A Tour Through

My friend and talented colleague, Liz Zunon, invited me to a blog tour, which I am very excited to hop on... It's wonderful to participate with the artistic/illustrative community in this way, and to be considered by my fellow artists. 

It has been quite a while since I have posted, mostly due to the fact that lately I have been spending my non-desk job hours creating new work, rather than going to markets this year.  In fact, I have only participated in one market/festival this summer--Troy River Fest.  I have found that refraining from doing markets limits the amount of time I have to be "on," in a sense, selling something (my desk job is very customer service oriented).  Not adding a sixth "on" day has greatly contributed to my ability to reserve energy and sanity.  I have also provided myself with self-evaluative time, to let the creative process work. 

I've been very interested in birds lately-- colors, meanings, songs... I have been noticing the cardinals flitting about, and am excited every time I hear a "pretty bird" warble in the distance, or see a glimpse of red flutter in the green.  I've begun a triptych, three 4"x4" wooden panels, each with a different bird of a primary color (yes, indeed, a cardinal is one), to create a complete piece about happiness, self-worth, and abundant creativity.  It is the most commercialized I've been able to make my artwork, and still maintain my convictions about the work I do.



So what are those convictions?  How is my work different than any other artist out there working in the field?  A lot of it has to do with the material I use.  I take fashion magazines like Glamour and Vogue, as well as pop gossip magazines like People and US Weekly, and cut them up to use their color and texture like paint.  By doing this, I differ from other artists in a few ways.  The first is that I choose these magazines for the very fact that they are exploitative-- not just of women, but of people.  They promote an idealized, consumerist, wasteful, over-sexualized approach to life, economics, and social interaction, that is devoid of love, connection, and humanity.  Some of this is through the articles, especially in the case of the gossip magazines, but most of this approach is conveyed through advertising.  So I cut it up and turn it into something else.  The second way I differ from other artists through my use of materials, is that many collage artists will reappropriate images in their work, which I do not do (although most illustrators who use collage do create their own images).  The third way I differ from other collage artists is the scale of the work and the exclusive use of magazine paper -- the tiny cuts, without paint or other media to layer or fit them together.

So what is it that I illustrate?  What is the new content of these colors and textures?  All of my artwork contains the four natural elements in some respect-- earth, air, fire and water.  This is the backdrop for all my work.  All of these elements exist in the world in which we live, all working together, and we can view this cooperation as a model for ourselves.  Although, like in the game rock, paper, scissors, one element could trump another in some way, this natural intertwining is not how the elements play.  Rather, new phenomena are created-- storms, smoke, creatures... and rather than any force winning, these phenomena add layers to our world.  The foreground of my work focuses on totem animals.  I cull meanings for animals from various Native American cultures, choosing the ones that best fit the piece and the meaning I want to convey (occasionally I will draw from other cultures, i.e., African, East Asian, when an animal I want to use is not native to the Americas).  Sometimes I will juxtapose two animals together, or have their meanings run alongside one another.  For example, in the piece "To Know Bounds," I wanted elements that represent not only relationships and the deepening of them, but also elements that work together to suggest an intuition about boundaries and knowing one's limits within a relationship-- when to move forward, to prod, and when to sit back and let things go on their own.  The moth and rabbit were perfect for this. 

Progression for Keeper of Secrets © 2013.

To create a piece, I first start with a sketch.  I use many reference photos before I get a sketch I'm really psyched about.  Then I start cutting.  First I go through magazine after magazine to form a little bank of colors and textures I want to use.  If I'm lucky, I may already have a pretty good bank from the last few pieces I've worked on.  Then I choose an element (usually the animal in the foreground) and start with the tiny cuts.  I paste them together with acrylic medium.  Once the animal elements are done, I start with the background.  This part is difficult.  If not done correctly, it can fall flat, or be too chaotic.  And oftentimes, the paper can get bubbly and crinkly, which doesn't lend itself well to reproductions, so those pieces don't get printed.  Once I've completed the piece, I go over the surface with an acrylic varnish, to protect the paper and keep all the little bits together.  Then I scan the piece into the computer, for later use in reproduction, and just to have a record of the work.

So... to further this blog tour, I invite you to take a look next week at the work of Ali Herrmann.  Although not an illustrator of books, she is another artist who is illustrating our world.

New Illustrations

I'm focusing time this year on moving into the children's book market.  One step I've taken is to create collage pieces that clearly move through a known story: Aesop's "The Crow and the Pitcher."  I've added a snipe to the story in a reenvisioning of the classic fable, and for an element of competition.  In keeping with my M.O., each piece contains the four natural elements in some form, and the birds are totem animals.  I'd be interested to hear your thoughts and comments, if you'd like to post them.

Overcoming Obstacles I - © 2013 Nicolette Callaway
5"x5" cut paper on canvas

 

 

 

Overcoming Obstacles II - © 2013 Nicolette Callaway
5"x5" cut paper on canvas

Overcoming Obstacles III - © 2013 Nicolette Callaway
5"x5" cut paper on canvas

New Collage - "Let the Spirit Take You"

I began my most recent piece in April.  I finished it last week.  Five months may seem like a long time, but sometimes art requires that an artist let a piece simmer while doing and experiencing other things.  In the last five months, much has happened.  Lessons have been learned.  Time has moved both quickly and slowly, things have been gained and lost, and hearts have been broken and mended.  This piece speaks to all of that.

The animal totems that appear in "Let the Spirit Take You" (2012) are hummingbird, tortoise, and dog (Golden Retriever).  The hummingbird is a symbol for accomplishing the impossible, and finding joy in all things.  The tortoise represents longevity, persistence, patience, slowing down enough to identify what's really important, and finding the abundance in simplicity.  The dog generally represents faithfulness and protection, and the ability to love.  The Golden Retriever in particular holds qualities of confidence, patience, friendliness and domesticity.

In this piece, all of these totems surround a woman.  She is relaxed, yet vulnerable.  And with vulnerability comes fear.  The hummingbirds are flying at her head, sort of kamikaze-style.  Perhaps they are trying to make most apparent that she can accomplish anything, and that she doesn't have to think about the how but rather just feel the joy of wherever the Spirit takes her.  The tortoise provides stability for her to recline, but it is in her face, talking to her, making a point.  Perhaps it is telling her to slow down and, again, not think so much, but rather watch, be patient, make it through.  The retriever is lying on her feet.  It doesn't worry.  It loves.

Recently I had a conversation with someone about the nature of love.  It is immutable, flexible, infinite, expandable, and unoppressive -- and solid.  Love isn't fleeting, contrary to what many may think.  Love allows us to break, and allows us to mend.  It helps us complete the cycles we experience throughout life.  Where would we be without it?  Likewise, Love's friends -- Patience and Persistence, among many -- are also our helpers.  They all work together to help us accomplish what we never thought possible.  And when we let them help us out, things like how and time -- well, how shows up, and time moves without us even realizing.  Perhaps that's part of the key -- don't think so much.  Let the Spirit take you.

"Let the Spirit Take You"
2012
paper and acrylic medium

Yesterday's Market

So a few people have asked me how I did at market yesterday... every Saturday/Sunday I get this question. 

My answer for yesterday is:  "I don't even care about the money. I had a butterfly, a bumble bee and two honey bees fly into my tent!"

The bumble bee flew right toward my face, then up into the top of my tent.  I told it it needed to come back down in order to get out, and then I went about selling.  All of a sudden, it dropped itself onto the table with a bang, right in front of a customer, then flew out.  The honey bees came and went and buzzed around me like they always do.  The butterfly was yellow and black, just like the bees.  It flew right on in, and then got stuck between the top of the tent and one of the sidewalls.  It was missing one of its bottom wings, but after I helped it out of my tent, it just kept on going, like it never knew it was wounded.  

Now, that is a good day. 

Additionally, yesterday I had a meeting with my niece, who is collaborating with me to write the story for my children's book that I mentioned in a blog post a few months ago.  Slow moving, some things are... but they shall still get done.

Art on Lark

Come check out Art on Lark 2012 this Saturday, June 9th, 10am-5pm (tomorrow!).  There will be music, food, and of course, lots of art!  I'll be hawking my wares closer to Madison Ave, offering fine art prints, card prints, original artwork, handmade jewelry, hand sewn fabric bags, and, of course, sock monsters! 

I'm looking forward to the weather getting rain completely out of its system today so that tomorrow is bright and calm and balmy, with nonexistent wind action.  Let's see the power of positive thinking!

Prints are up on Etsy

The images you may have seen before, but the items are new.  All prints are on 8.5"x11" archival museum paper, with the image centered at a size slightly smaller than 5"x7".  They're ready to go in a frame, or if you want to get fancy, you could stick them behind an acid-free matte.  Most are limited edition runs, but my signature piece, "When The Time Is Right" (fox and owl), is an open run.  They're really quite a nice addition to any wall, mantle or buffet.  Check 'em out.  www.nicolettecallaway.etsy.com

Martin the Raccoon - Study

I finished my first raccoon study for the children's story I am illustrating this year with my friend Tom.  Martin may not end up being named Martin, but considering that raccoon is the protagonist of the story, I figured I may as well give him a working name. 

Did You Disguise Yourself To Hide From Yourself?, 2012

This piece developed from raccoon's totem significance, being the master of dexterity and disguise, and what that may mean for a young one struggling to develop its own identity in the midst of developing into a transformation master.  How can you know who you are if you are constantly changing yourself to look and act like something else?  It's a common question with human adolescents, too, and one thing that makes the story timely.

In this illustration, raccoon has just discovered that he has disguised himself as fox, though because he doesn't yet quite understand his transformative powers, he is shocked when he sees fox staring back at him from the water.  He then sees us staring at him, and he looks back, either to ask us what we know, or to tell us to go away out of embarrassment.  Maybe both. 

(Unfortunately, my scanner is on the small side, and has cut off the right and left edges of the piece.)