Compositional Conversation: Stage 15 - Terry Jarrard-Dimond

Stage 15: Terry Jarrard-Dimond

This project has been a fun/wild ride with lots of surprises, twists and turns. I retrieved the piece from the PO Tuesday morning of this week and spent part of two days making my changes and additions. Here is my story.

Terry's Comments

From the very first I thought that when it came time for the project to be returned to me that I would make only a few minor changes or additions. I thought this because I knew so many of the artists working on the project and know the quality of their compositional skills but as you can see, that is not what happened. I felt all along that the most important part of this exercise was what happened with each individual in the studio as they worked on the piece and I still feel that way. While the work certainly is more complex than my own work, I had liked it when viewed on my computer screen, however, when I saw the piece in person, I knew I would have to change a few things.

1. I wanted to eliminate the large red shape I introduced in stage 1. It took a while for me to figure out how to do that but I did succeed.
2. I wanted to try and strengthen the color palette. The colors and values just did not seem cohesive.
3. I felt compelled to remove the diagonal element on the left side of the composition. Diagonals are very strong elements and I found it was all I could see.
   

It didn't take long to realize that removing elements from the composition was akin to the potato chip ad that says, "Bet you can't eat just one," only now it said "Bet you can't stop with a few changes." It was like any formula, remove one part and the whole is changed. Despite this, I wanted the piece to retain some of the feeling of the previous version either through using actual shapes or through cutting some new shapes in other colors. It was difficult.

There is 'the famous' bag of removed elements which has traveled along with the work from person to person. I laid those elements out only to find that most of these were like what was on the wall only smaller. I might like a color but the remaining fabric was too small to work with. I might want to use a specific shape I found in the bag but it was the wrong color or value. As the problems became more obvious I considered reverting back to the work as I had received it but I knew this would be totally disrespectful to all the work and effort my group had put into solving this puzzle.

1. I started by recutting some of the shapes I wanted to keep in colors/values I felt would work better.
2. I added a few more colors.
3. I selected a mix of the fabric with flat colors and some of the textured fabrics. I loved the textured fabrics that were introduced but it is a hard combination to resolve.

This is the piece as I received it.


Here you can see that I have removed some pieces from the top right,
the curved elements and the small piece of blue at the top.


Here I have replaced the yellow/green element on the top left with one the
same shape but with a strong yellow. I have also added the a deep
burgundy element in the center top.


Here I have removed the vertical 'chain' element and turned a couple of
elements 90 degrees.

Here I began the process of opening up the left side.


My final version.

My resolution is not perfect but as I said, I learned a lot from this project in many unexpected ways. I am planning to do one more article on this project with statements from the artists involved and we would love to hear from you and get your thoughts on this experiment. We appreciate your following along.

Terry Jarrard-Dimond
Mini Artist Profile

Art is an interesting talent to have. Everyone seems to admire your ability but this does not translate into fame and fortune for most of us. Despite this reality, I have both an undergraduate degree and an Master of Fine Arts degrees and wouldn't have it any other way. I taught at all levels after completion of my MFA including universities and schools for the gifted but my last 12 years before retiring, I worked in the textile industry designing for home interior products. I now spend my time in the studio and on this computer!

Terry in the studio.

For many years my work was mixed media sculpture utilizing wire, sheet aluminum, asphalt roofing, fabric and all sorts of other materials. During the time I was working as a designer I 'discovered' the traditional craft of quilt making and after making a few utilitarian quilts I knew I wanted to use the techniques to make more personal statements.

While I have been working with these process for about 10 years I only began to exhibit my work about 4 years ago. It has been exciting and fun to enter work, have work accepted and see this new body of work hang in excellent spaces. My biggest joy has been meeting and making friends along the way. I have begun doing some teaching and will be teaching a workshop entitled, "Ask: What If?: Building Creative Pathways to Creative Work" at the Crow TimberFrame Barn in the spring of 2011. Check it out. Should be fun and would love to have you join me.

Those of you who have been following my blog know that for the past year I have been doing a good deal of exploration relating to surface design techniques. Most of the work I have been exhibiting is however focused on shape, composition and piecing. Please visit me at : http://terryjarrarddimond.com to view more of my work.

Here Comes Trouble - 2008 - 14" x 18"-
In collection of Bob and Sue Whorton

The Mysterious Stranger - 2002 - 88" x 84"

Joy and Sorrow -2008 - 59" x 38"
Selected for Art Quilt Elements 2010 - The Wayne Art Center -
Wayne, Pennsylvannia

To see more of my work, please visit: http://terryjarrarddimond.com

Monday I will be presenting an Artist Profile of Sylvia Einstein and later in the week will present the final article on Compositional Conversation. As always, thank you for your interest in this blog and your comments are appreciated.

Artist Profile: Arturo Alonzo Sandoval

Arturo Alonzo Sandoval

The very first art workshop I ever participated in was in 1974 with Arturo Alonzo Sandoval at The Greenville County Museum of Art in Greenville, SC. I had been out of college a few years and had gotten interested in weaving and jumped at the opportunity to meet and work with this young and exciting artist. Later Arturo had a solo show at the Rudolph E. Lee Gallery at Clemson University in Clemson, SC. My husband, Tom Dimond, was the gallery director at that time and we had a wonderful time getting to know Arturo a little better.

Over the years I was certainly aware of the wonderful things Arturo was doing, the reputation he had established and the work he had produced but I had not seen him again until last year during a visit to Lexington Ky. During the trip I attended the opening of a show featuring Kentucky Artist/Craftsmen and ran into Arturo and to my delight he is as lively and fun as ever.

I am so pleased that Arturo has agreed to be featured in this article. He did me the favor of sending me a CD with images of his work to review and all the artist statements that accompany his many bodies of work. Just reading the statements was inspirational but reading them while looking at the art was simply fantastic.

Arturo was awarded the University of Kentucky Alumni Professorship and is a very active participant in the art community locally and internationally. He has accomplished so much and has been recognized with many awards, grants and exhibitions and I encourage you to visit his website to read further. Right now I want to go directly to the Questions and Responses and images of some of his work. Thank you Arturo for sharing your art and your story.

Questions and Responses

Terry: It has been a genuine pleasure to read your Art Statements for the various bodies of work you have presented during the past 30 years. These statements are rich and enticing. I can only assume that a viewer could not have the full experience of your work without reading this material. How do you feel about that idea and how important is it that your work stands alone on visual merit?

Arturo: The art I produce is a personal expression primarily created for me. It will reference all of my research and imagination at the moment of creation. Even though my creative flow emanates from the natural world I choose to make liberal design changes to it. In addition, intuition plays a major role in the creation, especially during the fallow time for each artwork. The artwork is finished when I feel it can stand alone on its visual merit. However, it is also important that my artwork communicates those references to my audience. Therefore, each creation will have a stand-alone title or be part of a series theme.

Millennium Portal: Baptism of Fire No. 2, 1994, 36" diameter,machine

stitched/embroidered, interlaced, and pieced, punched computer tape,
recycled paints on canvas, Mylar,monofilament/color threads, rag paper,
fabric backed, mounted on masonite.
Collection of artist David Walker, Cincinnati, Ohio.

Terry: Your art statements often reference how your chosen art materials are used in the creation of your work and your work often references your concerns regarding spiritual and scientific concepts and issues relating to the future of our world. How do you address the manufacturing and uses of specific industrial materials that you incorporate in your work?

Arturo: It is not important to address creatively the manufacturing and industrial uses of the materials used. The artwork should conceptually transcend them. What is important is that these linear materials were developed before or during my lifetime and that I transform them into new visual and design possibilities. The innovation is in the transformation of these industrial materials for making art forms never seen before.

Millennium Portal: Baptism of Fire No. 2 Detail

Terry: While you work with "the beauty of nature" in some of your pieces, even the work which deals with horrific topics such as terrorism and nuclear attack is 'beautiful' due to your skill as an artist and the materials you incorporate. What role does the concept of beauty play in your work?

Arturo: Even though some themes are dark and concern events that have been prophesied, I want the artwork to be more than an illustration of those events, and beauty plays a very important role in communicating my artistic vision. Therefore, the processes used help to enhance the natural beauty of the materials used.

Lady Liberty/ Double Babylon ll - Double Terrorist, 1991, 87" x 61",
stitched and embroidered, Cibachromes, webbing, color acetate copies,
netting, colored threads, paint, fabric, Velcro.

Terry: What concerns do you have regarding the archival qualities of the materials you use? Are your collectors concerned about this issue?

Arturo: The manner by which the artworks are fabricated is carefully considered with regard to longevity. Using high quality materials for color and beauty, and processes to hold the materials in place achieve this. However, textile artworks are fragile even when made from aluminum, brass, and copper metals. There has to be care in the handling, lighting, installation, packaging, and maintenance of each unique piece. When the owner of the artwork understands and follows this special care and handling, the artwork will last indefinitely in its original condition.

Terry: Do you ever 'complete' a series or do you always feel that your work and ideas are open to be revisited? Can you cite where you may have revisited a theme?

State of The Union No. 13: Country Under Distress, 2004, 36" x 60",
art quilt, college, machine and hand stitched and embroidered: recycled flag, shredded
money, netting, tulle, monofilament and colored threads, acetate transparencies,
recycled playing cards, plastic skeletons, polymer/paint, binding tape,
hanging sleeve, fabric backed.
Collection of Waltron, Lt., Whitehouse, New Jersey.

Arturo: The themes I use may be revisited and examples are in the State of the Union series and Millennium series where there are large gaps in the dates of creation. More importantly, constructive creative advice is considered from other artists and mentors. Jack L. Larson, a most important mentor, advised me several years ago to revisit earlier themes created in the 1970's. This advice was taken to heart and the Pattern Fusion series evolved.

Pattern Fusion No.10 - Motherboard 1, 2008, 73" x 79",
machine stitched and interlaced; recycled auto industry Mylar, recycled library
35 mm microfilm, netting, multi-colored threads, plaited braid,
Holographic film, Pellon, polymer medium, fabric backed.

Terry: Obviously, you do a great deal of reading and research in preparation for your work. Please talk about how you prepare yourself to start work on a new body of work. Do you take notes, sketch, journal, dream, discuss, collect materials etc...? Tell us about your studio experience.

Arturo: The studio experience has evolved over the years. When in graduate school many artworks were made following sketches developed from scientific journals, newspaper clippings about current political issues, and by starting a collection of metallic linear industrial materials as Lurex and Mylar. In addition, there was interest in following themes from the West Coast art trends of the 1960's. Teachers who introduced textile materials and processes influenced several artworks. However, during the start of my professional career, interest in using industrial materials with craft processes evolved. The NEA Craft Fellowship received in 1973 guided me away from loom weaving to machine sewing, art quilting, and interlacing. During this period, many material fabrications were made before beginning on a larger piece. Later interest in reading spiritually themed books developed and ideas came from them. At that time, I also used copy machines and collage to develop ideas. Currently, when working as large as I do it is wise to fabricate a study beforehand. With commissions there are always sketches and materials studies fabricated from which the client may select.

Draped Grid Film Plaid, 1986, 65" x 92" (flat),
interlaced, cotton/vinyl grid, 16 mm film, paint, opalescent color, polymer medium;
a variable art fabric sculpture and shown here on the wall.

Terry: I enjoy knowing what artists other artists admire. Please share with us the names of a few artists you admire and tell us why.

Arturo: Living in two major cities, Los Angeles and Detroit, visiting art museums was so important to the understanding of art ideas, materials, processes, and scale as an art student. Major mainstream art influences were Frank Stella, Robert Rauschenberg, and Jasper Johns for their bold compositions and mixed media use of materials. Donald Judd, and Dan Flavin for their geometry, color, light, and installation. Later the Jack Lenor Larsen/Mildred Constantine books, Beyond Craft: The Art Fabric and Fiber Art: Mainstream, introduced designers and fiber artists such as Dorothy Liebes, Ed Rossbach, Lenore Tawney, Peter and Ritzi Jacobi, Magdalena Abakanowicz, and Ann Hamilton. These artists were influential for their processes, use of materials in innovative ways, and monumental scale. As a Cranbrook Academy of Art graduate student, I was able to view the major exhibition Craft Objects: USA during the 1969 showing at the Art Museum . This exhibit, introduced Kentucky artists Alma Lesch and Rudy Osolnik, art glass, and art furniture.

Artist Statement

What distinguishes me from other artists working in fiber is my choice to mainly explore through innovation, creativity, and recycling twentieth century industrial materials that have been primarily designed as tapes or films. Incorporating them into woven or interlaced webs provides for me permutations for my design concepts which are personalized into a visual vocabulary of the sky, water, landscape; and more recently, issues related to international and domestic politics, terrorism, the total nuclear threat, the cosmic realms and personal spiritual beliefs. As an artist, I experience the world around me with a keen observational eye. My art is graphic, abstract, and sometimes representational. The major part of my art is influenced by the lack of ethics in politics, the love of war by our government, and the relentless slow pace of social awareness and change as reported in the media; additionally, readings from Bible Revelations, Astronomy Magazine, Hubbell and Chandra telescopes, the Urantia Book and Nostradamus' predictions. It communicates my passion about life. Every day I am awed by beauty and how it influences our world regardless of the distorted and horrific conditions that permeate it. My need is to somehow find magnificence in this fodder and to create beauty from the residue of our culture. My place in the total world order is realized in the art that I create.


To read a complete Biography, please visit: http://www.arturoart.com/