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“Any Day: Artists on Death” | August Exhibit at Gage Academy

August 7, 2014 by Iskra 2 Comments

Gage Academy hosts an unusual exhibit this month guest-curated by talented artist Elana Winsberg:

“Any Day is dedicated to the sensitive exploration by artists who are compelled to make work illuminating the many facets of death, life before death and life after death.” The exhibit runs through September 19th, and the opening is Thursday August 14, from 6-8 PM.

Gage Academy of Art

1501 10th Avenue E.
Seattle, WA 98102
(206) 323-4243

When I was asked to be part of the exhibit I initially told Elana I had nothing to offer on the subject. Ha. This must be denial at a pretty strong level, since I have done several bodies of work on the theme, both from a personal and political perspective. With a little bit of coaxing I submitted a piece from “What Does Heaven Look Like” and two others of a more personal nature from “Drawings in Dust.” This is a great opportunity to show among artists I admire greatly. Participants include Mitch Albala, Josie Furchgott Sourdiffe, Sam Hamrick, Emma Jane Levitt, Kathy Liao, Greg Lundgren, Memuco, Pamela Durga Robinson, Kurt Vance, Margaret Swanson Vance and Elana Winsberg. Greg Lundgren will present a lecture on ritual, legacy, memorial and the role of the contemporary artist Thursday, September 18 at 7:00PM. Greg is an innovator in the field of contemporary memorials and monuments and this will be a lecture not to be missed.

You will have to attend the show to see my three drawings, (suspense….) but here are some additional ones from the series I did on mourning and loss, using the vehicle of the decoy as a resonant object.

Cygnet_charcoal_dust_pigment_drawing
Cygnet, charcoal dust and powdered pigment, 13″ x 21″

[Read more…]

Filed Under: Drawing, Iskra Shows, Upcoming and Past Tagged With: Any Day Artists on Death, cygnet drawing, decoy, Drawings on death, Gage Academy exhibits, iskra upcoming shows, metaphor in art

The Parrot Tulip, a Drawing for Easter

March 31, 2013 by Iskra 1 Comment

Tulips For Easter Mixed Media Drawing
“Parrot Tulips, Easter,” pencil and powdered pigment © Iskra Johnson

Last night I went for a long walk on Easter Eve. I came home at dusk and sat by the pond in the near dark to watch the dogwood tree. It has just this year fulfilled its promise. Every branch but one holds the shape of embrace so characteristic of cornus, and at the end of each twig is the spring-shaped tear which doubles as a single hand, reaching towards the sky. If I were more Japanese I might fret over the wrong branch that sprouts with no awareness of proper social skills or courtesy or the long tradition of arboreal beauty straight up in the midst of graceful arcs. I might know what to do with it and stand for an hour with my honed shears and change this tree’s life.

But the beauty of sitting in the dark is that there is no work to do. At dusk I have no pruning shears, no hoe and no spade. All I can do is sit helpless surrounded by a garden being its untamed self. In one ear the gargoyle spouts a water melody and in the other traffic starts and stops and purrs the comfort and annoyance of civilization. Between the two a flock of some kind of bird drifts overhead with the sounds of ripples beseeching. I cannot locate these birds by continent or season; their mysterious v-shaped song makes a wake between pond and highway and leaves me in a place of perfect peace.

This morning light dazzles every wall. I will set the table with ceremonial bowls and offer bright colors to the day.

Easter Bowl

Filed Under: Drawing, The Garden Tagged With: easter drawing, easter invocation, parrot tulip, Tulips drawing

Poem for Waiting (Just Hours Before the Proposed End of the World on 12.21.12.)

December 20, 2012 by Iskra 3 Comments

 

 The History Of Counting Charcoal Drawing

 

Counting Time in Sticks (For My Ancestors)

 

People I never met but who must have known I was coming

have dreaded winter just as I do.

They too would ask release

and count perverse blessings

of lighter days as the air grows colder

the ground harder whiter harder

and fear itself envelopes,

being a real thing.

 

Before I was born they were

counting time in sticks

bundling the seconds

minutes

hours

days

weeks

months

though not knowing these divisions

only knowing without divisions

there are no endings and no beginnings

and sometimes you need both.

 

They had no mittens and no books or catalogs of mittens

and no down throws with lofted ticking

and no monogrammed leashes because the dog himself

had not been invented and the wolves could and gladly would

eat your children (count them).

 

Which great-grandfather lying in the tired dirt of late November

invented the four strokes and then the slash

while looking at his hand

perhaps missing a finger?

 

Did a woman break twigs into equal lengths and line them up equidistant

to measure the days since last she bled?

(Each tilting stick a small death,

a reprieve

a slanting wedge of light above her.)

 

In the Book of Hours

the man

sits at forest’s edge

and dries his boots above the fire.

The ghosted chapters on reverse

whisper August, harvest, maidens surely

and in the margins gold

laid by monks

drunk equally on purpose and absurdity

flickers like summer

in the heatless monastery.

 

How earnestly they lay the leaf and burnish,

my Irish cousins

their breath the perfect warmth

to resurrect

The Word.

Yet in the museum

of the darker pages

in the basement where the docents never go

there you’ll find the wooden plank

where scratched the days

with a gilding knife,

in sets of five chased always by a ragged few,

the prisoners.

___________________________________________________________

Poem and drawing © Iskra Johnson

Above, charcoal and pencil, “The History of Counting”

Filed Under: Drawing Tagged With: apocalypse poetry, before the end of the world, illustration of time, poem about counting, Solstice poem, the history of counting

Drawing. Remembering, Studying. Thank you Michael Graves.

September 3, 2012 by Iskra Leave a Comment

Today I am cleaning up my studio and preparing to draw. Ok if I say that, I really will put the stacks of odd-shaped ideas away and neatly label them as “Misc.” (Or the dreaded “Sub-divisions of Misc.”) I will clear five square feet of table and find some hiding place for what was on the tables and be able to walk through the room waving my hands freely. Maybe I will find that lost scrap of paper under the thumb-tacked clippings from a year ago that says something wise.

Meanwhile, one last hour of procrastination on the porch (in the sun) (with hummingbirds) led to a wonderful article in the New York Sunday Times on “Architecture and the Lost Art of Drawing.” Thank you Michael Graves for making me want to get up in the middle of this beautiful Labor Day afternoon and go to work.

“…But can the value of drawing be simply that of a collector’s artifact or a pretty picture? No. I have a real purpose in making each drawing, either to remember something or to study something. Each one is part of a process and not an end in itself. I’m personally fascinated not just by what architects choose to draw but also by what they choose not to draw.”

I did this piece to remember what it is to lose someone, and to know, to study, the shape of that feeling completely. You are in between water and shore. An anchor would be in some other kind of drawing.

 

Adrift_mixed media drawing
Adrift, powdered pigment and graphite on paper, © Iskra Johnson

 

I believe that scrap of paper said something about boats, about how “one’s life is the project of building the boat. At times there are no oars, until you make those too.” Good to recall this from a fine moment on a sunny day when the tools for construction seem well at hand.

 

Filed Under: Drawing Tagged With: adrift, boat drawing, drawings about emotional states, graphite and powdered pigment drawing, Michael Graves on drawing, mixed media drawing

“A Place Without Worry”: Mixed Media Collage

June 29, 2012 by Iskra Leave a Comment

A_Place_Without_Worry_Mixed_Media_Drawing
Mixed Media drawing, powdered pigment, gesso, graphite© Iskra Johnson

Filed Under: Drawing Tagged With: architectual drawing, mixed media collage, mixed media drasing

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I have been obsessed for well over a decade by the I have been obsessed for well over a decade by the line between the photographic and the drawn. This is simply a media test, or an “under drawing“ for something else, but it gave me pause. It suggests so many different qualities of mood: Foreboding, calm, dichotomy, a family photo poorly developed, the cloudy skies of the Pacific Northwest, or the fugue state one falls into after turning the pages of our days as a failing empire. “Our“ refers to those of us who live in the USA although now it should be called the DU USA, as in disunited United States. That disunity is a powerful disruptive pain that I feel daily. Also, as we phase out medicine, research, medical care, and with that presumably self-care, this was created, for those who are curious, with a cotton ball by #JohnsonAndJohnson (my father’s Swedish ancestors) on a Talens sketchbook. As I said, I’m testing. How much of the world can I take in before I shut the door and become an art nun and don’t look up until the last minute?
Sunday concentration drawing, testing a new notebo Sunday concentration drawing, testing a new notebook( and my attention span. . .)
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.

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