3/19/2023 0 Comments Heathers living art![]() It’s almost like by testing the mark in advance, I was leaving behind the integrity and grit. These markings felt different from those on a final canvas. ![]() It serves a functional purpose, but also acts as a barrier, locking one idea in a singular page, or forcing you to hurdle over its barrier.īut, when I rejected the idea of the canvas or sketchbook spine as a container, I found new seeds of ideas in unrehearsed markings from a test canvas. HD: Last year, I was looking through my sketchbook and became fixated on the spine. When you host a diverse group of artists and make space for creative ideas and energy to flow freely-amazing things can happen.ĮMC: I was quite interested to see you are moving toward collaging different paintings of yours-stitching, combining and building off of ideas… Will you talk a bit more to this practice? I had such a great experience last year at Macedonia Institute, an artist residency in the Hudson Valley, and love the idea of something like that. We can't wait for construction to be done this winter.Įventually we'd love to open the space up to other artists. It's an open floor plan with lots of windows and a big studio space. We worked with architect Ryan Leidner to design a studio and home from scratch that is loosely inspired by Georgia O’Keeffe's New Mexican compound. They loved the idea of an artist living and working on their land and agreed to sell to us off-market. The active arts community and the proximity to Palm Springs and Los Angeles are a definite plus.Īfter months of searching for the right plot of land and writing dozens of letters to property owners with my partner, we got a phone call from a retired couple living in San Diego. HD: I started visiting Joshua Tree about six years ago after a couple of friends moved out there and immediately found myself drawn to the contrast of both the grit and calming stillness of the high desert. Can you tell us about what initially drew you there and your vision for the space, both for yourself and other artists? Keeping an open mind and constantly shifting perspective is key.ĮMC: You have been building a home in Joshua Tree for a while now. I find that when I have opportunities to push scale and explore new materials, it offers a perspective that will be recycled back into the studio later on. ![]() For example, partway through the process, while I was working on site, I chose to leave openings within the composition revealing the rustic brick, rather than covering it up. I’m more thoughtful about openings and ways to enter space than I was a year and a half ago when I started planning this mural. I think the way I finalized the composition for the mural stemmed from my recent paintings. While my studio practice leaves quite a bit of room for experimentation, murals are different in that they require a higher level of planning due to the nature of the surrounding areas and scale. Shortly after my solo was installed in Los Angeles, I went back to San Francisco to begin painting this four-story brick building located downtown. Heather Day: My solo show Ricochet at Diane Rosenstein Gallery has come to a close now, but that exhibition and my current work both examine the boundaries of intention, exploring the opposing forces of control and chaos in my practice, which carry a painting towards its endpoint. Will you share a bit about these projects and how the process of creating each was both similar and different? and have just completed a four-story mural. Elizabeth Mathis Cheatham: Currently you have a show up in L.A.
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