Category: Painting - the work of Jen Raven

the work of Jen Raven

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

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

¡Loteria!

2/25/2017

I've been invited to participate in Cactus Gallery's annual '¡Loteria!' exhibit, in which artists are assigned cards from the Loteria deck as inspiration for original artwork. I've been given card #31 'Las Jaras' (the arrows) and also, from the older, lesser-known deck, card #87, 'La Plancha' (the iron).

My work for 'La Plancha' is a nod to activism on behalf of women's rights, and includes a quote often associated with the women's movements in the 1960's; "The personal is the political." The iron is a tool easily associated with the kinds of work society usually assigns to women --the work that is 'never done' while also largely unrecognized and usually unpaid.

'La Plancha' is 5x3" watercolor and archival ink on watercolor paper. The frame I built for this work is permanently attached to the painting, hardware on back.

While sketching out my ideas for 'Las Jaras' I was mindful of a Mexican proverb;
"They tried to bury us. They did no know we were seeds."

'Las Jaras' is 12x9" acrylic on composite board (a clip-board with the clip removed), hardware on back.

'¡Loteria! iii' opens March 11, 2017 with Cactus Gallery, Los Angeles..
Shop Cactus Gallery online

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!

An afternoon in Upland

8/21/2015

Selections from our concept photo series Pas de Berlin are now on exhibit with Erns Lab, a new arts space in Upland! Also on exhibit are several of my recent acrylic works, and my creepy creatures in cages.

Erns Lab, the latest brainchild of artist Erns Valdez, is an eclectic creative environment, offering a photography studio, equipment rental, and studio space. The Lab will also be hosting classes, workshops and small private shows and events.

The Captain. The Bat. The Lab.
Artists Erns Valdez and Todd Powers

Erns, an award winning gallery director (and producer of the Mindclouder Music Festival) has recently relocated his arts business from Pomona to Upland. His last arts space, Loft Beats, was voted 'Best Gallery in the I.E.' two years running by Inland Empire Weekly. We loved working with Loft Beats in Pomona, and we believe Erns Lab will prove an equally rewarding experience.

This exhibit will run now through September 24, and every Thursday Erns Lab is open for the Farmer's Market in Historic Downtown Upland, so if you're in the area, be sure to check it out!

Stay tuned for more on our collaborations with Erns; we've got big plans for the future!

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.

the lines unread

7/6/2014

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!

A Long Way to Somewhere

2/2/2014

In May of 2013, I had the pleasure of working with model Jin n' Tonic, for a body painting photo project we titled 'Dandelion.' I was inspired to continue with the dandelion theme on canvas, and early this year I finished 'Long Way to Somewhere' (acrylic on canvas 10x8"):

'A long way to somewhere' is an homage to the poet David Whyte.; this line was taken from his work, 'Glentrasna,' which spoke to me on a very personal level, as I worked my way through the project. An excerpt from this poem wound up on the project board, and kept me inspired in the weeks leading up to the shoot.

". . . and horizons held their own unspoken promise,
that grief could be its own cure . . .

. . . as if even the sharpest pain
could be a long way to somewhere after all . . ."

~David Whyte, excerpt from 'Glentrasna'

On a personal level, working with the dandelion theme over the past six months has been wonderfully healing. I'm so grateful for paint; for poetry; for people.

Slideshow: Progression of 'Long Way to Somewhere' (May 24, 2013 - January 1, 2014):

Progression photos of 'long way to somewhere' by Jen Raven
Portfolio photos of 'long way to somewhere' by Todd Powers

One

1/6/2014

Update! Photos from my collaboration work "One" with Todd Powers and Alala Archer have joined a new group arts exhibit, "PAIN" at the David Geffen School of Medicine at UCLA, in the Gallery at the LRC .

Chickens appear often in my work.

Born with wings, but rarely given the chance to fly, they represent deep, often unsatisfied longing, for that which cannot be --for paths not taken; for unrealized dreams; for unrequited love.

I've recently had the opportunity to play with my theme of chickens in a new medium: Concept Photography.

I've been working with Todd (my husband) on his photography projects for many years, as a set dresser, designer, and manager, as a body painter and costumer. I enjoy this work; it provides opportunities to stretch my creative muscles, and think outside the bounds of my usual mediums, the canvas or mixed media.

This was to be my first photo shoot as director. I pitched my concept to Todd, and to model Alala Archer; we all agreed on a test of the concept, to get our minds working.

I collected my supplies and grew the necessary properties for my concept:

For several weeks, lemon seedlings adorned my windowsill.

The day of the test shoot arrived. The "test" however, produced such lovely results --too lovely not to publish. We decided to properly edit this set, and release it:

I have titled this set "One," with a nod to the old axiom:

"Don't put all your eggs in one basket."

'One'
Concept Photography
Photographer: Todd Powers
Model and MUA: Alala Archer
Concept, Direction, and Properties: Jen Raven

With this shoot, I was hoping to do more than continue my theme of broken dreams (represented through chicken imagery); I was also exploring the unexpected opportunities which often arise out of thwarted plans, if one is present enough to be able to see them. As the saying goes; every cloud has a silver lining. In this way, my 'One' series is also a bridge to my 'Dine-In, Take-Out' series:

Dandelion

5/16/2013

Last month's JNT print, 'April Showers.' Photo by Todd Powers

Todd has been working with model Jin n' Tonic on a series of monthly print releases, and they asked me to collaborate on 'May Flowers.' Lisa Klassen-Barnes agreed to bring her skills to the table, and we had a concept meeting in April.

Jin and I agreed that It would have been easy to slap a few roses on her and be done with it; but we wanted something more meaningful.

Dandelion, we discovered, is a significant bloom for both of us, and worthy of a labor-intensive project.

Learning to capture Dandelion. Thank you, Lisa!

Dandelion is an outsider of sorts; a lovely wild flower, wrongly named a weed. Jin and I both appreciate Dandelion as an irreverent, tenacious little survivor --she flies on the wind and blooms wherever she lands; no shame, no apologies.

On the flip side; the Dandelion is tough to capture, visually. She's complicated ... One more reason to like her. I am still new to body painting, especially in color, and I had only ten days to research, sketch, plan . . . and practice, on anyone who would sit still (thank you, Lisa)!

Lisa created a uniquely Dandelion hairstyle.

The day of the shoot arrived, and I was nervous. The group had great energy, though, making it impossible to stay tense.

Lisa created something uniquely wild and beautiful with Jin's hair; And I was able to let myself get lost in the paint. The practice paid off, as I finished painting Jin sooner than I'd anticipated.

To complete her look, Todd air-brushed some blue-green into Jin's hair, and she was ready to go.

Jin, Todd, and Lisa had all been scouting potential locations, in the ten days I was learning Dandelion, so no time was wasted during the shoot, either.

Our collective efforts on this project have really paid off. The finished photos are amazing (see below)!

This has been a terrific collaboration, and I'm grateful to have been a part of it. This is definitely my favorite arts-mischief so far, in 2013!

(above and nsfw) behind the scenes video created by Jin n' Tonic!
(below) slide-show of Jin's four-hour transformation into the Dandelion:

JNT Print "May Flowers" for May 2013!

To view Todd's finished edits from the shoot, please visit
my collaborations gallery, here at jenraven.com.

For more on this project, visit A JNT Blog on Jin's official fan page!

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Dia de los Muertos

11/2/2012

Dia de los Muertos celebration at First Friday Art Walk, Bakersfield CA.

a whole new form of take-out

10/7/2012

"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.

Wolfe FX test: Valerie Vickers

5/20/2012

We are so grateful to model Valerie Vickers for volunteering her time -and talent- toward our study of body painting! Todd and I both learned a lot from this test shoot.

Thank you, Valerie!

Catch model Valerie Vickers on Facebook.

Wolfe FX Test: Devin Riane

4/25/2012

I'm so grateful to model Devin Riane, for all the hours she has cheerfully volunteered herself as a human canvas toward my study of body painting.

Thank you, Devin!

Catch Devin Riane at ModelMayhem and PushModels.

Wolfe FX test: Jessica Franco

3/22/2012

How grateful we are, to model Jessica Franco, for volunteering her time and talents toward our study of body painting! I learned a great deal from this test paint, and Todd also learned a few new things with the test shoot.

Jessica was quite patient. She sat very still, for over four hours, as I learned some new designs; then she modeled her paint for Todd on a test shoot as well.

Thank you, Jessica!

Catch model Jessica Franco on Facebook and at ModelMayhem.

Wolfe FX test: Scarlett Reign

3/16/2012

We are so grateful to model Scarlett Reign, for volunteering her time -and talent- toward our study of body painting! Todd and I both learned a lot from this test shoot.

Thank you, Scarlett!

In addition to being a fabulous model, Scarlett is also a brilliant costume designer,
and she's a lovely dancer as well. So much talent!

She's always up to something new: See more of Scarlett Rein on Facebook.

For Gallantry in Action

10/18/2010

'For Gallantry in Action'
2010 acrylic on canvas 24x20"

I was invited to create a piece for the upcoming “Heroes” group art exhibit at The Foundry. Women’s issues are always important to me, so it was not hard to decide on a piece about women serving in the military. As proceeds from artwork sold in this exhibit will go to the Wounded Heroes Fund, I chose also to focus on the women medics serving. Online research led me to a Washington Post article about a young army medic named Monica Brown. It’s not a recent story, but it got my attention:

“Army Spc. Monica Brown, a medic from 782nd Brigade Support Battalion, 4th Brigade Combat Team, 82nd Airborne Division, is the second woman since World War II to earn a Silver Star award for gallantry in combat.”

From there I found a story and video about Spc. Brown … and then another … and another. Her story struck a chord with me; and while I hadn’t originally intended to create a piece based on a single individual, that’s what I wound up doing. I created a portrait of Spc. Brown in my ‘bobble-head’ style, as Todd calls it. I hope she doesn’t mind. I have to give props to vets Matt Ruth and David Reichelt, who helped me figure out some of the finer details concerning army uniform insignias, and the M-16 rifle.

As a military brat, raising money for the Wounded Heroes Fund is a cause I’m happy to get behind, and I hope you’ll all be able to join me for the Opening of our “Heroes” exhibit at The Foundry on Thursday, November 4, from five to seven p.m. Entry is only $5, and well worth it. Veterans admitted free with I.D.

UPDATE! 4-17.17: 'For Gallantry in Action' has been adopted! Thank you, Lucy Cruz, for supporting the arts! And thank you, Solmayra Ocampo, for your service! Here's to strong women everywhere: May we know them; may we be them; may we raise them.

More photos of this and other works can be viewed in the gallery!