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The Ink Floor: Collaboration with Martin French

August 15, 2010 by Iskra Leave a Comment

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.

IskraFloorTable
 

MFrenchFloorImages
 

IskraFloorBasket
 

Inktable1

InkTable2

Origins

Mohawk3 © 2010 Iskra Johnson  WordForm 1

GrayMohawk© 2010 Iskra Johnson  WordForm 2

Vocabulary1Orange-copy
  © 2010 Iskra Johnson  Vocabulary 1

Vocabulary2IFBlog © 2010 Iskra Johnson  Vocabulary 2

 

Mermaid1-copy
 © 2010 Iskra Johnson   
 First Mermaid

Filed Under: Uncategorized Tagged With: collaboration with Martin French, Collaborative calligraphy, ink composition, Iskra experimental work, mark making, Martin French, mermaid, new work from Iskra, summer in the studio

My Life In Leaves

August 11, 2010 by Iskra 1 Comment

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.

My-Life-In-Leaves-Photo
© Iskra Johnson


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.

From-One-Tree
From One Tree, watercolor on hot-press paper, © Iskra Johnson

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.

Leaves-in-Journal
© 2010 Iskra Johnson "That was the year when Spring and Fall came on the same day." Mixed media journal

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.

Days-of-the-Locust-watercolor
Days of the Locust, watercolor on hot-press paper, © Iskra Johnson

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.

Locust-Pods-Painting
The Winds, printing ink on prepared panel,© Iskra Johnson

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….

Filed Under: The Garden

The Beloved Cosmos

April 14, 2010 by Iskra Leave a Comment

cosmos and bee drawing by Iskra
The Beloved Cosmos. Mixed media drawing © Iskra Johnson

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.

Filed Under: Drawing, The Garden Tagged With: artist garden, cosmos, drawings of flowers, flower and bee, flower drawing, mixed media drawing

Iskra at Artspace

March 31, 2010 by Iskra Leave a Comment

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.

When-Is-Now
When is Now, transfer print on Lustr Dull Cover, © Iskra Johnson

Filed Under: Iskra Shows, Upcoming and Past, Transfer Prints, Uncategorized

Tulips at the Kitchen Table

March 30, 2010 by Iskra 1 Comment

Duo_Drawing_Tulips_at_My_Kitchen_Table
Colored Pencil on Moleskin, © Iskra Johnson

I have started a new drawing book that is having a big effect on every part of my life. I haven’t drawn from life in a long time. I had forgotten how mesmerizing it is, and how when you look up hours later at random things the world seems to glow with color, and the new knowledge of how to mix shadows and light. As an unexpected side effect my daily memory has radically improved. I no longer stand in the kitchen five times a day wondering where I put my keys.

Filed Under: The Garden Tagged With: daily drawing, drawing and memory, drawing as a spiritual practice, drawing flowers, drawing from life, flowers in moleskine, iskra drawing book, tulip sketchbook

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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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