"...those boundaries between the two worlds."

 Spring House

I signed up for my first semester classes a few weeks ago and recently found out which seminar class I will be taking. The class is called "Lining the Wild Bee" and it will be lead by Mark Thompson, professor of sculpture and fine arts. Here's the course description, along with a few of Mark's works:

"This workshop will focus on the borderlands between human cultural activity and the natural world. Drawing on my 40 years of project work in this field, the emphasis will be a return to first principles of direct experience in contrast to more abstract experiences of representation. Through projects, readings, and several Saturday field trips, the class will explore the boundaries between the wild and the cultivated, the feral and the domesticated - those boundaries between the two worlds. Special emphasis will be given to an examination of the historical crafting and engineering of the landscape and waterways of the San Francisco Bay Area. The early projects will include tracking wild honeybees in the woods to find that one tree in 10,000 holding a different life. Field trips will include the Model of the Bay, the Headlands, the Camera Obscura, the Delta region, and the Underground Gardens of Baldassare Forestiere. Gary Synder, Rebecca Solnit, and Anne Dillard's' writings, along with Andrei Tarkovsky's film Solaris will be among the works we will review. The history of the decoy along with the evolution of the cabinets of wonder and curiosity to the contemporary natural history museums will be examined."

Invocations (above and below)

How good does that sound?! I am psyched. 

Thanks for reading. 

I'm Going to Grad School!

view of the Golden Gate Bridge 

from a recent trip to visit CCA before I made my decision

I'm going to grad school and, finally, after a year of thinking, applying, and deciding, I am ready to share my news with all of you. I am going to California College of the Arts in San Francisco for sculpture, installation, and interdisciplinary art in the fall! I will be moving in early June. I am simultaneously excited and scared, a mixture of feelings that I know is natural and reasonable. This is a huge step for me and a lot is about to change. I also know any amount of planning is not going to prepare me for what lies ahead. I just feel very deeply that this is the right next step for me. I feel a shift within me regarding my work and I am ready to focus on figuring it all out. Grad school will give me the time, space, and guidance I know I need to make it happen. I am looking forward to the challenge I'm sure it will be, and to seeing what happens in the next two years. 

Back in the fall I prepared my application and I am very proud of the writing I did for it. I worked for several months almost every day and chose to hire an editor because I felt this writing was too important to go it alone. I needed a professional, outside voice and eye to help. I worked with my friend, writer Katey Schultz, and it was one of the most rewarding processes I have ever been involved in. Katey helped draw my thoughts out of my head and onto paper in a clear, simple, and heartfelt way. I feel my statement expresses my interest in grad school and commitment to my work in a way that is true to who I am and I would like to share it with you now. I know it may look long, but it only takes a few minutes to read, and I truly hope you will.

In the near future I will talk more about grad school and about my experience with Katey. 

-----------------------------------------------------------------

Amy Tavern - Personal Statement

"I have been a full-time artist and metalsmith for nearly ten years. My practice involves production, custom, and conceptual jewelry as well as the recent addition of sculptural objects and installations. I have taught workshops and lectured in the United States and Europe, and celebrated four solo exhibitions since 2012. My career is propelled by hard work, tenacity, sincerity, and deep-seeded motivation. I feel incredibly grateful for my successes and am emboldened to take a major step by applying to graduate school for sculpture, installation, and interdisciplinary work. California College of the Arts’ unique program suits my creative needs, ambitions, talents, and desire for growth.

I am a sensitive observer, striving to deeply understand what I do and why. I have always been this way and have memories of acknowledging each dilapidated barn as I rode to my grandparents’ house. As a young girl, I carefully arranged my collection of delicate rabbit figurines in my room and spent playtime making furniture to fill dollhouses. As a teenager, I grew curious about interpersonal relationships and felt acutely aware of slight changes between friends. I remember the moment I realized what it means to miss someone--I was 17 and had just finished reading a letter from a relative. As an adult, I earned two bachelor’s degrees, the second without financial assistance from my parents; I moved across the U.S. and back, occupying 25 different apartments since 1992. I have dealt with divorce and excruciating heartbreak and experienced career triumphs that made me leap with joy while also challenging me to push further. I see incredible beauty in everything I encounter, from a breathtaking moss-covered lava field in Iceland to a derelict factory in my hometown, from suffering through a break-up, to watching my father with Alzheimer’s forget my name. I remain positive, hopeful, and steadfast, and continue to learn. I see life as a work of amazing opposites and I embrace it with open, delighted arms. 

In this short decade between the completion of my second bachelor’s degree to returning home to care for my dad, my work has grown: from formal production designs to one-of-a-kind, sculptural jewelry; from abstract narrative pieces about memories, to complex, multi-dimensional works combining jewelry, objects, ritual, arrangements, and installation. My career has put me in touch with a diverse range of people in places around the world and provided opportunities for personal research and critical influence through direct experience and extensive conversations. I have made work with native materials, taught Icelandic children to embroider, and answered questions about my life as a stranger in a strange land. My critical influences include Ólafur Elíasson for the way he uses atmosphere and light; Ragnar Kjartansson for his ability to create sculpture out of sound; Sophie Calle for her keen observation of daily life; Sol LeWitt for his belief that the idea is paramount; and Dario Robleto for his sensitive manipulation of found objects.

My work is rooted in memory and this began when I catalogued and studied all the jewelry I own or have memories of owning. This careful studying became an essential part of my process and deepens as I observe my father's Alzheimer's. I focus on memory recall, fabrication, and loss, but what further parallels exist? I would like to expand my concepts at CCA by examining connection and solitude, displacement and migration, and by deconstructing the ephemeral. I’m also interested in using memory to create experiences rather than objects. I believe anything can be a material--from light to video to emotion--and wonder how I can treat memory as such.

Most recently, my work took a huge turn when I spent two months in a remote village in Northwest Iceland. I made textile-based pieces that allowed my mind and hands to work in different ways than metalsmithing. I created four works there, some composed of multiple pieces, and gave myself room to think. I took long daily walks, thoughtfully looked at every detail around me, documented my observations in thousands of photographs, and contemplated my life as I stitched Island of 14,264 Days for hours on end. I am thrilled with the work I made there, but what I’m most excited about is the shift that took place in heart and mind. This body of work, 11 large-format textile necklaces and one embroidered abstract self-portrait, made it clear that I was changing directions. I am compelled to follow this path and I need critical challenge and guidance, community and independence to allow these ideas to manifest and grow.

Contemplating my life as I work allows me to understand my experiences and draws me closer to people and surroundings. It heightens my sensitivity to the human condition and ties me to others through commonality. My most treasured moments are ones in which time seemed nonexistent. Now, I want to make immersive installations that recreate this experience, if only for a moment, and I want to connect this work with as many people as possible. I believe this work will establish connections that cause viewers to feel embraced. This relates naturally to my work as a jeweler, where I am always concerned with the body as a site. How can memory translate from objects worn on the body to larger works that surround the body? What will change? My current work solidified my determination to go to graduate school and gave me confidence that California College of the Arts’ MFA program absolutely suits me. I will be a hard-working, open-minded, sincere member of your community and look forward to working with you."

-----------------------------------------------------------------

Thanks for reading.

…With a Little Help

tying and trying and tying with Elle

I had not just a little help while I was in California, but a lot, and it's my pleasure to share this today. When I installed "I Live Here Now," Nikki Coupee, who works at the gallery, helped me all day. It was our first time meeting and I loved spending time with her.

getting helpful thoughts from Nikki while installing

 "I Live Here Now"

The 1000 bows that formed "Intuition" were made by my CCA students. I did make a bunch, but my lovely assistants did the majority of the work. I had a group of 13 people help me over the course of three days and they cut more than 400 pieces in the first day alone. It was fun to have them in my studio and gave me a chance to get to know them better. 

During the installation of "In Between" I had seven people helping me: some students and an instructor from CCA, a friend's daughter and gallery staff. They tied short lengths of monofilament to hundreds and hundreds of bows for hours. My friend, Elle, helped me on Friday and on Saturday, too. She stood on a ladder for hours and tied monofilament, she ran errands for me and gave me rides to and from the gallery. Her presence was a comfort.

And then there's my fabulous gallerist, Mike Holmes, who was a daredevil as he hung the first lengths of monofilament from the skylight. He helped me with the engineering and gave me many words of encouragement, along with keeping me fed and caffeinated. Most importantly, though, he gave me a chance by offering the VdaV elevator for this piece.

Finally, there was this one moment in particular on the first day of the "In Between" install in which I was tying monofilament and thinking about my helpers that day, and those at school. They were working so hard and they were helping ME. I was humbled and amazed and it brought tears to my eyes. These wonderful people assisted with the labor, but the true help was their interest, enthusiasm and faith in me. Their support was priceless. It gave me confidence and energy, while also helping me relax and stay focused. There is no way I could have done what I did without them. I am grateful to each and every one of them:

Devon Matlock, Trevi Pendro, Katie Edgerton, Briatta Bell,
Martina Miguens, Marilyn da Silva, Irene Huh, Enya Chuang,
Sheri Novak, Alice Son, Curtis Arima, Zeeta Yang, Winston Wang, 

Jo-Ann Donivan, Stella Barackov, Elle Sharifpour

and the wonderful staff at Velvet da Vinci:

Diane Komater, Sienna Freeman, Nikki Coupee and Mike Holmes

Thank you.

Trevi, Katie and Devon, my first helpers

Irene and Enya, day two

 Curtis, Winston, Alice and Enya on day three

selfie with Elle 

Thanks for reading.

Evidence

evidence of process: the lemon I peeled for "Smell,"printed thoughts and research, amethyst beads I didn't use

Process is very important to me and I do love documenting it. However, time during my residency was limited and I did not really use any of it to stop for photos. There are a few, though, and I'm grateful that I have them. I spent three weeks at CCA, arriving each morning between 9:30 and 10. During the first week, I developed my ideas through reading, thinking, writing and sketching. I also visited the gallery to spend time in the elevator to understand the space directly, both physically and mentally. By the end of the week, I had formed a more concrete idea and plan. During the second week, I started to collect the various found objects and I made nine chains. I also started to make the all-metal pieces, like the ear trumpet for "Hearing." Then, in the final week, the bows were made, the metalwork was completed and the necklaces were put together. The whole process was a mixture of constant planning and just allowing the piece to unfold. I was keenly aware of time but tried to hold it loosely. Thinking back, it's interesting to me that the creation of the work itself was mirroring the finished piece: that balance of cognition and intuition that I presented with a collection of tools and 1000 paper bows. 

morning light on my first day

some books I used for research and reference

I tried things that didn't work out…

I spent hours making hundreds of jump rings

The day before I finished the work, I cleaned up my space and arranged the pieces both finished and still in-progress on my table so I could walk into an orderly studio and look with fresh eyes the next day.

my bench at the end of my residency

paper remnants from 1000 bows

See more pictures of process on Flickr.

Thanks for reading.

Decompression

my original thoughts and ideas for "In Between," folded up…

the last thing I did when I cleaned my studio and packed up yesterday

I'm beginning to decompress after an intense, and wonderful, three weeks at California College of the Arts. I cannot believe the amount of stuff that happened in that time and I have that feeling of being excited and inspired and sad that it's over all at the same time. This might just be the best way to end something…

See more pictures on Facebook.

Thanks for reading.

Now I am Here, #15

Finally posting after a long (but really good!) day… I began installing "In Between" today with the help of several assistants and my gallerist, Mike Holmes.  We started around 10:30 and worked until 6. Tomorrow I will return and finish.

The opening is tomorrow from 6-8pm at Velvet da Vinci located at 2015 Polk Street in San Francisco.

Thanks for reading.

Now I am Here, #14

I literally just finished my work. I always call the "time of death" when I'm done. It's not really the best way of putting it, but it's been a tradition for me ever since I completed the work for my first solo show in 2011. 

Very soon I will post photos and tell you all about it.

Thanks for reading.

Now I am Here, #13

One of nine necklaces in-progress... this one is for hearing.

Thanks for reading.

Now I am Here, #12

My students and I started cutting paper bows yesterday. There are 403 pictured here. These, along with as many as we can cut before Friday, will be suspended from the ceiling of the elevator shaft.

Thanks for reading.

Now I am Here, #11

A detail of my soldering pad after making all those jump rings last week.

Thanks for reading.

Now I am Here, #9

The beautiful wooden floor at Velvet da Vinci where I set "I Live Here Now" earlier today.

Thanks for reading.

Now I am Here, #8

I made and soldered 350 brass jump rings today... and these will become nine chains. 

My vision is blurry.

Thanks for reading.

Now I am Here, #7

I took a walk through Golden Gate Park the other day and loved watching the interplay of light through the trees in relation to my own movements and distance.

Thanks for reading.

Now I am Here, #6

 

I went for a drive along the coast this weekend and spent some time near the ocean. 

It was much needed time away.

Thanks for reading.

Now I am Here, #5

A view of my space from above. Books, laptop, notes, drawings, paper models, metal, collection of found objects…

Thanks for reading.

Now I am Here, #4

some things I have collected around the CCA campus

Thanks for reading.

Now I am Here, #2

my view as I waited for BART this morning 

These hills are just out of reach and hazy, and that's how I feel about my ideas right now.

Thanks for reading.

Now I am Here, #1

I began my residency at California College of the Arts today. I set up my space, got a feel for the studio and gave presentations to students in two different classes. I began critiquing student work with the senior BFA candidates and I took a short walk around campus. Everyone has been so welcoming and they seem really happy to have me here. When I stepped into my studio space, I was greeted by a welcome sign, snacks, bottles of coconut water and an orchid.

Because I imagine the next few weeks to be intense, I'm going to try something new on the blog: I will post a picture every day, a process photo, an image of something that is inspiring the work, a picture of the school… I won't be writing much, but will share a moment with you each day as I work. Then in November when I'm back in New York, I'll go into greater detail.

For now, just to refresh your memory, I will be in residence at CCA for the next three weeks. I will be creating an installation while I'm here and it will go inside an elevator at Velvet da Vinci. I will also be critiquing student work and sitting in on classes at school. My installation at Velvet will open Saturday, October 25. In addition, I will give a presentation at Velvet on Saturday, October 18th about "I Live Here Now." Both the installation and selections from "I Live Here Now" will be on view at the gallery until October 31.

Thanks for reading.

Onward Ideas, California Reality, Part 1

a favorite photo from my last time in California

Last year I taught a spray painting workshop at California College of the Arts and had a wonderful experience with all the great students there. At that time Marilyn de Silva, chair of the metals department, invited me to be a resident artist at the school and we began planning. Now I'm very pleased to say I'm going to CCA in October for three weeks!

talking with a student at CCA

As a resident, I will get a dedicated studio space with the grad students and have access to all the tools and equipment in the metals studio. I will give weekly critiques and/or demonstrations and give a public lecture. I'm looking forward to talking with students one on one and in groups about their work and I imagine all those sessions will make me better at communicating during critiques.

As for the work I will make, I'm working on ideas for an installation, of course. I'm questioning how I can translate my jewelry techniques and experience into a different form and I'm planning to use techniques I can't do in my own studio. I'm moving around ideas of repetition, accumulation and layering. I'm contemplating creating volume through multiples. I'm wondering about combining metal with other materials on a larger scale. I'm thinking about establishing a feeling through the creation of a space. Three weeks is not a lot of time so I will try to develop a (flexible) plan before I arrive and aim to use the limited time to my advantage.

demonstrating how to use spray paint on metal

I'm also looking for a place to show what I make. Perhaps there is a space at CCA that will work? It could be indoors or outside. Or, I wonder if there is a space in Oakland or San Francisco? I know it's probably too short notice to find a gallery because they schedule shows months in advance, but I'm asking around just in case. If you live in the Bay Area maybe you know of a gallery or space that might work for me? Please leave a comment here or send me an email (atavern@gmail.com) if you have any suggestions.

Thanks for reading.

I Left My Jewelry in San Francisco, 2013 Edition

I just returned from a week-long trip to the Bay Area, spending the first two days at the California College of the Arts in Oakland as a visiting artist. Wednesday night I enjoyed the company of the metals faculty and students at a potluck at Deb Lozier's house--such great people! The next day I began my visit at the school by meeting with senior metals students. We spent several hours talking as they fired questions at me about my business, my production jewelry, and my one-of-a-kind work. Then I did a bunch of six-minute one-on-one crits complete with timer. This was intense but really fun. Immediately following, I gave a 45-minute lecture about my work and career to a small crowd of students, faculty, and members of the public. Next I met with the "Color on Metal" class. I started the class with a short presentation about how I use color in my work and why I use spray paint specifically. Then I demonstrated how I apply spray paint to metal and how I use files, a scribe, and sand paper to reveal the layers of paint and to add detail and texture. Students got copper samples to try painting and I spent time with students individually to answer more questions. It was such a good day and I left feeling really good. I also left with some sweet Ccac Metals schwag in the form of a hoodie AND a tshirt. (Thanks, Tony!)

Thanks to Deb Lozier, Marilyn de Silva, Curtis Arima, Tony Esola, and all the wonderful students!

After class I hopped on BART and headed to the San Francisco to stay with dear friends and kick it in one of my favorite cities ever. Here's a taste of what I did...

Rock crystal chandelier from 1730 at the Legion of Honor

I loved seeing this so much that if it had been the only thing I saw at the museum that day, the $20 ticket would have been totally worth it.

Lucretia by Joos van Cleve at the Legion of Honor

I was very happy to see this painting due to my current interest in the saints and my love of this style of painting...so many wonderful things about this piece: her gesture and expression, the lush fur, her jewelry, and the ghostly haze around her head. 

Gold wreath, Greek, 4th-3rd century BC at the Legion of Honor

delicate, rich color, beautifully preserved

Necklace of opals and gold, Faberge, 1890's at the Legion of Honor

A lovely set, but what I found most interesting are the mismatched earring backs. They make the piece accessible and show us that the earrings were indeed worn and probably loved.

 Graffiti I stumbled upon as I wandered around the Mission. This one shows jewelry!

Girl with the Pearl Earring by Vermeer at the de Young

Such a treat to see in person. Absolutely exquisite.

some of my work at Velvet da Vinci
I went to Velvet to see the current exhibition "Ferrous" and to visit with my gallerist, Elizabeth Shypertt. Excellent show, excellent gallerist!

My latest tattoo, which I'm posting because it's awesome, but really because it's (partially) 

related to my work. It was done by Katie Sellergren at Blackheart Tattoo. Her work is incredible and she is super-awesome to spend time with!

Please visit my Flickr to see more pictures here.

Thanks for reading.