An Artist’s Journal: Iceland – I Never Asked for Adventure

I’m not a thrill seeker. For one thing, I’m 61 and while I still bounce when I fall, I’d rather not fall at all.

I don’t love heights, though zip-lining in Costa Rica at my daughter’s insistence (3.5 hours, 13 zip-lines) cured a lot of my fear of heights. It didn’t cure my clumsiness. I’m still cautious near edges and cliffs. I’m still a klutz.

Traveling alone means I can focus on what I need to learn or gather or shoot for my art. I’m unencumbered and undistracted. It also means I don’t have back up. It means an experience can turn into an adventure in a moment.

Driving in Iceland has been dicey the last couple of days. Yesterday, I drove from Reykjavik to Borgarnes with a side trip to Akranes to see a historical lighthouse. It’s an exquisitely beautiful drive with ocean on one side, black basalt mountains on the other. Generally, the drive was a sea level. I love sea level. Mountains are pretty to look at. I want my feet in the sand.

It’s raining steadily, making me already a bit anxious. There’s a bit of ice on the road. About halfway to Akranes the road enters a tunnel, hammered out of the basalt rock. It’s 6 kilometers long, according to a sign about 2K in, and the grade is steep and going down. Steep. Very steep. Jules Verne “Journey to the Center of the Earth” steep. (That actual entrance is a volcano off the shore of Reykjavik).

For more than 5K it’s going down. The road was close to sea level — maybe 30 meters above– when we entered the tunnel. Six kilometers feels like forever. Where are we going? Why aren’t there other cars around? Then the grade slopes up and we’re out. Maybe not “adventure” level, but what the hell was that?

The rain stops when I reach the lighthouse at Akranes. It’s cold and windy, but I can shoot without getting soaked. Back in the car and on the road. It’s rainy again. Suddenly, as if I crossed an imaginary line, the temp drops, the rain turns to snow and the entire landscape and road is covered in wet, slick, white stuff. How could that happen so fast? Now we’re getting to adventure status. I can drive in snow and ice, but this was piling up fast. Arrived in Borgarnes to about 6 inches of snow. Oy.

Today I leave the home of a new artist friend in Borgarnes to set off for Snaefellsnes National Park. It’s rainy. The rain turns to ice once in a while. The road has ice on it. I laugh out loud at the 90kph speed limit… I’m doing 35kph. Maybe. All is fine UNTIL the road goes up into the mountains. Iceland hasn’t discovered guardrails yet, so cliffs on one side unnerve me a bit. Adventure is setting in. The road turns to gravel, which I’m grateful for, since it’s icy and gravel gives me more traction. The road goes up. 10 degree slope. The slope on the edge is quite a bit more. Then it heads down. 12 degree slope. No other cars around, which means I don’t have to navigate around them, but no one will find me if I slide off the edge.

Ice gives way to rain again. Hard rain. I arrive to miles and miles of lava fields covered in green moss and snow. I’m rewarded.

Still, it’s more adventure than I expected.

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Artist’s Journal: Iceland – Yes, I’m Really Working

Cairns at Dawn, Reykjavik, tapestry, 2x7inches, woolCairn at Dawn, Reykjavik, tapestry, 2×7 in, wool & page from my journal

I hear it all the time.

“Ooh, you’re so lucky.”

“I wish I had your vacations.”

And the most common, the snarky, “Must be nice.”

Artists go where they find the most inspiration. We go where we find things that trigger a new idea, a new perspective, a new method.

Monet stayed in his gardens in Giverny. He found all the inspiration he needed for a lifetime.

I travel.

I find inspiration in new people, new light, new ideas, new symbols, new languages, new shapes, new experiences. The inspiration makes me grow. I’m not on vacation.

How can you tell the difference? Well, on vacations I take my husband. That’s the first hint. Although I work when I travel with him and my disabled adult son, that work is most restrained and restricted. I have to do what they want ONCE in a while!

If I’m on a tour or at a tourist area, the difference between me and the others with the selfie sticks will be obvious: I’m off to myself unless I’m peppering the guide with questions. I’m stopping every few steps to look around –that one is self-preservation. Too often I’m walking and looking and misstep and fall. Broke my camera when I landed atop it in India. Almost broke it when I did the same in the Forbidden City. (Thanks, Renata, for picking me up!) I’m not apologizing for scraping together dimes and flier miles to do the work I want to do.

A couple of years ago I began to learn tapestry. This trip I had a goal to learn to weave what I see in the spot when I see it — a little like plein air painting, but with fiber. This was my first attempt: Cairn at Dawn. I saw the scene when we drove in from the airport, sketched it later, planned it out for a day or two, looked around the city for more examples, then set to weaving. This small piece, 2×7 inches, might be part of a body of work of small tapestries, or a study for a larger work later.

Either way, I accomplished part one of the goal. The second part? Do it again.

Yes, I really am working!

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An Artist’s Journal: Iceland – Inspiration

I took a day-long tour in with 8 others in a small van today. We went to all the typical waterfalls, black beach, small towns. It’s wonderful to see them and I don’t mean to sound jaded, but as a photographer, I wanted to yell “STOP THE VAN” about every kilometer or so. I need time to photograph the world properly. And I don’t want the same shot someone else got.

Since stopping was a bit out of the question, I shot at the places we all shoot at (those are on the camera and will be processed next week), but what I found most inspirational was the view out the window and we traveled. The phone would have to do.

I wanted to remember the dark volcanos and lava fields topped with white snow at the peaks and running down the sides, and the deep green moss –deep green even in winter– that topped the lava fields below.

I wanted to remember the crash of the ocean against the black sand beaches as we were pummeled with sand and pellets when the 55 mile/hour winds gushed to 70 mph and nearly knocked me over. (All I could think as the bitter sub-zero wind chills whipped my scarf away and the sand hit my back and legs was that there must be an army of Lilliputians with rapid-fire catapults somewhere nearby, trying to take me down!)

I wanted to remember how the landscape changed from one area to the next and we drove east.

I wanted to capture the inspiration — inspiration that begs to be new art.

A few phone shots from today:

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An Artist’s Journal: Iceland, Civil Disobedience and a Call to Art

I knew the Black Cone, a monument to civil disobedience was here, but I forgot once I arrived in Reykjavik. I stumbled across it as I explored an area of the city I haven’t seen in the last two days, on my search for an interesting meal. It sits slightly off the sidewalk with a couple of benches nearby. Nothing special — but a daily reminder of our rights and responsibilities as citizens.

The monument is a reminder of the idealism of civil liberties on which Iceland, the United States, and all great democracies were founded: it is the will of the people to be free and unencumbered by tyranny. It is our sacred duty to fight against corruption and tyranny when it presents itself. And the fight is not an individual one, but a common effort that demands we put the community before our personal greed. We cannot fight it alone; we must band together.

In the Great Recession, after the 2009 Banking Crisis, when US banks failed because of unbridled greed and bad debt and corruption, the US bailed them out. In Iceland, when the same thing happened, they took another tack: they fought back against the corruption and put some high ranking businessmen in jail. No bailouts. Jail.

The plaque reads: “When the government violates the rights of the people, insurrection is for the people and for each portion of the people the most sacred of rights and the most indispensable of duties. declaration of the Rights of Man and Citizen, 1783.”

Art is a revolutionary act. Art defines our culture. Art is a communication of who we are. I lingered at this monument for a moment, reminding myself to be brave enough to inject civil disobedience into my art and continue to stand up to tyranny.

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An Artist’s Journal: Iceland

A few first impressions:

  • March is winter. It’s not “almost spring.” It’s winter. It’s cold.
  • People are outside anyway. If you’re cold, that’s what wool sweaters and hats and gloves and scarves and wool socks and boots are for.
  • It’s hot inside. Iceland sits atop the largest geothermal cache in the world. Volcanic eruptions are still growing this place. The heat works. Lots of people have open windows on the coldest days. Open. Windows. 17F wind-chill. The windows are open.
  • The windows sport little treasures on the sills. Every window seems to announce the tenants’ personality with small statues of mythical people or tchotchkes. It’s charming.
  • There is outdoor seating at some causal restaurants and street food vendors. People sit down and eat. In the cold. It feels good to see the sun.
  • The language is hard to learn. America mouths don’t work that way. If you try to say an Icelandic word, the people — who are kind already — will beam and help you out. It doesn’t take long to learn how to pronounce these words.
  • It’s cold. The wind is biting.
  • It’s beautiful. Words elude me, but my head is bursting with art inspiration. Stay tuned.
  • There are museums everywhere. And bookstores. This is a literate place.
  • Not everyone speaks English, but most do. Our taxi driver didn’t. Pantomime works fine the rest of the time.
  • It’s expensive. Just don’t mention it. Everything is dear here – except heat – because everything is imported. Everything. Pay it or move on. Complaining about it makes you look ungrateful… or American. But if you mess up on the conversion — which I do constantly – they will confirm that you understand your purchase. I’m grateful to the wait staff at the restaurant tonight who sensed I mistook a $90 bottle of wine for a $9 glass of wine. Since my daughter Hammy and I were splitting an entree, she seemed to know that we weren’t planning on downing a bottle that costs three times as much as the stuffed cannelloni.
  • There is no $9 glass of wine.
  • There is a local beer made of whale testicles. I’m not trying that.
  • Nobody eats the fermented (rotten) shark that Iceland is famous for. It’s here to make fun of the tourists. The locals enjoy a laugh.
  • The wind can knock you over.
  • Feminism reigns. The men are not threatened by it.
  • Art is EVERYWHERE, which comes to the purpose of the trip.
  • The city is old and new. The touristy spots are not.
  • The land is fragile and Icelanders know it. Agree to protect it or don’t come. They are not messing around. Bring a water bottle and a reusable bag.
  • The streets of Reykjavik are filled with people all day, all night. This is the largest group of cold people I’ve ever seen – or been a part of. And it’s fine.
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Slowing Down to Reach Beyond

 Many years ago, when film was just beginning to wane and digital was new, I scored a Mamiya Polaroid 600 camera, similar to this one. Completely manual — no light reading, no auto focus, even a manual shutter! This is a dream of a camera that shoots exclusively Polaroid smaller format film.

It’s heavy. It’s bulky. The film is expensive or hard to find. It’s time consuming. It’s messy.

In other words, it’s a throwback. And exactly what an artist needs in this world of fast, now, digtial.

As I packed and unpacked photo equipment for an upcoming shooting trip, my eyes kept returning to this Mamiya. I have too many cameras from which to choose — film and digital — but my everyday “go-to” is a full frame Nikon digital. I wish it were lighter, but it gives me everything I want…. until I want something else.

That “something else” generally is film. And my film of choice is Polaroid. I have entire body of art built entire body of art built on SX-70 filmon SX-70 film, which was discontinued in 2008. Yes, I know, there is new film for those cameras, but they don’t have the same artistic quality as the old film. Better to move on.

The new film for this Mamiya Polaroid camera is good. At the studio, I check the fridge for film…. How did I forget that I had six boxes of sepia film in there? How long ago did I buy them? Popped one in the camera… yep… Good as new. Sharp, rich browns. Good tone. White whites.

So the Mamiya Polaroid is making the trip. She’s so big that she displaces two other film cameras. I’ll make do.

The film made this decision for me: this trip will be about slowing down. Working in the field. Settting up the tripod and staying put until the film is processed… or transferred to watercolor paper … and new visions evolve. 

This art is intended to reach beyond.



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Artwork’s Life After the Studio

Sometimes I wonder about it: what happens to my art when someone buys it?

I’ve had collectors show me the art they purchased and framed in a way that makes me cringe… or applaud. I’ve had people send me pictures of my work in their homes or office. There have been invitations to visit the work, and requests to install it for them.

Each of these encounters cements my relationship to the patron, and the patron’s relationship to the work. The collector loves it, finds it inspiring.

Once, I got a message that my work had been sold at auction at Selkirks! Exciting! Well, “exciting” until I went to the Selkirk’s website and saw the price it fetched. Let’s just say that is was a very humbling moment.

Thursday I got a call from a collector. A tentative voice on the phone.

“Claymera? Is this Claymera?”

Oy. I thought that was dead. In 1999 I made and sold passable functional pottery along with very traditional film photography, mostly nature prints. Now, photography has changed a lot in the last 20 years, but there were STILL a lot of nature photographers out there in the ’90s. Mine were fine… mediocre at best. Technically good but pedestrian. It’s hard to be a good nature photographer.

I sold this work under the business name Claymera…. clay… camera.. I thought it was clever. It lasted about 2 years before I gratefully found a niche in alternate process photography… and left pottery for commissions and personal work.

The caller bought the piece at an estate sale. It was still in the protective plastic sheath it was sold in.

Oy. That means it sat in a closet.

“It’s perfect,” she said. “It’s wonderful.”

Thank you. Don’t tell me how much you paid.

“Is it valuable?”

Well, I said. … I’m still alive.

She got the joke. A C-print of a butterfly, no matter how good, is unlikely to be valuable.

But it was to her, in a way. She told me she loved the piece; I almost begged her to visit my website and see my current “good” work!

Still, it reminded me that, in the last 20 years or so, I have sold thousands of photographs, mixed media paintings, and other art pieces. Where are they living? Are they loved? How many of my photographs or paintings are sitting in closets, or on their second or third owners?

Art has a life beyond the studio.

And that woman made my day.

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