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.

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:

Dust is a real problem in Bakersfield; fabrics and other materials often need storage options that will keep the dust out, between projects.  For several years, my stash solution was plastic storage bins, on the studio closet shelf:

These bins are heavy and awkward; I found myself avoiding sewing projects, just because I didn't want to wrangle the storage bins. So I decided to make a change. 

First, I gave the studio books a new home in another room, to clear the shelf I wanted:

If I want to store my fabrics on a shelf, I need to transform that shelf into a dust-free cabinet.  I asked Todd for his input; we decided on clear sliding doors.  That way, it would be easy to see what I had on hand.

First, Todd re-purposed some old screen framing into sliding-door tracks:

We used 5-minute epoxy to fix the tracks to the shelf, top and bottom:

A double-row of repurposed screen framing, top and bottom, to hold the doors:

Studio Cat 'helping' with the project:

While Todd and Studio Cat finished the tracks, I pulled plastic sheets from several old poster frames, to create our sliding doors:

We measured and marked the plastic, and then cut it to size with the hot knife.  We used a large scrap of old mat board to protect the cut table from the hot knife:

Once the plastic was cut, it fit right into the tracks, no problem.

After cutting, we used the epoxy to fix that scrap of mat board to the back of the shelf, to keep the dust out.  Then we moved my fabric stash into its new cabinet:

Now my fabric is eye-level; it's easy to see and reach.  The doors slide to either side,
or can be easily removed and replaced, if necessary.

I don't have to wrangle those heavy fabric bins, any more. 

This entire project was done in one evening,  with re-purposed materials we had on hand.  Didn't cost a dime.  No more pulling heavy bins down from high shelves.

This project has been approved by Studio Cat.

My first Red Carpet at Costume College!

How did I wind up in this line?!

After five years of watching, this year I jumped in, though not voluntarily:  Every year we go down early to catch a good spot, take photos and see the costume parade.  This year, I had planned a costume, but didn't finish it in time.

Studio Cat, 'helping' me with my costume, which, partly thanks to all her help, was unfinished in time for CoCo.

I decided to bring my Dia de los Muertos outfit instead, for the night of the Red Carpet, but I was definitely not planning on walking; I just wanted to watch. 

Because painting my face took longer than I had planned, we were late to arrive, and it was crowded.  We were trying to make our way to the end, where we could catch the best shots; there was a bottleneck at a narrow part of the hall, and somehow I got stuck in the line --definitely not on purpose-- and then I couldn't get out; I was surrounded on all sides by a fast-moving river of crinoline skirts, poufy sleeves, and fantastic wigs. 

I was caught between THIS:

And THIS:

I realized that, if I wanted to make a run for it, I'd have to push past someone's beautiful costume and possibly smudge it with my face paint.  I was trapped.  And where was Todd?  He'd escaped ... and he was laughing his ass off, at me.  Cameras were snapping everywhere and people were asking me questions about my paint and I realized with horror that I was caught, and in line with some of the most amazing costumes in the room --and I'm wearing a nine dollar dress from Ross.

Coming out of the bottleneck in the hall and realizing, with horror, that I am in the line.

As soon as I could escape, I did.  I doubled back to a safe corner where I wouldn't have to worry about getting paint on anyone, and fortunately ran into a few friends, who laughed at my discomfiture, and one of them told me that nobody could see me blushing, because I was wearing paint.  Good point.

With Patty at the Red Carpet; her costume is divine!

This experience was especially intimidating to me, because it was the best Red Carpet I've ever seen at CoCo ... or anywhere else, for that matter.  I must not have been the only one who thought so, because not long after CoCo was over, one of our more well-known members, Jennifer Rosbrugh, posted this comment on facebook:

"With all the chatter about Costume College & the great weekend we just had, I want to point out that this event is for EVERYONE -beginner & experienced alike. Seems CoCo is producing more & more fabulous hall costumes that can be quite intimidating even for us who've been around the block for years. This was not always the case. The event is for education and sharing, not trying to one-up another costumer. So as you make plans to come in 2014, remember you are very welcome -no matter what your skill level. More info: http://costumecollege.net/ ." 

I really appreciated Jennifer's posting that.  The parade of awesome is inspiring, but can also be a bit daunting.  It's nice to be reminded that we all have to begin somewhere.   

In spite of my feeling flustered, it was still a fantastic night:

Black and White ... and Red all over.

Hola, amigos! 

And then, there was THIS . . .

**head explodes from too much awesome**

Because I made us late, we didn't get photos of all the costumes this year.  Fortunately, CoCo has a great Flickr album posted, from that night: 
http://www.flickr.com/groups/costumecollege/ 

There are plenty of other photo collections online as well:

http://historicalsewing.com/costume-college-2013-review

https://www.facebook.com/media/set/?set=a.10151838632082034.1073741826.81722877033&

http://glittersweatshop.typepad.com/sassy_feet_blog/2013/08/a-celebration-of-costumers.html

Bring on the wick jokes; we're making candles! 

When we have enough old candle ends saved up, we melt them down to create new candles, with the rescued wax. 

I braid candle wick with twine left over from Todd's photo shoots:

Masking tape, twist-ties and rubber bands ...
I like to think MacGyver would be proud:

Yes, there are a lot of other ways to get the wick to stay put. 
No, I don't want to argue about them. 

While I prep the molds, Todd chops the candle stubs into smaller chunks, removes anything that isn't wax, and creates his own version of a double-boiler--

--Yes, really:  That is a glass Pyrex measuring cup filled with melting wax chunks, floating precariously in a pot of boiling water, over an open flame.  Kids, don't try this at home (seriously, kids; don't. This is dangerous, and even kind of stupid, given all the things that could go wrong.  You don't get to do this sort of thing until you're a grownup, at which point you really ought to know better).

Todd wrangles the (abused) Pyrex with a pot-holder, and pours the wax into the molds:

We leave the molds to cool overnight.  Sometimes there's some sinking in the middles; Todd pours the last of the wax into the centers, making sure to soak the top wick in wax as well.

Occasionally, a bit of steam will become trapped between the wax and the glass.  To be safe (because obviously, safety is our first priority), I pop the candles from the molds and let them air (you don't want any trapped water heating up under the glass; it could cause the glass to crack, possibly sending shrapnel in all directions).
 
These candles are a little off; so the fit right in, over here. 

It takes about an hour to create them; we keep useful goodies out of the landfill; we save money on candles; Todd gets to do crazy (read: hazardous), things in the kitchen.  Everybody wins!

Disclaimer!
Obviously, we aren't pros at this, or even hobbyists, and some of our methods are decidedly MacGyver-gone-Jackass.  So, if you want to try this at home, please do your research first, because there are safer ways to pull it off.

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It's not uncommon, in my studio, to be working on two, or even three paintings at once.  I try to keep it at two; not because three is a crowd, but because my oldest easel is warped, and increasingly,
just a pain in the ass to use: 

Not only warped, but bent (insert jokes here; you know you want to), the cross-pieces don't fit properly, and the bolt heads often slip right through the misshapen center groove:

Tonight I  found myself in need of a third easel.  I was sick of fighting with the old one, and decided to fix it.  What I needed, I mused, were bigger washers.  No; I needed giant washers.  So I made a pair, with two old medication lids and the handy hot-knife:

Now, I had a pair of giant-sized washers to keep the bolts from slipping the groove; I was finally able to tighten the frame correctly, and get the pieces to fit.

Support leg no longer slipping and sliding:

Cross-piece fits the frame again!  Woot:

No more issues with tipping or wobbling!  She's back in business:

Old easel is now working good as new, and the repair didn't
cost me a dime.  The whole project took about five minutes, 
and I can get back to painting!

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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)!

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. 

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

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

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

 'Once Removed'  2012
Photographer Todd Powers
Model/Wardrobe/MUA Jaden Snow
Concept/Body Art Jen Raven Properties Jaden Snow and Jen Raven

"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?

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.

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.


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, Jessica!

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.
 

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'
2010 acrylic on canvas 24x20"

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!