Iskra Fine Art

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Wayfinding: The Walking Man Goes Shopping at Night

December 8, 2011 by Iskra Leave a Comment

Still under the influence of the recent piece at NeuroTribes (how I wish I had thought of that name!)  on the evolution of the first icons for personal computing. I am temporarily abandoning leaves and the druid-watch of autumn melancholies for pure urban you-r-here-nowness. When I am no longer in love with the Walking Man, when the affair is over, you will be the first to know. Meanwhile, here we are, being told what to do and when to do it, in this case: Stop, LookBothWays, go Forward, protected in the night, — to buy dinner.

The_Walking_Man_at_Night
The Walking Man at Night, © Iskra Johnson

This image was captured with a cellphone. No traffic tickets were incurred in the making, although it was close. I am going to enlarge this about a 20 or 30 times and print it and see what happens, to see if the intimate space of the phone can scale up and what that feels like. I do so love the 2 by 3 inch jewels of my Droid. Perhaps we will return to the age of stereoscopes, and entire museum exhibits will be set up to witness modern life in the Victorian mode.

Filed Under: Photography Tagged With: art about icons, driving while printmaking, prints of icons, the walking man icon

Icons Under the Influence: New Digital Etching

December 6, 2011 by Iskra Leave a Comment

Today, under the influence of the feature from Neurotribes on the sketchbooks of Susan Kare  this new street print came together. I have been madly in love with the bicycle icon for years, more so as the original ones have been blasted and worn by the treads of time and become so exquisitely beat up. It is thrilling to look at Susan’s sketches and see the embryonic beginnings of the icon-life we take for granted today. When I look at the grid of the street and how it interacts with paint I can see the pixel principle, but thrown for an anarchist loop. I have driven or walked across this particular bicycle icon hundreds of times, and I think I can take credit for just a small fraction of its wabi sabi. This is a collage of etched paper, powdered pigment and photography printed as a transfer print on Arches 88.

Bike Icon Transfer Print
Bike Icon, transfer print on Arches 88, © Iskra Johnson

To see my portfolio in icon and lettering design visit Iskra Design. My blog about letterforms, icons and alphabetic ephemera is Alphabet Roadtrip, which is where I also post my most recent book cover and design work.

Filed Under: Prints, Transfer Prints Tagged With: bicycle icon, digital etching, new transfer prints, print of bicycle icon, Susan Kare

The Reeds: Surface Tension

December 2, 2011 by Iskra

Every time I circle the Lake I stop and look at the reeds. Which ones have been broken by the heron since yesterday? Which one  snapped in the wind and now crosses its neighbor? The conversation changes slowly, infinitely, accompanied by wind and rain and the arc of the winter sun.

Surface-Tension_transfer print_Greenlake
Surface Tension, 1/2 ev, 30" x 22" paper size, 16.5" x 21" image size

This is the plate before printing. It will be a mixed media transfer print, 16 by 22 inches.

Filed Under: Transfer Prints Tagged With: photographic transfer print, print of nature and reflections, print of water and reeds, reflections in art

Ambiguity and Beauty

November 28, 2011 by Iskra Leave a Comment

This morning I am at work on the idea of  the screen, as in a real analogue screen made of paper or silk, and the long tradition in Asian art of dividing the landscape into panels. When I walk around the lake, particularly in Autumn, when the leaves are so perfectly missing in places and hanging by a golden thread in others, I feel like I am walking right into a silk painting. As I’ve been working on this image of willows, going back and forth between reflection and reality, water and sky, it occurs to me that ambiguity itself is beauty.

The-Willows-Transfer-Print
The Willows, © Iskra Johnson

 

Filed Under: Transfer Prints Tagged With: Art inspired by Greenlake, contemplative art, Contemporary artists influenced by Asian art, meditative art, print of a willow, the asian screen in printmaking, water print

“There is a Crack in Everything…That’s how the Light Gets in”

November 27, 2011 by Iskra Leave a Comment

I can’t shake the November state of mind today. The lowering skies, the gusting winds. The pond and the rake. The maple tree that has grown for 12 years along the south side of the water has that fatal illness of maples, with black rings inside its branches. This is the last year I will stare into its red lanterns in the summer afternoons, and sift its colors from tangled lillies and gravel in late Autumn.

On a recent aftrnoon the light fell in such a way that it looked like this, like a cliff, and an abyss, and a refuge, that crack in Leonard Cohen’s wonderful bell, the dark and somber and jubilant Anthem:

     Ring the bells that still can ring
     Forget your perfect offering
     There is a crack, a crack in everything
     That’s how the light gets in

PondStudyAutumn
The Pond: Autumn, © Iskra Johnson

 

Filed Under: Photography, The Garden, Transfer Prints Tagged With: Anthem, art inspired by Leonard Cohen, leaves in art, Leonard Cohen's bell, photographic collage of water and leaves

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Iskra Fine Art Blog

the creative process | conversations with artists | the contemplative impulse in art

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Today’s mood, from the morning walk. Today’s mood, from the morning walk.
A metaphysical idea waiting to become a drawing. A A metaphysical idea waiting to become a drawing. All day I have been studying graphite, the most evanescent of mediums. Fragility. Once you break the egg, scatter the nest, leave the children without family on an abandoned beach, what then? 

I have spent the day drawing. In the background, which becomes foreground with one click, is the news of the rounding up of another thousand or so human beings by bounty hunters given a quota, thrown into concrete cages and disappeared because someone decided that America is no longer the home of the #huddledmasses.

The plaque on the Statue of Liberty says:

“Here at our sea-washed, sunset gates shall stand
A mighty woman with a torch, whose flame
Is the imprisoned lightning, and her name
Mother of Exiles. From her beacon-hand
Glows world-wide welcome; her mild eyes command
The air-bridged harbor that twin cities frame.
“Keep, ancient lands, your storied pomp!” cries she
With silent lips. “Give me your tired, your poor,
Your huddled masses yearning to breathe free,
The wretched refuse of your teeming shore.
Send these, the homeless, tempest-tost to me,
I lift my lamp beside the golden door!”

Noem and Holman have not, apparently, run their hands over these words.

How do you continue making art at a time like this? You chase the metaphor. There is always a constant truth beneath the chaos.
Media studies. Addition and subtraction. Media studies. Addition and subtraction.
Somehow, between checking the news and the usual d Somehow, between checking the news and the usual distractions I managed to complete a drawing. Going back to the beginning: drawings in dust. 9.5 x 12” Charcoal powder, compressed charcoal, charcoal pencil on Moleskine. I feel peaceful for the first time in weeks.
The train tracks that go along Golden Gardens and The train tracks that go along Golden Gardens and pause briefly at the locks create a rupture in the city landscape. When the trains go by, the roar and squeal is like a thousand wild animals let out of their cage, and the ducks in the pond at the edge of the park shudder and dive under the water. A little farther north at Carkeek there is someone every year who steps in front of the train and whoever witnesses that is never the same. 

Sometimes the cargo containers are filled with coal, uncovered, and I have been part of demonstrations, which included polar bears and Orcas, objecting to that. Now, as we are being asked to casually accept nuclear reactors on every block as the price of having artificial intelligence, coal and its simple visible dust might look a little more friendly. The train brings with it economics and politics and life and death and class and all the people on the beach are just trying to have a moment in the sun. And the boaters at the marina, if they have finished polishing and descaling and mending the sails are lying back with a guitar and getting lost in the mountains. If you are willing to live right next to the train tracks, you can pay a much lower price for your home, but your dreams will change. I have lived next to the train tracks when I was very, very small and every night I woke up screaming and ran across the floor in the beams of the streetlight looking for safety. I have woken up in a train yard on a bed of cardboard and gotten on the train in the dark. Only when you do that, do you know just how hard metal is.

I’ve been drawing recently from life and this study was done from a photograph. It drove me crazy trying to see details that I couldn’t really see and feel them with the pencil. I’ve abandoned the drawing for now, but I learned a great deal about perseverance and obliteration and re-perseverance. Also how machines pretend that they are perfectly symmetrical and are not. And when you don’t draw them with perfection, they look just plain wrong so you have to make them more perfect than they are, at least when they are in perspective.
Tonight’s abandoned bird. The next one will be bet Tonight’s abandoned bird. The next one will be better. I’ve never tried to draw a Robin before. I’ve been obsessed with them since David Lynch sent them over to my childhood house, where they spent day and night getting drunk on the holly berries outside the kitchen window. And if you don’t know what I’m talking about google Laura Dern, Blue Velvet. And the Robin. It’s a hymnal to the good and the normal, done absolutely abnormally. I am learning all kinds of amazing things about how Robins build their nests. They start with mud. I did not know this. And in a drought, they will drag straw into a birdbath to get it wet and then drag the straw over a wormhole. Robins build their nests in the most unlikely places: drain spouts, highway overpasses, really bad motel parking lots. It’s kind of like how people find third place in community, even in the bleakest places. A franchise McDonald’s where people become regulars and always get the fries and just the fries because that’s all they can afford is a similar statement of naive valor: people talking to strangers and becoming known and taking shelter where they can. And if they leave a shredded napkin out there by their car, it will end up woven in with the straw and the leaves and the cigarette butts perched up there in the nest on the backside of the billboard.

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