blah

So, I kinda missed last week because I was up to my ears in all this word for the as-yet-unnamed Fiber Arts Group that I have, somehow, become involved in.

…I’m not sure why I decided to do this.  It seemed like a good idea at the time–and now?  *thppppt*

Alas, alack.  One day, I shall learn better.

And, this week, I have a book demo (for the same group) tomorrow (the normal blog day–for certain values of “normal”), a drawing class, and Definitely DePere.

I’ve also got to sneak off and watch Man of Steel at some point too. <–Still got the freelance gig with The Rainbow Hub should y’all chose to read my work.

This week on the menu?

  • The Internship, or this is me writing with my angry foot;
  • and BAMF Women Superheroes:  The Life and Times of Wonder Woman, or me being an angry feminist.

Good times.

So, yeah.

Therefore, this post is kinda catching both things up, yeah?

Oh, and Definitely DePere.  Y’all should come.  I’m going to be in the Lee Building which is where hey daisy is:  see, I’m a map.

And, guess what?  I now can take cards, so if anyone wants to buy art, I can take the payment.

Can I tell you how excited I am?  Like, I got a new phone and everything just so that I could take electronic payments.

*is so proud of self*

Soooooooooooooooooooo, I am owing bloo another book-binding type, so here it is:

…please ignore that this was shot in profile.  The assistant has already been beaten.

I also wanted to kinda talk about physical contextualization and how it can change the aesthetics of an art piece.

Y’all probably remember the moss from Allerleirauh’s tree that I sold back in March.  It looks something like this:

 

Y’all also might remember that it kinda changes appearance depending upon it’s context (and how I hang it that day:

 

Well, I have just recently managed to get the moss from Allerleirauh’s tree shadow-boxed for the people who bought it.  They wanted it shadow-boxed because of where they live:  an old farmhouse in The Back of Beyond that has all sorts of insect possibilities that aren’t always caught immediately (because that’s just how things go sometimes–especially in the summer in Wisconsin), so I agreed to it because they’re trying to do the best they can to keep the piece safe.

And, there’s always the possibility that they don’t understand that all art–and especially the art I tend to make–has a short lifespan.

It’s just the nature of the beast unless it digital art and even then–

So, yeah, here’s the piece shadow-boxed:

 

So, yeah, there’s a big change in the aesthetic, yeah?

What do y’all thing about the change?  How would you characterize it?  What happened to the vitality?  Is it still there, or has it been mitigated somehow?

I’m going to keep my thoughts to myself for now; y’all tell me what your thoughts are.

Courage.

 

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One thought on “blah”

  1. The shadow box really emphasizes the links to the taxonomy series, especially with the pins that hold the piece in place. I think the vitality has been leeched out of it, but that creates an interesting thought about how making art inaccessible can kill it.

    Like

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