Taking Flight on Some New Work!

Today I begin work on a project that has me shifting gears and creative focus. Time to put on my work clothes. Surprise it’s a flight suit. I often wear a flight suit to work on my artwork.

Over the years I have gotten a couple flight suits in which to work since working with paint, glue, or anything else I use is often quite messy.

Initially chosen in what I felt was quite an arbitrary way from a thrift store, a flight suit seemed a smarter (definitely more stylish) singular choice instead of wearing a trashed tee shirt, ripped up jeans, and two aprons (since I often back into wet paint or ink). I’ve realized it became a metaphor for the actual physical act of initiating my work or the regular practice of my artwork. Also, little known fact, I wanted to be a pilot. I thought very hard about going into the Airforce. Then I realized that taking regular random orders without questioning them was not a strength for my personality 😉 This was one way to still get a flight suit.

For me to wear my self-defined ‘art uniform’ means to be spiritually and mentally ready to do my artwork. It shifts my mindset and gets me ready as any uniform might get a person ready for a specific kind of job.

Do you have a ‘uniform’ for your art practice or anything else you do? Maybe your creative practice is gardening, landscaping, cooking, building or something else? Please share. I’d love to hear about it.

Saints of San Francisco…I’m Working on a Book Y’all

All of my work- printmaking, performance, acting, design, jewelry, video, collage, sculpture,etc.- has several primary themes unifying them: human connection, second chances, storytelling, systems of faith, and ritual.

Over the years I hadn’t realized how much and how many times my personal art-making practice (or ritual) has not simply ‘saved’ me’, but also preserved my sanity, helped me to uncover my joy, and to affirm my path and place in the world. Art grounded me during my time in San Francisco where most of my time was spent looking for a permanent home which is technically the equivalent of homeless. I spent my time looking for housing, work, and making art and journaling to document some of my experiences.

Since my time in San Francisco, I’ve shared numerous stories of my life there with others. After sharing various stories with others I was generally met with the same response: “Wow. That is wild. You could and should write a book.” This is paraphrased of course, but I swear this was the equivalent of most responses. I’d generally scoff and say, “Me? Write a book?! I do enough.” And that was the end of it…until the next time I told a San Francisco story.

The years of hearing this have worn me down though. I’d joined a writing group through Hay House publishing after attending one of their virtual writing boot camps. I’d joined initially to help motivate me with screen writing my family’s story regarding our experiences with the Prison Industrial Complex. Even though most people in the community are focused on writing novels and other types of nonfiction, I’d found the community to be extremely supportive. Then the perfect opportunity to test out this book writing theory that so many other people had about me writing about San Francisco presented itself; twice a year Hay House offers an open submission period for members. It seemed silly not to take advantage of this and so I did.

Putting this proposal together tested so many components of my knowledge regarding not only the business of writing but also the business of being an artist. Why do I do the work I do? Who is my target audience? Who am I talking to? What do I most want to say? It was existential…and a smidgen painful. One day I found myself crying because I had a challenging time removing some emotional clutter that was in the way of an idea coming forth. It was like really bad indigestion. In the end, my book of short stories became a teaching memoir combining my San Francisco (and other) stories with various exercises focusing on art ephemera, techniques, and media that have spiritual value for me in my personal art practice.

Though I will freely admit that I didn’t go into this proposal endeavor with a fully baked idea of what I wanted to do and how I wanted to do it, I felt like I came out with a product that is digestible. The equivalent of cookie dough ice cream or extremely soft baked cookies; still edible, but for some more people to enjoy my efforts cooking time might be necessary. I am proud though. I feel like my end product held together and yet there is still more work to be done. Much, much more work. So I continue.

One component of my proposal submission was a video. I made it a little about me, my work, and a summary of what my San Francisco book- called The Saints of San Francisco- is about. The saints part comes from the saints and gods that I created for random things like the Goddess of Dirty Toilet Seats and Bug Infested Mattresses while I was staying in many a Super 8 Hotel (not that they were visibly dirty it’s just the nature of hotel toilet seats and mattresses to host many bodies and butts. Why not say a prayer?). Below is my video submission. Please let me know what you think about the video or the subject matter. Would

Finally!!! The TalkTalkConvo Mini Doc

My new mini doc!

This documentary documents my TalkTalkConvo experiential piece that took place in several Jacksonville area libraries. I used the library as an artspace for several reasons; chief among them being art access. So often potential art viewers don’t necessarily feel comfortable in gallery and museum spaces. I most wanted to present this piece in a space that welcomed everyone. Minus the setup and breakdown time, loading in and loading out, I had so much fun doing this. My Mom who is like my art show roadie was amazing. I am also sure she was ready to kill me by the end of this experience. This was also a test of a Mother’s love!

This film is just a snippet of what I did for TalkTalk Convo but it means so much. I love the way everything came together in the end. Documentation is such an important component of the art process. It was actually the primary focus of the grant I received from Community Foundation. Though documentation is an important part of the process, it is often thought of last and in an unenthusiastic and perfunctory way.

So here it is. My whole-hearted and intentional documentation of my project. TalkTalkConvo. Thanks again to Isaac of Jellyfish Smack Productions who did the filming and Emily Connor who suggested him. He’s amazing. Take a look at the rest of his work too while you’re checking things out.

TalkTalk Convo | An Art Encounter

It’s happening! Nothing has gone as I’ve planned and I’ve learned to say “that’s ok”… I’ve enjoyed making the artwork for it. It is so much fun to play.

Here is a little of the design work I did for it. Once I love an image I have to experiment with it in different ways…

Please come if you can. I do understand that having these encounters at the library at different times of the day is an unorthodox way to have this type of art event…which is honestly the point! It makes it that much more fun! So stop by when you can. Maybe on your lunch break. Check out the events page for places and times.

Just Applied for a Grant to Support This Work.

So recently I applied for the first round of consideration for a Creative Capital grant. I have to admit the first time I applied I thought I did a good job writing about the project. I did not. #growth right?! I feel like my process and the way I think about my work has greatly improved and there is always more growing to do… The proposal I submitted is concerning my project, The New Slave Matrix. A four part project concerning the prison industrial complex and my family’s experience with the justice system. The application was actually a series of several questions. I compiled them and I thought I’d share.

The New Slave Matrix: The Stages of Loss In Reverse 

The New Slave Matrix investigates the impact of America’s unyielding appetite for incarceration and the re-configuration of a system that commodifies the human body: slavery.

 Why is there such complacency with 1.5 million Americans in prison?

If we recognize our justice system isn’t just, why aren’t inmates given voice as a marginalized population? Are we convinced (like Americans during the Antebellum period) imprisoning millions Americans is normal and necessary?

The New Slave Matrix: Stages of Loss In Reverse explores these questions.

 Slavery is defined as “the condition in which one person is owned as property in involuntary servitude.” The New Slave Matrix doesn’t require conventional ‘work’. Over 4,000 companies profit from the prison industry. The annual cost to families for phone calls, emails, and commissary purchases totals more than $2.9 billion. The Prison Industrial Complex is an industry, dependent on bodies occupying a space: prison.

The New Slave Matrix is a multimedia project investigating the impact of America’s unyielding appetite for incarceration and the re-configuration of a system of body commodification: slavery. It interweaves stages of grief with personal narrative and socio-anthropological research illuminating how families, like my own, navigate connection staccattoed by years of incarceration.

 Combining visual media and performance alongside billboards, projections, and film, The New Slave Matrix consists of interactive public experiences to engage and educate viewers. The project uses the stages of grief- shock, denial, anger + frustration, depression, decision, and integration- to illustrate the trauma of families separated by incarceration and the loss of an individual life that ‘could’ve been’.

The New Slave Matrix asks what does it take not only to survive and thrive, but also hold family together.

 The primary goal of The New Slave Matrix is to broadcast the connection between prisons and profit as a public message. The presentation of a deeper understanding of what this means from a human rights perspective can be a catalyst for change. This project is meant to be shared publicly, not only in art and gallery spaces. Various components of this project will meet people where they are via projections, film, and billboards in public spaces.

 The New Slave Matrix is a message from the Emergency Broadcast System.

 The New Slave Matrix is my family’s story.

 My brother Darrell has been in prison a decade. My Mother navigated cancer and witnessed her son struggle in the net of the ‘justice’ system simultaneously. Over the years, we have spent thousands of dollars for travel, emails and phone calls. Darrell purchases basic needs from the prison commissary managed by corporate entities. My desire to share my family’s story and spotlight the correlation between prison and profit fuels this current work.

As an artist, I focus on concepts that connect us all: faith, metamorphosis, storytelling, redemption, and rebirth. Artists like the Guerilla Girls have greatly influenced me; their presentations of statistics on billboards tell a story, are accessible, and influenced my public projections regarding the importance of voting.

I believe art activism can be a voice for those the public has been told to ignore. I am my brother’s voice.

 The intended outcome for this project is to change minds. The New Slave Matrix is a call for education, accountability, and change. Another goal is connecting with the incarcerated as well as their support networks, demonstrating they are seen. Additionally educating and engaging those who are ignorant regarding the profiteering motivations of the Prison Industrial Complex is essential. The final objective is challenging lawmakers to eliminate opportunities for inmate exploitation by corporations and creating laws offering redemption for those who’ve committed a crime.

 The goal of all of my work is to engage community not a gallery. The context of art is humanity. Lawmakers, sociologists, and voters are my focus; those who create the laws, those who study social impact, and those who vote for representatives that potentially create legislative solutions.

To provide arts access, education, and engagement independent of traditional art venues is a core component of my work. Public art often bridges the chasm between art education and access. Using a park, a library, retail or otherwise designated public space will assist in reaching as many people as possible.

TalkTalkConvo Explained

Here’s a little more about TalkTalkConvo my current project in progress.

Along Florida State Road 301

I often took 301 to go back and forth to school at University of Florida. But before that, I’d travel with my Granny to Tampa to visit family. There were all of these places we’d stop for things along the way to bring my Aunt Minnie and cousins. Pecans and oranges at the top of the list. The Orange Shop with its own orange grove is still going strong. The place we stopped to get pecan brittle and patties has seen better days but not more interesting ones…

The Name Is the Frame

A name is a sort of frame for a picture. For me Thorn, my artist moniker, (which actually is part of my name) is the perfect frame for the picture that is my artwork and advocacy work. Because I received resistance with the various types of artwork and advocacy work that I do (for the incarcerate,formerly incarcerated, and equitable public art access) I began to embrace the resistance. Interestingly enough, I was listening to the book The New Jim Crow and heard a couple thoughts on ‘Gansta Rap Culture’ in what I feel is the proper perspective: “there is nothing abnormal or surprising about a stigmatized culture embracing their stigma”. It is all in an effort to find the positive in the negative. That describes me accurately for sure: definitely always trying to find the positive in all situations.

A name is a sort of frame for a picture. For me Thorn, my artist moniker, (which actually is part of my name) is the perfect frame for the picture that is my artwork and advocacy work. Here’s at least part of the story.

The Past Couple of Weeks Have Been Splendidly Art Filled...

It Starts With a Show.

I just realized how wonderfully filled with art the past couple weeks have been. So many art adventures! Since we’ve all (at least partially) reemerged from our pandemic cocoons, I too have begun going to more art shows since they’ve re-begun in earnest. There are very few things I find better than a good art show. I remember in college, my most favorite part of the on campus shows was the artichoke dip…I mean talking to the artists :) Also, any opportunity to wear a sequin y’all.

A couple Fridays ago I had the opportunity to go to the opening of the Deborah Roberts opening at the Cummer Museum. I went on many a field trip to the Cummer so it holds a special place in my heart. Deborah Roberts work is such a breath of fresh air for me as her collage work is very different from my own. It is also on a very large scale versus my ‘intimately sized’ pieces. I met and caught up with awesome folks which is definitely one of my favorite parts of any show: the people.

Meeting + Greeting.

The next great part of my week came when I had the opportunity to meet the rest of my Community Foundation grant cohort. I love going to Community Foundation meetups. Those folks always make sure the refreshment and company are good! We are all so radically different in our practices and how our art manifests. Meeting with and talking with other artists always gets me more excited about how I uniquely view the world as a practicing creative and how I can support others in their work.

Auditions.

So I had about six auditions over the past couple weeks. I’m sure others might have higher numbers and I’m still proud; it is a personal best for me :) They give any actor/actress the change to be imaginative and inventive and silly, tape yourself while doing it and submit yourself for consideration to do the aforementioned things and get paid. Genius. Auditions in the mainstream world are simply like an interview. Just an opportunity to see if you will be a fit for their project, just as someone might see if you’d be a fit for their company. For the record, I don’t think I’ve ever had six interviews for a regular corporate job before. Like I said personal best. I got to be a lawyer y’all…and a couple other things.

Gotta Love a Lecture.

One of the grantees from my cohort happened to be giving a lecture on her current body of work. Christie Holochek and I worked together when I was a member of Art in Public Places. Christie was one of the people who asked me to apply for one of the open spot on the committee. She and Tony Allegretti (the Executive Director at the time) felt like I’d be a good fit. I had no particular designs on public art. I definitely would’ve considered myself a community advocate at the time. Little did I know I was soon to become an art advocate as well…but I digress. Christie’s lecture was excellent. To gain a deeper insight into a body of work in the artist’s own words, it opens up a new world. Christie also engages in layered work and assemblage. I thought Christie was primarily a painter. It’s such a wonderful thing to discover new things about people you’ve known for a while.

Last But Not Least.

La piece de resistance is a Friday and Saturday duo of days spent with Elizabeth Gilbert of Eat Pray Love (and the ridiculously long list of other books she’s written) fame. Friday evening was an interview/chat format and Saturday was a writer’s workshop. I was so looking forward to it and didn’t even know why. I guess because since I was initially asked to write a screen play about my family’s experience with my brother being incarcerated, I’ve inhaled everything I could concerning writing and have been trying to absorb all I can. I went to hear Elizabeth Gilbert speak simply wanting to hear her share of her experiences, not as an established super fan of some kind. I’d only just begun to read one of her more recent books, Big Magic which I did indeed love after 5 pages.

First I’d like to say this woman is so funny. I thoroughly enjoyed listening to a conversation with her and another writer. It was like we, the audience, were simply listening to two friends chat. Then the writer’s lab was like some ‘finding yourself’ seminar. It was based more in the world of mindset and facing fears that come alongside expressing one’s creativity as a writer or any expression of creativity honestly. I didn’t necessarily enter a super fan but I definitely left one, not necessarily of her talent (and yes of course that is amazing too) but just a super fan of her as a fellow human and an even bigger fan of how she engages people. She is a wonderfully made effervescent spiritual geyser of a spirit. The pictures are of her striking a series of poses so that we could all satisfy our insatiable cultural need to take pictures and post them. Then we could put our phones away without feeling as if we missed a thing. Meeting her was the perfect culmination of an artfully made two weeks…of course not my last dynamic art fest but definitely the best string of art happenings I’ve had the privilege to participate in in a long time.

The New Slave Matrix: Inhumanity + Profit in the US Prison System

The New Slave Matrix: Inhumanity + Profit in the US Prison Sysytem

So often artists become their own subject matter. There comes a time when sharing your own story is the only way to educate others. This was tough I have to say…When my brother initially went to prison it coincided with my mother’s cancer diagnosis as well as other oh so traditional familial drama. If nothing else I have more than enough to ruminate on for many an art piece for decades to come. Also what I hope for is to give another perspective for those who look at those who look at those who are incarcerated and the tragic United States epidemic of mass incarceration as a black and white issue.

#TheNewSlaveMatrix is a project that focuses on the #prisonindustrialcomplex the profiteering that happens on the backs of #American citizens and it’s overall affect on family. The first phase of this is to share phone calls between my Mother, brother Darrell, and I on a range of topics. This project is something that has been kind of rattling around in my spirit for the past couple years. Deciding to ask my family if I could share our story as part of this project just happened a few months ago. I express gratitude to them for allowing me to share.
Though I’m sharing my brother’s first days at the first facility where he was held, Santa Rosa Correctional, this wasn’t our first recorded conversation, it is the most logical starting point.
Please #share my brother’s story, our story. It is the story of millions of Americans that goes unheard.
.
Listen to his story:

I Just Recently Received a Grant to Do My Project TalkTalkConvo!!!!

Grants Make the (Art) World Go Round.

I remember when I was in college. I honestly knew nothing about the world of being a professional fine/exhibiting artist.

When I truly began to understand that talking to others about my work as well as talking to other artists about their work, was the true path to being a working artist. Then, if you choose to talk to those who fund work about your work, well, it opens doors…in this case grant funding doors. I just recently received the good news that I’ve been awarded a Community Foundation Art Ventures Grant for my project TalkTalkConvo. Yaaaayyyy!!!! I love my work and believe in it and it is also an amazing feeling when you’ve convinced someone else of it’s value. I’m so excited to get started.

4th Times the Charm.

So this year was my 4th time applying for the Art Ventures grant.

Thinking back, I didn’t really believe being an exhibiting artist would be part of my personal journey. I went into the Peace Corps after college and when I finished I thought I’d be working primarily as a graphic designer. I then decided to at least dip my toe into things a little. After hearing that a friend from college received a grant and fellowship,I was fascinated. I asked her how do you do it? How do you enter this wondrous world where people will give you money to do the work you’re simply passionate about that isn’t client based. How do you begin? I asked. She simply said: '‘Just answer the questions.” Ha! What an oversimplified evasive maneuver of a question answer. Over the years I found out she was kind of right but mostly wrong. Answering questions about your artwork is mostly about leaving the fear of talking about your work in the past and being in the present to write about future work you want to create. Simple right? That’s why it took me four times. If there is any advice I’d give someone about grant writing at this point, it would be to give your proposal to someone who knows no details about what you plan to do and see if they get it. Because I so badly want to complete this project I, myself, had to move beyond my fear of allowing someone to help me help others fully understand my vision. It helped.

So What Is TalkTalkConvo About Anyway? And What’s This With You Repeating Words In Your Titles?

My in progress project TalkTalkConvo put simply is about my passion for talking an connecting with others. I read once that to read a book is like connecting to someone else’s dreams, just imagine how I feel talking to people. I truly believe that each of us has these deliciously interesting and invigorating idiosyncrasies just waiting to be discovered. Who doesn’t want to be discovered and understood?

So someone asked me recently why I repeat words in my titles. I swear I didn’t think anyone else had noticed. My last traditional show, PlayPlay, uses a phrase that I and other kids used to indicate that if something wasn’t real, (meaning not having real world consequences) it was playplay. For me the phrasing, just as it is with TalkTalkConvo is about the music and rhythm of conversation and communication, call and response, a refrain, and another opportunity. These words strung together are interacting. Interaction is required for talking as well as for play.

All of that being said, I’m so excited to embark upon this new adventure and new facet to my work. I’m also excited for you to join me. Let’s talk :)

TalkTalkConvo Proposal

We communicate at every moment. Whether or not we say a word. The bigger question: what arewe saying? Take a look at the proposal for my upcoming project.

Read the Proposal

The Things They (And I) Carried, Stored, and Reorganized.

At the moment so much is on my mind. Really at the top of the list: Recycling and rebirth. How to use certain things, how to move forward…in a number of ways.

There are some things that crossed my path in the past couple of days to I believe, remind me of where I’ve been and where I want to go. So much, too much on my mind.

A Time for Rebirth.

I happened upon this picture today. It was as if the Universe wanted to remind me that as so much is challenging us right now, this time of the year is also synonymous for rebirth, regrowth, change, and renewal. Also a good time I think to think of the things that connect us and bring us together.

Our Humanity.

I’ve been thinking of my brother Darrell recently and all that he’s been going through in the prison system. I’m always working on a project and also working on an article about how he was placed in solitary confinement two weeks ago with the intention that the prison want to leave him there for 30 days. The United Nations refers to this as torture. He’s such a good person. I hate the fact that he’s there for some people means that he deserves to be there… which means they have no idea what it’s like to not be able to afford your own lawyer. Here he is. The one that taught me about comics:

What We Leave Behind.

Also literally thinking on recycling. I think of so many things at once these days 🤦🏾‍♀️ I feel like my brain will explode sometimes. Just thoughts on what I’ve saved for collage, sculptures, paper maché, printmaking, and such. Trying to determine if I need to keep it or reorganize it. Recently sent off a package and I realized all of the packaging was recycled minus the mailing labels and tape. I was shipping a print. So I made the portfolio, the brown packaging wrap, the envelope for the personal note I sent.

I’m guessing this is a mood. A legacy mood.