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.

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.
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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

Could You Be Standing In Your Own Way Creatively?

Join the Owl Army!

CALLING ALL ONE SPARK ENTHUSIASTS! 

As you know Art Guardian is at OneSpark this year. Cindy Platt has graciously given me a spot at her space Down the Rabbit Hole. Yaay!

So guess what? I have a great way for you to be more than a spectator! 

You too can be a part of the energy and creativity that fuels One Spark! I'll need a few volunteers to act as sort of brand representatives and others to participate in a unique performance piece I have planned for the festival. It will be fun! You will be paid with my love and devotion forevah!

This way you be a part of the excitement of the festival and be awesome all at the same time.

Let me know you are interested in helping out by joining the event on Facebook or you can email me: tracie@theurbanatelier.com or theurbanatelier@yahoo.com and we'll go from there.

Storyteller Story #3: Wind & Leaves

“I like long walks on the beach, horseback riding, and deep conversation…” No. Scratch that. “Stimulating conversation.” Crap. I hate writing these stupid things. You can’t sound too smart you’ll scare someone off. You can sound like an idiot and you might get a date. Then they are disappointed when they find out you are smart. If you are physically attractive and smart, well…then their head might just explode. Ok. Let’s try this: “Multi-faceted individual. Looking for someone to grow with…” That sounds like a resume. Ok. “Must love nature. Must love hiking or at least walking. I love seeing the emerald green of my surroundings and feeling a cool breeze on my skin after working up a good sweat…” Hmmm. No. Too cheesy. Well…wait. I don’t want to sound all ‘hippy dippy’ but that’s kind of who I am. Right? I’ll leave it. Oh, who am I kidding? “I love horseback riding and long walks on the beach. Looking for someone to be my ‘plus one’…”

Storyteller Story #2: I Never Want Summer to End

“You are like my soul, a butterfly of a dream…It sounds as though you were lamenting, a butterfly cooing like a dove. Her eyes were the color of faraway love. Sus labius se cortaron en la luz del coral…”

We read Pablo together everyday. On the beach, in the sun, in the shade. He read it to me in Spanish (Spanish is so romantic!). I would get something like little butterflies fluttering or giant fish flip flopping in my stomach whenever he talked. Off in the distance I could see Mrs. Talbot with her 3 crazy kids. They only really listened to me. Mrs. Talbot said I was the best babysitter they’d ever had. No more babysitting for me! And now there is only Pablo and Emmet. I asked My mom if she’d ever heard of Pablo Neruda. She said no. I told her how romantic it was. She didn’t think I saw, but I saw her roll her eyes. It’s not my fault she’s all dried up inside. Emmet says it’s not our parent’s fault they can’t remember love. That we have to help them to remember what it is like to be young. I decided I agree with Emmet: getting old is kind of like a disease and we have to help the people that are sick. I told my mom one of my favorite lines from Pablo: “Love is so short, forgetting is so long.” She just looked at me. I don’t think she gets it.

Share Some More. For Real This Time.

Share Some More. For Real This Time.

So, one time, I was talking to this other artist who'd become wonderfully successful. This person did really great work and I was wondering what their secret was other than having great work. It seemed like sourcing funding was a big part of their success. At the time I didn't know much about finding my own funding and such things were foreign to me. As most of us artists have probably said at some point in time to each other longingly: “I wish I’d been taught grant writing in school…”

That Razzamatazz That You Do So Well.

So, I said (to this artist who was also someone I felt was a friend): "How do you do that grant and funding razzamatazz that you do so well?" (Nah, I didn't really say 'razzamatazz' but how can I pass up using that word?) So I asked what I believed was a relatively benign question. I was blown away by their response. Want to know what their response was? Dead air. Blank space. Silence. Zip. Zero. Zilch. Nada. Rien. And I quote: “I just look around.” That was all I got. So I pushed a little for more detail and still I got nothing.

Keep in mind, I didn’t ask this other artist to write a grant for me or hop onto Google and search on my behalf. None of that. I simply wanted a little direction. A smidgen of assistance. See, I had no idea where to start. Up to that point I’d felt that I was floating out in the middle of the great huge ocean that is being a ‘professional artist’. Deciding that you are going to be a professional artist is a frightening enough choice, but to then have a friend ignore a plea (a really desperate one) for help. I was heartbroken…and I was also confused.

Friend or Fear?

Why would my friend not want to help me? As pitiful as it sounds, that is exactly what I asked myself. Just add tears (I’m really sensitive.). It took me a little while to figure it out, but eventually I did. Sadly, after that initial experience, I ran into other artists who exuded the same sentiment: fear. The fear that there isn’t enough to go around is pervasive within the arts community. It stops us from sharing with other artists. There won’t be enough money. Someone is going to take my spot at the show. The judges might think their work is better than mine. I don’t need the competition. All excuses. Fear is an ugly, horrible, corrosive beast (check out my other posting What Would You Do If You Weren’t Afraid). Don’t get me wrong; I understand where the fear comes from. It can be tough to be an artist and earn a living; not to mention lots and lots of work. Every break you get helps. And I agree that resources are finite. I’m also not saying that my work is so fabulous that it strikes fear into the hearts of other artists, I’m just saying this person would’ve been afraid to share their experience and golden information with anyone.

All The Cool Kids Are Sharing.

If you decide not to help a fellow artist here's what you miss:

• You miss the opportunity to mentor someone.
• You miss the opportunity from stopping someone from going through the same pain and anguish you had to go through to learn your lesson.
• You miss the opportunity to create a sense of community among artists.
• You miss out on the opportunity to be nice and helpful.

So share. Then share some more. I’m not saying become a Wiki for someone trying to bleed you dry of all your knowledge. Sharing should be a two-way street. Just don’t be afraid to help someone obviously in need. You will feel better when you share even just a little bit. Promise.

I'd be interested to hear what you think.

What Are You Waiting For?

As artists it seems like we are always waiting for something... for someone to buy our work, for someone to recognize our talent, for someone to give us the job we've always wanted. To be the independent thinkers that we are, it sure seems like we do a lot of waiting for others to give us what we believe we deserve. Furthermore, the people we are waiting on tend to be corporate entities and organizations (in general not purveyors of independent thinking and creativity) holding our futures in their hands...or do they?

For a long time after being out of school I looked and looked for a job in Graphic Design. I looked in Jacksonville. I looked in Philadelphia. I looked in San Francisco. I was looking for other jobs too and had worked other jobs, but what I wanted was a job doing what I loved: being an artist. I'm not sure why it took me three cities and several years to understand that when no one is offering what you want, even if you've really worked for it, maybe you have to create it for yourself.

How does one get something that only another person can give them if they don't want to give it to you? Good question. I'm not talking about them though, I'm talking about you. Create the opportunities you want for yourself. 

How do you create opportunities for yourself? Here's a couple suggestions:

1. Waiting on a job? Create your own. If you didn't know, there are freelancing and contracting sites for artists as well. It's not all Monster and CareerBuilder out there. Carbonmade is one example but there are many portfolio hosting sites that also make your work accessible to those looking for artists for temporary or contract assignments.

2. Want to build your rep? Offer to work for free (for a trial period) or volunteer. I know it seems counterintuitive, but providing your services and to a non-profit or an organization that needs them might put you in the right place at the right time. If you are offering a trial period for your services make sure you are proactive and specify an end date. In both of these types of situations don't forget to protect your work and ask for testimonials and/or letters of recommendation in exchange for the work.

3. Want to participate in a show/exhibition? Organize your own. Sitting around waiting for the perfect time, opportunity, and people to align so that you can be in a show is sometimes like waiting for a unicorn to appear. I know I make it sound super easy... because actually it is. It is just a large amount of work and organization. I've done it. I looked for other artists to show my work with and they disappeared or just didn't follow through. I ended up doing the show alone. But it was great. Stressful and a whole lot of things went wrong, but it's one thing I've done where things weren't anywhere near perfect and I was still very proud of the experience I gained.

I've just given you three examples, But there are many situations in which you can create your own opportunities. You just have to look for the way out of what you feel is a room in which you are trapped, there's usually a simple way to solve your problem--usually it just involves making your own exit.
 

Art Clique. Art Crew or Art Cruel?

 I think clubs are great. Not the dancing, loud music kind (though those are awesome! Who doesn’t love dancing??), but the ones where like-minded individuals who have similar interests get together and bond. This doesn’t mean that you all think exactly the same things and execute your artwork in the same way. It could be something as simple as you are all writers or sculptors; or it could be nothing at all except your desire to share a space. Whatever has brought you together has the potential to be a great partnership.

The Rise of the Collective…Again.

Over the past few years there has been a steadily growing trend of artist collectives and cooperatives for various reasons. Artists coming together and forming communities is nothing new though.

Sometimes ‘more’ is just ‘more’, but in the case of artists combining their assets, so to speak, ‘more’ can definitely beneficial.

The More We Get Together…

Not all cliques are bad. Artists get together to share studio space, do collaborative projects and performances, panel discussions, and create educational programming. All events and situations can go just a little bit smoother when working ensemble. When we as artists come together we can exchange ideas, be inspired by one another and have the opportunity to create so much more.

Throughout history artists have also come together as a response to being excluded from the more mainstream and conventional fine art circles.

A few examples: The Eight was a group of artists (mostly) associated with the Ashcan School; The Anonymous Society of Painters, Sculptors, Printmakers etc. organized a showing of art that eventually became the Impressionist Movement. Afri-Cobra was an artist collective that came about as a response to the turbulent and revolutionary 1960s and 1970s. They were a group of artists bound together by their political and social commentaries. See? As groups and collectives these artists ended up being much stronger initially than going solo.

Here Come the Cons…(the Opposite of Pros, That Is)

As the universe would have it there is a yin to every yang. There must be an opposite and opposing force. So just as getting your own art crew together may have its benefits there are also possible side effects or crappy circumstances that develop. Sometimes we are absolutely oblivious. So here’s are a few hints that your once super and supportive art crew has gone art cruel:

When Your Art Buddies Have Gone Bonkers.

1. When You Are No Longer Allowed to Be an Individual. Just because you are a part of a group it doesn’t mean you are supposed to do exactly the same thing as the artist next to you does. If you are being pressured to copy someone else’s style or technique. You aren’t being allowed to develop organically as an artist. No chemical fertilizers necessary ;) 

2. When Other Artists Spend More Time Bad-Mouthing Other Artists Instead of Producing Work. High school and various non.elective work situations are toxic enough! Why would you choose to subject yourself to negative gossip fests about other people who are more than likely…wait for it…working!? Plus talking bad about other folks makes you feel yucky inside. We don’t want yucky insides do we?

3. Is This an Episode of “The Young and the Artless”? If there is drama in your workspace or every time you and your crew get together this could be a drain. When you are drained you aren’t focused. When you aren’t focused you don’t do your work. When you don’t do your work you aren’t happy. When you aren’t happy you make other people miserable. Don’t make other people miserable.

4. You Feel Less Creative. Who wants to be a part of an art group that makes them feel less like creating new work? Working with others has the potential to infuse new energy into your work and career, especially if you’ve only worked solo. So if you no longer want to make anything or do anything while associated with your group, maybe you should rethink the group thing.

5. When Being Apart of the Group Yields More Negatives Than Positives. This art collective/cooperative thing should be good for you. It should be a positive thing to say the least. If dues or rent have become a strain, you are pulled into secrets and intrigue (Who really wants to live in a Clancy novel? Read yes. Live no.), or if you are plain old unhappy, let it go.

Here I Go Again On My Own.

All of this talk about groups making you feel lonely? No need. If you work best on your own there’s nothing wrong with that. A lot of us artist types love to go off and do our own thing and that’s great. Just keep in mind there’s a whole other world of collaboration out there. You just have to know when it works for you and when it doesn’t.

I’d love to hear what you think. Are you a part of an art crew? How do you feel about it?

Encourage someone else to ‘get reincarnated’! If you liked what I wrote feel free to pass it on. Thanks for reading.

The Reality of Being Fashionable.

The Not So 'Real' Reality.

Fashion week is upon us/finishing up/finished, and recently I was looking at an article by a very popular 'fashion blog/site that shan't be named'. I won't name it because it doesn’t matter. Quite a few of the fashion blogs are the same: no everyday people wearing affordable clothing and accessories.

There’s nothing wrong with having a wish list of really expensive items that you want. But when you have to save up for these items like you would when buying a house it is just sad. Why not have a list of items that are within your reach right now?

Often, during New York Fashion week, there are plenty o’ slideshows of those fashionable fashionistas in attendance. When they show pics of the 'everyday person on the street' these people are wearing ridiculously priced pieces of clothing that are usually over the top avant garde (or just bootay ooglelay,--that’s ugly--for those of you not fluent in Tracie speak…),everyone seems to come from the planet Size 2, and all of the ‘everyday folks’…they all have names like Martinashala, Furlina and Apricot and are the interns from some chic chic fashion house. Also, how do these chicks afford a $200 tee shirt working as an intern? Your guess is as good as mine, but I am here to tell you that looking great doesn't mean you won't be able to buy groceries this month or that you have to have access to the wardrobe room at a fashion magazine.

How Does This Work?

So how can you be super adorable and super fashionable without breaking the bank? First things first: stop buying crap and wasting your money, most importantly expensive crap. This is the #1 rule that you must abide by. Can’t get around it. How do you determine if something is crap? Well you look at it of course.

• Are the inside seams of the clothing finished or raw? You want finished.
• Look at where two pieces of the garment are sewn together, gently pull both sides away from each other. Is the seam coming apart? It shouldn’t.
• Are there numerous (serious) online complaints from store customers where you are buying your items concerning quality?
• Have you bought several pieces from a particular store where the clothing or accessories only last a couple months?
• Is a necklace falling apart before you even leave the store? Are all links and rings closed?
• Look for quality fabrics and ones that will maintain their shape. My favorites are natural ones that usually don’t melt when you attempt to iron them. This means no pleather allowed.
• Check straps and soles of shoes and make sure everything is secure.

The second step is to invest money in quality items that can be used for more than one type of event or activity:

• Separates that can move from brunch to business to partaaaay! This isn’t always possible but do please try. You will get more mileage out of the items you buy if they are versatile.
• Find jewelry that is distinctive and well made that can be worn with lots of different outfits. You don’t have to go to a major fashion house and spend $1000 to get great jewelry. A great artist might be right down the street. Even better, a smaller artisan operation may be willing to work with you on the price. Check out sites like Artfire, Etsy, and Luulla. Urban Temple Jewelry (my little jewelry machine) produces museum style, culturally influenced pieces that can be worn everyday with just about anything. I would totally rock a layaway style payment plan if someone really wants a piece that I have made. Though I do work for money, I work for the love of art and I want all of my pieces to have a good home. I’m sure that a lot of artists (not all of them) would feel the same way. You never know until you ask.

One necklace three ways:

Third, try being thrifty. There are a couple of ways to do this:

• Go to the thrift store. There are still great finds to be had in the thrift stores, Goodwill, and Salvation Army. They haven’t all been found. People donate more stuff everyday. Try stores that are off the beaten path where there might not be as much traffic. You are sure to find something that not everyone else has.
• Check out the racks at your local discount store trinity. What is the ‘trinity’ you ask? Marshall’s, TJ Maxx, and Ross. In recent years the pickings aren’t as good as they used to be but still worth a look. Approach sales and clearance racks with the knowledge that things in these discount stores are discounted for a reason. Even if you can’t see it or predict it you will always find out the reason why things are in one of the stores in the trinity. Maybe it is just about colors or the season but there may be another issue.

And fourth, and most important, if you do buy super duper cheap pieces take care of them; actually even if they aren’t super cheap take care of your items and make them last. In this way, your clothing and accessories become more than a simple closet of clothes, shoes, hats etc., but an actual collection. So if shoes are looking a little ratty—shine em’. Something’s got a hole or the seam is coming apart—sew it. In this way when you do make an investment, even a $10 one off the clearance rack of some discount store, it will be a good one.