One of my favorite types of studio related errands is looking for something specific to go into a sculpture or installation, that is generally used for another purpose. It might be in a hardware store, a junk shop, a speciality store or even a drug store. What I enjoy about such an errand is that it demands a very different kind of engagement than the usual go and get some shoelaces kind of errand. Instead, it requires me to 'go wide', to stay open and to look freshly at things I see all the time.
I recently went to a junk shop with the mission to find 'things with holes in them' for a new series of sculptures I'm working on. This found me digging through napkin rings, tupperware, dishware, jewelry, small appliances, gardening stuff, kids toys, general antiques and even lengths of hose. There's a book I've never read, but that my sister has always recommended I read. I like the title, and I think it does enough for me right there, The title is 'Seeing is Forgetting the Name of the Thing One Sees' by Lawrence Weschler.
Essentially that's what these errands are about.
At other times, this kind of searching happens online and that's not half as fun. Also, it's generally difficult to have someone in a store, especially a big box type of hardware store, help me on these errands. The conversation goes like this: Can I help you find something? Yes, I'm looking for things with holes in them. Can I ask what you're using them for? It never goes well. A new project like this gets me looking everywhere and in all situations for things with holes in them, how one can make holes of different sizes, and in what kinds of material. It's like a rabbit with her ears up and pivoting about, taking in all of the sound data around her. The ears are up and pivoting!
Other projects have found me looking for wrap-able colorful things, forms of glow in the dark material, patterns for sewing orbs, materials that float and disintegrate in water, all variants of tape and specialty adhesives, colored powders with particular properties, types of smooth absorbent cottons, modular fake plants, granular materials for flocking and other people's half finished craft projects. It's rare that I actually go into an art and craft store for anything!
Anyway, the last junk shop run yielded quite a haul, and I've been having fun digging through and altering my wares: pulling apart necklaces and using a step drill bit. I look forward to sharing the results! Here's a peek at some work in development.
What strange errands have you been on that perhaps have altered your perspective in some way?
After literally eight years of bumping into walls, I finally have ebooks for my first two books up and ready to share! This may seem like a straightforward thing to create now, but back in 2014, creating a fixed spread ebook was at least to me, more complicated than making the actual books, or fixing a space vehicle. This is what being a sole proprietor can be like: you just can't figure it out sometimes, and other things are needing attention.
Thanks to finally getting new software and new hardware in November (replacing my ten year old macbook pro which went completely deaf, and my fifteen year old adobe suite of software), I was able to finally do the deed and bring forth the first ever digital copies of Help me [ ], do the thing. and the original Contemporary Prayers to * [whatever works] !
This means that you can
You can get the book via my shop hannahburr.bigcartel.com like all the other products. They are $9.99 each!
Satisfyingly, now all of my four books now exist as e-books. Three of them: the aforementioned
Contemporary Prayers to * [whatever works] 2013
Help me [ ], do the thing. 2016
as well as
The Elements: a love letter to all things everywhere 2019 (16.99 for the ebook).
...can all be purchased through my shop.
The fourth e-book, the new Contemporary Prayers to Whatever Works 2021, is for sale through all the places Simon & Schuster sells their books, including amazon. Here's a portal for purchasing that ebook. That one is also $9.99
Thanks for tuning in and celebrating crossing this ancient to do item off of the to do list scribed indelibly-until now- on the back of my brain!
This ongoing series of paintings began in 2005 when I put together an exhibition for Judy Goldman on Newbury Street in Boston. It was the second show I'd had with her, she represented me for as long as her gallery was open, and it was the first time I'd made this type of painting. The exhibition had painting, drawing and small sculpture, and the palette was black, deep blue, red and green. This was the second round of pour drawings, another trope that continues in my work today.
I essentially upholster the wooden supports, and then cover the surface with various types of acrylic, and in some cases, oil paint. Occasionally pencil or chalk or another type of mark. I am amazed to find that these paintings, provided they are correctly stored away from sharp corners, are incredibly durable and stable.
When I first made these paintings, I tended to work in black and white, or monotone with shades of blue. Now, I often start with a white or other color like ochre, and do not tend to make paint strokes on the surface, but work with what's happening in the pour. Occasionally, I've made a very involved and busy type of puffy painting, one that has equal parts disturbed and delighted me. This one was such a one, it was delightful and at the time so different than what I was going for that it alarmed me. I remember that a friend was coming to the studio and I hid it, because I thought it was so ugly, but then I couldn't stop thinking about it. This fear of ugly is an interesting a fertile territory for me.
I kept trying to 'finish' this one, until I felt I had ruined it. This happens sometimes and can be how my comfort zone gets stretched. So I essentially took it apart and then, over the weeks that followed, regretted doing so. It was a forerunner of sorts, and I have kept pieces of it, sort of like a pelt.
Here is me working on some of the newer ones, which are branching out in the base colors, patterns and fabrics beyond gray or white. Please share with me your impressions, thoughts and questions in the comments! I am always interested in which pieces speak to someone - or what kind of response is inspired. I learn so much from what happens in your worlds in relation to what is happening in mine.
THIS IS HOME
May 27 - June 26
Gallery B in Castine, ME
A four woman exhibition opening Feb 3 2023 at the Ann Arbor Art Center.
Curated by Thea Eck.
Janice Charach Gallery
West Bloomfield MI
Jan 15-Mar 1 2023
Works of pure abstraction by 18 artists including five new puffies!
Make your own hand sewn book from the papers left by a loved one.
If you feel overwhelmed, confused or just plain excited by what's afoot in your life, and would like some excellent clarifying space and tools, try a session with Hannah! She's been a coach for 15 years. First 30 minutes is just to see what it's like...
Hannah Burr is a contemporary artist and author. Originally from Boston, she lives in Ann Arbor MI.