the work of Jen Raven - nest

the work of Jen Raven

Tiny Treasures XV

11/30/2020

detail, Gwenhwyfar
9.5" x 4.75" figurative sculpture
stone clay, mixed-media. 2020

Long before she appeared as a Queen, in the Arthurian legends, Gwenhwyfar, Guinevere, Ginevra, or even Jennifer was revered by the Celts, as a Goddess. Her roles as assorted as the variations on her name, she has served as guardian of the passage between worlds, and guide of souls who travel from this world to the next. She has been Goddess of fertility and of the earth, with strong parallels to Persephone. She has been a Goddess of sovereignty and authority; even today, there are those who summon Her assistance, for answers and direction, especially in times of a need for leadership. I could not help but be struck by the significance of that, as I was creating this work in 2020.

Gwenhwyfar is also referred to as the ‘Virginal’ Goddess, though today we often mistake that meaning; ‘virginal’ in this case translates as “complete, in and of herself.” As a queen, Gwenhwyfar is the eternal feminine principle of strength and peace in the universe: She is powerful and influential without requiring a pairing or a partner --in other words, she doesn’t need a man. But he needs her: In the older stories, it was Gwenwhyfar who gave the legendary King of Camelot his right to rule, simply because they were together. Ancient Celtic tradition says that for a man to be King, he must be paired with the Goddess: Her role was to mix the King’s energy with the earth’s energy, in harmony. Arthur pursued her, then, not for love, but because without her he could not be King. In fact, in the Welsh Mabinogion called Culhwch and Olwen (circa 1100) she is listed among the weapons of another world, which Arthur received as a gift, suggesting her divine origin and reinforcing her power and sovereignty.

That’s a far cry from some of the more modern takes on Guinevere, depicted primarily in many of today’s stories as a secondary character --as the wife of a king-- or reduced to a plot device --as the love interest of a knight. Gwenhwyfar isn’t here to play scenery, or serve as anyone’s plot device, and she’s definitely not here to smile for you.

If you would like to add this work to your collection, please visit my page with
Cactus Gallery, online!

Two tiny works accompany this sculpture in this year's Tiny Treasures XV with Cactus Gallery; Culhwch (green) and Olwen (lavender) are each 3"x3" and can be found on my Cactus Gallery page

Gwenhwyfar's staff 9” Requires two CR2032 batteries, please keep batteries away from pets and children, as they could be dangerous if swallowed. This is my first attempt at wiring battery operated lighting; Gwenhwyfar’s staff is idiosyncratic, lighting up when it pleases her, or not. Battery pack is hidden beneath the skirt and attaches to the base with a rare earth magnet.

Studio Cat photobombs the portfolio shoot.

The Only Way Forward

8/26/2020

I have been quite busy with building masks since early March, and I find it is taking real effort for me to transition from masks only, back to my artwork, or even to a combination of masks-and-artwork. I have been proud to join so many fellow artists in contributing my time, skills, and supplies to fighting the pandemic, and narrowing the gaps in our national PPE supply. But also, building masks has been soothing to my nerves, in a way that nothing else has been, since everything changed.

I can get lost in building masks, in the same way I can get lost in quilting. There is something unique about sewing that brings me into the present moment, even when the work is frustrating (as it frequently is!). Maybe the act of sewing helps me feel connected to my ancestors. Perhaps working in tandem with thousands of other artists, with the same medium and in the same cause, helps me feel connected to the better side of humanity. And then, there is something about building a garment especially for another person, that creates a unique personal connection, as well.

Maybe connection is what it's all about. In pandemic, in this time of physical distancing and canceled events and, for me, strict self-quarantine; in times like these, it is instinctual to seek out human connection. Homo Sapiens are, after all, pack animals. We are more likely to survive when we work together. The urge to connect is, at its heart, a survival instinct. It is becoming increasingly obvious that, without realizing it, we have become dangerously instinct-injured as a pack: Technology, politics, racism, classism, sexism, hate --These things so divide us, that we are unable to stand together.

Pandemic is sharpening us up a bit. Well, most of us, anyway. For the rest; please consider that you are part of a community, and your actions directly affect others. Please wash your hands. Wear your masks. Keep your distance. And love your neighbor. Practice compassion. We can beat this virus if we all work together.

The only way forward is together. Together, or not at all.

Helplessly Hoping

1/6/2020

My first finished work of 2020! Commissioned by a collector of my chickens, I have titled this work 'Helplessly Hoping' for the song by Crosby, Stills, and Nash.

Sometimes I experience something concrete, and I want to express how that makes me feel through lyrics or poetry. Other times, like this time; I experience something lyrical, and I want to express it in concrete terms, like sculpture or paint:

"Helplessly hoping, her harlequin hovers nearby, awaiting a word
Gasping at glimpses of gentle true spirit, he runs, wishing he could fly
Only to trip, at the sound of goodby."

Helplessly Hoping
2.75"H x 4"L x 2.75"W mixed-media assemblage
2020, commissioned

"Love isn't lying, it's loose, in a lady who lingers, saying she is lost
And choking, on hello

They are one person
They are two alone
They are three, together
They are for each other."

A few photos of the work in-progress: I've had to peer over the tops of my glasses more and more often lately, to do fine details work. This time, for the first time, I just took them off while I worked. I've been wearing glasses full-time since the second grade so I find my aging vision rather amusing; being near-sighted for most of my life, I am now both near- and far-sighted. There is a metaphor in there, somewhere, I'm sure of it.

If you want to commission a work from me, reach out! Find me at jenraven@gmail.com or find me on facebook messenger, facebook.com/jenraven

Work was managed by our newest Studio Cat. Welcome to the Raven's Nest, Zephyr!

Flipping the bird at Art Basel, Miami

12/8/2019

NEW INSTALLATION at The Raven's Nest: 'Comedienne' 2.5"x2.5" conceptual art 2019. Found objects; one of three editions.

Critics hail this new work as "Mirthful and irreverent," "A classic device for humor" and "Guaranteed to outlast anything happening at Art Basel."

The first and second editions are priced at $120. The third edition is rumored to be priced at $150.

Traveling Light: Tiny Treasures 14 with Cactus Gallery

12/3/2019

Tiny Treasures was my first exhibit, with Cactus Gallery, in 2015. I can't believe how the time has flown by: Here we are once more, wrapping up 2019 with Tiny Treasures 14! This year, I have created a min-series of mini-spacecraft, for my tiny rubber chickens, following on the heels of recent creation, "Mothership Calling Me Home."

These egg-shaped ChickenShips have got a few miles on their souls. But their inner lights still shine bright. I've decided to name my entire ChickenShip series "Traveling Light" and you can find this new series at Cactus Gallery: Visit my page with Cactus Gallery, online! (there are now two pages of works!)

The Sum of Her Parts 2019
6.75"h x 3.5"w mixed-media assemblage
This work lights up! Batteries included.
available with Cactus Gallery

Traveling Light, one and two 2019 (sold separately)
4.5"h x 2.5"h mixed-media assemblage
These works light up! Batteries included.
Traveling Light, one available with Cactus Gallery
Traveling Light, two available with Cactus Gallery

Tiny Treasures 14 runs now through December 31st, 2019.

Be sure to check out the entire exhibit, it's dynamite!

Sometimes, all we need is a little help

9/17/2019

We met this little bee, flat on her back in the middle of the sidewalk, early this morning. I thought she was dead at first, but upon closer inspection; her legs were writhing and her tongue was completely extended. It was awful. She was too weak to grip my finger so I found a bit of leaf to see if she could grab that, and she did. I suspected that she'd been poisoned, given her behavior, but thought to try anyway, just in case: The grass around us was replete with droplets so I plucked a blade with three fat beads of water and offered it to her. I wasn't hopeful, but she began to drink, and then to visibly improve. Her limbs ceased writhing and by the third drop, she was buzzing her tiny wings at us. Joy!

I didn't understand how it could have been dehydration to have laid her low, given all the water around us; Todd hypothesized that she'd been smacked silly by a blast of water from the sprinklers, earlier, and then she had become cold and dehydrated while dazed on the concrete. She slowly finished all three drops of water; I was surprised that she could hold that much given that each drop had been the size of her head. When she was strong enough to stand on her own, we left her resting in the sun on a fat flower nearby and continued on.

If you see a bee in distress, she may only need some sugar water or even just water on its own, or a safe place to rest and warm up. Sometimes, all we need is a little help.

Photo by Todd Powers

Loteria V with Cactus Gallery

9/1/2019

"I've got an arrow, here"
12x9" acrylic and archival ink on canvas 2019
Portfolio Photography by Todd Powers
SOLD

This year's annual "Loteria!" exhibit with Cactus Gallery will be especially exciting, as it's to be hosted by The Last Bookstore in Los Angeles. I am psyched. Can't wait for the opening! Saturday September 21st, beginning 6pm on the mezzanine.

For anyone new to Loteria: La loteria is a game of chance played like Bingo, only with pictures instead of numbers. The Loteria deck uses 54 images, including characters, instruments, flora, animalia, and objects which have become iconic and synonymous with Mexican culture. Participating artists are asked to create works inspired by the images from chosen cards in the deck. This exhibit is a lot of fun, popular with both artists and arts fans.

This year I chose card #31 from the Loteria deck --Las Jaras, or The Arrows. I've chosen this card once before; arrows have a special significance for me.

Detail of my work from 2017's Loteria exhibit:

Detail, "Las Jaras" 12x9" acrylic on board, 2017 sold

"I've got an arrow here" is a line taken from a poem by Emily Dickinson:

This poem has been interpreted in a variety of ways over the years; some think that perhaps Dickinson meant to say that she was at first unwilling, to fall in love. That interpretation resonates with me, though perhaps not in the usual ways our culture might approach the applications of love. For me, personally:

I've got an arrow here; what I decide to do with that arrow is up to me.
While drafting, I was mindful of the lines from the book of Isaiah; "They will beat their swords into ploughshares and their spears into pruning hooks."

I began with the under-painting of my 12x9" canvas, and then set it aside to dry while I drafted my line-work.

Shares of WIP on this work prompted several conversations about how easily a painting can seem to appear beneath the brush, compared with the reality of creating a work start-to-finish. I decided for this blog, to share more of my messy process, and illustrate how much more work is actually involved. Some artists, I'm sure, get it right start to finish, the first time, but I'm not one of them. What I start with is rarely what I end with; I do a lot of thinking aloud on the paper, draft by draft. There were nearly a dozen drafts for this painting; there was more than a little frustration on my part.

Line work has become a lot easier since I caved and began using inks now and again, in the place of fine brushes. Even so; details can be slow going. I have more control over the outcome when drawing with short strokes, and taking long rests in-between. I sometimes miss the days when all I did was draw, all day long. But then again; if I'd been able to keep drawing like that, I might never have let myself get into all the other genres I've come to love so well. And I would not trade all those other adventures, not even for a return to perfect health.

In the past I've used sharpie in my mixed-media applications; this time I'm working with archival ink. It worked well for my purposes, not only for line-work but also for shading when mixed with water.

My tremor, and other health issues, make detail work an ongoing challenge. My styles have evolved a great deal as a result. Every painting is a new adventure: I lay my plans and then navigate my symptoms against the deadline. Sometimes I get where I planned to go; other times I arrive somewhere completely unexpected.

I strive to think of it as a collaboration, rather than a battle. I bring my ideas, skills, and experiences to the easel, and the symptoms make their individual contributions. Every work is uniquely shaped by the symptoms I am experiencing at the time.

Join us on Saturday, September 21st, for "Loteria!"with Cactus Gallery. This exhibit will be hosted pop-up style, on the mezzanine of The Last Bookstore in Los Angeles. Show starts at 6pm. Hope to see you all there!

RavinFANatic

8/31/2019

It has been a long while, since I've done any puppet construction, so I was happy to break out the fleece, felt, and ping-pong balls. I do love building creatures, and I enjoyed bringing this one to life.

This project was supervised by Studio Cat.

RavinFANatic has been created for Jenneration Wrecks, currently with Lilac City Roller Derby, in Spokane, WA.

Taking this show on the road: Ravin's airport adventures, on their trip to Spokane!

We had a great week in Washington; I haven't seen Jenna in person, in over two decades. It was incredible to get to know her again.

Left, me and Jenna, Edwards AFB, 1993. Right, Jenna and me, Spokane, 2019.

Jenna is a fellow thespian, so of course we had a blast. Here we are in front of the Montvale Hotel, downtown Spokane:

Stay tuned for more exciting adventures with Ravin!

Just for fun: A few of my favorite past puppet constructions . . .

Wiley and the Hairy Man 2007
Magic Book Puppet
Children's Theatre Production, CSU Bakersfield, CA.

The Frog, The Dragon, and The Dark Wizard 2007
Dragon Puppet
The Spotlight Theatre, Bakersfield, CA.

The Frog, The Dragon, and The Dark Wizard 2007
Wise Owl Puppet
The Spotlight Theatre, Bakersfield, CA.

Alice In Wonderland 2016
Baby-to-Pig transforming puppet.
Bakersfield Community Theatre, Bakersfield, CA.

The Patient-Artist Experience

8/26/2019

I've been invited to join a group exhibit with the Pauly Friedman Art Gallery, Misericordia University, Pennsylvania. Co-Curated with Ted Meyer, 'The Patient-Artist Experience' is on exhibit now, in the Trocaire Building.
Exhibit runs August 26 2019 - May 31, 2020

Created in 2014, 'The Lines Unread' is a mixed-media work in ink and acrylic, layered over one of my own original poems. The original work is 14"x'11" on canvas; a print of this work has been sent to Pennsylvania for the exhibit. The original work appeared in Los Angeles, as part of my solo exhibit with the UCLA Geffen School of Medicine, 'Forward Motion.'

This work is part of an ongoing series, titled 'Silence.' See more photos in my gallery.

This body of work examines the ongoing transformations in my life, and my work, as a result of living with Lupus and Fibromyalgia.

The works in this series are all mixed-media; inclusions of graphite and ink are particular allusions to loss of function in my hands: Before my illness, pencil and pen were my tools of choice; as my illness progressed, use of such fine instruments became more difficult and painful. At that time, I let go of keeping a daily sketchbook and handwritten journal, and turned instead to more abbreviated art forms, which required less strain on my hands --abstract sketches in crayon, and poetry. As I regained some function in my hands, I re-learned to paint, and re-worked many of the early crayon sketches into paintings, on canvas. Several works in this series have my poetry from that time, written in pencil, ink, or both, beneath or between the layers of acrylic gesso and paint.

Yes, I'm angry. And somebody ought to be.

7/13/2019

"California's industry-friendly oil regulator continues to provide about as much protection as a screen door on a submarine."
~Hollin Dretzmann, Senior Attorney, Center for Biological Diversity

35 miles west of our city of Bakersfield: A badly maintained Chevron well has, predictably, broken, leaking another admitted 800,000 gallons of poisonous crude petroleum and poisonous waste-water into our area, prompting our corrupt state regulators to lamely pantomime some laughable substitute for action --a notice of violation and an order to halt 'some' oil extraction work in the area around the spill.

State officials are quoted *prevaricating* that this latest environmental catastrophe presents no risk to the public: W. Dale Harvey, an engineer with the Central Valley Regional Water Quality Control Board, lamely equivocated that "The incident is not near any aquifers (that would be 'suitable' for 'beneficial' use)." Steve Gonzalez, a spokesman for the California Department of Fish and Wildlife's Office of Spill Prevention and Response, claims that "The effect of this year's Chevron spill on birds and wildlife 'appears minimal'" --This year's spill. This. Year's. Spill. Because major oil spills, in this state alone, have become so common that we need the qualifier.

The nearest farm is a mere six miles north of that oil field.

, Our state regulators, and the U.S. Environmental Protection Agency, last year approved an exemption that removed protections from an aquifer in the Cymric Oil Field --at the request of Chevron, and other oil companies, who operate thousands of poorly maintained oil wells in our area, many using a technique in which steam is injected more than 1,000 feet into the ground to heat up crude petroleum and make it easier to extract (That wastewater has been known to be dumped right back into our water table, illegally; it's been caught on video). Our state's Division of Oil, Gas and Geothermal Resources adopted weaker restrictions on steam injection earlier this year, making these operations even more dangerous.

Chevron's talking head, Veronica Flores-Paniagua, is employing the euphemism "surface expression" to discuss this 800,000 gallon disaster, noting lightly that 'surface expressions are common in oil fields,' and she is quoted as *prevaricating* that "There has been NO IMPACT to waterways and wildlife." She also freely admits that Chevron KNEW about the only recently-revealed spill, as late as May; and she further admits that Chevron continued to let it leak (this is now Saturday, July 13th; efforts to make repairs and clean it up began only yesterday, Friday; it was being allowed to leak as recently as last Tuesday).

Yes, I'm angry. But somebody ought to be, and obviously; it's not our elected officials, paid by companies like Chevron to look the other way, and then paid again to lie to us, when things go predictably, catastrophically wrong.

https://www.turnto23.com/news/local-news/chevron-spills-800-000-gallons-of-oil-water-into-a-kern-county-canyon

https://www.kqed.org/news/11760192/chevron-well-has-leaked-a-quarter-million-gallons-of-oil-in-central-valley-since-may

UPDATE: Two new posts covering the ongoing spill, which continues to grow. Despite orders to shut it down, Chevron continues to let it poison our environment.

https://www.kqed.org/news/11762863/as-chevron-gets-ready-to-appeal-state-order-kern-county-spill-continues-to-grow

https://www.sfexaminer.com/the-city/sf-to-shut-down-82-oil-wells-on-fresno-county-property/?

'What Dreams May Come'
acrylic on canvas 24x36" & 24x12"
Jen Raven 2011 sold

Tiny Light Box Photography Studio

7/2/2019

We have invested in a tiny photo studio, at The Raven's Nest! So far, I'm really happy with it. Now I can take portfolio style photos of tiny works, when I need them, with my camera phone; we don't have to set up with the large soft boxes every time I need detail shots. Setup is quick and easy, and the tiny studio fits in, next to the sewing machine.

The tiny studio box also comes with a few different color backdrops; I shot Mothership against the black backdrop, as well.

Mothership Calling Me Home
6.5" x 3.5" x 3.5" mixed-media assemblage sculpture 2019
LED requires three LR41 watch cells, included
shown light on; light off
available through Cactus Gallery

Some detail shots of Mothership, while experimenting with the lighting options and diffuser that come with the tiny photo studio.

Read more about 'Mothership Calling Me Home' at The Raven's Nest!

Share more flying chicken adventures in my Flight Gallery!

Mothership Calling Me Home

6/30/2019

Mothership Calling Me Home
6.5" x 3.5" x 3.5" mixed-media assemblage sculpture 2019
LED requires three LR41 watch cells, included
shown light on; light off
available through Cactus Gallery
portfolio photography by Todd Powers

LED Light Detail: Mothership Calling Me Home
6.5" x 3.5" x 3.5" mixed-media assemblage sculpture 2019
LED requires three LR41 watch cells, included
shown: light on; light off
available through Cactus Gallery

WIP and portfolio videos of this work can be found on the playlist,
"Mothership Calling Me Home" on my YouTube Channel:
www.youtube.com/user/gessochick

At one of my first exhibits with Cactus Gallery, 2015; I remarked to a new friend that I'd never before felt so comfortable in a gallery space. Puns on space immediately followed, and I quipped that Cactus Gallery felt, to me, like the mothership calling me home. I was making a joke, but the sentiment was heartfelt, and when Cactus Gallery announced a show themed on the idea of "Homes" I knew it was time to pull this idea from the pile, and bring it to life.

Sculpting with Worbla occasionally results in burnt fingers, but it is so much lighter and sturdier than clay. I have plenty of good-sized scraps to work with, left over from larger projects we work at The Raven's Nest; thermoplastic scraps never go to waste.

I positioned the tiny LED instrument in such a way that the switch can be removed, and the batteries can be replaced.

The tiny jet-pack was left over from an old model kit, and there was only one. We created a silicone mold, to cast replicas for more space chickens. After a few trials, it was ultimately a success. My chicken space-helmet ideas, not so much. Every attempted helmet design so far has been chucked. Most of the hours I put into new assemblage works are invested in trial and error; emphasis on error. Still; working out helmet ideas for future sculptures. But this particular chicken would have to go without --my deadline was fast approaching and I needed to finish the work.

“The artist never entirely knows: We guess.
We may be wrong, but we take leap after leap
in the dark.” ~Agnes de Mille

Scrapping the helmet was a letdown for me, but painting is my strong area so that lifted my spirits considerably. Painting the ChickenShip began with a layer of textured spray paint over the worbla, followed by an under-painting of metallic silver oil-based spray paint, detailed with copper. A bit of acrylic gesso was added to the areas I wanted to finish in acrylic, so that the acrylic details would not peel up over the oil base.

When I went to add a plastic window to the ship's port hole, I discovered that I'd neglected to level the rim, and the window would not fit, flush. I'd already painted it so I could not just zap it with the heat gun, to re-shape. Frustration. Then I came down with a cold and found myself sick in bed; I missed my show deadline as a result, but I also continued to work the problem in my head. Perhaps influenced by the heavy cold and flu medications, I hatched a potentially crazy idea; a ceramic plate, slow heat, and carefully timed application of pressure might re-shape the thermoplastic without warping the oil-based paint. It was a risk but I decided to try it.

It worked. And Todd got to joke that Raven finally learned how to do something right in the kitchen. Ba-dum-ching.

Originally, the port-hole window was going to be a repurposed plastic spice lid; but when I turned on the light inside, it showed scratches on the lid I had not seen before, so I switched to a reclaimed plastic pocket watch crystal, affixed with 5-minute epoxy resin.

I worked my signature into a rusty design on the back of one fin:

This work is now available through Cactus Gallery. Shop Cactus, online at cactusgalleryla.com.
Follow Cactus Gallery on Facebook and Instagram

A blast from the past

3/21/2019

As I was sketching out my ideas for the upcoming HOMES exhibit with Cactus Gallery, I found myself scribbling down the words "Fly. Oh fly. Oh, fly me away home." It took me a few moments to realize that it was a line from one of my old spoken word performances. I'd forgotten about this one; took me a while to dig it up, but it seemed an appropriate share for World Poetry Day (March 21st). Here it is, 'discovery' --a blast from the past, and an inspiration for my new work, soon to be shown with Cactus Gallery. Stay tuned!

I
find
myself --not
blind,
this self--
about
to
turn
a corner
turning; bridges
burning, this bird’s
yearning for her
freedom;
chains, don’t
need ‘em;
doubts, won’t
heed ‘em; fly, oh
fly, oh
fly! me

away

home;
home,
home and then
some!

some ..?
some;
come get you
some of that
orgasmic
seismic
cosmic

logic!
she
whispers,
whispers seductively
from that far back, corner table
in the dive bar of your mind;

“find
yourself here.”

“find
yourself now.”

-jenraven, 'discovery' 2008

Monsters

3/9/2019

I recently read a comment in a social media thread that ran "Many artists are monsters in real life," as a response to the ongoing debate concerning abusive people who are artists, and where or not we, as a society, ought to continue celebrating the work of artists who's crimes come to light.

"Many artists are monsters in real life."

I had to step away from the thread so that I would not get drawn into a flame war with a pack of trolls. But. At the risk of playing Captain Obvious, let me just tie on that cape for a moment and shout into the void that "Many PEOPLE are monsters in real life."

As an artist, myself; I am sick to death of our culture's need to separate the artists from the rest of the pack. I'm exhausted by this culture's demands that we be mad, wild-eyed geniuses --irascible, depressed, manic, depraved, and my personal favorite: Starving.

Artists represent a cross-section of humanity. Like any other group of people, some of us are Brilliant, and some of us are Boring. Some are Deep, some Shallow. Angry and Joyful. Angels and Demons. Activists, and Criminals. And not simply one or the other, but often both, many all. All at once. We are human beings, just like the rest of you.

This is a sensitive subject to me, especially because I was raised within a fundamentalist culture (another cross-section of humanity) where I was brought up with the understanding that artists are "Lazy. Selfish. Evil." That the arts are a vain, and a sinful , pursuit. Sinful. And that went double for women artists (How dare they step out of their assigned roles in service to The Men. How dare they discover, and use, their own voices!). Fundamentalists use and abuse women and children, ruthlessly and in the name of their god. It would be easy for me to label them all "Monsters" and mentally move on from them. It would also be childishly reductive, and cruelly dismissive. It would not help the women and children who have been and are being abused. It would not help the abusers, who obviously need help of some kind, if they can justify behavior like that to themselves.

Throwing the word "Monster" at an individual, or at a group, does about as much good as throwing around words like "Lib-Tard" or "Snowflake" --It makes you look lazy and snide. It doesn't encourage the thoughtful debate or the concrete actions that make the world better. It doesn't absolve you of YOUR responsibility, YOUR contributions, to the human race, of which you are a part, and in which, even your smallest actions have consequences for us all.

At the end of the day; we are all human beings. Even the ones we don't like. Even the ones we despise. At the end of the day, your attempts to separate yourself as somehow 'more human' from a group you deem as 'less human' --your attempts to dehumanize others only betrays, and advertises, your own personal lack of humanity. We need compassion. We need education. We need thoughtful debate.

We need to hold Artists to a higher standard in the same way we need to hold Politicians to a higher standard. Doctors. Lawyers. Police. Clergy. Bakers of Wedding Cakes. You. And Me. We level up together, or not at all.

'Rise' 14x11" acrylic and ink on canvas 2018
Available with Cactus Gallery

'CATS' Online Exhibit, with Cactus Gallery

12/1/2018

'The smallest feline is a masterpiece."
~Leonardo da Vinci

Flashback to 2006: This acrylic painting, titled 'Merry Meet' was created using line work from a crayon sketch of our first cat, Wednesday.

Above: 'Merry Meet' acrylic on canvas 2006
Below: Photo of Wednesday, 2006, and crayon sketch I caught of her, that same day

Wednesday was a faithful Studio Cat for almost two decades. When we lost her, I clipped the original line work from my old sketch book and pinned it up with a photo of her, in the studio. It was the first thing I thought of when we were asked to created 'Cats' themed works for the upcoming 'CATS' online art show, with Cactus Gallery.

I decided to honor Wednesday with a new work, based on that original sketch:

I still can't listen to Lisa Loeb's 'Waiting for Wednesday' without good memories of our first Studio Cat. I borrowed the song title for this painting, a 4x4" acrylic on 1 .5" artist wrapped canvas.

Also for 'CATS' with Cactus: 'Rawr!' is another 4x4", and an expression of my ambitions for the year ahead. To quote the incomparable Judy Chicago, "Art can educate, inspire, empower people to act." I intend to be consciously doing just that, with more of my work, in 2019. I have a dozen new projects in my queue to this effect, including paintings, sculptures, and collaborative works in concepts photography, with some of my favorite fellow artists.

It's going to be busy year at the raven's nest. Stay tuned!

Sister small works. One looking to the past; one looking to the future.

These works are available for purchase through Cactus Gallery.
Contact Sandra Mastroianni at sandra@cactusgalleryla.com for collector preview.

'CATS' online art show, coming soon to Cactus Gallery. Exhibit opens Friday January 18th at 5pm. Visit cactusgalleryla.com/ or find Cactus Gallery on Facebook.

Tiny Treasures + One, with Cactus Gallery

11/11/2018

This year's 'Tiny Treasures' with Cactus Gallery includes a 'Plus One' plot twist: We were each asked to create a cohesive body of small works, with one medium-sized work as a centerpiece. I have created a new body of winged works, themed on a favorite poem. It began with a new challenge: My first ever attempt an art doll sculpt.

'To Gather Paradise' SOLD
9" x 3.5" art doll sculpture; paper clay, mixed-media. 2018
Portfolio Photography Todd Powers
Shop Cactus Gallery Online

I was learning and experimenting as I went along, and this project was even more fun than I thought it would be. She is inspired by Emily Dickinson's poem 657, "I Dwell in Possibility." Named for the last few lines of the poem:

" Of Visitors -- the fairest --
For Occupation -- This --
The spreading wide my narrow Hands
To Gather Paradise -- "

I've been secretly yearning to move in this direction with my work for many years. I let a lot of things get in the way. The events of this year were a sobering reminder to me that we are not guaranteed our time here, and to make best use of it while we can.

These lines remind me who I am, and who want to be. It is so easy to get distracted, to become lost in the noise of my illness, of everyday life. I appreciate the focus this poem provides, as I start my day: I have it pasted in my tea cupboard, and it's the first thing I read, every morning.

"This is the entire essence of life: Who are you? What are you?" ~Tolstoy

I enjoyed creating this work immensely. It challenged me in all my favorite ways and made use of all my favorite techniques and materials. There will definitely be more art doll sculptures in my future.

Above; building the armature, wig cap, and sculpt. Below; building and fitting the dress.

I have created a YouTube playlist of WIP video captures as well.

I completed the sculpt by finishing the base with a scrap of decorative fabric, left over from a previous project. I had enough of the fabric remaining to line a few bee boxes, and so decided to make it one of the unifying elements between the medium work and the smaller works.

Above: 'To Gather Paradise' and 'They Still Fit' side by side.

Below: Work-In-Progress shots of the new bee boxes:

" I dwell in Possibility --
A fairer House than Prose --
More numerous of Windows --
Superior -- for Doors -- "

Above: Detail of 'To Gather Paradise' and 'Very Different Circles, Two'

Below: Portfolio shots of finished works, photographer Todd Powers.
I've named this body of work 'BeeLong Twogether.'
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'Keep It Together' 4.5" x 10"
mixed-media

'One Plus One is One' 3.5" x 6.5"
mixed-media

'They Just Clicked' 4.5" x 10"
mixed-media

'Come Together' 4" x 7.5"
mixed-media

'Seeing Red' 2.5" x 7"
mixed-media

'They Still Fit' 5" x 11"
mixed-media

'Very Different Circles' One 3" x 4.5" SOLD
mixed-media

'Very Different Circles' Two 3' x 4.5"
mixed-media
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When the new pieces were all complete, I went to work building them some safe-travel packaging. This is the part where the boxes and containers I've saved are put to good use: A box cutter, some masking tape, and we're in business. I have included a video of the shipping box I made for the art doll as well; It was created with foam scraps left over from old projects. find it in this YouTube playlist of WIP video captures.

On advice from a fellow artist, I tried PVA Glue in many areas while creating my art doll sculpt. This was my first experience with PVA and I loved it so much, that I've begun using PVA on various other projects, just to see how it compares. I wish I'd found PVA sooner; I recommend trying it out. It was perfect for the creation of the wig cap on the art doll sculpt. And I've found so many more uses for it since then!

'Tiny Treasures runs now through December 31, 2018 with Cactus Gallery, Los Angeles.

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Dia de los Muertos 2018

10/28/2018

For many years now, models Brenda Lucero and Lucy Cruz have been including Todd and me in their annual celebrations of Dia de los Muertos, or Day of the Dead. This year's collaborations were both managed and directed by Lucy and Brenda, who handled all of the research, scheduling, wardrobe, accessories, props, and design themselves. All I had to do this year was paint, and edit. Saved me a lot of energy. Thank you Brenda and Lucy!

This year was especially fun because I got to paint Brenda's daughters. They both did great on set, and I had a blast working with them.

Photographer Todd Powers * Sugar Skulls Jen Raven
Editing Jen Raven & Todd Powers
Wardrobe & Hair Brenda Lucero
Direction & Design Lucy Cruz

I love these kids so much --and so does the camera!

I love the way these girls love each other. At one point Todd caught some beautiful shots of them playing on set. These are my favorites of the entire shoot.

This year's DdlM shoots were also special because they included photographer Fortino Alvarez --in front of the camera, for a change, rather than behind it.

Photographer Todd Powers * Sugar Skull Jen Raven
Editing Jen Raven & Todd Powers
Models Lucy Cruz and Fortino Alvarez
Direction, Design, Wardrobe Lucy Cruz

Model Brenda Lucero knocked it out of the park this year, with her powerful and personal tribute to her beloved Aunt Rosie, who recently passed away. Brenda sketched out an original design for her Sugar Skull, which included the dandelions art that Brenda and I have been using in our ongoing series, "Fly Away Home."

Slideshow of "Fly Away Home" can be viewed in my Forward Motion Gallery.

Brenda shared with us her fond memories of playing BB guns with Aunt Rosie, on her Grandparent's ranch. Rosie loved all of her nieces and nephews, enjoyed playing with them and loved to spoil them. Brenda asked us if it would be ok to include BB guns as props, in Rosie's memory. Also especially for Rosie, we included extra roses, her Father's Sombrero, and a rose ring, gifted to Brenda from Rosie eleven years ago.

Sometimes these shoots make me tear up a little. They are so personal and beautiful. I am honored to be included in these lovely tributes.

Photographer Todd Powers * Sugar Skull Jen Raven
Editing Jen Raven & Todd Powers
Model Brenda Lucero * Direction, Design, Wardrobe, Properties Brenda Lucero

Thank you Brenda, for allowing us to collaborate with you on such a personal project! We love you!

Rise

9/1/2018

'Rise' is a new addition to my ongoing series of mixed-media paintings, 'Silence,' which combines figurative and surreal styles using pencil, ink, and acrylic.

'Rise' 14x11" acrylic and ink on canvas 2018
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It has been some time, since I last created work in this particular style. It is always there for me, when I need it, and feels like returning home, after a long absence. I can pick up right where I left off, while at the same time; I am made aware of all the ways I've been changed, while I was away.

Shown: WIP Photos of the line work coming together:

'Rise' tells a story of the journey back, to the surface, after a visit down, into the Dark. This painting depicts that place of in-between, where both light and dark are equally accepted, valued, and respected.

Regular journeys down into the Dark are a necessary part of who I am, and I accepted that about myself long ago. I don't fight on the way down, as I once did; because I know that I can, and will, find my way back again, when it is time.

There is nothing inherently wrong about the Dark. Rather; when we deny these essential parts of our own selves, we create stress and difficulty that manifests itself in unhealthy ways ~which we then blame on the Dark, rather than on our own lack of self-acceptance.

My journeys into the Dark continue to prove useful upon return to the surface; I gain new insights with each round trip; I return 'pregnant' with deeper understandings, which often become valuable new concepts applied to my work, valuable new lessons applied to my life.

See the full body of work, 'Silence' in my Silence Gallery

'Rise' will be joining 'The Revival' group exhibition with Cactus Gallery, Los Angeles. Opening Saturday, September 8, 2018 6-9pm. there will be a second opening, in conjunction with the bi-annual Frogtown Art Walk, Saturday September 22, 4-10pm. Show runs September 8 through October 6.

I Love Lucy

7/28/2018

We are so proud! Our own Lucy Cruz is currently seventh in the running for Maxim Magazine's Cover Girl Contest! Vote for Lucy every 24 hours; Lucy intends to donate her winnings to Bakersfield Burrito Project and NAPD ~ New Advances for People with Disabilities.

Artist Jen Raven and Model Lucy Cruz.
Photographer Todd Powers; Body Art by Jen Raven

Lucy is a versatile characters and concepts art model, especially talented in the genre horror --though I also really appreciate the concepts she shoots themed on Dia de los Muertos. We have been working with Lucy since 2012, and we are so proud of her; she's transformed herself from an industry ingenue into . . . a Vogue Italia model, music video model, and Netflix actress! She's also proved skillful as project manager and as a mentor, to the next generation. What an incredible five years. Well done, Lucy! Your hard work and dedication have really paid off. Can't wait to see what you do next!

Photos above: A sampling from just a few of the shoots we have done through the years with Model Lucy Cruz. Photographer Todd Powers; Body Art/Costume Builds Jen Raven; other models shown, Fernanda Llama and Brenda Lucero. Photos below: Behind the scenes, and on the scene, with Lucy Cruz.

Stay tuned for a release date on 'Rachel' coming soon to Netflix!
Find Lucy on Facebook
Find Lucy on Instagram

Lucy Cruz in Deed Rocklin's music video for "July"

Tiny Treasures XII and Things with Wings!

10/13/2017

NEW photos from the opening reception! Full slideshow at the end of this post.

"Art flies around the truth, but with the definite intention of not getting burnt.
Its capacity lies in finding in the dark void a place where the beam of light can be intensely caught, without this having been perceptible before."

For many years, I've left this quote in various places where I'm sure to stumble over it, throughout my studio: Taped to a book cover. Captured on a faded post-it note. Scrawled on the back of a sketchbook.

All of my winged works, in one way or another, lead back to the ideas captured in these words by Franz Kafka: I want to tell the truth, as I know it, without getting burnt, or burning others, in the process.

My winged works have been given a featured spot in the upcoming "Tiny Treasures XII" with Cactus Gallery, Los Angeles.

In addition to a new collection of whimsical chickens, I have created for this installation a mini-series of quixotic creatures, inspired by a work I was commissioned to create, over the summer. Fellow artist Liz Jimenez asked me to create a set of hybrid bee-and-butterfly wings, in memory of her brother, Cody:

'Polymorph'
2017 24x"72 diptych acrylic on canvas
commissioned

Through my work with Liz, I was inspired to fuse the morphology of the two pollinators further, into a new series of flying sculptures --part bee, part butterfly. They will be on exhibit part of my 'Things with Wings' installation, at Cactus Gallery. I named my first hybrid creation 'Chimera' and she's a colorful creature:

'Chimera'
2017 10x10x15.5" mixed-media flying sculpture
w/18"h stand & 20" adjustable chain.
available

This candy-colored creation is whimsical in appearance but serious in subject: Our planet's pollinators are in serious jeopardy and we must start taking better care of them --and ourselves, and this world that we all share --while we still have time.

Less colorful but equally cute: 'ButterBee!'

'ButterBee' 2017
flying bee-butterfly hybrid sculpture 10x10x18"
w/ 18"h stand & 20" adjustable/detachable chain
available

For those who have a sweet tooth; this one will send you into 'Sugar Shock!'

Sugar Shock!' 2017
11x11x18" flying bee-butterfly hybrid sculpture
w/ 18"h stand & 20" adjustable/detachable chain
available

And, because all you need is Love; and Love Wins:

'Love Wins' 2017
10x10x15" flying bee-butterfly hybrid sculpture
w/ 18"h stand & 20" adjustable/detachable chain
available

'Shy Violet' 2017
10"x10x16” mixed-media flying sculpture
w/ 18"h stand & 20" adjustable/detachable chain
available

Also along the lines of things with wings; there will be new chickens on exhibit with 'Tiny Treasures XII' tiny works exhibit:

'Letters Home' 2017
assemblage sculpture shadowbox 5x5.5"
sold

'Something in the Air' 2017
set of three mixed-media assemblage sculptures, each 5.5 x4.5"
shown above: One and Two
available

'Something in the Air' One 2017
mixed-media assemblage sculpture 5.5 x4.5"
available

'Something in the Air' Two 2017
mixed-media assemblage sculpture 5.5 x4.5"
available

'Something in the Air' Three 2017
mixed-media assemblage sculpture 5.5 x4.5"
available

'Unrequited' 2017
5x3" mixed-media assemblage
sold

'Process' 2017
4x5" mixed-media assemblage
sold

'Glass Houses' 2017
3x4" mixed-media assemblage
available

'Bloom' 2017
5x5.5" mixed-media assemblage
sold

'Let's Go Where the WiFi is Weak' 2017
tiny triptych mixed-media assemblage sculpture
largest to smallest3x3" (2.5" deep); 2.5x2.5" (1"deep); and 1x1" (1" deep)
sold

'Let's Go Where the WiFi is Weak' detail 2017
tiny triptych mixed-media assemblage sculpture
largest to smallest3x3" (2.5" deep); 2.5x2.5" (1"deep); and 1x1" (1" deep)
sold

A flock of flying fuzzbutts will be joining the bees and chickens, at the opening reception of 'Tiny Treasures.' These 'Things with Wings' each have marabou bodies, washi paper wings, an a 5" chain with a lobster clasp at the end.

'Flying FuzzButts' series 2017
5x8.5" mixed-media flying sculptures

several of these little cuties have already been adopted; shop Cactus online to catch them before they are all gone!

Also on exhibit; two new tiny winged shadow boxes, titled 'Coming' and 'Going,' which join previously created works 'Forward' and 'Backward.'

'Coming' 2017
3x5" mixed-media assemblage
sold

'Going' 2017
3x5" mixed-media assemblage
available

'Tiny Treasures XII' opens November 18th, 6-9pm, Cactus Gallery, Los Angeles.

Opening Reception for 'Things with Wings' and 'Tiny Treasures XII'

All of my beautiful portfolio photography is the work of Todd Powers. Thank you, Todd!

Pain2 Exhibit, USC Keck School of Medicine

8/26/2017

In September, I will be joining an encore 'Pain' themed exhibit, hosted by the USC Keck School of Medicine. The original 'Pain' themed exhibit, in 2014, was hosted by The Gallery at the LRC, the David Geffen School of Medicine, UCLA.

This is a mail-in exhibit, so we don't get the artwork back when it comes down. Inexpensive creation is key: I re-purposed a cereal box to create a fold-up mailer, which will protect my work on it's way to USC Keck School of Medicine.

A little packing tape; a little gesso; we're in business.

'Fly Away Home' is an ongoing collaboration that I've been creating with model Brenda Lucero. We began this project in 2016; this project is dedicated to the memory of Brenda's little brother, Johnny. I am grateful to Brenda for her friendship, her talent, and her courage in sharing this personal pain with the world, through our art.

'Fly Away Home' ongoing series, beginning December 2016
Photographers Jen Raven and Todd Powers * Model Brenda Lucero
Body Art, Backdrop Art Jen Raven * Rain Backdrop Todd Powers
Wardrobe/MUA Brenda Lucero * Editing Jen Raven and Todd Powers

More information about 'Pain2' on Facebook
'Pain2' exhibit runs Sept. 1 through Oct. 27.

There are more dandelion-themed body-art works
and dandelion-themed paintings in my galleries.

Update! Photos are coming in from the exhibit, at Keck School of Medicine USC!

Video on Facebook

Pinocchio's Follies

7/21/2017

In August, Cactus Gallery will open for 'Pinocchio's Follies' a group show featuring the work of artist Joe Alvarez. Exhibit runs August 12 - September 2.

I've created a small painting for this Pinocchio-themed show. 'Heading' is 4x4" acrylic on a .5" artist-wrapped canvas, and features the character of the Fairy's pet Snail.
For pre-sale information on this work, contact Sandra Mastroianni at sandra@cactusgalleryla.com

'Heading'
4x4" acrylic on .5" artist-wrapped canvas
Varnished; sawtooth on back

Carlo Collodi intended the story 'Pinocchio' to be a tragedy. In the original version (1881), Pinocchio dies a gruesome death: hanged for his innumerable faults. At the request of his editor, Collodi added chapters 16–36, in which the Fairy with Turquoise Hair rescues Pinocchio, and eventually transforms him into a real boy --when he acquires a deeper understanding of himself.*

I can't help but see, in the Pinocchio story, a metaphor --for the situation humanity currently inhabits: Despite innumerable warnings, from countless scientists, over multiple decades, we continue to rush headlong toward a global catastrophe that we ourselves have created. Within this metaphor; I clearly see the ugly side of humanity represented in the foolish, selfish character of Pinocchio, while science and scientists are embodied in the prudent, generous Fairy with the Turquoise Hair --a character who repeatedly counsels Pinocchio to improve his ways, providing him with guidance, as well as assistance, on numerous occasions throughout the story. Humanity may very well have doomed itself, through the ongoing abuse of our planet. Science may yet provide us with opportunities for a second chance --a chance we may not deserve, any more than Pinocchio did.

In the story; a Snail character provides Pinocchio with opportunities for a second chance, and later in the story, for a chance to give back, to the Fairy who has given him so much. Pinocchio's acceptance of these opportunities, to make a change for the better, is what ultimately leads him to become 'a real boy' with a better understanding of himself and his place in the world. I'd like to think that humanity could be like Pinocchio in this sense; I'd like to think that we have the capacity to change, and to take advantage of the opportunities provided us --while there is still time.

*Wikipedia: https://en.wikipedia.org/wiki/The_Adventures_of_Pinocchio

The Love You Make

7/8/2017

"The Love You Make," A Beatles inspired group show will run: July 22 - August 5, 2017 RECEPTION: Saturday, July 22 * 6p-9p Cactus Gallery, Los Angeles

For this exhibit, artists created works interpreting characters from Beatles songs. I created three new tiny works, featuring my flying chickens, for 'Across the Universe,' 'Honey Pie' and 'I Get By,' my favorite Beatles song. For pre-sale information on this work, contact Sandra Mastroianni at sandra@cactusgalleryla.com

Across the Universe
3.5x3.5" mixed-media 2017

To Bee Where You Belong
4x4" & 4x4" diptych mixed-media 2017

I Get By (with a little help from my friends)
3.25x4.5" mixed-media 2017

Places to Bee on June 10th

6/1/2017

My work will be making appearances in two exhibits this month, and both are opening on June 10th. Bee there, or bee square!

'Bee Squared' and 'Euglossa' will be in Los Angeles, for 'Something Wild in My Garden' and both are available now with Cactus Gallery. See more photos in the online shop.

'bee squared' 2017
4x4" acrylic on 1" deep artist-wrapped canvas

'Euglossa' 2017
mixed-media sculpture 10”L x 10”H x 17”W

See more works like this one in my gallery.

Stand: 9.5”W x 6.5”L x 20”H

Work-in-progress video of 'Euglossa' creation:

More videos of Euglossa in-progress can be viewed on my Youtube channel.

Euglossa is a genus of Orchid Bees, or Euglossini. Euglossa occurs naturally in the Neotropics, from Mexico to Paraguay, also Argentina, Brazil, and Jamaica.

110 species within genus Euglossa have so far been identified, including Euglossa dilemma. They are typically bright metallic blue, green, coppery, or golden.

A native of Central America (Costa Rica to Mexico), Euglossa dilemma was first detected in Florida in 2003. Euglossa dilemma have since been found in Texas as well.

It is thought that Euglossa dilemma was introduced to the US by accident; perhaps a nest was transported north in a wooden structure such as a pallet.

Euglossa dilemma are specialized to visit particular species of neotropical orchid; the male uses the fragrances during courtship. In Florida, Euglossa dilemma have successfully adapted to breed with the presence of any orchid.
(Source Material: Wikipedia)

'Something Wild in My Garden' opens June 10 with Cactus Gallery, Los Angeles and runs through July 15, 2017.

Exploring the plight of urban wildlife: Many of our furry and feathered friends have been evicted from their habitat by an exploding human population. In our search for progress, we are destroying their natural environment. In turn wildlife are forced into our residential areas, in order to find food for survival.

Also this month: My 'In Life' wearable art series will be joining 'All U Can Eat' in Pomona, CA.

'All U Can Eat' is a curated small-works exhibit, hosted by Bunny Gunnery Gallery.
Opening with the Second Saturday Art Walk, it will appear at two locations: La Bomba Vintage (195 W. 2nd St.) and DPOA's Metro Gallery (119 W. 2nd St.). Exhibit runs June 10 through July 1, 2017.

Selkie Woman

4/11/2017

Selkie Woman
2017acrylic on canvas, varnished 36x24"
View this work in Cactus Gallery's online shop
View other works in this ongoing series

The Selkie is a creature of Scottish and Irish folklore. Selkies live as seals, in the sea, but may take human form when they come ashore. Should a man happen upon a female Selkie; if he can steal her seal skin and hide it from her, she will make him an excellent, if wistful, wife. But should she ever find and reclaim her seal skin; the Selkie will return at once to the sea, her true home, leaving him to languish and die of heartbreak.

In my favorite Selkie legend; a young man happens upon a lovely Selkie, dancing on the beach. He steals her skin, hiding it away from her. And so, she becomes his wife; she bears him many fine children, and brings him great good fortune. He becomes increasingly wealthy as the years pass; he moves his family repeatedly, to larger and grander houses. But on their final move; his wife discovers an unfamiliar box hidden among his things. She opens the box, discovers her stolen seal skin, and returns immediately to the sea. The man’s luck is broken, as is his heart; he dies pining for her. As this legend comes to a close; the Selkie is said to be seen often near the shore, playing with her children in the waves.

This work is the newest addition to my ongoing series, 'Reaching' and it will exhibit with Cactus Gallery, Los Angeles, in 'Bad Girls and Outcasts' opening April 22, 2017. Visit Cactus online to see the show before it opens!

In 2006 I wrote a poem inspired by the Selkie Legend. I've been meaning to create a painting to go with it, ever since. The theme of this exhibit, "the witchy, wicked, wanton, and weird women of fairie tales, myths and legends" is a nice match for my Selkie Woman. It feels good to finish this project.
Can't wait for the next one!

Selkie Woman

awash in the surf
I sing content
but for your shadow
on the beach.

enamored of you
I slip my skin
you take it willing
you hide it well.

now wretched am I
upon the sand!
keening, keening
for my freedom!

and rest you smug
in my defeat.
but be aware,
oh mortal one:

the longer
you hold me
the worse off
will you be

when I return
to the ocean's embrace.

~Jen Raven 2.06