Category: Mixed Media

A Sappy Birthday Show with Cactus Gallery

3/15/2021

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

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Tiny Treasures XV

11/30/2020

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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.

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Helplessly Hoping

1/6/2020

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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 [email protected] or find me on facebook messenger, facebook.com/jenraven

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

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The Patient-Artist Experience

8/26/2019

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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.

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Mothership Calling Me Home

6/30/2019

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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

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Tiny Treasures XII and Things with Wings!

10/13/2017

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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!

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The Love You Make

7/8/2017

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"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 [email protected]

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

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Places to Bee on June 10th

6/1/2017

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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.

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To the Moon, Alice!

11/12/2016

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'Tiny Treasures X' was my first exhibit with Cactus Gallery, in 2015. This year's tiny works exhibit will mark my one-year anniversary with the gallery. Yay!

Detail, 'Fly Me Away Home'
6x 2.5" mixed media

2016 has been a real roller-coaster of a year, as rewarding as it has been challenging. I didn't get to do everything I had planned, but I did get to do a lot of other things, that I never would have planned --and I made a lot of new friends along the way.

The tiny rubber chickens have returned for 'Tiny Treasures XI' --some of them with their own small fleet of hot air balloons. Also included in this body of work are new additions to my ongoing bee-themed series. Find all of them at Cactus Gallery Online.

'To the Moon, Alice!'
6x3" mixed media

'There's No Place Like Home'
5x2.5" mixed media

'Off to See the Wizard'
6x3" mixed media

'... And the Bees'
3x2" mixed media

'The Bee Keepers'
3x4" mixed media

'Backward'
3x6" mixed media

'Forward'
3x6" mixed media

'Holiday Heck' One
3x6" mixed media

'Holiday Heck' Two
3x6" mixed media

'Break these Chains'
4x3" mixed media

'To the Rescue'
3x4" mixed media

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An Ever-Fixéd Mark

8/4/2016

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Update! Only two of these works remain available! Shop Cactus Gallery online at: https://cactusgalleryla.com/collections/water-group-show/jen-raven

The Chickens are back ... and setting sail for Cactus Gallery in August! --As part of a 'Water' themed group exhibit, in conjunction with the 10th Annual Frogtown Art Walk:

My collection of paper fortunes has given sails to a fleet of tiny fortune-cookie ships:

I've named this set of Chicken Adventures 'An Ever Fixéd Mark,' from a line in Shakespeare's Sonnet 116:

"... it is an ever-fixéd mark,
That looks on tempests, and is never shaken;
It is the star to every wandering bark,
Whose worth's unknown, although his height be taken."

Take A Chance
8x6x 2 .5"
Shop online with Cactus Gallery
More photos of this work in my gallery

This mixed-media/assemblage project included more work with thermoplastics: Worbla turned out to be the perfect material for these little wandering barks (their worth's, as-yet, unknown).

You can see these tiny sailors in person at Cactus Gallery;
'Water' runs August 13 through September 1, 2016.
Or visit Cactus Gallery online at cactusgalleryla.com

Delightful Mysteries
8x6x 2 .5"
Shop online with Cactus Gallery
More photos of this work in my gallery

" ... Love is not love / Which alters when it alteration finds, / Or bends with the remover to remove: / O no! it is an ever-fixéd mark / That looks on tempests and is never shaken; / It is the star to every wandering bark, / Whose worth’s unknown, although his height be taken."

Detail of 'Eyes Open'
8x6x 2 .5"
Shop online with Cactus Gallery

Update: 'Delightful Mysteries' and 'Take a Chance' have sold!

"Arrange for death to find you in the midst of a great love affair with life; with words and notes; with the dog down on the floor or the rose garden down the street; with the glorious revelation great art leads us to expect. Die in a state of wonder at all there is and all that you didn't manage to get to. It is so gloriously exhausting to live, and I wasted so many opportunities. I want to be in love with things when the tide rolls out." ~Tennessee Williams

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Blue Monday

6/5/2016

Another bee has landed, just in time for 'Symphony of Wings'
group arts exhibit, with Cactus Gallery, Los Angeles.
Featured on beautiful.bizarre.net

'Blue Monday' 2016
Mixed-Media flying sculpture 15x10x10"

'Symphony of Wings' runs June 11 through July 2, 2016

'Blue Monday' in-progress, supervised by Studio Cat.

Custom hanging base measures 7x9x23"
This work can fly from a ceiling hook, curtain rod,
wall bracket, or provided sculpture base.
Decorative chain is removable.

Included in this project; my first attempt at layering airbrush colors over faux-fur.

View 'Blue Monday' at cactusgalleryla.com, or at Pinterest.
See more of my bee artworks here and here
Read more about 'Symphony of 'Wings' at Beautiful Bizarre
Portfolio photographs of my work by Todd Powers

Beastly Beings

5/8/2016

This month, I exhibit with 'Beastly Beings' group show at Cactus Gallery, Los Angeles!

In keeping with my recent trend of bee-themed works, I've created a Beastly Bee:

'A Fluid Phenomenon'
2016 mixed media 16x10, 11h"

'Beastly Beings' opens May 14 and runs through June 4, 2016
Cactus Gallery 3001 N. Coolidge Avenue Los Angeles

For this exhibit, participating artists were challenged to focus on "the powerful yet beautiful connectedness of animals, the outside world, and the harsh realities that are the core of human nature." Around that time, I happened to be reading David Whyte, and also some Anaïs Nin; both have written excellent insights into the "struggle between one's longing to be whole, and the acceptance of one's self as a fluid phenomenon" (David Whyte). Such ongoing conflicts, and their resolutions, are definitely a harsh reality concerning my own human nature.

This Bee, herself, was very much a fluid phenomenon. I am no stranger to creature construction, but this was my first experience using a thermoplastic called worbla. I had

I am a series of moods
and sensations.
~Anaïs Nin

been meaning to learn worbla for some time, and this was the perfect opportunity; I wanted Bee to 'fly' and so needed her to be light as well as strong.

Learning a new material on a deadline can be challenging, in more ways than one;
I was in for a considerable learning experience, and I got to spend some quality time with certain other 'harsh realities' of my own human nature, in the process. The irony!

After much trial and error, and several burnt fingers, Bee finally came to life. She is a mixed-media work including worbla, faux fur, Lutrador paper-fabric, acrylic matte medium, gesso, paint, tulle, embroidery floss, and multiple gauges of wire.

'A Fluid Phenomenon' shown with her included
hanging-sculpture base, which measures 9.5x13, 23h"

Working details on this piece: Display chain is removable and adjustable. Hanging ring is hinged, for removal/replacement. Bee can fly from this base, or may be displayed from a wall bracket, ceiling hook, or curtain rod.

View 'A Fluid Phenomenon' on Pinterest or at Cactus Gallery.
Photos by Todd Powers.

Photobombs courtesy of Studio Cat.

UPDATE! Bee has sold, and now has a home with the
Buena Vista Branch Library in Burbank, CA. Yay! Thank you, CR!

Tiny Treasures X

11/5/2015

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So many good things in progress right now --Yay!

It's been an especially busy week at The Raven's Nest; we continue to work through photo tests of body painting and costumes for our ongoing project, The Bee Keepers. In addition to this, I am delighted to report that I will be joining Cactus Gallery's annual tiny works exhibit, "Tiny Treasures X." Exhibit runs November 14 through December 23.

For this exhibit, I've created a new body of tiny works, titled "In Life." I've borrowed this title from the quote, "In life, we are in death;" I am always appreciative of this reminder to live each day to the fullest. These are functional artworks --wearable hair and clothing accessories which have bar pins and/or alligator clips on back.

Also for this exhibit at Cactus Gallery, I've added three new tiny works to my ongoing series, "Flight."

I am a lifelong fan of the works of Roald Dahl. My tiny work "A Golden Phizzwizard" is a nod to Dahl's "The BFG." If you have not read about The Big Friendly Giant, pick up a copy and read it with your kids; it's terrific fun!

"A Golden Phizzwizard" measures 3x3" and has a sawtooth hanger on back.

Also for "Tiny Treasures X" are works "We Get By (with a little help from our friends)" and also "Guess What (chicken butt!)."

"We Get By (with a little help from our friends)" measures 4.5x3.5" and has a sawtooth hanger on back. "Guess What (chicken butt!) measures 2.5x3" and also has a sawtooth hanger:

Included, in this busy week; Todd and I have been working with our neighbor, Terri, and with model Aileth Bran, to find homes for two scrappy little survivors we've dubbed Zack and Dragon:

Above: Model Aileth Bran wearing a creation by Jen Raven, and posing with kittens Dragon (orange, left) and Zack (brown, right).

Their mother was a feral; the litter was abandoned; a stray dog attacked the litter: Only two of the five kittens survived the attack --somehow they managed to escape unscathed, and Terri eventually found them, hiding in her grapevines. Terri is fostering them and providing for their Veterinary care; Todd and I have given them Dawn dish soap flea baths, as they were too young for flea medication; and we are now working with Terri to find forever homes for these adorable little fuzzbutts. Model Aileth Bran volunteered to pose with them, this week, in order to help us get the word out.

Model Aileth Bran wearing creations by Jen Raven, posing with kitten, Zack.

Both of these adorable kittens are five weeks old, male, and have had their first Vet visit and first shots. They are free of worms and fleas; their current foster, Terri, has pledged to pay for additional anti-parasite treatments AND will pay to have them neutered, when they are old enough. If you would like to meet one of these little cuties, and perhaps give him a forever home, please contact Terri at 661. 833. 2675. Thank you!

Below: Aileth Bran models "In Life" pieces, created by Jen Raven.

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Forward Motion

2/21/2015

On February 20th, as part of my exhibit with UCLA Geffen School of Medicine, I gave a talk to the students, in the Gallery at the Learning Resource Center. Below, are some of the notes from my talk, re-worked into a blog. Photos of the talk, portfolio photos of my artwork, and work from our Pas de Berlin series are courtesy of Todd Powers.

My name is Jen, I am a professional artist, and I live with Lupus and Fibromyalgia.
I became symptomatic at age sixteen; I was diagnosed at twenty-seven, and I have since spent the last ten years learning how to navigate a relationship with my illness.

That it is a relationship, or that it can be seen in that light, is a fairly new concept for me; in the early years following diagnosis, I approached Lupus more as a battle to be fought, and initially this was helpful to me (it’s far better to fight, than it is to simply give up). But recently, I’ve been learning how to engage this facet of my life in a more productive manner.

I continue to be surprised at how helpful it actually is --helpful for me and for those around me-- to actively engage this subject: It is helpful to paint about my illness, write about it, talk about it, create conversations about all the ways this illness influences my life and my choices on every level.

For too many years, I’d deliberately avoided doing any of that --Lupus was already taking so much of my time, and I resented it. Lupus had already stolen so much of what used to be my life, and I was angry about it. I wasn’t willing to give her anything she wasn’t already taking from me, by force. I didn’t even want to talk about it.

It took me a long time to see the extent to which my relationships with my illness reflected my relationships with myself, right down to the avoidance, the anger, and the resentment. I realized then, that I had a lot more to work on than just the physical aspects of chronic illness: I needed to do more work on myself, as a person --and along the way I discovered that doing this kind of work, to better myself emotionally, resulted in my doing better, physically. Intrigued, I continued along these lines, and have since continued to improve.

Through my work (painting, writing, assemblage, and collaborations), I began to explore the ways my illness was re-shaping, and forcing me to more closely examine, all of my relationships --with my body, within my mind, and also, my relationships with others.

My relationship with my body

‘The Lines Unread’ belongs to my Silence series. 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 use of my hands --abstract sketches in crayon, and spoken word --performance poetry.

In addition to the figurative sketches in ink and pencil, many of the works in this series have my poetry written in pencil, ink, or both, beneath or between the layers of acrylic gesso and paint. ‘The Lines Unread’ is the title of my poem, within the painting, bearing the same name.

My relationship with my mind

'‘To Anger’ is part of my Dine-in,Take-out series. The origins of this series reside in a loose collection of abstract crayon sketches, created in 2004 and 05 --the time when my function was most impaired, and sketching often required controlling a single crayon with both hands. Economy of line was critical,

requiring me to work in more direct, less detailed, techniques. Such blunt visual communications left me little space to equivocate, and forced me to terms with emotions long interred, and issues which I had been previously unable to tackle with any honesty.

Lupus and Fibromyalgia forced me to stop --physically and mentally-- for the first time, in my life. Before chronic illness, I had not realized the extent to which I was being driven, by my own pain, anger, and avoidance. The crayon sketches helped me to work through some of that. In 2011, recreating the crayon sketches into paintings helped me to work through a bit more. Writing about this series, at the present, I find myself doing that work, yet again.

My relationships with others

‘The Fruits of Self-Compassion’ belongs to my ongoing narrative series, Reaching. Unlike the works of previous series, which look to the past, Reaching is firmly established in the present, with an eye to the future. The characters in this series express forward motion --reaching for that which is higher, within themselves and in their environments.

As visual elements, the exaggerated shapes and sizes of the hands in these works communicate the complicated relationship I have with my own hands: I no longer take my hands for granted.

I am keenly aware, day-to-day, of what my hands can do --I find myself carefully planning each day’s activities, and routinely mapping out entire weeks or even months in advance; I do this not only to make the best use of my hands, but also to allow for energy levels, mental acuity, and pain management.

There was a time when I didn’t think I’d ever regain function, especially not to this extent. I am deeply grateful for this, and always mindful of what it means, to have hands, and to be able to use them.

Also present in this series are themes of growth, from within. Each of the works in Reaching is inspired, in part, by a particular relationship in my life, which has endured and grown stronger in spite of, or because of, my illness. Life with chronic illness has taught me many valuable lessons, including who my true friends are, and what my true priorities have become. I have also learned how to ask for help; that has never been easy for me. More importantly, I've learned how to receive help --not the same thing.

Forward Motion

In addition to my ongoing solo projects in acrylics and assemblage, I've begun a series of collaborative concept photography projects, with fellow artists in various fields who also seek to tackle painful personal issues through their work.

These collaborations have been highly rewarding: Through these projects, we seek to encourage a determination, within ourselves as well as others, toward courage, healing, and forward motion.

Photos on exhibit with Forward Motion include selections from Pas de Berlin, a series in concept photography, spanning twelve months of collaborative work themed on a seven stage model of the grief and healing process.

The full series guides our viewers through eight different landscapes, breaking down the various stages of grief into visual elements, and creating a narrative of courageous recovery.

Currently on exhibit, are photographs from two of our eight separate sets: Efface, a dance terminology ('shadowed'), describes the frightening pain and guilt often referred to as the second stage of seven; Epaulement ('shouldering') explores the fourth stage --heavy feelings of sad reflection, isolation, and depression.

Pas de Berlin Contributing Artists:

Jen Raven ~ Creative Direction, Concept Artist, Costumes, Properties
Todd Powers ~ Photography and Editing
Ande Castaneda ~ Makeup and Hair Artist
Berlin ~ Dancer / Model

Special thanks to Ted Meyer, Artist in Residence at UCLA Geffen School of Medicine; and to LuAnn WIlkerson, Assistant Dean of Education, UCLA Geffen School of Medicine.

Artist Jen Raven, and LuAnn WIlkerson, Assistant Dean of Education, UCLA Geffen School of Medicine.

Eye Spy . . .

11/24/2014

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'Coda' was the final segment in our 'Pas de Berlin' series, and my preparation for this shoot began months in advance. A backdrop canvas had to be painted; set and costume pieces had to be built, schedules had to be coordinated. After the shoot, the set and costume lilies were dis-assembled and re-made, into individual works of art, for the gallery exhibit.

Portfolio shots of my Lily creations by Todd Powers:

Lilies on display in the gallery, with the artwork:

In-studio creation of the lily vines; individual elements are altered, painted, assembled, and then re-assembled:

On set, day of shoot: Backdrop and props are set up, just before Model Berlin arrives in makeup, courtesy of our skilled makeup artist, Ande Castaneda. Berlin has to be further altered with body paint, moss, costume vines and lilies, before the shoot begins:

'Coda' was shot in three separate segments: First, Berlin becomes acquainted with Lily, representative of her hard-fought, and hard-sought, transformation (she is 'seeing' her pain, recognizing and accepting it). Next, we remove the Lily prop as Berlin dances, embodying the Lily spirit (relying on dance, she works her way though the pain). Finally, Berlin is re-created; now a fierce, powerful Lily, she is stronger for having embraced and accepted all parts of herself -both light, and dark (by taking ownership of her pain and grief, she also gains control over these strong energies; she now has the skills to bend those strong energies to her own will, use them as she sees fit).

'Coda' Set, 'Pas de Berlin' series 2014 *model Berlin * photographer Todd Powers * MUAH Ande Castaneda
costume, accessories, properties by Jen Raven * concept direction provided by Jen Raven

"I found I was able to be comfortable using the movements of my dancing experience to draw emotion into my modeling. It was rather healing. I took a step back and realized in some aspect this (modeling) is like dancing. In ballet or lyrical, whether I was having a good day or bad, I would portray that into my choreography, and how ever you may have danced that day, your raw emotions poured out for everyone to see, who understood. In some shoots I found myself crying or tearing up after, it was like a performance I poured my heart into, a performance that was rather healing for me. This was the right way to heal, the method I’d been searching for. I began to eat right, exercise, travel, I met some amazing people (from the art community) who continue to stay by my side, and most of all I began to heal, to sleep again at night, to forgive myself, to just. be. happy. for myself. I genuinely still am. I didn’t realize how dead I was as a person until I met the right people who set me down a better path. I am forever grateful. Art does save."

~excerpt from 'A Broken Recovery' by Berlin

We named the final shot of the final set 'Coda' and it was used in creating the event graphics for advertizing the exhibit:

I am so very grateful that I had the opportunity, to experience this marvelous, year-long collaboration. What an amazing team. What an uplifting experience it has all been!

See more behind-the-scenes photos and video from this collaboration here!

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the lines unread

7/6/2014

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I've started working on a new series, in ink and acrylic on canvas. Each piece begins with a rough figurative sketch over written lines of prose or poetry, and then layers of acrylic gesso, paint and more sketch are build up on top of the words.

the lines unread 14x11" acrylic on canvas 2014

For the base of this work, I chose one of my own poems, 'blanks' (written in 2006). The title of this painting, 'the lines unread' is borrowed from the poem:

blanks

sometimes it's good
to let the silence be.

to leave the lines
unread

to let the words
go

unsaid.

sometimes it's best
to leave the rest

to the imagination
the rumination

participation
abounds
in the blanks
we leave for others to fill

or not

inaccessible
is right where
I want to be

safe
in anonymity

reaching so much more
with less ...

answers
in the emptiness.

fill in the blanks
with the secrets
of your own heart

dear heart;

and learn to read

yourself
between the lines
she leaves out.

~ jenraven 11.06

More works in this series, to follow.

Stay tuned!

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We get by with a little help from our friends

4/6/2014

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These last few weeks have been all about the chickens.

... And also, about paints, fabrics, wires, clock parts ... and plenty of five minute epoxy.

I've been creating a new collection of work, especially for Bunny Gunner Gallery's 'All U Can Eat' small works group exhibit, opening in Claremont CA this weekend, 4.4.14.

The title of this collection is 'We get by with a little help from our friends,' and each work tells a different set of stories within that theme.

'Chariots of Fire' 4x4"

'The Best Defense' 4.5x4.5"

Each small work explores larger truths, concerning the ways that we, as people, depend upon one another, to get by --regardless of our age, station, or situation.

'Out of the Frying Pan' 3.5x7"

I don't know where I would be, if not for all the help and support I've been fortunate enough to receive, over the years; teachers and mentors, colleagues and patrons, family and friends --these fine people make all the difference. And I am so grateful.

'Confession' 3.5x4.5"

'Escape Artists' 7x5"

My husband makes costume armor out of foam sheets, and the scraps from his work come in handy (or, help me get by! ) when small, delicate pieces like these are ready to ship: Each one will travel securely within it's own custom-built case, inside the box.

Hanging hardware is on; labels are secured, and the pieces are ready to ship!

'All U Can Eat' is a popular exhibit, and many pieces had already flown off the wall by the time we got there ... including a few of my own works!

By the time we arrived, 'Escape Artists' had already flown the coop!

Sales had been made, all over the gallery --and with good reason! The work in this exhibit is consistently excellent, year after year. I'm so grateful for the opportunity to be included in an exhibit like this, with so many skilled and talented artists.

Another of my pieces sold, while we were at the exhibit!

'Out of the Frying Pan' sold right in front of me!

Evidence of sales was present all over the gallery, in the form of lovely little red sale stickers, and holes in the neat lines of beautiful artworks, still available for sale.

"One of the great grounds of study for all of the arts is friendship. Arrive daily without expectation of your friends, only gratitude and understanding." ~John Gielgud

With friend and colleague, artist Lisa Klassen-Barnes, at the 'All U Can Eat' exhibit

To see more photos from the exhibit, please visit Bunny Gunner's photo album of this event on facebook.

Event photos by Todd Powers
Portfolio photos of artworks by Todd Powers

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a whole new form of take-out

10/7/2012

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"Every act of creation is first of all an act of destruction."
~Pablo Picasso

It began with a wall.

A creative wall, that is, and one that I was eager to break through. I've been longing to finish up my current series, and move on to new things; but for one reason or another, I've been stuck --both on, and off, the canvas.

The take-out box has been for what you take with you, from your experiences in life. Dine In, Take Out. I've enjoyed playing with that idea.

The TV has been for the deliberate numbing, or drowning out, of that which you've taken, but you aren't ready to 'digest.' But lately, the TV has come to represent more of a cycle, for me; I worked on these same three pieces all summer, and I'd paint in the figures, only to paint them out, over and over again. I began to see the absurd in my creating, only to destroy, these three paintings ... I wasn't really getting anywhere.

The layers of gesso are really starting to pile up on these guys.

Whenever it goes thus for too long, I put aside my painting, and play with assemblage instead. Todd knows how much I love random found objects, and that's why he surprised me with the forks, which of course I loved, and put to good use:

These tiny silver forks are begging to become wearable art.

I'm a great believer in Serendipity, and this instance is no exception. The fork is an excellent visual representation for being 'Done!' -and I've really enjoyed playing with this whole new form of take-out; I feel that it mirrors my own situation perfectly. The time has come, it says, to clear your plate, so that you may be excused from the table. Release what is no longer necessary, and make room for new adventures.

Time to take this show on the road!

I've really let myself enjoy the forks, and I'm happy to say they've worked their way into my acrylics, as well.

The time has come, to push back from the table and say "No more Jell-O for me, Ma!"

I was ready to let the forks carry me to the finish line in 2012. What I wasn't prepared for, was the way other people would respond to the forks, and embrace the idea of being Done:

It seems I'm not the only one who's had a transformational year --I'm in good company, with folks who are ready to clean their plates and ask for dessert. They are quitting old jobs and finding new careers; they are finishing up college degrees or taking classes for the first time; they are putting aside old heartaches and beginning new relationships.

They are saying 'Done' to the old, and making room for the new. Just being in their company has been energizing. I'm now feeling ready to tackle my studio full of half-finished paintings, and get some things Done, myself.

It ended with a wall:

We gathered for one last shot in front of the yellow wall, on the corner of 19th and Eye, to say "Stick a fork in me; I'm DONE!" What are you done with, as 2012 begins to wind down? What new adventures are you ready to make room for, in your life?

This photo above: David Karnowski Photography
All other photos: Todd Powers Photography

"Shiva is that aspect of the divine which is both creation and destruction -- the cosmic dancer who dances the universe into existence and non-existence at the same time, and outside of time." ~Sheila Chandra

Finished at last! 'Holding Pattern' 2012 triptych, acrylic on canvas 12x14" x3

'Stick a fork in me, I'm done!'
Special thanks to: Todd Powers, Poet Bakersfield, David Karnowski, Lavinia Marigold, Zack Forker, Devin Riane, Sarah Purdy, Robin Jonesensteinowitz, Katie Campbell, Jesse Arenas, Lisa Klassen-Barnes and Brenden Barnes, Allyce Owens, Lisa Bell, Natalie Ray, Fortino Alvarez, Lucy Cruz, Tsunami McCorvey, Jessica Franco, Christinev Bayb, Baby Lilli, Tabitha Paige Bruner, Brenda Saucedo.

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A Sappy Birthday Show with Cactus Gallery

Tiny Treasures XV

Helplessly Hoping

The Patient-Artist Experience

Mothership Calling Me Home

Tiny Treasures XII and Things with Wings!

The Love You Make

Places to Bee on June 10th

To the Moon, Alice!

An Ever-Fixéd Mark

Blue Monday

Beastly Beings

Tiny Treasures X

Forward Motion

My relationship with my body

My relationship with my mind

My relationships with others

Forward Motion

Eye Spy . . .

the lines unread

We get by with a little help from our friends

a whole new form of take-out

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