the heavens a very practical benediction. It is a usually hand crafted vessel, built from wood, using a method little changed from the 1800’s. Water towers are rarely defaced by graffiti, but any totem of neutrality invites our projections.

The Water Tower Project looks at this iconic structure from many different perspectives. In some cases I have located the tower in an imaginary landscape, complete with horizon line. At other times it serves as an emotional vessel to express the clamor and heartbreak of the streets. I am offering this series through the #ArtistSupportPledge, which is a global initiative to broaden the circle of art appreciators and create a circle of generosity. The first two prints in each edition of 35 are priced at $150, half the usual price of $300. When I have earned $1,000 from the sales I will then purchase the work of another artist for up to $200. At the end of this post you will find the collection of 16 gathered as a jpg that may be downloaded for reference. In the week since I have been posting these to social media I have sold three, so if you are interested in the PandemicPrice you may want to move quickly. The blog software allows me to show images at their best quality, so I will post the entire set here (click below the fold) for the time being rather than my portfolio. I am offering these through direct sales rather than through my shop, so please reach me through email if you are interested.

Each Water Tower has a story, and if you are interested in the narratives I suggest following along on Instagram.

Angle of Repose Water Tower by Iskra
“Angle of Repose,” limited edition archival pigment print ©Iskra Johnson

 

[Read more…]

Filed Under: Architecture & Sense of Place, The Water Tower Project Tagged With: architectural prints by Iskra, Artist Support Pledge, New prints by Iskra, Urban landscape, Water Towers

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Subtractive painting study and ground experiment: Subtractive painting study and ground experiment: I added baking soda to my gesso. Pretty wild texture here, not sure yet how stable it is. You can see the test of the edges in the second piece— the rugged edge only works if I get a pristine background and unfortunately the tape I used to mask it did not work consistently. Hello tape, my old friend and nemesis. You work differently on every surface. These little barn structures give me great comfort as the bigger structures of our government and nation seem to be crumbling.
Today’s landscape to quiet the mind. Out in the Today’s landscape to quiet the mind. Out in the fields somewhere, on the road to Edison. Acrylic on prepared ground, sketchbook.
MUST SEE! Ai, Rebel: The Art and Activism of Ai We MUST SEE! Ai, Rebel: The Art and Activism of Ai Weiwei at Seattle Art Museum.
I am thinking this morning about the phrase Americ I am thinking this morning about the phrase American Heartland. Learning to paint a barn means studying the neutrals. Our political discourse has pitted the barn people against the city people and there are no neutrals, just shouting. But if you walk out into the horizon lands, all you hear is the wind and a kestrel. Walk in boots, hard-pressed against your toes, walk on stubble barefoot and get acupuncture for a lifetime. Study the intervals: how the clouds can be in the upper one third neatly or one sixth, precarious, the future disappearing with the sun as it falls making the barn your whole world if you’re three years old and looking up; one big triangle with a square in the center, and so many mysteries inside the square. 

There is also the question of what kind of light seeps between the verticals and is the light coming in the evening or at midday when you can finally begin to make out all the other tiny squares within the big square, which would be called hay. Reach for the rope and swing out over the canyon, that great big canyon from bale to bale.

Collage studies: painting neutrals
A hybrid study, mixed process. Reading the New Yor A hybrid study, mixed process. Reading the New Yorker this morning, about the global population crash. This will upend urbanism, for sure, though it will very good for veterinarians and dog groomers:
“Only two communities appear to be maintaining very high fertility: ultra-Orthodox Jews and some Anabaptist sects. The economist Robin Hanson’s back-of-the-envelope calculations suggest that twenty-third-century America will be dominated by three hundred million Amish people. The likeliest version of the Great Replacement will see a countryside dotted everywhere with handsome barns.”
First Thursday. Such a beautiful night. First Thursday. Such a beautiful night.

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