I am a visual artist working in collage, assemblage sculpture and altered books. My practice explores identity, memory and the history of the African diaspora. Vintage and contemporary images collide to convey how the past informs the present.


What I've learned from Mija

A shout-out to Mija, whose comment in the first What I've learned post tickled the better impulses in my brain [emphases mine]:

it's seems a matter of how we choose to react. if we think someone is copying our artwork, we can be flattered, or we can see it as a way to challenge ourselves in a new direction or we can choose to be angry and bitter and rant about it on our blog.

I think she's better at detaching herself from the crazy-making things in life than I am. Clinging to an idea/way of thinking/person/job can be useful... but... you do run the risk of squeezing the life out of it as well as yourself. I'm better at letting go than I used to be, though. When I finally let go and go with the flow, I'm done with it pretty much forever.

as for the "sharing" implosion... one way we can protect ourselves from creating copycat art, is by taking a hiatus from Somerset Studios for awhile. let's go to another section of the periodicals and let something else inspire us for a change.

Which is what I'm doing, for various reasons. I thought of the above musing when I saw this interview by sfgirlbythebay with Anahata Katkin:

When I get emails from people who are in isolated communities who ask how to begin and feel frustrated- I always tell them that they have an advantage because of their isolation. Not being able to rely on inspiration from others or from the culture means that the stuff is pure and can have a deeper impact on people once you find your groove.

Well, living in the 'burbs of Increasingly Diverseville should make that easier!

Surfacing

A little ahead of the game (which is to say, not quite as late)