cleaning out, moving closer
With spring in the air and a lot of angst deep down, I am ready to make some new paintings.

I spent today rearranging and cleaning my studio after the tornado named March blew through. I am moving things out, too, to make some space, mostly for my head.

I am rearranging my schedule as well, in order to make more art, as soon as May. I am excited; I am scared, mostly of not knowing how long it will take until I grow tired of eating cereal two meals a day.

I'm anticipating something new and good.

The Touch, the Feel of Barn Wood
Today I went to see a man about a barn.















Well, it's not technically a barn anymore. The tornado that plowed through Greenback, Tennessee a couple of weeks ago blew it down. My photojournalist friend Adam was out there taking photos, met the man who owns it, and told him he would tell me to contact him, which I did. 

It took the man about a week to call me back, but once he did, things moved quickly. Two days later, today, I went out to see him.

I posted on Facebook that I needed a friend to go with me on a salvage adventure, you know, so someone could protect me from rape and murder, JIC. Tracy decided to come along with me.

So this morning with Old City Java coffee (and their Lox bagel adorned with pesto cream cheese which is one of the best things I've ever eaten) in our bellies, we made the 45 minute drive to Greenback. After passing all of the over-development* that is Alcoa Highway and Maryville, the drive actually became very pretty. We passed farmland, barns, silos, and old farmhouses.

We finally arrived and there I met Bob. I introduced him to Tracy, and Bob said, "Tracy, I've seen you on TV." Cue Tracy's laugh.

Immediately following, Bob's cell phone started blowing up. Popular man. In the meantime I took some photos.





























Beauties lying in the sun















Where is the Metrognome? Why, he's in Greenback.

Bob asked if I was going to post the photos on Facebook to find a buyer, to which I replied, "You really know what's going on, Bob. Do you have a Facebook page?" to which he replied, "No, but all my friends do."

He is right. I will post them on Facebook and some other places. I don't know that much about barn wood, but I know that people are crazy for it and that I've been waiting for this moment for a while.

On the way back, I stopped to take some photos of the sites. I want to know what this yellow flowering plant is. Do you know?





























*The one good thing about the over-development. What a sign.
















When we passed by this van in a field, I said, "That reminds me of Napoleon Dynamite," to which Tracy replied, "How much you wanna make a bet I can throw a football over them mountains?"

I'd be willing to bet you could, Tracy.
Shifting
I'm not going to lie. The end of March almost killed me, but I asked for it. I had two art openings the night of April 1, one solo show at Magpies and The Salvage Show which was my first shot at curating. Although it was fun, I vow never to take on that much while also working full time.






















What made things even trickier was that a nine day family vacation to Colorado fell smack dab in the middle of the month. This meant a week not making work, but it also meant time to think and talk about being an artist at a distance from my studio. I had some great conversations with my family members, especially my "cousin" (I still don't really know what her exact relation is) Catherine who had previously bought a painting from me but had never had a chance to ask me about it.

It amazes me how I never tire from talking about making art. The older I become, the more immersed I am in it. I have to catch myself when I realize I've been going on and on, but I'm always happy for a chance to talk with anyone who has honest questions about the things I make.






















On this subject, I had an interesting thing happen to me on the way back from Denver. My sisters, brother-in-law, and I missed our flight to Nashville. We didn't actually miss the flight as much as we missed the doors being open to the flight. The plane was still there, but we could not get on it.

While my blood was still boiling from this incident, I noticed a familiar face in the line behind us at Customer Service. I had actually forgotten his name but knew he was an Art & Architecture professor at UT. I went up to him after I cooled down and found out he had missed his flight to Knoxville.


















This otherwise long story short is that we all ended up getting on a later flight to Nashville and the professor, otherwise known as Ryann, ended up getting a ride with me back to Knoxville.

This unplanned trip home ended up being a bit profound. It was like a prolonged college advising session, or what I'd imagine a psycho-analysis would be like. (All this happening after midnight is funny, too, considering I usually shut down around 10 most nights)

The point is, our conversation made a lot of circling thoughts I've been having straighten out. It usually takes bouncing them off someone else to do that. It also takes the right person kicking me in the ass every once in a while.






















So I returned from my trip, scratched most of the plans I had had for each show, and made all new work with the time I had left. The giving up part was hard- not being able to follow through on the things I had planned, but it was an easy decision to make at the same time because I was going in a direction I wanted.






















The result of this shift was also good for me mentally and helped me want to be more adamant about some things. I'd like to quit putting the work that is most important to me on the back burner. I'd like to quit focusing so much on what the viewer's response will be about what I make. I want to embrace not knowing exactly why I am making what I am making. I also realize that having my hand in art and fifty other things is killing all of them, slowly, but surely. And I need to be in conversation with others that can remind me to keep on track. What is nice is that all of this seems to have started a domino effect of good conversation in the past couple of weeks.


















So during this time of "introspection," these are the drawings I made for my show at Magpies. I don't have a photo yet of the building I drew, but below is the photograph of it that I also used in the show. In the meantime, here is the artist statement:

It has been six years since I last made portraits like this. Back then, they served as a necessary stepping stone toward realizing the art I wanted to create.

I see these self-portraits and drawings of friends in much the same way, reminding me to be more connected to what I am making.

For me, there is a similarity between looking at a beautiful old building and thinking about certain friendships. Each involves an appreciation, love, fondness for someone or something despite imperfections.


The Salvage Show: A first for First Friday
From my post on The Sunsphere is NOT A Wigshop:

First Friday is just around the bend, and I'd like to cordially invite you to an exhibition organized and curated by yours truly.
















If you are unaware, I'm the Architectural Salvage Coordinator for Knox Heritage and am also an artist. I'm merging these two worlds into one the night of April 1 for The Salvage Show.

There are twenty artists involved in this exhibition who are making fine art or functional design pieces using materials from Knox Heritage's stash of architectural salvage. The idea is to re-create something new from the materials that can't be used in their original manner anymore.

Here's a sneak peek of what you'll see at the show:






















Reclaimed Lamp by Shawn Poynter


















Pearls for Swine by Katie Ries
Sweetgum balls, felted wool, wooden curtain rings



Dale Mackey's piece






















Stool by Brian Wagner


I'm very excited about this exhibition and hope you can join us. If you are so inclined to purchase something, proceeds will benefit Knox Heritage, which is a non-profit, as well as the respective artist.

The Salvage Show
April 1, 2011, 6-9pm
ONE NIGHT ONLY
110 South Gay Street (3 doors to the right of the Emporium)
Knoxville, TN


RSVP on Facebook, if you'd like.


The artists are:

Micah Antanaitis
Hollie Cook
Laurence Eaton
Ethiel Garlington
Michelle Garlington
Briena Harmening
Kelly Hider
Tracy Jackson
Forrest Kirkpatrick
Dale Mackey
Hali Maltsberger
Beth Meadows
Sara Miller
Shawn Poynter
Katie Ries
Veronica Siehl
Jessie Van der Laan
Brian Wagner
Michael Watson
Chad Williams

PS: shameless self-promotion- I am also showing at Magpies that night from 5-7pm
846 North Central St.
Knoxville, TN 37917
Come eat cupcakes with me.
Beth Meadows, Metro Pulse Triage Artist Sept. 16-Oct. 14, 2010
I told someone soon after I graduated from UT that I wouldn't move from Knoxville until the Metro Pulse featured me in some form.

Here is the link to my Metro Pulse interview from last year.

I guess I can move now.

Beth Meadows, Metro Pulse Triage Artist Sept. 16-Oct. 14
By Travis Gray
Posted September 15, 2010 at 9:52 a.m.

Why did you start painting?

As a kid, I had an overactive imagination and could play for hours in my backyard or attic without getting bored. I was also extremely shy. When I drew, I made up things I wished existed, underground worlds, even food packaging logos. It all may have been a way for me to express things I couldn’t verbally. I can’t remember a time I didn’t draw.

What kind of ideas inspire you to paint them?

Driving at night, good music, beautiful old buildings, Super Mario Brothers 3, and humorous things people say. These things combined with faint memories of childhood inspire most of my work.

How much does folk art play into your work?

I think about folk art only as much as people tell me my work reminds them of folk art. My style of painting is mostly influenced by children’s books, to be honest. In the end, both have a simplicity of color and shape to which I’m drawn.

On your website (bethmeadows.com) you can really see you growing more confident with what you’re doing year by year. What do you think you’ll be making next year?

There’s a series of paintings I am about to work on that may take me until next year to complete. Most will be set at night, somber, funny, and full of particular colors set against black and dark blue. I also want to paint people again, and for some reason, white animals.

I’ll Kill You With My Bear Hands is one of my favorites. What’s the story on that one?

I’m fascinated by the dynamic nature of words and how changing one word of such a harsh phrase completely changes it. I suppose the painting is funny, but what makes it for me is its title.

The MetroGnome painting you made, of him riding on a sleigh, is pretty great. Don’t you just love Metro Pulse?

Yes, almost as much as I do the MetroGnome.
Arts in the Airport
Upon googling myself today, I found this link.

My painting Pool at Night was accepted into the juried exhibition Arts in the Airport at McGhee Tyson Airport in Knoxville, TN. The exhibit ran from April 23 - October 15, 2010. To see the other work accepted, go here.















Pool at Night, acrylic on canvas
There's nothing to be afraid of
I didn't sleep very well last night. I'm with my family in Colorado for the week, and I am the lucky one that has had to change beds three times since I've been here (I'm the youngest. It's OK).

Last night, I finally had to share a room, but my roommate's snores were loud enough to penetrate through my earplugs, so I dragged my sheets and blankets out to the couch.

I still couldn't fall asleep which made me think of this drawing I did a while ago.



There's nothing to be afraid of
graphite, marker, colored pencil, ink, and varnish on paper
2005
about 3'x4'

I can't remember exactly when it started, but there was a time when I would wake up every single morning and lie awake in bed for hours before falling back asleep around 7. This was different than my experience last night where my lack of sleep was a result of being in an unfamiliar, somewhat uncomfortable place. It was anxiety that used to wake me up.

There are more details surrounding why this was going on, but it's a story too long to tell now. Looking back, I realize I was in state of increasing depression, but for many reasons, would not call it that. Instead, I thought I could will whatever was going on away, and I believed that it was my fault I couldn't sleep because of the way I was, that I was doing something wrong during daylight hours to deserve this. If I could make myself a better person, I would sleep. I know now, this only made my anxieties worse.

I remember all of this so clearly in 2007, after just graduating from college and living alone for the first time. It was agonizing, and in the early fall of that year, I named what was going on depression, and decided in October to go to L'abri in Switzerland to finally "work on it."

It's interesting to me to look at the above drawing and see how long I let myself live like that. I made the drawing about waking up at night in a state of panic (see the sillhouette of the monster in the closet) and how it was impossible to ease my thoughts at that time of the morning, and how merely waking up for the day around 8 or 9 am alleviated most of the trauma. I named it There's nothing to be afraid of because, even then, I knew my anxieties and fears were exaggerated. They weren't real, and trying to fight them off in the darkest hours of night was pointless.

Two years later in October 2007, I flew to Switzerland to stay at L'abri. Fighting off my fears there was anything but pointless. I decided to face everything that was going on and fight it to it's death, learning that fighting really meant giving up. I left there seven weeks later with the most clarity and insight I had ever had up to that point. I knew I still had a long road ahead, but I was granted a huge victory there.

A few weeks into my stay there, I went to bed one night on the top bunk in the same room as three other girls in Chalet Bellevue, and I slept through the night for the first time in years.

//////////////////////////////////////////////

More on the drawing: 

The painting above the bed is from a page in Goodnight Moon, the pillow is the pattern from the bedspread in Popcorn, Wes Clanton took the photo that I used for this drawing, and it is of me in my bed from childhood that I used while I lived in Shelbourne Towers. I chose to make the bed a similar green as the pipes in Super Mario Brothers. The monster is actually from an old children's book where a dog thinks he's a lion. I can't think of the name of the book at the moment, but he is also in this screenprint I made.






















He's actually very cute.