Project 2020

Pam's Contribution to Michele's Book After the first book swap at my place, listening to Aziza talk about dandelions and thinking about my last book/print project that included weeds--specifically thistles and dandelions as metaphors for Black women, I wanted to use them in Michele's book.  Keeping with my theme of resilience and resistance and connecting it to Michele's theme of "progression."  This year has been one of dichotomies, so I used one in my approach to Michele's book---progression/regression---for every step forward, we seem to take one back, but as dandelions, we also continue to hang tough, spread the word, and raise more warriors for the cause.  I started with a gelatin print and collaged paste paper triangles --one showing upward motion (progression) and one showing downward motion (regression).  I then collaged the dictionary terms for both words, and the quote about contemporary artists:  "The world is a crazy place to the inspired ...

Pam Lawton-- Book Swap Meetings at Pam's Venice Beach House I've really enjoyed hosting our second and third book swap meetings.  The first meeting, held on September 26th, started out rainy and ended with warm sunshine--reflective of our fellowship.  Here are a few pictures from my kitchen of book page sharing of our second round works and some amazing and inspirational pieces by Francine.  The second meeting at Venice/Highland Beach took place on 10/24/20.  I attempted, last minute, to include our NYC sistahs via Zoom on the TV screen---we'll have to plan for that in November.  This meeting was very special, not only did the clouds roll away to reveal another warm sunny day, but we had photographer/videographer India Soodoo with us to document the moment.  India interviewed each of us about our thoughts on Project 2020--why we're doing it and got some background on each of us.  Thank you so much Kamala for inviting India to professionally document ou...

          

I created more monotypes inspired by the prints I did for Julee's book. I cut out stencils from paper and sometimes acetate and place them on my gelatin plate, to mask off certain areas as I rolled ink on the plate. I ink up the plate multiple times to get a variety of tones and layers and finally, print the blackest black last, all using the Akua ink obtain more contrast.  Works in progress. Cutting stencils from acetate.             Printing in the night studio using stencils.                                                                          

I worked this evening on Julee's book. Her book concept was powerful and intriguing - entitled "We the Coffee." She urged us in the directions to make black and white images. She thoughtfully organized all the materials in her package that included card stock painted in a black design; three 8 x 8 in. white papers to choose from to create our designs on; extra sheets; and a bunch of beautiful handmade and textured papers to collage with if we wished. Julee designed a printed pamphlet for each artist with our name on it and one of her illustrations on the cover. Inside the printed pamphlet was the re-adapted coffee story that informed the theme of her book. I decided to make a print - a gelatin print using black Akua ink for her book. I loved the paper choices Julee provided, and chose a smooth paper with minimum tooth. It printed beautifully, allowing all the subtle layers of tones to show. I need to ask Julee the name of the paper. I created two other monotypes and texte...

This was the beginning of my idea, where I used a combination of printed papers from Monotypes, along with my gel medium transfers. Adding colored paper offered less contrast than white paper, however, the results took on a dimensional appearance that magically merged the two media. While introducing Aziza's theme of "the resilience of weeds" I added some weeds growing in my yard. I dried them and then attached them to the collar.  I am happy with the way the swirls within the print appeared through the face. The absence of the rest of the face does't bother me either, as it just reminds me of the parts of a persons face that you no longer see due to COVID19. The nose actually belonged to another mask drawing and the eyes belong to a monotype of a face. The merger was accidental, while playing around with different ideas. The image is reminiscent of Ed Paschke's work, a Polish American painter, but only after the fact, not inspired by. The Cross belonged to my Mot...