KATHRYNARNOLD

8th Street Studio

My 8th Street Studio and its day to day, or maybe it will be week to week digression on my studio issues, art thoughts, and the duality experience between conceptual/rational and nonconceptual/intuitive. Grid and ground contained all within.

Studio Log

2_3_07

Look how long has gone by. I have been in the studio but have been writing on paper. I have never used my new French Easel yet, can you believe. I have however been to the ocean, to waterfalls and on glorious hikes in the wilderness. Perhaps I will find a way to integrate the photos.

Today in the studio worked on the 3 large horizontals, one 5' x 7' and the other 2 5' x 6'. They are moving along well and I was pleased when I left. These are the ones with the ghost writing, and since the ghost writing has not appeared, could mean i have a hesitancy.

I took down the 4 8' x 8' feet works on paper pieces 4' x 4' each as I did not get the large commission. Disappointed but am OK with it. However, "Penetration", a large 6' x 6' piece left my studio over Thanksgiving 06 and went home with 2 delightful newlyweds.

Tomorrow i am back there and am lining up a show for May, to show my 12 18" x 18" works. I will need to complete them, but it is about time; have been working on them for months. Going to NYC in March. I renewed my lease for another 5 years, maybe something will happen and my work make some sort of creative innovative impact.

Poetry:

i DREAMT LAST NIGHT ABOUT THE PRINT I GAVE YOU, WHICH HAD ITS BASE AT
THE RESTAURANT I WENT TO LAST NIGHT, I KEPT BIENG DRAWN TO GET AN ITEM
CALLED DRAGON AND PHOENIX, WHICH I NEVER HAVE HAD, I ALWAYS GET MY
FAVORITE THING THERE WHICH IS SUNKIST CHICKEN, BUT LAST NIGHT I KEPT COMING BACK TO DRAGON AND PHOENIX, I BELIEVE IT WAS SOMETHING IN THE NAME THAT DREW ME, I ORDERED IT AND IT WAS EXCELLENT, BUT LATER WHEN I GOT HOME I BEGAN TO SEE AN INTERESTING CORELATION TO THE PRINT, NOT THAT I THINK AN OSTRICH APPEARS LIKE A PHOENIX, OR THAT A PHOENIX WOULD APPEAR LIKE AN OSTRICH, BUT THE RESTAURANT'S PHOENIX WAS CHICKEN. ANYWAY
IREALIZED IT HAD TO BE THE SAME, AND IN THIS BELT I HAVE IN KARATE IT IS
CONSIDERED A DRAGON, AND ALL THE MOVES THAT I AM WORKING ON FOR THE NEXT BELT ARE CONSIDERED AS SNAKE, AND IN THIS GROUP OF MOVES THE ONE I DO BEST IS CALLED THE PHOENIX. I SAW THAT LAST NIGHT ALSO AND IT WAS
INTERESTING TO ME. BUT THEN I DREAMED ABOUT THAT PRINT LAST NIGHT, I TOOK IT TO THE CENTER OR SOMETHING, CANNOT REMEMBER IT CLEARLY IT KEEPS SIFTING IN. OBVIOUSLY I CAN'T FIGURE THIS ONE OUT!!

8_27_06

It isn't yet 8-27, but it was 8-26 on last studio log entry! I am playing with the template here and hopefully this will work nicely. I am over at the left, where I like to be the most but never am able to relax enough to enjoy the ocean anymore. Need to do something about that.

I put together my new half easel (Julian French easel) last night and am anticipating using it at ocean and in landscape settings. One can set it so it holds the materials absolutely flat/parallel to the ground. I did this last evening instead of completing my unpacking.

If you missed the links for the Open Studio, please view here. Next on the agenda is kathrynarnold.com. I have so much new work since last whenver it was that I updated the site. Then I hope to do a remake of it; simplify viewing.

Go to here to view and/or download Open Studio Invitation. Select this link to print.

I am making a bolg of my exhibition responses, film responses, hiking etc.

http://blog.360.yahoo.com/blog-FLKwtqs6erJ3H4avq8O40b9YLxn9x1w-?cq=1

I completed the 4 8' x 8' works in my studio on paper. As soon as I can shoot them, I will. I feel they are fitting with my concept:

I hope to shoot them in the near future so you can view them, whoever u r! Feel free to email me:

ka@kathrynarnold.com

From Victor Papanek

“...humans may have an imprinted preference for winding paths that provide “mystery” and “give the impression that one could acquire new information if one were to travel deeper into the scene.” This liking for winding paths, mystery, wishing to “travel deeper into a scene” has been used successfully in Japanese gardens...An argument could be made that it also informs haptic satisfaction we derive from viewing a painting......In the case of mystery, the new information is not present; it is only suggested or implied. ...there is a strong element of continuity. The bend in the road, the brightly lighted field seen through a screen of foliage – these settings imply that the new information will be continuous with and related to what has gone before.”