The artist and the milkman
You know how when someone's grandparent dies, people tend to ask, "Were they close?"

I've never thought too much about it, but this question has always made me feel weird.

In many ways, it feels like an unnecessary question, or an insensitive one. I know they don't mean it this way, but it's as if the person saying it is really asking, "How sorry should I be for this situation?"

Also, even if they weren't close, there could still be a lot of emotions to deal with in a situation like that. It's still a grandparent, the person that created the mother and father of the person. There can be a connection there emotionally even if there wasn't a tangible, physical one, right?

I guess another reason I feel like it's weird is because I grew up around my grandparents; I saw them all of the time, but did I feel close to them? Once I went to college, I saw them a couple of times a year and we never talked on the phone. I still felt very connected to them, but realized we knew very little about one another.

I'd long to be able to come home and sit next to them and hear them talk about when they were younger, but somehow, in the group dynamic of my family, those conversations rarely happened, and for whatever reason, I never made myself available to make it happen either- a great example of how my misgivings have kept my desires from becoming reality.

***

This past weekend, I sat on the edge of a hospital bed in Memphis and talked to my grandfather for an hour, just the two of us. I touched his hands and talked about boys and how I'm trying so hard to make my life work, to make art and buy food.

He told me about graduating from UT (he was the president of his class) and starting out as a milkman in Chicago. He later went on to manage and bring success to several dairies in the Southeast. He was an incredibly savvy businessman.

***

I'm an artist, and that is a longshot from managing a large national dairy, but I feel connected to him in this way, that we both forged/are forging an unknown and risky path, we both wanted/want something big, and we both started small.

I hope I have some amount of his business skill in my blood, buried deep down, waiting to be uncovered.

***

"Hold your chin up and count to ten," he told me before I kissed him goodbye and left the room.

I should be able to count to 1,000 now.

Someone loves me, blogospherically
This morning, I got some love from the writer and DIY extraordinaire behind Button Bird Designs, Angela Statzer. She saw my mason jar paintings at Bliss Home this month and asked to feature me on her blog.

As you have probably gathered, I said yes.

She also asked me if I'd be willing to give away one of my mason jar paintings. 

To that, I also said yes. (Sometimes I'm that easy, what can I say.)

So if you'd like the chance to receive the mason jar painting shown below for free, there are two things you must do:

1) email me at beth@bethmeadows.com and ask me to put you on my email update list, and

2) read the post about me by Angela and leave a comment telling why you love mason jars. I'll pick my favorite response Wednesday and that person will be the lucky recipient.



As always, if you like what I do and want to support, I have mason jar paintings for sale on Etsy and at Bliss Home in downtown Knoxville.

And, thanks again, Angela. If you come back through Knoxville, let me know so we can work on being friends in real life.
You're all winners, but Megan is more of a winner

I'm pleased to announce that Megan Cole has won last Saturday's picture challenge! She used her unbridled intelligence to find me in the photo below, and for that she will receive a gift.




She has won a mason jar painted on a thin sheet of laminated panel. It's orange because I like orange and not because I live in Knoxville. But, Megan, if you love the Vols, then you and this painting are a match made in heaven.

Either way, I hope you enjoy.



Crayon Johnson Building
I've talked a lot this year about my desire to collaborate more.

We have a new artist at 17th Street Studios named Dean Yasko who has taken one of my old drawings from this show and added his own flair. And now he's going to talk about it...


"My most recent work has been inspired by collaboration and spontaneity so I decided to try and "stay in the lines" and add some color to this fantastic drawing. When you were a kid, did you ever do that thing where you use a bunch of different colors of crayons to color in a piece of poster board, cover it with black tempera paint, and then scratch a design into it? When Beth gave me this drawing to contribute to the collaboration, the first thing I noticed was that the print was black with white lines. I knew that I wanted to add color but I wasn't sure how. After some deliberation, I came across a childhood drawing using the method described above and decided that it would be fun to try to simulate this technique.

Thanks for checkin out our drawing. If you would like to see more of my work go to www.deanyasko.com"
Help me clean out my studio/ Artwork on Sale
I had an epiphany a couple of weeks that it would be good for me to clean my studio out and quit looking at old work.

As a result, I am going to begin posting images of my old work here, and I need your help.

If you are interested in any of the pieces, email me at beth@bethmeadows.com.

You may pay the super low sale price OR we can make a trade.

Things I will trade for:

  • artwork
  • Adobe Illustrator or Photoshop lesson
  • a photography lesson (I have a Nikon D50)
  • a seamstress to alter clothing (mostly hemming)
  • food/produce from garden
  • fashion home decor/arhitectural magazines from the past year
  • canvases
  • fabric
  • a new road bike (let me dream big)
  • a truck (again, dreaming)
  • any other ideas?
My only rule is that please don't be creepy. Thanks.

So here is the first piece of artwork:




This piece is 22.5 x 18.5"in the frame. The image floats on the black matte and the frame is pale yellow. 

It features a series of screenprints based off of photos I took at dusk while driving my car*
They were intended for a book, but I ended up framing several of the sets I made instead of binding them. I worked on this project during 2007.

$30 or trade me $30 worth of something: beth@bethmeadows.com

*I do not advocate this foolish behavior
The tortoise (production) and the hare (ideas)
All the photos below are currently works in progress. I typically wouldn't show these photos but wanted to see if it might push me to finish them. 


I like anything that makes me think of Boo Radley and the gifts he would leave in the tree for Scout and Jem

which means I like the idea of the Little Free Library

which makes me want a house even more so that I could do something similar.





I don't know if she still does this, but Cynthia Markert used to laminate prints of her paintings and leave them around Knoxville. I know because I have one on my refrigerator. I found it stapled to a piece of plywood on an abandoned building downtown a few years ago. I wasn't quite sure if I was supposed to take it, but the way it was presented made me conclude it was meant for its finder.



I know I don't have to own a home to imitate this secret giving and receiving. It's something I'm going to think more about

but not right now because I am up to my ears in unfinished work.



I had a studio visit with Kelly Hider (fellow artist and studio-mate) last week who told me that it might do me some good to finish up what I'm working on and then focus in on one specific project.




I've been thinking a lot about this, how I could take one thing that I'm thinking about and push it as far as it will go. I'm not sure if I'm that type of artist. I'm pretty scattered, except for the mason jar paintings, which is the most consistent series I've ever stuck with, but that's not really what I'm talking about anyway. There's nothing I'm trying to solve as I make the mason jars.



Kelly and I are extremes; she's been working on the same project for at least six months and will continue to work on it over the next year.

I can't imagine that I have that kind of focus in me.

Also, I've always had a weird feeling about Series. If I plan to make 6 similar paintings, by the time I'd get to Number 6, it would be so far removed from Number 1 that it wouldn't look like a series anymore. Is the point not to meander or is ok for thoughts and ideas to evolve? How could they not?



Right now, it doesn't matter. I'm making a bunch of work (partly due to to my FB hiatus) and feel like it's all funneling toward a focus that may come in the next year or so. It's enjoyable at the very least, and isn't that what it's all about?




Being an artist


The funny/annoying/great thing about being an artist is that you can never get away from it.

I always think about vacations, and how when I travel "away from work", I can't go anywhere without visiting an art museum or schools with an MFA program.

If I sit on a beach and read a book (wow, that hasn't happened in a long time), I can't turn my brain off to quit thinking of images that I could use later. If I stare at the ocean, I'm moved by the colors that make up the water, and how they look against the sky or the sand, and how that expanse relates to a tiny figure bobbing up and down. And then I think about how I could make something using all of those thoughts.

Going through a normal day, every idea, every material might have potential.

Actually, it's really not annoying at all.