You have no idea what she's getting up to, in there ...

I have enjoyed my time with this project, and I will be a little sad to see her go.  But 'A Woman's Work' is Los Angeles bound, for "Loteria VII" group arts exhibit with Cactus Gallery.
Vintage 'House of Windsor' cigar box measures 9.25"h 7.25"w 3"d.  This work stands on its own, open or shut.  It also comes with sawtooth hangers and wall bumpers on back.  For pre-sale information please contact Sandra Mastroianni with Cactus Gallery at sandra@cactusgalleryla.com

Loteria is a traditional Mexican game of chance, similar to Bingo, that uses images on a deck instead of plain numbers.  There are 54 images, each has a name and an assigned number.  The cards are very colorful and the imagery on them is broadly recognized in all of Mexico, other Latin American nations, and European nations.

Each year, Cactus artists are each assigned Loteria cards as inspiration for original works of art.  This year, I had the opportunity to create from card #12, known  as El Valiente, or The Courageous Man.

Naturally, I set out to create something fiercely female:  LA VALIENTE.  The Courageous Woman. The inspirations are endless:  There are as many different ways to be a warrior as there are women.  And every woman I've ever known has had to do battle on multiple fronts, day to day.  A woman's work is never done, they keep reminding us.  And don't we just know it.  Coming off of 2020, I felt that I had plenty to say on the subject.

The support I created for this tiny sewing table was built from a repurposed metal nose bridge, left over from 2020's massive mask-building efforts.  Thousands of artists and makers put their creative endeavors on hold to help fill the gaps in our nation's PPE supply chain, and I was proud to be among them, rearranging my entire studio to become a mask-building assembly line.  I was sewing as many hours as my hands and my eyes would allow, every day.  And I was humbled by all of the support I received, at this time:  Commission customers and gallery directors were gracious and patient; people in the local community stepped up to organize and distribute tools and supplies to those who were sewing.  Even manufacturing companies paused their usual efforts to contribute to the cause.  This is my grateful shout-out to everyone who worked, contributed, and supported our efforts.  It was an experience I will never forget, and this artwork is, in part, an homage to the national and the global efforts of artists in all genres who answered the call to action. 

I also incorporated some scraps left over from the mask building, into the work:  The fabric on the tiny sewing machine, and also the tiny Converse high tops, are both repurposed scrap material. 

Eighteen months into the pandemic, immunocompromised people are still fielding cruel and unnecessary commentary on our continued self-quarantine, often from the very people who's behaviors are putting us most at risk. This commentary is obviously unhelpful.  But it can also be funny:  I was recently dismissed by a man who had never even met me, save a single brief encounter through my window.  He dubbed me "The most pathetic thing he'd ever seen," "Weak," and my favorite, "Living in fear."  While irritating, his comments have also been a source of wicked amusement; he made a snap judgement based on an incredibly limited view --of an average looking, middle aged woman, standing behind the safety of her window.  But he has no idea what I'm actually getting up to, in here.

Often, the most important kinds of work get done behind the scenes. In the two full years leading up to the pandemic I was working with a group of women in my community to make some necessary changes:  Too many people in positions of authority have been ignoring, enabling, and even outright supporting the activities of known pedophiles and abusers of women and girls.  Our group set out to put a dent in that.  This difficult and exhausting work continued well into the pandemic of 2020, and while I was fielding those same insensitive comments?  I was also doing multiple battles on the community front, building stacks of masks, and also organizing stacks of witness statements.  And the women working with me?  They were sharing this difficult work while simultaneously tackling the challenge of teaching public school remotely.  All of us seemingly average, middle-aged women, working from behind our various windows.  No roaring crowds, no exciting high-speed chases; Nothing any casual observer from the outside might dub courageous; just one day after another working from home, at the screens or at the sewing machine (or in their cases, mostly screens; I at least got to mix it up a bit!).  Hundreds of pages of documents.  Hundreds of phone calls and emails.  Hundreds of masks.  Hundreds of hours at the screens, encouraging frightened children and frazzled parents.  All while navigating a pandemic. No parades. 

Any irritation I have been feeling over thoughtless comments is, I realize, irritation on behalf of all women, everywhere, especially those of us who live and work with chronic conditions.  Most of life's necessary work, done behind the scenes, is carried out, courageously, by women.  And a great good deal of the work that makes communities better and safer, is done by courageous middle-aged and mature women.  And throughout the pandemic, the massive majority of slack, nationally and globally, has been picked up and carried by courageous women of all ages.  And you really ought to be taking us more seriously.  Because we have, obviously, been busy; teaching children, building masks, picking up the slack ... taking out pedophiles.  Taking out their enablers.  Necessity has made us skilled when it comes to multi-tasking.  And we are not done.  We are just getting started. 

If you have been enabling abusers?  You might be next. 
A woman's work is never done.

Happy 16th Birthday to Cactus Gallery, Los Angeles!  The call was for a contribution of artwork themed sweet, sentimental, or silly.  This tiny cow crossed paths with me many years ago, and I've been saving it for just such an occasion.  The cotton fabric in this work is vintage and was passed down to me; the original project was created in the 1970's. 

'A Sappy Birthday Show' opens Saturday, March 20th, online with Cactus Gallery.

Happy Trails to Moo 2021
3.25" x3.5" x2.5"
mixed-media/assemblage sculpture
available through Cactus Gallery

I have created two new winged chickens small works, for an exhibit themed on Friendship with Cactus Gallery, Los Angeles.  This group show opens online, February 20th. 

Friendship is a deliciously complicated and layered subject.  I had so many ideas for so many new works.  It was difficult for me to narrow them all down to just two works.  The first work, 'In Numbers' gave me the chance to make use of some gold lame fabric scraps I've been saving.

'In Numbers'
4"x5.5"x 1.5"assemblage sculpture 2021
available with Cactus Gallery

My second work for this exhibit is a diptych: 'On the Table' has two shadow boxes, which can be hung from a wall (sawtooth on back) or they can stand on their own.  The chickens interact either way (or you can display them with the chickens flying away from each other, if the mood suits you.  Haha!).

Detail, 'On the Table'

'On the Table'
5.5"x4"x2.75" and 5.5"x4"x3" diptych assemblage sculpture 2021
available with Cactus Gallery

Detail photos of the individual boxes:

This group show opens online, February 20th with Cactus Gallery, Los Angeles. 

'Harbinger'
5.5"x9" mixed-media flying sculpture
2021 sold

'Bloom'
5"x 8.5" mixed-media flying sculpture
2021 sold

'Incognito'
5"x 8.5" mixed-media flying sculpture
2021 available

'Fat-Bottomed Girl'
5"x 8.5" mixed-media flying sculpture
2021 sold

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

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.

"Art can educate, inspire, empower people to act." ~Judy Chicago

Last night at the Opening for "Rise - A Female Artist Showcase" with Bubble Pop Gallery: I was asked about the visual element of daffodils in some of my works: When we began studying poetry in English class, my Senior year of high school, one of the first poems on the syllabus was 'I Wandered Lonely as a Cloud.' I was profoundly moved by this poem. From that point I came to associate daffodils with powerful friendships.  They also became symbolic, in my mind, for the kinds of beautiful or powerful events that generate strong memories --the memories that bolster us through difficult times. More recently for me they have come especially to represent sisterhood and the efforts of the women warriors who came before us; ongoing battles with Patriarchy can leave us feeling terribly disheartened; as we seem to progress so slowly. It is important in difficult moments to remember those who came before, those who stand alongside us now, and those who will come after. This is what keeps me moving forward in the darkest hours.

I wandered lonely as a cloud
That floats on high o'er vales and hills,
When all at once I saw a crowd,
A host of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.

Continuous as the stars that shine
and twinkle on the Milky Way,
They stretched in never-ending line
along the margin of a bay:
Ten thousand saw I at a glance,
tossing their heads in sprightly dance.
The waves beside them danced; but they
Out-did the sparkling waves in glee:
A poet could not be but gay,
in such a jocund company:
I gazed—and gazed—but little thought
what wealth the show to me had brought:
For oft, when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude;
And then my heart with pleasure fills,
And dances with the daffodils.

Daffodils have appeared in another of my works, 'Gathering Gratitude.'

Gathering Gratitude
24x20" acrylic on canvas
sold

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!

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. 

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! 

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

"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!

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 . . .

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.
 

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
6.5" 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. 

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

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

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

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. 

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
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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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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' 14x11" acrylic and ink on canvas 2018
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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"

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

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!