How Many Minutes from Yesterday: Garden, Early November © Iskra Johnson
Last month at the Icon 6 Illustration conference I met illustrator Martin French. We had seen each others’ work for years, but had never met in person. After a long talk about process, creativity and the pros and cons of working in solitude he challenged me to a day of experimental collaboration in the studio. Knowing Martin’s expertise with the figure and his enviable mastery of the calligraphic mark I was, shall we say, petrified.
But the more I thought about it the more it seemed like we could learn a lot from working side by side. Martin works in the language of the figure in motion, but lately he has been creating letter forms. I usually work with the isolated symbol or the alphabet, but have been wanting to get back to the origins of calligraphic art: abstract marks, the field, composition, and a more expressive way of working than my usual projects require.
August is the month for creative renewal and experimentation around here: the garden is at its peak, the days are warm and long, and most clients are at the Hamptons….or wherever it is that clients go. Martin came up from Portland and we worked in my studio for a day. With apologies to Paul and Suzanne at Workbook, we painted on the back of my old reprints — hey, what else are you going to do with promo pages from 1995? Martin worked on the floor and I abandoned my usual slantboard, liberated to be working on a large flat table usually reserved for junk. We made tools out of unexpected materials, poured ink into trays, and turned on Thievery Corporation. Some of the results follow here. The second image is Martin’s, you can see more of his pieces at his blog linked above. The last pieces use fragments of my drawings, scanned and colorized.
© 2010 Iskra Johnson WordForm 1
© 2010 Iskra Johnson WordForm 2
© 2010 Iskra Johnson Vocabulary 1
© 2010 Iskra Johnson Vocabulary 2
In early August the garden tips from green to olive and then to ochre. With no help from the wind the magnolia drops its leaves. They dangle in the English privet like unmoored boats and drift down to form a dense impenetrable mat on the garden floor. Having put the moment off for weeks, I finally gather gloves and boots and rake and set to “clean up,” a phrase that makes me shudder with the full force of laziness. In moments my industry is interrupted by fascination; I am lost in looking, and remembering my life in leaves.
I lived for many years near an alley that had what I thought of as “the psychedelic laurel.” In the midst of this long, dense and mediocre shrub burned startling jewels. They fell into the dusty gravel and trash, and I collected them each morning on my walks. Soon I began recording them in watercolor, exploring how the variations in pattern and shape looked together in sequence. This marked the beginning of a long and obsessive affair with leaves as iconic specimens.
Each Autumn I am again struck dumb with fascination, although each year the tree of my affection may change, as does the light, the temperature of the air, and the method of capture. I may take photographs, make collages, or paint. When the effects of what is politely referred to a “climate change” first appeared in an alarming El Nino cresting in 1995 I made this journal page as I watched the fruit tree beneath my window experience the strange juxtaposition of relinquishment and bloom.
One September I noticed the Golden Locust, its perfect ovals and graceful fronds ever present on the sidewalk beneath my feet. I pinned the leaves to a board as you would butterfly wings and raced to paint them before the lamp curled them in the heat.
Several years later I started my current garden beneath two ancient Black Locusts, a distinctly different and less gentle breed. I traced my moods by their seasons, the snaking arabesques of their branches and the pods, which seemed to hold everything in their silver emptiness and swirling winds. I discovered unwittingly that the life span of an urban locust tree is rarely more than 80 years, which these had reached. Their lethal branches crashed down at random and terrifying moments, just missing my neighbors, and ripping the powerlines off my house. I had to take them down several years ago, and in the stumps we found pure powder at the core of one, and in the other a set of puzzle pieces, three trees in one growing away from each other and waiting to split off. For the three years since I have pulled out fifty young locust starts per day all summer. This tree, these pods, hold a relentless force.
This year the magnolia captures me, and the smoke tree. I know I should be stacking leaves in a bag, but I can’t stop looking….
The Cosmos is your basic “how to draw a flower-flower” with an upgrade. It has the round dot in the middle and the cheerfully radiating petals, but it has a subversive magic. Left to its own devices in a parking strip the stalks will grow five or six feet tall, their feathery leaves creating a diffuse haze that looks like smoke. The shade of pink transcends all others except perhaps the pink of sunset: it’s the good pink. I made this drawing the other day after studying the first one to bloom in my April garden. It’s good to see a bee show up and follow directions. Something is working in this world.
My work is included this month in the National Juried Printmaking and Photography Exhibition at Artspace Gallery. The show was curated by Richard Waller, Executive Director, University of Richmond Museums, Richmond, Virginia. Out of 567 images submitted 56 were selected. The physical show will be up from March 26 to April 18, 2010 and a gallery of the work can be seen online at the Artspace Picasa Gallery.