Author Archives: Heidi Wilson
Heidi here. I’m in book jail, and I’m not writing fast enough. I was already not writing fast enough when I came down with the flu. The words dried up completely. Here are my four tried-and-sometimes-true methods for making the deadline anyway.
- The filing method: shuffle paper (or electrons.) Look through all those appended notes for corrections and improvements. Organize them. You may use pretty-colored file folders to do this. If you get lucky, some sentence will click and you find yourself writing instead of amending.
- The copy editing method: You’re going to have to weed those adverbs eventually. Start the line-by-line read-through. The upside of this method is the same as for Number One. Some connection will appear that sets you to churning out words for elsewhere in your book. If worst comes to worst, you end up with fewer adverbs and cleaner prose.
- The jig-saw method. Bring up on your screen all the hopeless dreck you’ve generated while trying to get your current chapter right. Clip out the substantive bits that simply must be in the final version or the plot won’t work. Dump them in a new file. Try to make them fit with each other. This method works the way physical jig-saw puzzles do: each sentence — even each phrase — that meets your eye might just fit over here… or over here… or…. And you’re just going to do one more piece before you stop. Really.
- The butt-on-chair method. For those of us raised as New England Puritans, this is Number One, not Number Four. If you were a serious writer and a virtuous person, you would simply ignore your illness, sit down and write. The result would be War and Peace or the Iliad, at least. On account of your will power, you see. The fact that this is a total crock never penetrates the Puritan mind. Neither does the fact that if you try it, you succeed only by using methods 1, 2 or 3.
You’re going to be sick no matter what you do. But if you can bring yourself to put your hands on that keyboard, and something does click, for some blessed number of minutes, you’ll forget to feel sick.
Holiday tip: check out The Harvard Book Store’s Holiday Hundred
I like my cozies cozy. We’re talking mystery novels here, of course. The base-case definition of “cozy” is “no overt sex or messy violence onstage.” For me, there’s one more requirement: the story has to happen in a place and/or a social setting made so vivid by the author that living in it for the length of a book is worth the price of admission. Cozy, after all, is a matter of one’s surroundings. Solving a murder? Not so important. It’s local color that makes me part with my cash in the bookstore.
Currently, I’m reviewing the presence of the great state of New Hampshire in the umpteenth draft of my novel. It’s a wonderful place, no question. I notice, though, that my local color focuses only on the nice stuff. Autumn-leaves-sort-of-thing. This is the “place” equivalent of the sweet and comforting cat owned by so many mystery protagonists. Said cat never ignores her owner, gores the vet or vomits on important people. Autumn color on the Kancamagus Highway is New Hampshire’s version of that cat.
So I’m hunting around for aspects of the New Hampshire life that will take readers into the real place, including the unsweet parts, which they will nonetheless want to explore with me. Here’s where that effort took me.
The Kancamagus, narrowly defined, is 37 unspoiled miles of two-lane road through the White Moutains, no turnoffs (except for trailheads), no gas stations, no food outlets, no nothing. On the other hand, it starts in Lincoln, New Hampshire, home to the Loon Mountain ski resort and a stretch of random and ramshackle shops whose only purpose is to extract dollars from skiers and leafpeepers. You can eat a gyro, spend more on a mountain bike than the annual household income in Rwanda, or get your nails painted blue with little sparkles on. Every tourist trap in the country could boast the same. So how is this New Hampshire?
I find a possible connection: a little strip-mall shop that sells very upscale foodstuffs, organic of course, plus Luna bars, sandwiches, and elaborate chocolate pastries clearly made by machines in a factory somewhere well to the south. But one of the sandwiches is a lobster roll better than anything I’ve tasted on the coast of Maine. Why make that a specialty? Because this is northern New England, mountains or no mountains, and the lobster is one of our totem animals. (So is the moose, but you don’t want moose on a bun.) Serving bad lobster is done in New Hampshire, yes, but it is nevertheless Not Done in New Hampshire.
Winter is another New Hampshire specialty. I do let my heroine enjoy the first pristine snow of the season. This brook isn’t just down the road from my house, but its twin brother is.
Where I have to be stern with myself is on the downside of all this loveliness. Hence :
We aren’t the rural state we once were, either. In the southern tier, New Hampshire is becoming downright post-industrial. The Portsmouth Naval Shipyard is no longer the economic engine of the area. It’s more a blight on the sea coast. Good place for a thrilling climactic chase scene, though.
So one way or another, I imagine I’ll give my readers a place more interesting than some non-denominational Heaven. If I get really desperate, I still have one lead to follow:
So here I am, on what I hope is the final substantive rewrite of my first mystery. I pantsed it, and I had a great time. I loved my characters, just set them down on the page and let them romp. Have you ever watched very young children – five or six years old, say – make up a game out of their own heads, coming up with a story and acting out the roles? I had that much fun, I really did.
And now it’s all come home to roost. The bill has come due for all those joyous episodes of ‘Ooh! Wouldn’t it be great if …’ For instance, I have a character who started out a genealogy snob involved in a lawsuit and ended up burying his ancestors (literally) and switching sides on the suit.
Well, no disaster. I can see how that could happen. But as I romped through my game, I just sketched in the change, didn’t take time to act out in my head the character’s inner or outer experiences. Result: a vague and confusing switcheroo at best; at worst, a great, clunky meta-clue to the reader: this character is being manipulated to work a plot. Why, he’s not a real person!
My faithful TNW critics (make that critiquers) pointed out a similar problem with another character. I noticed for myself that the police showed up, getting things wrong, when I needed to spur my amateur detective on to greater effort, but not when the police probably would show up in a real investigation. To crown my shame, one colleague gently pointed out that the pair of cute ferrets I had introduced (to make this work a proper cozy) really ought at least to appear in the closing scenes.
This isn’t one of my usual streams of whining complaint. I really can see how to solve the problems, and I’ve set about it. I’m pulling together separate files of all the passages on each faulty character, each badly constructed plot line. And that job has me wondering: if I had done that work before I started writing, I’d be a plotter, wouldn’t I? It sure sounds more efficient. But would I then lose out on all that five-year-old, cowboys-and-Indians fun?
On a practical note, here is a question for readers: do you use a writing program like Scrivener? If so, is there an easy way to pull characters’ appearances and tease out individual plot threads to be looked at separately? It took hours to use keywords and the ‘Find’ function to do this job for a single character.
At present, I have each scene in a separate file, color-coded by the plot line that the scene mostly serves. But my writing is not so clunky as to confine each scene to actions serving only one plot. In Scrivener (I think – I’m no adept) I would have to put each paragraph in a coded file if I want to pull out individual subplots, and it still wouldn’t be precise. Ideas, anyone?
A few blogs ago, I was whining and complaining about the decline of all things literate: cursive script gone from the schools, editing that goes no further than spellcheck, and above all, letter writing that has dwindled to email.
But why mope? We’re all writers here; hence, we’re all readers; hence, we have access to the written treasures of the centuries. I went to my bookshelves and within minutes pulled down an armload of books likely to contain the kind of letters no one writes any more. Here is a sample to brighten your day.
In the parlance of his own day (the reign of Charles II of England) John Wilmot, Earl of Rochester was a rakehell. Not the man you would expect to write this letter to his new bride:
I know not well who has the worst on’t, you, who love but a little, or I, who doat to an extravagance; sure, to be half kind is as bad as to be half witted; and madness, both in love and reason, bears a better character than a moderate state of either.
Full disclosure #1: Rochester was an earl, but an impoverished one. His bride, with whom he eloped, was very, very rich.
Full disclosure #2: After a lifetime of drinking, whoring and brawling, Rochester repented on his deathbed and died in the odor of sanctity. On the other hand, we have only his friends’ word for this.
In Sense and Sensibility, Lady Middleton is wary of the Dashwood sisters, fearing that they may be “satirical” of mind. Wonder who Jane Austen was thinking of? Jane to her sister Cassandra:
Another stupid party last night…. I cannot anyhow continue to find people agreeable; I respect Mrs. Chamberlayne for doing her hair well, but cannot feel a more tender sentiment. Miss Langley is like any other short girl with a broad nose & wide mouth, fashionable dress & exposed bosom. Adm: Stanhope is a gentlemanlike Man, but then his legs are too short, & his tail too long.
E.B. White and his wife hobnobbed with the literati of The New Yorker. It didn’t go to their heads. White to his brother:
The summer reached a sort of peak the day we went to the Blue Hill Fair and K [White’s wife] tried to take a leak in the bushes just as the trap-shoot started. She came out with only a minor flesh wound, but she might as well have been through Anzio. We all thought it was very comical, and one shooter (I heard later) got 25 pigeons out of a possible 25.
Helene Hanff, author of 84 Charing Cross Road, in New York, to her supplier of out-of-print classics, Marks & Co. of 84, Charing Cross Rd., London:
De Tocqueville’s compliments and he begs to announce his safe arrival in America. He sits around looking smug because everything he said was true, especially about lawyers running the country….
Did I tell you I finally found the perfect page cutter? It’s a pearl-handled fruit knife. My mother left me a dozen of them…. Maybe I go with the wrong kind of people but I’m just not likely to have twelve guests all sitting around simultaneously eating fruit.
While we’re on politics, you needn’t depend on cable news for furious denunciations of partisanship. John Adams to Thomas Jefferson, explaining why the excellent law codes of antiquity have been lost:
Why are those Laws lost? I say the Spirit of Party has destroyed them, civil, political and ecclesiastical Bigotry. Despotical, monarchical Aristocratical and democratical Fury, have all been employed in this Work of destruction of every Thing that could give us true light and a clear insight of Antiquity. For every One of these Parties, when possessed of Power, or when they have been Undermost and Struggling to get Uppermost, has been equally prone to every Species of fraud and Violence, and Usurpation.
And while we’re on the Adamses, a final love letter from one of the great love stories of history. Abigail Adams, in Braintree, Massachusetts, to John Adams, in France representing the newly independent United States, 1778:
How insupportable the Idea that 3000 leagues, and the vast ocean now divide us – but divide only our persons for the Heart of my Friend is in the Bosom of his partner. More than half a score years has so riveted it there, that the Fabrick which contains it must crumble into Dust, e’er the particles can be separated.
Now please sit down, think of your brightest, funniest, most verbal friend, and write him or her a letter. On paper, with a pen, in script. Just to keep Tinkerbelle alive.
I wouldn’t say that I have the knack yet. On the second full revision of my manuscript, I still feel like Alice with the Queen of Hearts’ playing-card army showering down on her head. There’s too much stuff to keep in my head. I question my own judgement. Sometimes I read a chapter and think, “Where’s the story? What was this about, again?”
But the process has changed. Mysteriously, paragraphs that came seamless from my brain now appear on the page with words, especially adverbs, and whole sentences blue-penciled. (Only metaphorically. No actual hallucinations so far.)
A lot of the stuff struck out by the Revision Angel is background, details about my imaginary community and beloved characters that please me greatly. On the first
revision, I couldn’t conceive of parting with them. Now, I see them as personal delights of my own, and I don’t object to clearing them away, giving my readers space to create the place and the people for themselves. My vision won’t disappear. Even if these details never make it into the series, I’ll still have them.
To my surprise, the pain is minimal. If I could see the expression on my own face as I work, I think I would look like my great-granddaughter when dessert is served. She listens, wriggling slightly, to her mother’s advice to “limit yourself,” sighs, wriggles just once more, and does not take another cookie.
My first six chapters now hang together and keep moving, but it’s time for a shock. Unhappily, the next thing that happens is a meeting. Not the “journeys end in…” kind of meeting, the kind with a Treasurer’s Report. The scene has a furious argument in it, but even so, a feeling of cerebrality creeps over me. No doubt getting your own way over Subparagraph 17b can be a genuine victory. The problem is ensuring that your prose doesn’t read like Subparagraph 17b.
This is where Alice’s playing-card army seems to threaten me. There are 40 scenes to go, at least, and the thought of rearranging them gives me the same short-of-breath feeling I get when playing jackstraws. If I pull this one stick out, will the whole pile collapse? How can I be sure that revision won’t become rewriting the whole book from scratch?
I guess I can’t be sure. There’s some new text in the six revised chapters, so there is such a thing as “a little rewriting.” I’ll just have to pick one jackstraw and pull. If you hear a loud crash, call 911.
I’ve been berating myself all week for not being Neil Gaiman.
I’m not bothered that I haven’t written multiple blockbuster fantasies – that’s past praying for. I’m just fed up with my inability to spot all the glorious weirdness I know is out there, just beyond my peripheral vision.
When Gaiman was writing American Gods, he traveled the U.S. by the back roads, stopping in the small towns, eating in the diners, and above all, visiting the “roadside attractions.” Genius that he is, Gaiman realized that in America, the loci of magical forces would not be intersecting ley lines, ruined temples or mysterious Templar manuscripts. They would be found in places like the House on the Rock in Spring Green, Wisconsin.
Now, I had a house in Ithaca, Wisconsin, for 9 years. I was less than 20 miles from Spring Green. For counties around, the sides of barns and old factories were plastered with ads for the House on the Rock. And I never went there.
I never rode the centaur on the “world’s largest indoor carousel.” (None of the mounts on the House on the Rock’s carousel is a horse.)
I never saw the doll collection, thousands of them, arranged on tiered platforms like a wedding cake (if you had a wedding where the guests ate the bride. Brides.) I never walked into the infinity room, suspended without support over the sheer drop below the Rock itself, a 60-foot column of stone atop which no sane person would ever, ever build a House.
Thoughtful people have reflected negatively on the House on the Rock. It contains a dusty collection without rhyme or reason, accumulated, it would seem, for the same reason that Hillary climbed Mt. Everest: it could be done. There was stuff in the world, so one Alex Jordan, Jr. built the House, bought the stuff, hauled it there and… that’s it. That was the point. If there was a point.
Gaiman is not a thoughtful, reflective person, he is a lunatic genius, so he knew what to do with the House on the Rock. In American Gods, the old gods of America’s immigrant peoples gather at the House on the Rock to debate the means of making a comeback. They ride the carousel. They quarrel. They split into factions. And then they are overwhelmed by other gods, who… but I won’t spoil your fun. Buy the book.
It happens that I spent the past week driving across America. Dope that I am, I did it the sensible way. I took the interstates. I ate at the same McDonald’s every day – it followed me around like a jackal. I read the same billboards over and over. The same jerk in the same Minicooper cut across the same three lanes of traffic every seven exits. Every mile of the northeast and the Midwest had exactly the same things on offer.
I tried, I really did. But when I reached my goal in the Rocky Mountains and toted up my score of weird-and-wonderful, it was pitiful. Three. That was my score: three.
Number One: Somewhere in Nebraska, above what looked like a warehouse, a billboard modestly touted its owner and his wares:
MAX I. (SOME-NAME-OR-OTHER).
CAREER APPAREL. FLOOR MATS. TOWELS.
Question: which careers?
Number Two: A woman sitting at a bar, her back to my table. Her heels – the real ones, not the ones on her sandals – are hooked around the legs of her bar stool. They are huge, perfectly spherical and smooth as cue balls. Her Achilles tendons could play a major part in a suspension bridge. If Achilles had built his up to the same proportions, he would have lived to sack Troy.
Number Three: A headline in the local paper. (This shouldn’t count, because when I read it I had already reached my destination. But I’m desperate here, people.)
Locals Become Leading Trout Semen Freezers
“John Riger and Barry Stout said that as far as they knew, they were the only ones preserving fish semen on their scale anywhere in the world.”
This was apparently good news for the Tasmanian rainbow trout.
On the other hand, Riger’s and Stout’s teenage daughters ran away to join a convent the day after the story was printed. And I really shouldn’t claim a point for this find: the accomplishment recorded took place in 1987. The Aspen Times has a regular archival feature. Around here, history is measured in decades, not centuries.
So, readers, help me out here. You aren’t Neil Gaiman, either. What weird-and-wonderful thing has crossed your path lately? And above all, where did you find it?
I was doubtful when my TNW colleague Mike Horton recommended that I take an online writing class with Onestory.com. This online literary magazine publishes just one short story per issue, but it also runs writing seminars. In the end, I decided to sign up, on the grounds that any outfit that could help Mike Horton to write better would have no trouble at all moving me up a step or twenty.
I’m an old fart, I admit it, and I hate computers. Participating in the course meant using something called PowerSchool Learning, a program like the online Blackboard now used in colleges. I don’t understand that either. In fact, I was given my own personal assistant at the Blackboard training session when my curses began to be audible to the group. The geek kept piously telling me that I didn’t need to have anything explained in advance; “it’s intuitive.” Yeah? Well, the PowerSchool Learning Welcome page ends with, “Good luck!”
But lo and behold! I could do it. What’s more, I figured out what it is about living in cyberspace that makes me nervous. It turned out to be exactly the problem I need to surmount in order to write the book I’m stuck on.
The first web page that came up was an essay by the teacher (Hannah Tinti, whose novel The Twelve Lives of Samuel Hawley was the text for the course.) Within it were links to books and articles elsewhere online. Those pages sent you to other pages, with more links, to pages with more links.
To use again a quotation I overuse: Ceci ne pas un manuel scolaire. The “textbook” for this course is not one you can finish, because it’s a meta-text. The internet is like the universe: finite but unbounded. If a particular chain of links peters out, another will ultimately be found to circle around behind the dead end and bring you to every- and anything else. It’s all experimentation and openness. That’s why the internet makes me so uncomfortable. How do you know if you got the right answer?
There isn’t one, of course, if what you are doing is writing a novel.
That’s why I found the first of the three sessions, “Beginnings” so inspiring. Tinti sent us to an account of Lynda Barry’s book on how to stimulate creativity, Syllabus: Notes from an Accidental Professor. Barry is a visual artist. Her book is based on a class she taught, “The Unthinkable Mind — a wonderfully unusual interdisciplinary course exploring the biological function of the arts and the psychological mechanisms of the creative impulse by blending cognitive science, visual art, and writing.”
I thought, “I don’t have time for this. Too much.” Wrong. Barry wants us to journal, but not to write reams of deep reflection. Her template journal page looks like this:
Just be there, so that you actually notice what you are doing, seeing and hearing. Then, no matter how crude your doodles, let your own interpretation of some part thereof appear on the page.
Tinti insists that just this kind of focus on individual things, events, and memories, along with a determination to bring just one such item to vivid life in a single scene, can bring a book into being. With examples from her novel, she convinced me she was right. For once, an author answered, clearly and in detail, that tired old panel question, Tell us about your process.
But best of all, Tinti doesn’t claim that it’s easy if you just use some technique. The Twelve Lives of Samuel Hawley took Tinti seven years to write – hooray! Answering a student’s question on her experience of writing the book, she began, “A few years in,…” Also, she had a proposal I really liked:
I feel like there should be a secret signal for any writer who has worked on a book for more than five years. Then, whenever someone corners us at a party and asks how the writing is going, we can salute each other silently from across the room.
Suggestions for the signal, readers? I vote for thumbsucking.
Now I’m ready to move on to Lesson Two on dogging one’s way through the middle, with “research” thrown in. I’ll get back to you on how that goes.
I was thinking the other day about the dying institution of marriage. The mystery I’m writing involves an inheritance which, in turn, hangs on the outdated concept of legitimacy.
Mind you, I’m all for dropping any stigma (if any remains) on being born “out of wedlock.” But honestly, older people, if you had been asked in your youth what major changes might occur in your lifetime, would you have predicted indifference to the presence or absence of marriage vows? Of substituting “if it works out” for “till death do us part”?
Anyway, I sat down and tried to come up with other dying institutions that I had thought would live forever. Lo and behold, nearly every one that occurred to me involved reading and writing — one of the core complexes of life for likely readers of this blog.
I had occasion to write something down for one of my grandsons not long ago. He frowned at the note – I thought my handwriting was the problem. I got no farther than, “Oh, sorry, that word’s….,” when he rushed to reassure me. “Oh, it’s okay, Grandma. I can read cursive script.” He can’t write it, though. The schools now teach printing, not writing, because who writes anything longer than a grocery list anymore?
Letters (in the sense of correspondence) no longer exist. Their factual content is now transmitted through email. Their creative, imaginative, playful and literary qualities are just gone. (Worse: their playful qualities are have shrunk and hardened into emoticons created by some wretch chained in an office cubicle.) Email is to letter-writing as tweeting is to thinking.
Now that apps have homogenized all forms of information transfer, “writing down” is no longer a distinct activity with defined functions in society. Do our grandchildren get the point of “The Typewriter,” the famous piece of music that duplicates the rhythm of typewriter keys, the ding of the bell at the end of the carriage and the slam of the carriage return? This tune, without comment, once conveyed “composition” or “news reporting.” (Click the link to hear the Vienna Philharmonic play it, with percussionist Martin Breinschmid on the typewriter.)
Editors are as the dodo. I am still unpublished, but I hear by the grapevine that publishers no longer employ such people. Or if they do, the evidence has vanished from much of what is published. My blogging colleague Eleanor Ingbretson recently read a mystery involving that nasty marine animal, the leech. It was spelled “leach” throughout. WTH. You know what I meant. (That link will take you to the blog of the same name, where you will find fellow mourners of the craft of words.)
(Subcategory of the above: use of the subjunctive. And don’t get me started on “may” and “might.”)
Paper is gone, too, or at least unnecessary. I think text is made of electrons now, but I really haven’t the faintest idea. Vandals burned the monastery libraries of Europe; hackers may yet wipe out War and Peace.
We have lived in the age of the Antonines, and Commodus is upon us. (Don’t bother me with questions when I’m being crotchety. Google it.)
Nowadays, even the Pope takes selfies. If you’re a committed writer and/or reader, though, you can get a better likeness than that. Share your shelfies, picture of your books. Give yourself a little leeway, and you can include your desk, your writing space and your reading corner. Why post a picture of your ugly mug? Show us your frontal cortex!
Here’s the most public of my shelfies, the bookcase beside my fireplace. It displays the books most worth looking at as objects. Almost all of those on the top two shelves were my mother’s or my grandmother’s. They’re bound in leather, tooled in gold. (The books, not my progenitors, though they were pretty hidebound, too.) The stretch of identical bindings is a set of officially worthy books, some of which are indispensable, like Pride and Prejudice and Wuthering Heights, though I’d already read those in paperback before it occurred to me to look through the family holdings. On the other hand, Lord Charnwood’s biography of Abraham Lincoln will probably be up there, unmoved and undusted, when I die.
The tall books on the bottom shelves are mostly art and coffee table books. I have no memory at all of their provenance. I think people break in at night and drop them off to free up their own shelf space.
Below, in extreme contrast, is The Holy of Holies. Books have to be canonized to get here, and for this purpose, I am the Pope. Most are fiction; a few belong on the history or science shelves. Atwood and Byatt are there, as are Pogo, the best of Diana Wynne Jones, and Perfection Salad, a study on the sociology of home cooking around 1900 that transports me to my grandmother’s kitchen. The woman in the picture is my best friend. A librarian, naturally.
Next, my Purgatory. These, combined, constitute the To Be Read pile. I’ll spare you images of the Lowest Circle (books that have been sitting around so long I can’t remember what they’re about, let alone why I bought them) and the Middle Circle (books I still firmly intend to get to, only not just now, because the purchasing impulse did not convert quickly enough into the buckling down impulse. There’s a lot of nonfiction here.)
Finally, the TBR Upper Circle. These are probably going to make it into my brain within a year or so. I hardly had to rearrange the piles at all to display all my major interests (widdershins from top left): writing, the Israel/Palestine conflict, mysteries and Buddhism. The mix stays the same all the way down. There are also a few specialized books picked up for research, for instance, a detailed description of a classic Yankee-clipper-era mansion and an endless account of everything known about the Abenaki people of New England. But I guess those come in under “writing.”
How about you, readers? What do your bookshelves look like? Are your shelfies a better likeness of the real you than what you see in the mirror?
Later addendum: Actually, it’s not your frontal cortex (which should have been “frontal lobe” anyway.) You read with your posterior parietal lobe. But somehow, “show us your posterior!” even with “parietal lobe” added, seems to change the tone.
I went down to D.C. two days early for this year’s Malice Domestic conference, because my husband had an event to attend beforehand. I was at loose ends while he expounded energy policy, so I wandered into the annual Smithsonian Craft Show. It’s a juried show that draws applicants from all over the country. More than 1,000 artists competed for 120 spots. Thirty-four states were represented.
You know how you can get really depressed when you read a good mystery, because you can’t imagine how you’ll ever write one that good? Well, here’s news: other crafts than writing can have the same effect. The sheer perfection of these objects left me wincing at my own feeble efforts to make a work of art out of words.
But I’m a brave little soldier. I walked around, took pictures, talked to artists and tried to learn. I’d planned to write you a profound meditation on creativity and craftsmanship. But what do I know? Below are eight of my favorite exhibits, followed by what the makers themselves have to say about the process of bringing them into being. Change a few terms here and there, and they’d apply just as well to the writing trade.
My work began as a quest for iridescence…. I studied and apprenticed with a master potter for six years. At first, my studies focused on form. I made thousands of sake cups, then thousands of tea cups, then, eventually, vases and other forms, until my hands and body could create without the intervention of my conscious mind. I performed thousands of experiments….
I was drawn to working with silk and dyes because of the vibrant colors of the dyes and the wonderful texture of the silk. Since I am self-taught in this medium, I had no idea of traditional silk painting and developed my own way of applying and managing the unmanageable dyes. I did, however, have a sense of the imagery that I wanted, and was able, after many trials and much patience, to adapt a process that achieves my goals.
It was not until I started planting my own gardens about ten years ago that my imagery changed from abstract to realistic in the form of botanicals. I was so excited every time something emerged or bloomed that I felt compelled to capture this beautiful and amazing natural structure.
Tom and Kathy Wegman’s beaded art lives when they began collecting Native American beaded objects. After a while, they began making their own art, inspired by the beads themselves — bright, shiny things with the power to transform a mundane object into a thing of wonder.
Using over 450 different colors of seed beads to transform everyday objects into works of art. They glue individual strings of beads to other people’s discarded objects — roller skates from the Salvation Army, a lunchbox from the local secondhand store. Their general policy is “the brighter, the better.”
I take my cues from everyday objects, nature, the world around me, something as basic as a leaf – simplicity and elegance on the surface, but with an amazing underlying complexity.
The reclaimed lumber he predominantly sculpts in provides a sense of history much greater than anything he could hope to achieve through artificial means. Elements of the wood’s own history, such as, nail holes, checking, and insect burrowing go into forming what he creates.
Retablos are sophisticated folk art in the form of portable boxes filled with brightly colored figurines arranged into intricate narrative scenes. From the 16th to the 19th centuries, Retablos were carried through the mountains by Spanish priests as portable religious shrines for Catholic saints. Later, they were adapted by indigenous people to include their own deities and mythologies.
These pieces arose from a desire to create something interesting with clear glass. I enjoy working in this style because of the balance between control and serendipity each represents. Maintaining the shape of each vessel while allowing the glass canes to create a chaotic and beautiful fused nest within the piece is an exciting balance to execute. As a result, no two are alike.
I lost my note of the artist’s name and contact information for this one. I’m still searching. For now, I’ll leave the nature of its inspiration to the reader as an exercise. Anybody care to ghost-write the artistic statement of this dragon’s maker?