Since arriving, I have collected several natural objects. Among them is this piece of cut tree that will be incorporated as the base of a sculpture. I am using wire as the armature to create this smaller plant-like structure that grows out of the base. I am using gravity to my advantage in the production of this sculpture. The sculpture is shown inverted while I reinforce the branches to withstand their own weight without drooping.
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Here are some inspirational flora collected from a hike near the base of the Montserrat mountains. It will be interesting to see how these forms make their way into the artwork.
I have decided to travel light and to not bring a computer to Spain. As a result, writing long posts will be challenging. Over the next month, I will frequently update this site with pictures including my studio progress, outdoor excursions, and cultural experiences around town. After the residency is complete (and I am again with access to a consistant internet connection and functioning computer), I will write a summary of my adventures and thoughts about working from a temporary studio. This is the studio and residence which will be my home-base for October.
Earlier this year, I was awarded an artist residency in a small town outside of Barcelona, Spain. In October, I will be travelling abroad to complete one month dedicated to advancing my studio practice. The main purpose of this residency is to provide undivided time to indulge in my artistic ideas; yet, creative inspiration and progress do not only occur in the studio setting. Other aspects as to why I applied for a residency in Spain are to explore the wide variety of museums and architecture, practice the language, and to be fully immersed in the mediterranean culture. Having never been to this Catalan region before, I´m hoping to grow not only in my artwork, but also through the life experience of spending a month outside of the comforts of my native country and culture. Manifesting in various ways, my creations refer to the form of a container. These containers have openings, or voids, that allow the viewer to peer inside; yet, often the vessel is left empty. Vessels connote protection, but these enclosures have been vacated. They contain not only the inner from the outer, but also the outer from the inner. The glorious void works recognize the human impulse to fill empty spaces; yet, once one void is filled, another hole appears. This constant struggle to maintain fullness can be a lifelong battle. The glorious voids are rejecting this instinct to fill the hole, and rather, they are embracing and celebrating this absence.
I have left Los Angeles (and the comfort of my Inglewood studio) to spend some time in New York. This transitional period has me contemplating the role and importance of the studio within my personal art practice. What does it mean to be an artist sans studio? As someone who depends on scheduled work time and a designated place of production, I must now evaluate what it means to be an artist without a studio. More specifically, what does it mean to be a studio-based artist, one who even keeps a blog dedicated to their studio life and progress, when there is no longer an assigned place to create? For some artists, especially those whose practice is rooted in the conceptual realm, the role of a studio is less critical. The studio functions solely as a place where the concepts are executed in physical form, and many times, conceptual artists are able to continue their practice whether they have a work space or not. For these artists, the studio does not impact the art in the same way that it does a studio-based artist. For myself, the studio is an important part of the creation. Not only is it a place to work through practical issues, trying different methods and materials, but it is also a place for developing imagery and form. The studio has a direct impact on the work that is created within. The size of the space determines the scale of the art. For example, when I have a vast space to produce, I'm able fill it rapidly with large works that are scaled to the human body. And, if I only have a small studio, I reduce the scale to that of a maquette. The scale of the piece is not the only aspect influenced by the studio; the subject also reflects the space in which a piece was created. When my studio was tucked away in the back corner of the graduate warehouse at Otis, the work began to react to its surroundings by referencing hives, nests and other structures in nature that connote a sense of seclusion or security. These pieces usually included a singular opening, or void, which allowed the viewer one point of entry into the work. When I relocated to a more open, shared studio, there was a shift in the art. The voids, which were previously singular entities, multiplied as I moved into a collective space. I create in a reflexive way by reacting to my surroundings; therefore, the place of production plays a considerable role in my art practice. It will be interesting to see what changes develop as I spend this time moving around...
Perhaps it's not 'artist sans studio' but rather 'mobile studio artist'. "So my advice would be; trust yourself and don’t give up because my career demonstrates that one never knows what can happen if you forge your own vision, persist in its evolution and stay true to it, which is increasingly difficult in today’s money driven art world."
Thank you, Judy Chicago. The entire experience with Underline Gallery has been serendipitous and enjoyable. It has reinforced my belief that there is nothing certain about being an artist, to say the least, and one must really charter their own career path. Unlike some other professions, there are no set standard requirements which, after completion, guarantee your success as an artist. Your passion, experience, and years of education seem only partially relevant to the level of financial gain or recognition you achieve.
I remember after completing my undergraduate degree, I felt as if I had missed some key information. How was I supposed to take all the techniques I had honed in school and turn them into a paying profession? I worked within the art world for two years after graduation, piecing together a couple of part-time jobs as an artist's assistant and as a sculpture conservator. I wanted to create more of my own art, but I didn't know where to begin. I knew HOW to make the work, but I didn't know what to do next. I felt like the secret was out there, but I kept hearing things like "you're too young" or "you should just continue working for someone else." For me, that was only motivation to take what seemed like the logical next step: grad school. I had moved to California with the intention of attending graduate school, so I began the arduous task of visiting and applying to programs. It's been two years since grad school and another two years of piecing together part-time employment. While I do not feel that I have advanced my career opportunities by much, I do believe I have gained insight into some of the questions I had surrounding how to be an artist. The secret, as I found it, is that no one knows. No one tells you how to be an artist because most people are still figuring it out and struggling in their own ways. Even college professors, who are supposed to be more experienced as mentors, can't give any generic advice as to how to "make it" in the art world. To be an artist is more than to simply make artwork - it is to learn to live with constant uncertainty, to balance one's passion to be successful (however that is defined) with one's desire to indulge in seemingly impractical endeavors, and to believe in yourself until you either drop dead creating art or give up for a more lucrative profession. As March rapidly approaches, I can hardly keep up with how quickly this year is moving. Lots of exciting new things are happening. I have two pieces (shown above) on display at Underline Gallery until February 24th. The opening reception in New York was packed! With such a crowd, it was difficult at times to see the artwork; however, I appreciated the enthusiasm of the people who came out. There was lots of press surrounding the show, including a write up in the Wall Street Journal!
A few weeks ago, I was contacted by the director of Underline Gallery in NY regarding an upcoming show based around the theme of 'gold'. She inquired if I had any work that contained gold, either as a material or color.
I've been working on a series, titled "The Glorious Void", and I responded by sending several images from this series that fit into the theme. After a few emails back and forth, she selected a couple of artworks for a group exhibition that runs from January 15 - February 24, 2013. More information about the exhibition here. New Year, New York, New Work. |
MELISE MESTAYER
Born in New Orleans, LA Archives
February 2015
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