If you cannot draw, it just means you haven’t learned yet! Learning to draw is about mindset, practice, and joy. It is one of those wonderfully rewarding activities that does not discriminate by age or location. Drawing can be engaged in anywhere, by anyone. There are a few things that you need to get started.
The artistic mindset
The 2.1 million paid artists in the United States all started somewhere. Luckily, in the virtual age that we live in, we have access to online tutorials and blog posts that sole purpose is to help with some aspect of improvement. Anyone can learn to create thoughtful portraits or stunning sunsets. Many people start by accessing a comprehensive site that shows them step by step how to complete a specific task – like a clear tutorial on drawing curly hair. Then they progress on to adding color and creating a design. Following a tutorial shows you that you can achieve when you are drawing; that is the beginning step to building your artistic mindset.
Use your mind differently
One step to learning to draw is to harness the power of your mind to achieve a calm, concentrated state. A creative zone can be created by your mind, and it is what professor Mihaly Csikszentmihalyi calls ‘flow’. He states that a feeling of flow leads to a ‘loss of inner-critic’. When you use your mind to create flow when you are drawing, you can engage more fully in the creative process, and your mind often rewards you by releasing dopamine, which is a chemical that makes you feel good. Therefore, step number one to creating flow is to turn off the mobile phone – or eliminate distractions. Next, you must work on a piece of drawing that is at the right skill level for you. Aiming for something too ambitious too soon will not achieve flow and will, instead, plunge your brain into anxiety, where you may become distracted and even bored.
The creative mind needs a team
Learning to draw sounds like something that needs to be solitary. In actual fact, you may respond better if you are surrounded by like- minded people, building a sense of community and engaging in the same creative task. Drawing with your children, your grandmother and even your date can keep your spirits high, and they can sometimes celebrate success where you are slow to see it yourself. Some people have found that organizing craft or drawing parties softens their entry into the creative scene and makes the experience accessible for all.
Anyone can learn to draw. With a continually developing mindset that sets you up for success, and a community to support you, it can be a truly joyous all-encompassing activity. Why not get started today?
Lucy Chambers is a professional freelance writer with many years experience across a variety of sectors. She made the move to freelancing from a stressful corporate job, and loves the work-life balance it offers her.
Weaving is recognized as one of the oldest crafts, dating as far back as 6000 BC. Beginning as a product of necessity, weaving looms were used to create clothing, bedding, and other textiles of a protective nature. This applied art developed into a means of expression, tapestries woven for posterity, for pleasure, for interaction.
When I began weaving four years ago, I had no idea what I was doing. I had been intrigued by the craft, and was looking to experiment in a new medium. My journey began when we tore down the half pipe skate ramp in my backyard. Using a four foot scrap of weathered plywood and about 200 nails, I had built myself a machine! Yes, it was warped, full of splinters and even kind of smelly, but it was mine. The design of the loom has not overcomplicated itself, and I was intrigued to use a method that had been utilized throughout time, and all over the globe.
After creating a few weaves, I began to learn, to understand. I adapted my design, and with the help of my father, built a new, improved frame loom. Something with an adjustable stand, something… easy to transport. Through trial and error, I have developed several variations of a standing loom since then, with designs for myself, Hawthorne Elementary, and for JAM Art and Supplies.
Two years ago, we began bringing the JAM loom with us to our booth at summer festivals. We attended events throughout the Sioux Empire, such as: the 605 Summer Classic, Jazzfest, the Farmer’s Market, That Sounds Decent, as well as the Sidewalk Arts Festival. Bringing this loom provided us a way to interact with the crowd, an icebreaker as well as a means to sharing our Creative Reuse mission with young and old alike.
Weaving is a popular means of community building across the country. Using a shared loom is a means of creating your own image and story. The viewer is provided with an actualized representation of problem solving, threads and materials interacting in a self-sustained chaos. Our community weaves represent Sioux Falls, and each participant that helped create the piece.
Each weave that was created was made from donated material, and gave purpose to some otherwise overlooked materials. Our weaves contain everything from yarn, fabric scraps, fake flowers, men’s neckwear, to old sweaters and jewelry. To date, JAM has created 11 large-scale weaves in the past two years, all made from the helping hands of our community. There is pride in production, and we are just beaming.
You can pre-purchase raffle tickets at JAM anytime before the event, but make sure you join us the night of because we’re giving away a JAM VIP Membership, and you must be present to win. JAM VIP Memberships are a $250 value that includes one complimentary in-house event, a tshirt, bumper sticker, and 25% off every purchase made in our store!
Meeting Angela was a wonderful experience! I not only enjoyed insight into her work, but made a new friend. I was surprised to discover several pieces of artwork around Sioux Falls, that have left a significant mark on me, are hers. I was delighted to have the chance to chat more in-depth about those subjects with the artist herself.
Before any questions were asked, Angela jumped right into talking about her work.
In 2012, I had a solo exhibition. My work was right outside that really long gallery–that A Gallery–I got to have that gallery during the “Beauty and The Beast show.” I did kind of a reboot of the piece that was on the wall. It was all these little bags of clear perfect water, and they were kind of jewel-like. It was suppose to be like a power plant, that could conduct energy from one end of the wall to the other. The wall was close to 30 feet long. So, I sent all of the energy down to one end and then it gathered with the copper wires connecting all of those. It gathered in a mirror, and I had crocheted some copper wire and put a bunch of stuff around that mirror so that the energy would gather around these little wires and come into that. We set up the lights so that the round mirror would reflect the spot of light down onto the floor. It was hung at a height where most people could see themselves in it, but they could also see other parts of the show around them.
I really liked that idea, but when the opportunity for the “Women at Work” show came up, I’m like ‘you know, I think it should be an installation piece instead of, you know, just an object.’ And so, I put that one up. I put India ink into some of the water bags. So there are some that are clear and beautiful and the light doesn’t really refract, but it’s bent to shine spots on the wall from when the lights hit it. Some of them got a tint, and some of them didn’t. Some of them got a lot of ink so that they were just super black. All of the black is up here on the top of the installation, so some of the lighter stuff is down below, and there’s a spot over here that’s the bright clear water. It’s about water quality and us needing to save that resource and pipelines, and fracking and the fail rate.
You’re probably familiar with the feathers and branches in the Washington Pavilion Visual Arts Center. So, that’s one of mine that’s in a collection now. As part of a collaboration with Post Pilgrim and the Sioux Falls Design Center, Jennifer White and I did a Final Friday with the chalkboards. As far as I know, the chalkboards are still up. That night there were people leaning up against the wall, and as soon as they walked away I would be over there with the chalk fixing it. I guess I’m just a little bit of a freak that way.
A few steps down the street from the Sioux Falls Design Center is the Shriver’s window. You don’t have to go inside the building to see it, it’s just the corner display window at 11th and Phillips. I’ve got that 18 foot raw canvas laying on the floor. I had that thing along with me from when I went on the camping trip that produced the “sold” pictures on the boards. It was a site in the South Jenny Lake in the shadow of the national park. I rolled the canvas out on my camp site, and I brought a little bit of tobacco. I had worked with tobacco before as a staining drying material, so that ended up being the brown color. I made some bison on the canvas. Then I needed charcoal, so I kind of fished some stuff out of my camp fire. Along with that installation, I had made these tripods out of branches. They were meant to hold the canvas up. When I went to install the thing, I had some engineering issues and it didn’t work. Now, they are kind of a backdrop, or forest to that installation. So you walk up to the window, and you look down to see the piece.
I did a Final Friday that was in conjunction with the PechaKucha. You get 20 images and you get 20 seconds per image. You are presenting whatever ideas, artwork, whatever it is that you do and that you’re passionate about. You share that, and then it goes up on a website. I haven’t had the guts to go listen to mine. I was so busy with Jennifer getting the “Love or Money” show together that I didn’t spend a lot of time preparing the PechaKucha. Anyway, it’s out there on the Net for everybody to see!
MAST (Madison Area Stands Together) is a local group that formed after the presidential election last year. There was a lot of concern about the travel bans, and the Visa issues. I work at Dakota State University, and we’ve got a lot of international students and faculty members, too, who are from all over the world, and they’re suddenly not able to move about and come and do their jobs. Everything was all kind of scary. So, we held a candle light vigil for them, just to let them know that we care and are concerned, too. This group developed out of that sense of helplessness. It recently came up that they need to have a logo. So, I don’t know if this [see below] is going to be their final design, but I proposed it and people seem to be fairly excited about it. It was important that there was this sturdy something. I wanted that awareness with the eyes and everything. Then also, the horns are not being used, but they could be, you know. It’s like this defensible possibility. And black and white is pretty powerful.
You just answered several of my questions there before I could even get to them. I like it–this should be a great time! Are you from Madison?
I’m from southwestern Minnesota. I got out of there as quickly as I possibly could. I went to college in central Minnesota, and then I went to the Twin Cities, and kind of bounced all over the place there. I was a little too distracted, so I went back to UMM–University of Minnesota, Morris–to finish college and I floundered around for another number of years, then I went to graduate school in Lincoln, Nebraska. After that I moved to Vancouver, Washington for 7 or 8 years, and then I moved to South Dakota.
So, was your degree centered around your artwork?
Yes, my masters degree is in sculpture. My undergraduate work was a duel emphasis in sculpture and printmaking. I tried to continue with printmaking in graduate school, but it didn’t work out very well. I had a studio that I loved, but it was in this dumpy old building that they were going to tear down. But it was a good quarter mile from the print studios, so that was kind of tough to get stuff back and forth, and I didn’t have any storage space in the print area. I mean, for graduate students, you just kind of carve out your space. You know, it’s all self directed, and I was busy enough with sculpture.
So then, how long have you been in South Dakota?
2009. So, it’s close to eight and a half years. I’ve been at Dakota State University for eight years, and I started out there with one 3-D Design class, but that wasn’t enough to pay my rent. So, I taught ESL for one semester.
Cool! You’ve been here for a while then. You have your artwork and teach, too?
Yes. I am employed full-time as a lecturer of art at Dakota State University in the digital and arts design department. During the summers, I haven’t done it for a couple of years, but this year I’m working as a part-time naturalist at Lake Herman State Park in Walkers Point Recreational Area. It’s kinda cool. I get the opportunity to come into contact with lots of different kinds of people. You know, especially with the DSU stuff with students, and faculty, and community. I always try to get my students to focus on something that’s outside of the classroom. It’s not just about earning a grade; I mean it’s important stuff, this visual communication. We’ve got so much screen time and everything. I make them do everything analog. They have to cut paper, they have to tear things and make collages.
I’m not too great with technology, so that style is perfect for how my mind works.
Well, I kind of call myself a dinosaur. I have sort of actively resisted–I mean I do the things I’m supposed to do for my job. I just think [technology] is another medium you can work in. Illustrator, Photoshop and InDesign; these are digital tools you can use, but you still need to have those basic design skills to make something descent. The MAST design that I made is cut paper. I started with drawing it on paper, and then cutting it out with an exact-o knife. Then I printed out the text that I wanted to have on there. I’m perfectly happy with designing the font, or the typeface, I should say. You have to have a sense of composition. You have to be able to make things communicate what they need to communicate. The digital image manipulation is not the end all of design skills. Yeah, I’m a dinosaur.
You’ve already mentioned different inspirations that you have, do you have more that influence you?
I think it’s vitally important that people connect with nature, and that has been so lacking. It’s like there’s this spiritual deficit, I think; maybe even like a sink hole. We get enough racing around, driving around looking at screens, typing things, you know. If you’re taking notes on a computer, you’re not making the same neural connections you would if you are writing with a pencil on paper, or drawing. You know, you have to have this physical connection with the stuff that you’re learning. It’s not as effective to just type things, and look at it on a screen. So, yes, there’s all this technology that we deal with, it is wonderful. There are things that give lots more efficiency, but do we really keep moving at that pace? It’s making everybody sick. Everybody’s not getting enough movement, enough exercise. It drives me crazy, and I’m in the middle of it, too. When I make something, installation work especially, when I make work I’m really careful about the path of the energy, and the path of the people in that energy. I work my ass off when I have the opportunity to put something up. Humility also has a place here. I’m always unsure about it, but I work as good as I can so that I can offer it as a gift to the people that go and see it. When I say I’ve got this show up and I want you to go see it, that’s like me with a little gift with a bow on it offering this experience, because I want to give that. I think it will do something, it will help somebody, or make them feel a certain way, or give them a moment of peace, or something like that. So, that’s my gift. I realize a lot of times when I’m saying, ‘go see the show’, and doing all that self promotion, it’s not self promotion to make a career for me. It’s that there’s a gift that I want to offer that’s not going to get unwrapped if you don’t go and see it.
Yeah, I like that point…where it’s just two-dimensional, and people just looking at something. I think sometimes people need that three-dimensional installation that’s actually intruding into their space. It’s very important, I agree.
So, it’s more experiential than something you would just look at. I think installation, and sculpture–three-dimensional stuff–has an easier inlet. There’s a lot of paintings out there, but there’s probably not a lot of paintings that will really pull you in and offer you the kind of physical, or emotional, experience that an environment can. That said, I’m not trying to make judgments on things that I don’t respond to.
Now, how can people contact you? Do you have a website?
Facebook is just fine. My profile picture is me kissing a fake bison. I do have a blog site. I call it an images only blog site, but I haven’t done a really good job of keeping up with stuff on that. So, most of the stuff is older. That is a place where they could go and see things.
Can you describe your work, art and everything else, along with who you are in three words, or I should say, in three “sections”?
Art, nature, joy. Those are the things that I seek, and seek to share. I want to add something for people who are stopping themselves because “I can’t draw, I can’t do this, or I can’t do that.” It’s really, really, really important for your heart and soul to just make stuff, and experience stuff. You know, get away from your computer for a little while, and connect with people and connect with nature. Really, really, really important. That’ll make us happier, and it’ll make the world a better place…make it easier to live in.
For five years Reina Okawa’s cranes have greeted visitors at the north entrance of the Washington Pavilion. But this fall, the exhibit comes down. This Tuesday, August 29, the Pavilion offers a last gathering to appreciate the cranes that have become a fixture in the Sioux Falls community. The cranes have been at the Pavilion so long that Meagan Dion, the lead curator for the Visual Arts Center, clarified that the exhibit was always a temporary one. “It wasn’t ever intended to become a permanent installation,” she said. “But we wanted to give people as much time to appreciate [the cranes] as possible.”
Since they were installed in 2012, the cranes have become a Sioux Falls community favorite. The send-off event on August 29, “Release the Cranes! A Farewell Party”, celebrates the partnership between Reina Okawa and the Pavilion and gives the community a chance to say goodbye to the exhibit. Okawa will be at the event, though the actual removal of the cranes will not happen until later. The 30-foot-long strings of “You, Me and the Cranes” hold thousands of origami cranes, a limited number of which will be given away early at the party.
The farewell party intends to alert everyone that the cranes are going away, and ensure that the community has a chance to say goodbye. “We just want to make sure people can enjoy them one last time,” said Dion.
Some of Okawa’s other origami work is on display in the “Above the Fold” exhibit in the Visual Arts Center Gallery until September 16, 2017. The Visual Arts Center will be closed during the farewell party, but the cranes and her work in the gallery can be viewed any time the building is open until the end of the exhibition. Please join us in saying goodbye to the cranes from 6-7:30 p.m. on Tuesday, August 29. If you’ve only seen the large cranes towards the bottom of the strings, try going to the fourth floor to see the smaller more colorful ones! You can RSVP on Facebook to the “Release the Cranes! A Farewell Party”.
Personally, I have moved on from Augie, but that doesn’t mean there are not things happening. In fact, quite the opposite! Did you know that Sioux Falls’ very own, Augustana University hosts several different gallery exhibits every year? I’m always trying to stick my head in the doors, just to peak at what they’re up to.
Currently, they are housing The Augustana Student Invitational, which runs June 1-September 1, 2017. Augustana is located right off of 33rd Avenue; whereas, the Eide/Dalrymple Gallery is a few blocks down on Grange Avenue. Before we get started, I want to add that there is some incredible work displayed in this show by all the participating students. By all means, go take a closer look at all of the interesting pieces! With that, let’s dive in!
DR. LINDSEY TWA
Does the sophomore and junior summer show normally happen every year?
Yes, this is traditional. We always do our Augustana Student Invitational every summer. That’s been true for a couple of decades now, I believe. So, every summer our rising juniors and seniors get the opportunity to get a professional exhibition under their belt as a part of the group show. These are curated out of our sophomore and junior reviews, which are the two major check points for the art major on the way to their senior thesis show.
What’s some outstanding history with the Edie/Dalrymple Gallery?
Sure! Well, the Edie/Dalrymple Gallery was founded in the late 60’s with former professor Carl Grupp, who was a signature print maker of the region and professor of drawing here. He’s still in town. He also founded our permanent art collection. He did it sort of informally, in addition to his very heavy load over the years, by bringing in professional exhibitions and then having student shows. Then eventually, he got a gallery space that is now the archaeology lab, and then this space opened new with the building in 2006. We are free and open to the public. We always do 7:00 pm – 9:00 pm exhibitions every year. There’s always the Senior thesis show that closes our academic year and then the Sophomore, Junior Invitational is always our summer exhibition.
So, does this run the whole course of the summer?
Sometimes it varies on our upcoming exhibitions. Typically, it’s open all summer and then closes the first Friday of the academic year. We use that as a closing reception to welcome back all of the students from their summer breaks, and to reconnect with them. It gives them a chance to see their show, because for many of them out of town, this gets hung post graduation. So, they won’t see their work in it until they step back on campus in the fall. So, we keep this until the first week of classes.
Of the students here, how would you say their progress has been with their work?
Each one of these artists is worth highlighting and elevating. One of the best things about this being our summer show, traffic tends to be a lot lighter, but we also have a lot of campus tours going on. So, the students that are here as prospectives looking at the college, they get to see that all of these pieces were created in an Augustana art class, and they get to see who the artists are. I love this show because I see these students in the art history classes, but I don’t really get to meet them as artists until I get to sit with them in their sophomore and junior reviews. It’s just fun to have. So, we have, of course, sophomore students that are maybe relatively early to the major. We have several students that are double majoring. Many Augustana students also triple major. Then we, of course, have students that are almost on their way to their senior thesis show. So, Sydney Kelly would be one of those that already has a very advanced and large body of paintings, then she’ll be wrapping up next year with both her art major and her student teaching for education major. It’s just a fun show!
Is this show, specifically, any different feeling than previous ones? Is there anything that struck you differently than previous years?
I mean, each show has its own characteristic and is as unique as the group of artists that are here, right. A couple of fun things to point out, we have Alex Meyer’s large stage set. He’s incredibly talented. So, this might be a nontraditional form. It’s his photography, the concept drawings, and then the model on it. He actually presented that in Washington, DC and got a national award for his set design! We were very excited for him to bring that back to campus, and then to display it. This show gives a great set of how wide-reaching Alex is.
That stained glass tower up in the middle area on the pedestal is his, and then we’ve got these graphic design pieces from him. Right next to them we’ve got Marissa Hight’s digital piece. She’s a biology and art double major, and is interested in medical illustrations and sort of blending that. So, that’s a fun piece, along with her hand cast one. Actually, in the Black Hills this summer she got a research appointment at a research lab in the Black Hills. She will be doing laboratory research, but they were also interested in allowing her to do microscope drawings and proofing images for publication. She’ll get really good experiences being a visual artist who assists the scientists. This year we have Anna Reich in our photography department. We have far more photography present. So, that’s another difference. We just haven’t had a substantial body of photography in a while. That, of course, is a testament to her for building our photography program. Even Wyatt, who I think of as being a screen printer, has some phenomenal experimental photography.
Do you have any words of overall encouragement, or words of critique, for the students presented here?
Maybe a good sort of word of encouragement, especially for perspective students who walk in here… I know you had an excellent high school experience as far as an art program goes, but many students don’t. So, they already come to college saying, oh, I can’t draw. I can’t do this. I can’t do that. I think, particularly with the faculty here on campus, wherever you are at, they will make you better. So then, some of these students probably had no, or little-to-no, art before they came. Some already arrived thinking, oh, I’m uncomfortable with drawing, or I can’t do x, y and z. Yet, in Drawing I they can do things like Dagne’s castle shading to a t. The students who come out of that, and what they present, are far beyond what they would’ve thought could be possible. Then we have students that come in with a very high foundation of art. Then it’s just fun to see how much they improve year after year. Really just in an exponential type of way.
In three words can you describe your impression and experience from this show specifically?
I would have to say uniformly eclectic, because it all hangs together, and yet, it’s such a broad reach. I think it’s a good sense of just how many different avenues you can pursue in the program, and also do individually tailored expressive experiences. I would say hard work. Inspiration. I think, well, you know how many hours go into the studio!
Full list of students displayed at Edie/Dalrymple Gallery:
Sydney Michael Kelly
Joshua D. Matzner
The process: Straight from the artists
How have the before-the-show steps treated you? What’s your impression of the gallery space process before hand; was this a new experience for you? Did you enjoy it?
For me, I think that’s always hard just because I know what other people kind of like, but I don’t necessarily know what kind of stuff of my own that other people like. I kind of have a negative view point over my stuff, just because sometimes it’s really weird stuff just for fun. I don’t take it as serious at times, so I don’t think other people will, even if it’s a serious thing. So, if it’s for the review, it was mainly trying to find things that I like, at the same time other people might like , as well. I think that it helped by doing a write up. I had all these different pieces up for the reviews, so the professors could critique my work, and eventually pick pieces for the show. I had to have a write up that stated what I was trying to get at, but in a super concise way, so that it’s clear. Sometimes I’m going, well, I took this picture just because I messed with a bunch of settings on my camera, or I made this screen print for fun, or because people said “you probably shouldn’t do that,” and I’m going to do it anyway. I couldn’t really say that, so I had to have this concise thing where I had everything down pat. I think that’s where it was stressful. I don’t know most the time if what I’m trying to convey is read by the viewer. With a lot of my pieces I like to have really open-ended outcomes, so that they can pick what they think maybe in a different way than me. Only after the fact, if they’re wondering what I’m trying to get at, I’ll tell them then. Other than that, either making weird things, or making them more confusing, or purposefully under confusing so that it’s easier for them to get. Maybe even harder for them to get, if I’m trying to have a conversation, or something that I’m just trying to get out there. I guess it just depends on each piece. With the ones in here, I think it worked a little both ways. My photographs are definitely a series where I was just trying to experiment with different objects. There’s a variety of things that I’ve taken pictures of. For most of them it was try something and go with it, rather than going, this is exactly what I’m going for and making sure everything is perfect. It was more of what Dr. Twa was saying, working with an experiment. That’s something that I like to do with photography, because it’s quick.
When putting my photographs in here, I wanted to try something a little different. So, instead of having vague titles, I made little music pieces for each of them. Some of them are bridges that are connected by a chorus that runs throughout the whole series. I’m definitely not a music writer at all, it was just something when I sat at a piano thought sounded good. I was trying to do something, that if the viewer has knowledge of music, they can pick out the little tunings with them and then decide if the sound would really go along with it. I’ve always wanted to do different sounds and photography, kind of like music and movies. I’m really into movies, so maybe that has something to do with it? I want the viewer to gain something from it. I like to have fun with it.
Preparing for the show was pretty straightforward; we just had to matte and mount our work so it was ready to hang in the gallery. We did not hang our own work for this show, so I did not experience that process.
The pieces that are in this show were selected by the faculty during our spring reviews. Though they picked a few of the things that I would have chosen myself, I did have some work in ceramics that was finished after the reviews which I wish had been included in the summer show. There is always next year, though!
Before the show, we create work for the academic school year, and then our work is chosen by our professors in what is known to the Sophomores and Juniors as their review. To me, it is kind of a coming of age rite of passage. With me being a junior and having done a review last year, I am well aware of the space as well as how a review is carried out. Regardless, it is still just as nerve wracking to get up in front of your peers and lay your work on the line. In my review summary, I had written about how with art and being an art major it always feels like I am undressing myself and pulling off my skin, folding it neatly, and handing it to someone, while in a way, asking them to accept and appreciate it. I am literally showing you my vulnerability when I am showing you my art, and telling you about the symbolism behind it. The review was exactly this. Each and every time, no matter the audience, I get a certain nervousness about me when speaking on my work. Mainly because my subject matter is so visceral, but also because there is some part of me that is still afraid to tell the stories of what I have been through, and to tell someone is to let them in, and I am not good about letting anyone in. Review is a good test run though for me being able to talk about my work, and the things that go into it.
We are told to bring pieces of work, usually anywhere from 10-12 (sometimes 15 or so if they are smaller), but beyond that we are given the freedom to choose work that we feel is our best. But then you start staring at your rather large portfolio of about 30 or so works that you have created that year and you begin to question what your best is. Is it the piece that you spent countless hours on that got an A- and yet you still are madly in love with it? Or is it the piece that got you an A and yet you do not really care for it, but you know the professors will like it? You start to wonder if you should cater to your professors or to yourself… and to that, I will say that you should cater to yourself. When your work is chosen to be hung up in that space, you should feel a sense of pride, and that pride only comes with staying true to yourself. I make each of my paintings with a very direct purpose in mind, and therefor when my pieces were chosen, I was very pleased with the result. I also felt honored to be a part of an institution that displays the work of their students so proudly and wants to display mine as well the work of my peers. The process leading up to review is nerve racking, the review is nerve racking, preparing your work to be shown around finals week is nerve wracking, but seeing your work hung up is worth every minute of it.
[DURING THE FUN]
Do you have a specific goal, or immediate impression, that you want the viewers to think and feel when experiencing your work?
Well, like I was saying, I do have stuff there, when other times it’s just if it happens then it happens. So, if a viewer sees something in a piece, I’m glad for them, but I’m not specifically trying to push them a certain way. With some pieces I’m trying to just get them and see how they look, while experimenting with different techniques and things like that. It wasn’t really a process of, this is really important to me and having to let the world know. I think my work is still important, in a way, but just not like that. With the photograph series, we’re suppose to explore something that we knew. However, going after that, I decided to take photographs of objects around my house. In the full series, I think there’s 35 or 40 pictures. Some are as simple as mason jars of tomato paste that we have from canning stuff. Other things are, like in here. There’s a certain image that started that series. It’s the self image. I was trying to experiment with light, which I really like to do with photography. I was trying to experiment with the light on the shelf, that in reality isn’t that important because it’s just a shelf in my bathroom. To me, there’s an importance behind it that I can’t quite understand, if that makes sense. Similar to, well, I know this, so it feels important. To anyone else, I don’t think they feel that, but to me, there’s a reason that this feels important. So, that’s where this series turned into something that wasn’t really just things around my house, but things that have a specific importance even if it’s just really vague for the viewer. For those, I’m not expecting the viewer to get anything out of them. They might find bits of relations that, in turn, can find comfort in, but I’m not specifically trying to get the viewer to see that. So, like I was saying, if the viewers see something, I’m glad they do. I would honestly like to know what they see, just because I think that’s interesting, but I’m not trying to force them to see something that I may be putting out there.
My two screen prints that are in this show are the works which I am most pleased with and feel represent a certain side of my work effectively. I am largely influenced by nature, namely the sky and cosmos. I hope that my screen prints will convey some degree of a connection with nature. The piece, “Where are you now? I still need you here,” was created shortly after the unexpected death of my mother. That is the first piece in a series that I am working on which deals with the concepts of life, death, the afterlife, and the consideration of a higher power. I don’t like the idea of telling a viewer exactly how to interpret my work, but I use titles as a guide of my intent.
My intaglio print of my dog, “Charlie,” explored texture by focusing on hair. Charlie has crazy, wiry hair which I thought would be fun and challenging to convey in a drypoint print. The position of him resting was my way of conveying how solitude can oftentimes be a necessary means to feeling inner peace.
When you first look at my work, you are either attracted it to it or repulsed by it. Often there is an innate reaction when viewing the grotesque or death. Your throat tightens a little, your chin clenches, maybe you blink frequently or your advert your glare, but in general you have a response. The secondary response when viewing my art should be the curiosity of why the subject matter is chosen, in an attempt to figure out the piece. The third common response is why does a 21 year old woman attending an upscale university in South Dakota originally from a small town in Iowa want to paint such things? To that, I would have to tell you to sit down with me and listen to the full story. But when that is not do-able, the viewer often just notices my attention to detail and the craft of my work. Notice the ants that are either fleeing away or being attracted to the objects around them. Pay close attention to the use of color and what you might be noticing as an American flag, a desecrated pie symbolizing human interaction, or maybe the mourning ceremony that gives you a closer view of tragedy and the influence of fate. My work is used to show my occupancy in this world, and how as a sexual assault victim and an abuse victim, I have often felt left without control. From that, I have pushed my feeling of being small in this vast world and how there are many parts of my life that are left open to the influence of greater powers. Dominant versus submissive, choice versus the lack of, nature versus nurture, authoritarian parent versus authoritative, resilience versus conforming, and conscience or the lack of. These are some of the things that play a role in my life and the pieces that I create, carrying out a plan to tell my story through the visual arts.
[AFTER IT’S SAID AND DONE]
Personally as an artist, is there anything else that you would want the public to look forward to? Any shows coming up, are you planning any projects, etc.?
I do a lot of stuff on my own, and apart from that, I don’t hear much going around town. Unless it’s from this one girl, Hannah Wendt, that I know, I don’t really hear a lot going on. I’m working on making t-shirts with print making stuff and using screen printing t-shirts, right now. I like wearing t-shirts, and I just wear weird stuff. Why not make my own? I don’t paint a lot, but I’m wanting to get into making my own inks and paints out of random crap. Maybe just smashing up a whole bunch of stuff and seeing what happens. I’m trying to use a bunch of different materials in my work, and do more experimenting because that’s the name of the game with my stuff. Other than that, I guess I need to get out a lot more. For right now, just through Facebook, Wyatt Dickson, would be a way of contacting me. If you wanna say hi, or if you wanna be like, hey, let’s make something. If you want to buy something, sure!
I am drawn to illustration (pun somewhat intended) and showcase my skills in my ceramics work. They are really fun to look at and people seem to get a kick out of them. I am also developing my series of screen prints which is dealing with the concepts of the cycle of life, and the existence of god. I am always dinking around in the printmaking studio and constantly have new stuff I am working on, which I share online. You can find my portfolio, including examples of my ceramic work on Facebook and my website.
I create about one to three paintings a week during the academic year, and I will continue to work at this rate. My work can best be found on social media, as I post my creative journey. I occasionally participate in small shows, but for the most part, I make work for myself and not for show. I have made such grand progress over the 2016/2017 school year and as I go into my final year at Augie, I do not intend on halting my progress. I fully recommend anyone to come to the senior show in May of 2018 if you want to see my grand finale, and hear me speak publicly on my journey. Until then, I sell most of my pieces for cheap so that they are obtainable by many. You could be the next owner of an original piece and you should be. My Instagram is sydneymichaelkelly and it is where most of my work can be seen. My email is firstname.lastname@example.org for any other inquiries.
As a fellow employee of the Washington Pavilion, I have had the chance to meet Mercedes before interviewing her for JAM’s Educator Interview. We meet regularly at the Pavilion to go over future lesson plans, and she is there to help other teachers understand the more artistic processes with children. Mercedes leaves quite the great impression! She’s wonderful at creating a fantastic learning experience, even with adults. She especially cares enough to make sure every child understands, and is having fun with the projects. It was amazing to have that student to teacher base impression of her before sitting down and chatting.
Where/what do you teach and what ages?
I teach at the Washington Pavilion, ages pre-k through seniors. I teach drawing, painting sculpture and ceramics. I teach outreach to youth at risk at Juvenile detention center, Multicultural Center, Bowden Youth Center, and other afterschool programs funded by grants in the Action Arts and Science Program (AASP).
I teach private lessons, home school lessons, art smarts (primarily school field trips to the Pavilion) OLLI classes, and pottery classes like ‘Wine on the Wheel’.
What inspired you to begin your teaching career? Was the goal always teaching?
I knew I wanted to be an art teacher in 3rd grade. I had great art teachers in middle and high school that encouraged me to stay in the arts. Lori Boldt, Maureen Kaul and Sara Winterscheidt to name a few.
Is there a specific rule of thumb, style, or method that you like to follow when you teach?
Practice every day! Work those art muscles! Step out of one’s comfort zone. If one always draws the same thing, they’ll get really great at drawing that thing. One should try to draw other things, too! For example, I try to push people away from the classic “corner sunshine” composition and ask them if there is another way to put the sun in their picture. In my opinion, art is 90% problem solving and 10% skill.
What are your favorite aspects about teaching?
Watching the self-discovery, and winning the students over. Sometimes they come into the room and see the project we will be working on, and the first thing out of their mouth is, “We’re making that? I can’t do that.” Then when class is over they are usually pretty impressed with themselves.
Is there anything that you would want to change about teaching?
Not now. I taught in the public school system for a few years in Georgia, and grading art for 600 students was a challenge. I also felt I didn’t get to know my students very well. Now I teach in an informal setting at the Pavilion where there are no grades; only learning and exploration and discovery without pressure to make the grade. My students are in my classes because they choose to be, and that feels awesome!
Would you give us a glimpse into your hobbies and interests? What are some of your favorite pass times?
My 15 year old daughter and I like to sing and play a few instruments. I like to play in my garden and I love to feed people delicious food. I do Henna tattoos as a side business, When I get a chance to do art for myself, I like to make drums out of clay and cover them with goat skin. Then I do custom Henna designs on the skins of the drums.
Thinking about the future, what is a larger-than-life goal that you might have?
I would love to travel the world. I was able to visit Europe for the first time last year. Ireland was such a grand experience that it wet my appetite for more traveling.
Are you part of, or are you planning any big events with the public?
Well, we do a lot of outreach through the Pavilion at special events like the Pride Festival, Down Town Riverfest and Jazz Fest. It’s usually easy to find our table. Just look for all the kids having fun!
Can anyone sign up for classes with you?
Yes. Anyone. You’ll find most of the classes I teach at Washingtonpavilion.org. I’ve done private and semi-private lessons with students from 4 to 94.
Using three words how would you describe yourself and style of teaching?
Passionate, creative and FUN!
ANNOUNCEMENT: JAM Art and Supplies will be having Mercedes Maltese create henna body art both July and August First Fridays 7-8:30 pm. We’ll be open late till 9 pm.
I recently had the pleasure of sitting in on what is known, rather informally, in the art world as an “artist talk”. The artist in question was Amber Hansen, the current painting professor at the University of South Dakota. What I expected to be a simple recap of Hansen’s past works was, to my pleasant surprise, a journey through a number of small towns within the Midwest, an interesting discussion on sustainable farming techniques, a viewing of a diverse array of charcoal drawings, large scale murals, experimental films, and Hansen’s insight as to what it means to create artwork collaboratively. What I assumed would be a summary of Hansen’s formal education and a viewing of her portfolio, was actually a dive into Hansen’s world of creating artwork, not simply for herself, but with community involvement and a sense of unity in mind. Continue reading AMBER HANSEN: ART EDUCATOR→
The Sweet Art Show is the annual fundraiser for our nonprofit. It fuels our organization throughout the year. Money raised from this event is critical to the success of JAM, but that does not mean we do not appreciate everything else our friends do to support us. Here are 3 great non-monetary ways to get involved with JAM!
Get social for us. Share the event on Facebook. Invite your friends. Like our Sweet Art Show posts. Comment and encourage. There is this thing with social media called “going viral” and the more views we get for our show, the more our event will be seen by a newer audience through the complicated Facebook algorithms. Science? Maybe.
Donate your time. We are always looking for volunteers for the show. From greeting people, to taking free will donations, to setting up and tearing down, there are so many hands needed to make the Sweet Art Show successful. It is actually really fun, and you meet some great people and new friends.
Donate a skill. The Sweet Art Show takes quite a few talents to make the show successful. Are you a pro on the phones? We would love to get some volunteers to call out for corporate sponsor donations. Are you great at writing? We are always looking for bloggers to write posts for us (like this one). Are you a social media whiz? We would love to have live-tweeting commentary throughout the show.
JAM would not be where we are today without volunteering and donations, and most importantly, the belief in our cause from so many people in this community. We are truly grateful for everything this community has done for us over the past year and a half. We look forward to the show and what the rest of 2016 will bring! See you at the show on February 12, from 5:30 – 8:30 p.m., at the Icon Event Hall + Lounge.
Can’t find a sitter so you can come out and support the Sweet Art Show? Excellent. Bring them along!
Kids are our favorite. For real. We love kids. Teaching kids in our group classes, private lessons, and seeing their eyes light up when their little, creative minds get to spinning – there is nothing like it. We love kids. We would love to see yours at the Sweet Art Show.
It is a kid-friendly event. We want families to attend. We are serving ice cream for everyone from little to big. There will also be some tasty snacks to munch on, as well. There is something for everyone (including adult beverages for mom and dad).
It is winter, and activities for kids are hard to find sometimes. So, bundle up the family and get out of the house to support a great cause.
There is a kid activity table. Let your child’s imagination run wild with the arts and crafts table we will have set up for them to play at. Socialize with friends and let your little ones have fun.
Let them experience an art show. Have you ever taken your kids to an art show? This would be a fantastic opportunity to show them how to admire and appreciate art, as well as meet the people who created the art.
The Sweet Art Show is the annual fundraiser for our nonprofit. It fuels our organization throughout the year. Money raised from this event is critical to the success of JAM. We look forward to seeing you at the show on February 12 from 5:30 – 8:30 p.m. at Icon Event Hall + Lounge.
The Sweet Art Show is the annual fundraiser for our nonprofit. It fuels our organization throughout the year. Money raised from this event is critical to the success of JAM.
Teachers are one of our primary customers at the JAM store. We love helping teachers find what they need, inspire projects or provide ideas for classrooms and students! Are you a teacher? Here are 5 great reasons to come out and support the event!
JAM is here for your classroom needs. JAM’s primary purpose is to offer deeply discounted art and craft supplies to anyone and everyone. From markers and crayons, to drawing pads to old frames to fabric, the store is filled to the brim with items you could be using in your classroom for decorations, projects, crafts, or even to stock up on extra supplies for student’s that don’t have any.
JAM is here for your students. If you do not know about JAM, your students may not either. Many kids in the Sioux Falls School District have a hard time paying for lunch, let alone art supplies. Promote JAM in your classroom! Let your students and student’s parents know where they can get quality art supplies that do not break the bank.
Other teachers will be there. Every year, we interview teachers in our Art Educator Interview series. (Know of someone who should be featured? Contact us!) We love hearing what teachers have to say about art in our community and classrooms. Mingle with other art supporters and bounce creative ideas off of each other.
We look forward to seeing you at the show on February 12 from 5:30 – 8:30 p.m. at the Icon Event Hall + Lounge.