thinking on having a conversation with paint, dance, and projection. starting here so I can think out loud.
Got news today that I get to spend a few weeks at Artist Residency Chattanooga in August. So freaking excited.
I recently realized that as a child I disassociated from any parts of myself that I labeled "bad". This helped me not to become the statistic I could have been but I kept with the strategy for far too long.
Currently, I feel like a shadowy mess and painting is my healthiest coping mechanism. I'm okay with this until I think about my work being perceived as merely therapeutic.
The quest for a laurel of seriousness is soul sucking. I'm calling bullshit
I recently visited the Mint Museum and got to see Reveal and Detonate, an exhibition on contemporary Mexican photography. My favorite works were from the series "Wild" by Juan Jose Herrera.
Lately, I've been drawn to painting myself nude and the eroticism of the painting below frightens and confuses me. I'm working with the ways patriarchy and Christianity are tangled up with how I understand, judge, and interact with my selves. Herrera's quote is a perfect articulation:
"Exposed skin is a provocation that highlights one's vulnerability before the gazes of others; undressing functions as an act of honesty that proposes a return to innocence, a rejection of conventions imposed by public standards of shame and a manifestation of the desire for true freedom."
prints of my work are now available at artfromthehills.com
Dreams of the canyon ledge
startle me awake
remembering the elk
whose heavy life
collided so forcibly with my own
as to kill.
And now at a trading post
in Navajo Nation, I cannot sleep
My blood knows the story
of violent, wildish clanking too well.
A knowing that breaks
on a windshield and slumps into
a foggy remembrance
The warmth of home,
now lost to her daughter
pretty well been keeping to myself. Making work and listening inside. I got a bit lost trying to belong
I’ve probably never been more relieved to enter a fresh new year. In 2017 I encountered parts of myself I hadn’t known existed and self discovery ain’t always pretty but I maintain that it is good. As I look to 2018 I want to keep the humility of my humanness that last year gifted me and find a way toward boldness rooted in love.
“...be good at what you’re good at. Many of us spend time and energy trying to be something we are not. But this is a move against the soul, because individuality rises out of soul as water rises out of the depths of the earth. We are who we are because of the special mix that makes up our soul. Power begins in knowing this special soul, which may be entirely different from our fantasies about who we are or who we want to be.” -Thomas Moore
I’ll be leading a workshop this Saturday, January 6, 9am-12pm at The Hive. Andria Yates of Reach and Thrive will be joining Amelia Peterson and myself to explore this source of power through guided meditations, exercises from the Alexander Technique, and the creation of blind-contour self portraits. No experience or skill necessary. Register at thehiveknox.com
Hope you can join us for a creative practice to begin our new year.
Sitting with my honey over tea and coffee. We’ll go home and put the furniture back when we’re done. He’s writing and I’m doing this. Feeling grateful for seasons of transition and growth.
Making art about finding a comfortable enough place in the dissonance. I had a dream that showed me how I don’t make space for the ugly in my worldview. I think a lot about how it can/ought to be and forget my humanness in the process. I’m claiming my mess and need for grace. I’ll do this in color, pattern, and texture, with the hope of one day internalizing that playful peace into my everydays.
Title taken from a thought by Steven Pressfield.
I've been thinking for some time on the project I want to devote my energy to next.
There's a part of me that would love to write every idea in my brain but that would take a lot of time and I'd rather spend it off my phone. I'll come back when things are a bit more consolidated. Blessings of creativity and joy until then
Announcing the next Embodied Season Workshop:
We will be exploring the Fall as a season of togetherness through a workshop focusing on the cultivation of empathy. Participants will be lead through reflective prompts to craft a watercolor/collage playing with the aesthetics of pattern clash.
Register at www.thehiveknox.com
I feel like my vocation is to be in dialogue with the spirit of things through materiality. That's what I think of nearly all of the time and when I stay out of this space for too long I feel frustrated and sad.
I like that the expression of this vocation can be a myriad of things. I'm listening and experimenting to land on my next project but for today it looks like helping with Knox Revival Paint Co and loving my people well. Turns out my next lesson in loving well is learning about all the ways I fall short. It's a miserable lesson to learn but I think it's good.
I love seeing people by the water in their bathing suits because it is such a vulnerable declaration of our humanness. We're all soft and flawed and if we're wearing a bathing suit we're probably playing. I go swimming much less than I want because taking my heathens at their ages is not all that fun but I am getting away to explore that endearing sense of humanness this Saturday at The Hive. I'm facilitating a workshop there, along with Amelia Peterson and Angela Hill who I deeply admire for their courage in making expressive and authentic art. We'll be playing with movement and gestural painting as a meditation on summertime Being. Register at thehiveknox.com
I'll be trying a few new things for this upcoming exhibit. There will be paintings, an installation of sorts, and a loosely structured dance. I have no idea how it will all play out but I'm pretty sure it will be interesting even if I fail. Hope to see you there.
Excited to be in the First Friday conversation tomorrow. I'll be at Rala in the Old City with a new body of work that I'm experimenting with and, permission pending, an interactive installation of sorts.
Here's a talk I gave a few weeks ago at LMU on other peices in the series:
Good evening and thank you for being here. I'm really pleased getting to have a conversation about this body of work in this particular place given the shared Appalachian context.
This work is sourced from my family history. I decided to approach it in a chronological order to minimize my editorial bias. They're as much documentation as ruminations on memory, cultural context, and the formation of identity. The imagery is collected from my photos but a strictly linear narrative is not the aim. Instead I'm opting for a more metaphorical approach to story telling and meaning making through materials and process.
For example, the three step transfer from a source photo to vellum and then carbon copy mimics the reconstruction of memories and family narrative through time in order to fit our present mental, emotional, and cultural frameworks. Color and pattern are employed to ruminate on relationship - the way color interacts with its neighboring hues to create an intangible sense of harmony or dissonance, echoing the subtle nuances of perception. The behavior of the paint, the extent to which I am able to exercise control, is a meditation on personal choice, forces of divinity, and natural order on human fates; the moments when the paint is allowed to choose its own course and how all of it marks an action occurring in the past but is living on in the present.
All of the elements are situated in a domestic sphere with an emphasis on relationships, intimate scale, and inferiority. These decisions stem from the tension of inhabiting a feminine identity.
As for art references and influences, I've drawn from Henry Darger, captivated by his collision of an idiosyncratic world view and the bank of sourced imagery from popular publications. Fritz Scholder for the way he was able to work with customary imagery with an innovative approach that opens fresh dialogue. As well as an interest in pop art because I care about finding the undwrcurrent of trends and facets of life we often take for granted.
With that, I'll open the converse ok for dialogue. This work is new for me and so I'm still learning from it and am happy to hear any questions or thoughts as an extension of that process. Thank you.
Tonight: A Good Day's Work in the back room of Awaken Coffee 5-9pm
Tomorrow: Embodied Season Workshop at The Hive 10am-12pm
After the workshop on Saturday I'm driving to Lincoln Memorial University to put up a show of new work, here are some thoughts on that. Opening reception will be April 20:
This body of work explores interconnectedness as a rumination on memory, legacy, and cultural ties. Both the materials and process serve as a metaphor for the human experience. As the paintings evolve, first from a memory or from an oral history, they contend with the mysteries and paradox of the creative process and our primal urge toward making meaning. Addair uses pattern, color and imagery to create both dissonance and harmony in exploring her Appalachian background and the complexities of shifting identity.
I'm visually drawn to things for a long time before I understand why. The spaces I've been attracted to have been spare and white which makes sense on the surace of things. Three tiny boys make a lot of noise (in every sense of the word) and a visually quiet space is like a cool drink of water.
For Lent, I've given up podcasts, music, and videos in our home. I craved the absence of multi-tasking, comparison, and external guidance. Yesterday the quiet whispered a revelation about why I keep seeking these cleared out spaces.
"Take everything that's bright and beautiful in you and introduce it to the shadow side of yourself. Let your altruism meet your egotism, let your generosity meet your greed, let your joy meet your grief...But when you are able to say, 'I am all of the above, my shadow as well as my light', the shadow's power is put in service of the good." -Parker Palmer
That's why I've been editing down visual clutter, I'm clearing out a space for all the parts of myself to occupy. I am intuitively communicating to myself a message of abundance. There's enough room for all of us.
I'm so excited to introduce this latest project, it combines several of my interests and I'm so looking forward to further exploration with others. See description below:
Syncing cultural conversations with the natural seasons, the Embodied Season Workshop Series seeks to give participants opportunity to think about their ways of being as they intersect with seasonal rhythms and innovative ideas through the process of making. Each workshop session will be a collaborative pairing of a creative mode of expression and a person doing good work in our community (with interests ranging from theater and social policy to photography and education) to prompt participants to live into the rhythms of nature through art making. Each class will be led and facilitated by renowned Knoxville artist Ashley Addair and is open to women and men of all ages.
For the Spring Workshop, we will be exploring the question of how we can engage our bodies as listening tools toward practices. Amelia Peterson of River and Rail Theater Company will be leading us through a few theater exercises that explore space awareness and how objects affect us and workshop facilitator Ashley Addair will facilitate a hands-on portion of the class that leads participants through the creation of a soft sculpture embodying these concepts. Participants are invited to bring a soft item (t-shirt, small blanket, etc.) they are willing to sacrifice to art-making as well as small objects or materials (pebbles, fabric, beads etc) to incorporate into the sculpture.
$5 from each ticket purchase will go towards workshop scholarship positions for under-served creatives in our community.
You have two ways to participate in the class:
- A one-time class purchase of $50.
- A year subscription to our four seasonal classes for $170. The remaining dates for this cycle are as follows: Saturday, July 22 (summer), Saturday, October 14 (autumn), and January 13, 2018 (winter). Descriptions for the remaining classes will be announced at a later time.
To purchase a ticket visit:
ABOUT OUR CREATIVES:
Ashley Addair is a visual artist, mama of three, and collector of chairs. She is a modern dancer and holds track and field records in the state of Illinois. She tells a joke every year at Christmas. If she weren't a painter she would be a scientist. Her chief interest is in color and its use as a metaphor for being. Addair is an active member of her arts community in Knoxville, Tennessee and her paintings are collected internationally.
Amelia Peterson of River & Rail Theatre Companyis a Knoxville native and a graduate of Bearden High School. She earned her BFA in Theatre Studies from Southern Methodist University where she studied directing under Stan Wojewodski, Jr. (former Artistic Director of Yale Repertory Theatre). She has spent much of her career working with budding playwrights on new works. In New York, she co-directed the world premier of MORBID POETRY at the Incubator Arts Project and a folktale adaptation series LONG, LONG AGO with Firebone Theatre Company. She has also directed new works for the CalArts Arts in the One World conference (Valencia, CA), the Kennedy Center’s Page to Stage Festival (Washington, DC), and the Inkwell Theatre’s Showcase Reading Series (Washington, DC). She trained in silks, trapeze, three-sectional staff, quarter staff and a variety of other weapons with Professor Bill Lengfelder and is a certified yoga teacher.
Paying attention to the nuances of categorization and the hierarchy thereafter.
Drop cloth, raw canvas.
Reflecting on my day, it's invitations, and listening the DL Hughley show.
Learning how our differences are our strength.