Suze’s Art News September 2020

It’s still pretty strange times.

We are all adapting as best we can. Artwork and time in wilderness give me inner sanity; helping others, whether individuals or institutions, is another strategem.

In roughly chronological order:

Where we watched the eclipse, watercolor on paper, 11″ x 15″

Bend, Oregon’s High Desert Museum’s annual fundraising competition, Art in the West, includes this landscape. The virtual auction is live 8/1 – 10/3/2020.


Bathtub Lakes, watercolor on paper, 11″ x 15″

I’ll be teaching an in-person, outdoor class, “Practical Plein Air,” for Gage Academy of Art 9/12-13 — masked and distanced of course. There’s still room! Here is the registration page.


Artichokes, watercolor on paper on cradled panel, coated in epoxy, 11″ x 15″

Item # 228, Silent Auction 2: in The Museum of Northwest Art’s annual fundraiser. Bidding opens on 9/11 and closes 9/13.


Bark Beetle Book, Volume XXX: Species Distribution. Douglas fir branch, laser-cut wood, laser-print transfers, viscose and silk, Kevlar thread, wood beads. 3.5″ x 32.5″ closed, 3.5″ x 19 *feet* open — the longest book I’ve ever made!

I’ll be giving a virtual talk for Puget Sound Book Artists 9/10 from 4 -5:30 pm. Anyone is welcome to register for it on their site. I’ll be discussing the inspiration and processes of many of the 30 books that sat in the silent and empty exhibit “Gathered from the field: art provoked by the climate research” from early March to mid August this year.


State of the Forest installation (fabric prints of my burned tree portraits). Image courtesy The James Museum, St Petersburg FL and David J. Wagner, curator.

Environmental Impact II, which includes State of the Forest, has moved to Fort Hays State University in Kansas, where it will be on display for the academic year 9/18/20 – 5/15/21. See also my home page and individual artwork page.


Enlichenment watercolor on paper on panel, 8″x8″  SOLD

I was one of 50 contributors to a clever fundraiser called Square Deal–50 Artists for a Fair Vote. While mine is gone, there are still 12 left here.


Bark Beetle Book Volume XXXI: Beetle Graph. Douglas fir branches, laser-cut wood, laser-print transfers, bronze rings. 86″H x 18″W x 3″D. Each branch is a bar from a bar graph of the most destructive bark beetles in Washington State from 2008-2018. 

I’m pleased to be part of the annual ICON competition at Lynn Hanson Gallery. There is a virtual First Thursday artwork on her site 9/3 at 5:30 and a virtual artist reception 9/12 at 2pm. 


Bark Beetle Book Volume XXXII: Obligate Mutualism. Branch, laser-cut wood panels, iron-oxide-dyed and industrial wool felt, linen threat, embroidery floss 8.75″ x 6.75″ x 3″. Certain bark beetles that kill trees carry with them a staining fungus which helps them digest wood. Their characteristic patterns are shown on the covers. The fungi reach into wood with microfilaments, evoked by the lines of embroidery. 

I am once again part of Mighty Tieton’s 10x10x10 competition, on display 8/8 – 10/11. The virtual exhibit is here.


In Headlight Basin, watercolor on paper, 11″ x 15″

This painting will be part of Schack-toberfest, the Everett museum’s fundraiser 9/17 – 11/7.


Lastly, I’ll be giving a talk for Seattle Co-Arts at noon on October 27.

It has been a surprisingly rewarding summer despite everything there is to worry about. Painting outdoors on the Northwest Watercolor Society’s plein air days (which I help organize) has been a real treat. Small alpine landscapes remind me of the most joyous times of my life. This missive is already too over-long to show them here–but if you want to see some of this year’s small pleasures, let me know and I’ll send you a selection. 

Thanks for your attention to all my efforts to support our local art institutions!

Suze’s Art News June 2020

Oh my, how the world has changed! I want to acknowledge that we all are experiencing dislocation and distress – some much, much more than others – as a lame introduction to reporting my art endeavors.

I’m reminded of the scene at the end of Casablanca where Bogart says to Bacall, “I’m no good at being noble, but it doesn’t take much to see that the problems of three [one] little people [person, i.e., me] don’t amount to a hill of beans in this crazy world….”

My bean count: residencies cancelled or postponed — three; individual pieces of artwork sitting in shuttered exhibit spaces out there in the world — 72; upcoming exhibits cancelled — two; and one cancelled watercolor workshop on a San Juan river trip for Great Old Broads for Wilderness. And no doubt more to come….

….but at least I can’t take it personally!


My pandemic project gave me deep focus for the first 41 days. This blog post gives greater detail.

Panels 1-6 of 7 at home lo res

As yet untitled, 6 of 7 panels of varnished watercolor on torn paper, 22 feet by widths from 42” – 49”. I have no place large enough to photograph it all together!


I’m deeply honored to receive a MadArt Artist Relief grant. I plan to use it to extend opportunities for artists less fortunate than me. While not up there yet, the 3-minute application video I created should be viewable on their vimeo page soon.


Besides the Kirkland Arts Center People’s Choice Award that prompted the big tree pandemic project in the first place, one of my artist books received an award at Northern Arizona University’s “May You Live in Interesting Times” book arts exhibit. (Little did they know how soon their title’s wish would be granted!)

TheNarrows

The Narrows, watercolor on paper, 32” x 14”

I also received a small award in the Northwest Watercolor Society’s recent virtual membership exhibit. I was supposed to be the speaker for March, but the meeting was cancelled. Instead I created a short online talk, still viewable here.


UrbanMoonset

Urban Moonset, watercolor on paper, 11″ x 15″, begun as a demo for my last Gage workshop

I am still planning to teach a landscape workshop for Gage Academy June 13 and 20. (Sign up soon!) Portions are almost certain to be online, but I am hoping our city and county guidelines will permit small outdoor groups to paint in parks if masked and distanced. The irony of trying to paint plein air landscapes indoors online has not escaped me!


In my neighborhood a Seattle Opera tenor has been giving small street concerts for the duration. When I listen, I can feel a collective human spirit expressed through art. I’m reminded that while occasions can be upended, indeed vita brevis, ars longa….

 

 

 

 

Winter News 2020

Happy New Year!

First up, Threshold at Kirkland Arts Center. This juried exhibit will include the largest burned tree painting I’ve done yet — a cedar tree from the starting point of the North Cascades’ 2015 Goodell Creek Fire. I’m always struck by how cedars seem to rot or burn from the inside out. Many times the center is completely gone yet the tree still lives.

The exhibit is on display January 7 – February 15. The opening reception is January 10 from 6 – 8 pm and I will be there.


Goodell Creek Cedar, Varnished watercolor on torn paper, 52″ high by 44″ wide (2019)


Next, Gage Academy in Seattle is having its 30th anniversary exhibit at the Washington State Convention Center Phyllis Lamphere Gallery. I teach the occasional weekend workshop at Gage, so I’m happy to have three of my burned tree paintings up from January 9 – April 13, 2020. Update: The reception date has been changed from the evening of January 31st to February 9, 11-1pm; I still plan to be there.


Stehekin Sentinel, Jolie laide and De-Limbed; Varnished watercolor on torn paper,
all 52″ high by various widths, (2014, 2017 and 2014)


Several of my large landscapes are hanging at the Lynnwood Convention Center’s Northwest Landscapes exhibit, now through June 30. There will be a reception February 19, 6-8 pm, but I will be away and unable to attend.


Young and Old Alike, Watercolor on paper, 22″H x 30″W (2008)


Three of my artist books will be at Northern Arizona University’s Art Museum for a book arts exhibit, “May You Live in Interesting Times” February 4 – April 18, 2020.


 
Top: The Last Iceberg, laser cut mat board, rub-on type, acrylic paint, varnish, linen thread; acrylic mount. 17”H x 10”W x 2.5”D (2016). [Rotated]
Above left: Rockbound Book: Elephant Canyon Volume.
Book: Sandstone, laser-cut mat board, elastic thread binding;
Case: wood, laser-cut mat board, paint, polish. Case: 7″L x 6″W x 3.5″H (2015).
Above right: Rockbound Book: Snowline.
Book: sliced snowflake obsidian, mat board, non-woven viscose;
Case: wood, paper, cord, casein paint, shoe polish, hardware. Case  8″ x 5″ x 4″ (2015).


In March-April, Anna McKee and I will be showing our work in an Art+Sci exhibit entitled Gathered from the Field; art provoked by climate research at the University of Puget Sound’s Kittredge Art Gallery in Tacoma, WA. It will include her installation, WAIS Reliquary: 68,000 Years and I will have ~30 of my bark beetle books. There will be a reception March 26 6-8 pm. Not only will Anna and I attend, but our various scientific, literary, audio and other collaborators will be there as well. Update: The reception time has been changed to 4:30pm-6pm at the Kittredge Gallery.


Bark Beetle Book Vol. XXVII: Survivorship. Log (likely white bark pine) with mountain pine beetle galleries, laser-cut bamboo, offset-printed text with inked-in mountain pine beetle galleries, brass binding post. 9.5″ diameter, 6″ H.

Based on a paper by Six et al.: ~7% of white bark pines in a research tract survived mass attack by mountain pine beetles. DNA analyses of the survivors showed “quieter” encoding for certain VOCs that the beetles perceive. The interior pages of the book have been printed with “ASCII art” of the mRNA encoding for monoterpene synthase. The proportion of dark, low-contrast (“quiet”) to light, high-contrast (“noisy”) pages in the book is 7/100.*


On March 24 I’ll be the speaker/demonstrator at the Northwest Watercolor Society’s March meeting at Daniel Smith Art Materials, 4150 1st Ave S., Seattle, beginning at 6:45 pm. Here’s what I said I would talk about (from page two of their newsletter):

“Painting landscapes in watercolor, both in the studio and from life, has led her in many directions Some are fairly predictable, like artist residencies in national parks and coordinating last summer’s NWWS plein air outings.

Other impacts have been more unexpected – learning to use tools such as pyrography (drawing by burning), paper making and casting (sculptural paper pulp), technology (software interpolation, laser cutting, digital printing on fabric), bookbinding and woodworking.

Another surprise has been deep creative collaborations with scientists, writers and poets. By spending time outdoors painting and living in remote parks and art colonies, she becomes aware of the issues affecting the landscapes she finds so inspiring.”


In other news, my State of the Forest installation continues to travel with Environmental Impact Sequel, opening in Asheville, North Carolina’s Arboretum in February-April. Update: owing to an unforeseen conflict on their part, I will NOT be visiting to give a short talk in late April.

I hope that the commencing decade is productive and joyful to all of us — I hope to catch up during one or more of these events!


*My colleague Iskra Johnson informs me this brief description is difficult to understand. Here is a more expansive attempt:

The beetles sense and take advantage of some of the tree’s own defenses. Some of those defenses are the volatile organic compounds (VOCs) that it makes – semi-toxic gases, really – that the beetles re-synthesize as aggregating pheromones to call all their friends. Remember turpentine comes from tree resin. So the messenger RNA for the gene for monoterpene synthase, one of those VOCs, turns on its manufacture by the tree, but ironically, strong monoterpene synthase is something the beetles sense and use. 93% of the white bark pines made enough of it that they got attacked. 7% didn’t, they were less “visible” to the beetles.

C-A-T-G (cytosine, adenine, thymine and guanine) are literally the base pair components of DNA and RNA. I made the “ASCII” art from the c-a-t-g sequence for monoterpene synthase. You might remember in the early days of computer graphics people made illustrations out of text fields:   https://en.wikipedia.org/wiki/ASCII_art

I used an “ASCII art converter” to make the base pair text field have beetle trails running through it. I printed the pages in both positive contrast-y, color-on-white, “noisy” versions in the same proportions (the 93%)   as the trees that were killed, and negative/low contrast, white-on-black “quiet” pages —  the 7% that survived.

 

 

Suze’s Art News June 2019

(This is the most recent newsletter update I sent to my mailing list. Sign up if you’d like to receive it in your inbox!)

Hello, it’s been a while.
This is an overdue update of everything happening now and a look back at events past. 2018-2019 has been a whirlwind and I am excited to share that with all of you. Thanks for your interest!

Workshops
“Watercolor on the Move: Practical Plein Air”
Gage Academy Workshops
July 20-21
Saturday-Sunday 9:30 A.M. – 4:30 P.M.
For those in the Seattle area, I will be teaching watercolor once again at Gage Academy. Sign up for the workshop if you’d like to learn more about how I go about doing plein air — painting outdoors from life.
Top: Zion Light, watercolor on paper, 11″ x 15″ (sold);
Bottom:
The Three Little Pigs (Gasworks) watercolor on paper, 11″ x 15″

Above the Checkerboard Mesa Viewpoint (1024x754)
Gasworks
Upcoming Shows
Davenport Cellars, Woodinville WA
June 5 – early September 2019
The theme is “beautiful and disturbing landscapes,” scenic views of the public lands contrasted with burned-over landscapes.
Top: Frisco Again, watercolor on paper 11″ x 15″
Bottom:
The Landscape of Fire (rotated) 52″ x 15″
Frisco Again (1024x760)
TheLandscapeofFireRotated
Puget Sound Book Arts (PSBA) Annual Member Exhibit 
June 6- July 31, 2019
University of Puget Sound, Tacoma, WA Collins Library
Two of my bark beetle books are on display.
Top, Volume XXIV: What the Beetles Wrote
Bottom
: Volume XXI: The Curve of Loss
vol xxiv composite (764x1024)
VolXXIcomposite
Food Art Collection, Seattle
The quiet existentialism of discrete fruits and vegetables
July 14th, 2019 Opening 1-3 P.M.
In July I will be showcasing something new, a series of vegetable paintings. I began them as class demonstrations and soon realized that the process of trying to free up my students’ work was freeing up mine. Apropos to none of my other work, but enjoyable and satisfying. Come see what we serve up at the opening! (See this meditation on why here.)
Top: Swiss Chard, watercolor on paper, 11″ x 15″
Bottom: Long radishes, watercolor on paper, 11″ x 15″ (sold)
Chard (1024x759)
Long radishes (1024x767)
Anacortes Arts Festival 
July 27 – August 4th, 2019
Opening July 27
The annual juried exhibit; this year Joanna Sykes is the juror. Three of my bark beetle books will be on display. (Recipient of the T Bailey Corporate Award)
Top: Bark Beetle Book Volume XXV: Outbreak
Bottom: Bark Beetle Book Volume X: Encyclopedia Beetletainia
Vol XXV Composite 3 (1024x458)
Vol X Encyclopedia Beetletania composite
State of the Forest Installation in Environmental Impact Sequel
James Museum, St Petersburg, FL
August – November 2019
This is the first stop on a touring exhibit that focuses on the environmental impact of climate change. Thirty of my burned tree portraits will be suspended, in floating fabric media to evoke the fragility of forests. Fourteen of them have Lorena Williams‘ fire stories printed on the back layer of the set. I look forward to presenting my work in this way.
Top: State of the Forest, 10 of a 30 tree installation. Bottom: Detail of the three layers for each tree, black, solid print and transparent print (Jonathan T. Bishop photos)
State of the Forest 10 trees-2 (1024x683)
Tauromachia fabric detail (1024x683)
Slash & Burn
Seattle City Hall
September 5 – November 5, 2019
If you missed this repeat exhibit at Green River College earlier in the year, “Slash & Burn” will be presented again at Seattle City Hall. I’ve contributed several burned tree portraits and bark beetle books.
Top: Okanagan Iridescence, varnished watercolor on torn paper, 52″H x 20″ (rotated)
Bottom: Bark beetle book Volume XII: Buprestid Katakana
Okanagan Irridescence rotated
Buprestid Katakana 2 (1024x785)
Columbia City Gallery 20th Anniversary Book Arts Exhibit:
The Book as Art: The Page and Beyond
Seattle, WA
September – November, 2019
This show will focus on finely crafted books that explore a variety of structures and books that can challenge traditional notions of a book and page.
Columbia City Gallery logo
All Stitched Up
University of Puget Sound Collins Library
Tacoma, WA
September 3 – December 11, 2019
A recent bark beetle book will be exhibited.
Volume XXII, Scolytid Lifecycle
Vol22detail

 

Willowtail Residency
Willowtail Springs Nature Preserve
Mancos, Colorado
In late October I make my way back to Mancos, Colorado, for my fourth return to Willowtail Springs Nature Preserve. I’ll have an opportunity to work with author Lorena Williams on the stories that accompany the State of the Forest installation above.Zion Centennial “100 Objects – 100 Images”
Zion Plein Air Invitational
Zion National Park, Utah
November 6-10, 2019
I am honored to be invited out for my 8th season during the Centennial of Zion National Park and Zion Plein Air Invitational. The Centennial will be celebrated through the art and history of this magical place via the exhibition “100 Objects – 100 Images”, beginning September 15th, continuing through and during the traditional plein air week. I look forward to sharing more as the year goes by so stay tuned for more details.“Word | Image | Object”
July 2019 – January 2020
An artist book exhibit organized by Abcedarian Gallery in the main Denver Public Library. My small beetle-chewed branch books contain Melinda Mueller poetry about bark beetles.
Bark beetle book Volume XIX: Poetry Sticks
VolXIXcomposite
A Long Overdue Recap of 2018 and Previous Events

booksaboutbarkbeetles
Thank you, friends and followers, for seeing me through another year, and I hope to catch you at home and out in my travels.
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