Creativity, like any skill, must be managed. Throughout my career, I’ve worked with many insanely creative people. The most successful all had one thing in common. They understood that generating ideas is not a random flash of inspiration. It is a skill that is honed daily.
Here’s how I approach my work. This talk was delivered on Friday, March 11, 2022 to a wide online audience and members of PDX Commons.
My Three Shadows - mixed media mask
A couple of items found new homes on the east coast last week. “Mentor” pays homage to my many generous teachers and the impact their wisdom has had on my life. “My Three Shadows” is an early attempt at mask making. It ventures into the realm of what Rick Bartow described as “things you know but cannot explain.”
Examples of NFT media that can be bundled into the complete experience.
I’ve been exploring NFTs as a potential path to create richer provenance for my art. Traditionally, provenance refers to the history of ownership of a piece. Any gallerist will tell you that photos of an artwork in the artist’s studio, or photos of the artist working on the piece enhance the credibility and value of the piece.
Point your camera at this image to download a 3D version of this sculpture.
My perspective is a bit broader. I see the finished piece as evidence that art happened. The real art is the creation – the process of exploration, the discovery, creating and solving problems. My sculptures are the result of many sketches over days, months or even years before I see something unique enough to execute in 3D. In addition to sketches and watercolors, my working documentation may include photos that I manipulate in Photoshop to expand my own understanding of the piece. I may shoot video as I think aloud during the process.
When I sell a piece, I sometimes include copies of sketches. With NFTs as an additional option, documentation of the work in progress expands the collector’s experience. It may expand their perception of the meaning. Or, it may alter their appreciation of how I saw the form and the space. The experience becomes much richer than simply owning a static digital image, or an simple animation. A video turntable image gives the full 360 degree view of the piece. My newest exploration includes a 3D image that collectors can spin and tumble to fully explore the space and form.
To date, I have only minted a few masks as NFTs. But, there will be more to come soon!
My studio is open to the public during PDX Open Studios weekends, October 9-10 and 16-17 from 10am until 5pm. Visitors welcome with masks.
Many new works on display. Several in progress. Plus deep discounts on most framed and unframed watercolors. It’s time to make space for new work.
If you’re worried about crowds, contact me to visit another time.
For the past several years, I attended Art in the Pearl as a demo artist with Pacific Northwest Sculptors.
This year, I’ve been invited to exhibit my work in my own booth. I’ll be in booth # S19A near the corner of SW Park and Davis.
Festival hours are Saturday and Sunday, Sept. 4th and 5th from 10-5 and Monday Sept. 6th from 10-4.
Festival organizers are taking special precautions to protect visitors and artists. Masks are required to enter the area. Exhibits are designed to allow appropriate distancing.
I hope to see you there.
If crowds are too much for you, I do studio visits by appointment after the festival. Contact me to arrange a visit.
I can talk about my thought process when creating sculptures. But it’s more fun and more informative to actually demonstrate the process with my hands on the materials. That’s the plan for Friday Fun at Oregon Society of Artists on July 30, 2021 from 6:00-8:00pm. It’s part of their Friday Fun series. It’s outdoors in their parking lot. Drinks and snacks provided. Plan to get there early. Space is limited.
I’ll explain my constant transition between 2- to 3-dimension as I create and solve problems in the process of building a sculpture. I will have multiple examples of materials and works in progress. I’ll have things everyone can touch, explore and manipulate. I’ll be showing how I get from simple 4x6” sketches to full size patterns, then to a steel wire armature and finally a sculpture.
The 2-hour talk/demo will be interactive, fun and hopefully enlightening. The techniques I share are the same that I include in my upcoming sculpture classes at OSA in the fall. It will be a 7-week series of 2-hour sessions. I’ll post more info when the fall class catalog is published.
The Collector
It was an interesting challenge to create 30 pieces in 30 days. I realized most would have to be paintings. In the end, I created 27 acrylic paintings on 8x8” panels, two masks and one sculpture. Please join us for the Opening Reception, Friday, June 4 from 5-7pm at Columbia Center for the Arts, Hood River, Oregon. It’s open to the public.
Other artists participating in this show include: Rebecca Bashara, George Winn, Scott MacDonald, Chloe Hight, Mark Nilsson, Molly Holmlund.
Ideology - Sculpture by Chas Martin
Racism, sexism, ageism, classism, religious intolerance - all are biases rooted in the ideologies we have chosen to believe. Ideologies are our own projections. We see what we are able to see based on learned thought patterns.
IDEOLOGY, the sculpture, balances two symbolic figures of no apparent gender, race, politics or religion. Their magnetic engagement focuses on an invisible concept, an arbitrary point in space. It is nothing more than a construct of the imagination. In this sculpture, the figures appear in dynamic opposition. Ironically, it is the invisible concept that connects them.
Polarization does not confirm right or wrong. Aristotle argued every proposition is either true or false. He simply eliminated the entire universe of possibilities between the extremes. Great strategy for attorneys. A real buzz kill for creative thinkers. Logic blinds us to opportunity while binding us to ineffectiveness. Polarization solves nothing.
How do we let go of an ideology and invite other options for consideration? This is the basis for change. It is the very foundation of innovation. Logic says every step should lead toward your goal. A misstep is a mistake. I disagree. We learn more from mistakes than victories. Sometimes, a wrong can expose us to an better right. It takes courage to step away from the security of our beliefs.
Identification is a foundation for ideology. We label ourselves and our communities to reassure our sense of belonging. This is us. Everything else is them. We are right. They are not right. Our perceived inclusion excludes, and in many instances, devalues everyone else and their opinions. Segmented communities enable participants to feel safe or strong. Ultimately, however, each ideological community is distanced from the larger community. Our differences are reinforced by our ideological limitations.
Labels are limitations. Categorizing an individual by color, sex, religion or other descriptor is not, in my opinion, a sign of respect, but a recognition of differentiation that ultimately leads to separation, division, exclusion, resentment and implied limitations. Labels maintain focus on our differences, not our similarities.
Suspending our ideologies opens the door to overcome conflict. We may learn to appreciate and include others as true equals. We may realize we are ALL people of many COLORS. WE can move beyond racism, sexism, and ageism to a society of humanism.
Installation of York in Mt.Tabor Park, Portland
York was born a slave to William Clark of Lewis & Clark fame. He crossed the continent to the Oregon coast as a full partner in the “Corps of Discovery” expedition. No images of him exist. Little about his life is known.
After dark on Friday, February 19, 2021, a sculptor from Portland, Oregon (who has chosen to remain anonymous for now) installed a monumental bust of York in Mt. Tabor Park. It was mounted on the pedestal previously occupied by Harvey Scott, a post-Civil War editor of The Oregonian. The sculpture of Scott was removed by protestors last fall.
Several things about this appearance of York are worthy of note. First, it was a totally stealth operation. The artist created and installed the sculpture without permission, permits, or sanctions by the City of Portland, Parks and Recreation or anyone else. Second, the sculpture honors a Black American which only a small portion of public sculptures do. Third, it is an exceptionally well rendered bust.
I salute the unknown artist for his courage and commitment. It is no small project to mount a 40” bust on an existing 9’ pedestal and include a plaque – all done under the cover of darkness.
Adena Long, Director of Portland Parks & Recreation, described the sculpture as "a complete surprise," but says that if the monument is determined safe for public viewing, it will remain in place, at least temporarily. (OregonLive)
That’s a smart decision considering the impact Black Lives Matter protests had on Portland last year.
This project is, in my opinion, art of the highest order. The artist, seeking no one’s permission, responds to opportunity with an elegant piece honoring a remarkable person and installs it in a highly visible location. Congratulations whoever you are. I would love to meet you!
The primary tool of any artist is curiosity. I fill sketchbooks with explorations of ideas using the thread of “What if?” as my curiosity trigger.
When invited to contribute to an article about the essential feature of a home studio, I couldn’t resist. I moved out of my home studio almost 8 years ago when we downsized. But, for most of my life, I did have a studio at home. So, I also had a few thoughts. Mostly, I was curious to see what other artists considered essential. The contributors created an interesting list of options. Now that the home office is truly a thing, these suggestions by experienced “work from home” artists may be helpful.
Take a look at the article by Ryan Castillo @redfin. It’s short and full of insights.
