This title makes it sound like this random white bookshelf has a title, but until this post it has gone nameless. I made the simple discovery that Ikea folding white vertical file holders fit perfectly in it, and ever since it has become a moment of visual calm and apparent order in a room that truly is usually just a huge mess.
This object containing objects fits with the very cheapskate theme of most of my objects, found in the trash or in junk shops, in that I believe I acquired this object from my mother's home, back when I was about 19, and these folding file holders are like three bucks a three pack or cheaper. Because I work with found paper a lot, several of these bins are filled with just that, or with materials test information, older labels, process docs, my own reviews and old postcards, others show postcards that I want to remember or project materials that are too bulky for regular filing but to papery for box storage.
In any case, this bookshelf of bins makes me feel mildly like a professional. I worked for a while at the Montserrat College Gallery, and there I encountered a similar storage system of their exhibition document history. I realized then that just like a gallery, I have a history of events, of reviews, of print materials, as well as paper materials that come in handy for different projects, and they all go here.
It's taken all day to get into the studio. There are days like this when I feel fiercely protective of my time in here. The funniest thing is that what I do in here looks like so little outwardly. I read a little, I write a little, I drink coffee if I have it, I listen to music. Sometimes I nap. And sometimes it's all activity and insight and inspiration and stepping back and looking or marking and cutting and placing, digging around for stuff. My favorite is when I'm on a roll with something, when I know what I'm doing and how and I love what I'm making, when I'm literally delighted, or internally lit up, or you could say joyous, about what I'm doing.
I got a book by Anne Truitt off the free pile from my good friend's studio's common area. I'm feeling it.
I read these lines just now:
...this process is mysterious. It's like not knowing where you're going but knowing how to get there. The fifteen years that David Smith thought it took to become an artist are spent partly in learning how to move ahead sure-footedly as if you did actually know where you are going. -Anne Truitt
Yes, it's like tracking yourself. Where was I? What was I caring about the last time I was in here? What did I learn? What did I know I was to do next?
I also read these lines: At first tentatively and then with more confidence, I began to find delight in the acquiescence [to the natural flow of events], and finally even a kind of joy in acceptance.
Also Anne Truitt.
I enjoy reading what artists write - some of them, and how they talk about what they care about, because it's generally 180 degrees opposite how the rest of the world is marching along, and it feels like a tall glass of water when I'm thirsty. Those are my feelings and my words.
Anne Truitt had a very up front professional career. I am tired by the thought of trying at that anymore, but I have confidence that what I do and make is no less important or inspired, when the inspiration is here. So that's a kind of acceptance and freedom. Freedom in knowing that it isn't up to some art scene mafia to decide what is of value to this one in the middle of her life, and what's of value is letting this natural flow occur. I had a lovely early career in Boston. A sweet little CV of shows and associations. I am pleased to have that memory. There may be more in the future, and they may not be. And that is not for me to decide. But it is, right now, clear that my job is to show up here and make work, and share about it, and the process of making it. There's no question to me that I am an artist making strong work. I don't doubt that. I may and often do doubt pieces, if they're resolved, if the presentation is strong and clear, etc. But not if the activity and the viewpoint is of value. No one will prioritize this more than me. And the same time, it's all ordinary art-making.
Someone just stopped in to invite me to join them for digging up some free plants across town. It's nice, and it requires me telling the truth, that No. There is nothing in me that wants to leave my studio to go dig up some plants. No and no. thanks. Maybe another day. Not now.
"In making my work, I make what comforts me, and what is home for me."
Are you comforted by making your work?
[I notice this question might be for the creatives reading, but consider that if you are reading here, my guess is that you are a creative whether you like it, know it, or not! In other words, this applies to anyone reading. So...]
Are you comforted by making your work?
I don't think comfort is a motivating factor in art-making for me. Perhaps the whole process of showing up to make, the routine of it, is a comfort, but the work is brightening and enlivening to me, sometimes disturbing to me, so I wouldn't say comforting. I don't make what comforts me, do I?
Sometimes making certain marks on certain surfaces, and finding the composition that is a YES to me, feels like putting things in order, or like straightening up the world. Putting it right. Perhaps that is a comfort to me.
There is also a discovery process, where for a long time there can be the same pile of materials, or the same kind of shape or process, and suddenly, by mistake or a loosening of something, or just paying closer attention to it and engaging it, the same 'stuff', in some new way or combination, has a new kind of pop or magic to it. That discovery is delightful to me. And then watching what happens to this discovery, or a new process, if it is sustained, or if it sort of fizzles out quickly. Exploring the questions of what sustains it, is in itself, quite motivating and engaging.
It's always felt really clear to me when something I make in the studio is valuable, though not always right away. Sometimes however, doubt gets ahold, some cloudy afternoon when it's cold, and the whole project seems lifeless or a complete lark with no value at all. I have also dreamed of some gorgeous things, while sleeping, and woken up besotted with interest, but not actually brought these things forward. Those are great dreams. Was I supposed to make that stuff? I don't know. Can you relate to this?
There was a period too where some of the marks that really satisfied me, didn't seem to hold up to scrutiny and I couldn't figure out what was going on. I think the intimate scale of making wasn't holding up to the more distant act of viewing a work from further away. In other words, my lines were falling apart from a distance, and I wasn't in enough conversation with others to realize it. This is where relationship, scrutiny, conversation, is so useful.
There are people like Henry Darger who hole up and just do their thing, and later someone realizes it was brilliant, in his own little world, so complete and unapologetic. And I think in a way, that innocence is the thing of letting your inner kid have free reign and knowing that this is where the brilliance is. But there's also the reality that for every discovered Henry Darger there's a rotting pile of papers on a landfill of someone else's world. And it will likely be mine!
There's a freedom in seeing how none of this ultimately matters. Even when a small mark or line also counts. That's a fine line I seem to walk, where there's a need for freedom to break a rule I had laid down, or to make a mess of something, and then there's the self curation, the conversation, the response of others, the asking of questions, and then choosing again. Nothing matters and everything counts.
In the end, it sometimes just comes down to color therapy. When I am surrounded by the colors, as well as the relationships of texture and forms, I feel fulfilled. Happy. Pleased in the most basic sense.
The rest of the art process: the part about jockeying for notice and applying and all of that makes me feel tired before I even begin. And so, I tend to not do that, and pursue other avenues. In part, this is because, when I do have a "show" where I put on a blouse and some boots and eat some sweaty cheese with friends, it often doesn't hold much magic afterall. It is however, truly a delight to meet people through the sharing of the work. To feel like my spirit and someone else's spirit meet through the resonance with my work, or their work, or the conversation that artwork ultimately can be is quite a thing. That is deeply valuable to me, and motivates me to write, to put things in print, to find other avenues to sharing that don't involve as much of a dog & pony show. Life is too short to be a pony or a dog.
Is what you make a comfort for you? I guess in some ways, it turns out to be for me.
I am noticing a theme of thrift in my studio object register. Here is another thrifty item, originally a simple pack of wooden clothes pins. These first arrived as part of a project in Gloucester, in which I was 'installing' powder, rubber, plastic, twine, wood and rock in color coded arrangements throughout the park. It was one of the first such interventions I had done, and to my mind, it was one of the least successful. I had no sense of scale, and my plan was very under developed, so that when it came time to execute, a visitor could not see the work from any distance, and it could be confused with a mess left behind by a child. I suppose that could be said about several of my projects in fact! But this was an early example of such work. Anyway, I used yellow, green, white, pink and blue paint to dip the tips of these wooden pins in, and then used them to affix similar colored materials to various park furniture. You can see more of this project here.
When the project was over, these pins just became part of the mix in the studio. Some are in a bag of deinstalled projects, available for remakes and new projects. Several have been ready for use on my tool caddy, along with the ubiquitous black clips. And recently, they are seen on the working wall, holding new works on paper in place to be studied, glanced at, pulled down and worked into. I recently stapled a small box to the wall, for unused clips and another for nails and pins. While that's a separate tool, the boxes, they now house the clips, some dipped, some just wooden. The plain wood ones likely also came from inside the house, where they find occasional uses, but many more here in the studio.
I also use them to clip up things I dip in paint and hang to dry. This can be heavy papers, pieces of wood, and even the clips themselves. It's fun to dip stuff in paint, for me.
This object has been traveling with me for over 14 years from studio to studio. I have never actually exhibited it. I may never. It has shown up in several studio photographs because it is often out and commanding a small parcel of wall or shelf. I made it in 2007 when I had a studio in Somerville MA. I was wrapping and folding and stabbing and dipping stuff, and came up eventually with the series called Three Variables that was on view at Judy Goldman Fine Art. This little pink sculpture was a scout for those, in that it was an experiment that caught my attention but didn't feel resolved. It has, to me, a lot of personality.
What I didn't see then, but do now, is that it is a figure. This is probably obvious to everybody else, but it's taken a while to understand what it is. To me, it's the bundle of energy parts, or sensations, or just parts, that comprise a person, probably in this case, me. Wrapping chords of tension, layers of diverse textures and materials, a chunky little core, and in this case, what appears to be like a side pony in a now corroded rubber band on top. Now I see it's essentially a self portrait.
I call it a Scout because Chris Nau, an artist in the same building at the time, shared this term with me for something that you do and eventually, years later, it makes sense, in light of the future work you hadn't yet made. Like a precursor or a portent. This is a small reminder of perhaps the spirit of Hannah, my small Daemon, though it's never been for anybody else but me. I like to place it on the top edge of a shelf or painting and just balance out the room with it's vibe. Here it is in situ, meaning situated just above the mess.
Today is a special day. It is one of those days, like a graduation or a wedding, that has been emblazoned on my brain for about a year, because it is the day that the brand new 2021 edition of Contemporary Prayers to Whatever Works, is officially published!
Because this new title is not self published, the date is significant. With my self published earlier titles,* there wasn’t technically a launch date because I just received the shipment of books and then had to scratch my head about how to not ruin the suspension in my car or pull my back or ruin friendships with requests to help me move book boxes, storing them under my bed and using them as furniture in their own right, as well as how to let people know about them, and how to sell them. This is a lot for one person!
With Tiller Press, a division of Simon & Schuster however, I don’t receive the books, and I don’t sell them either. So what exactly happens today? On this the publication date, the book officially goes on sale, which also means more specifically that the book makes its way today through the distribution chain to those retailers that have ordered it.
Today is the day that my new book hits the shelves! I just held the first copy in my hands, and very relieved that the cover isn’t on upside down or something, and that everything is going as planned.
Also, because I was a one woman operation for so long, the fact that I have had a team of skilled professionals doing their sparkly magic in the background like sharing the title with a sales team, who then shares it with retailers, is all very abstract to me. But it’s darn exciting, because with my last books, there is like, no way to really get them into a distribution stream that isn’t very local and very painstaking to set up. There is a special dread to stopping into a shop to ‘let them know’ about my book.
So even though there is nothing particularly tangible going on over here right now, please celebrate with me! Better yet, please purchase a copy of the book, which you can do here. By so doing you help me be in good standing with the publisher and have the possibility of future dealings with them! All of this, truly is an amazing product of a community of people believing in an artist’s project and supporting it. My intention now is to be of service to anyone and everyone who needs some connection, direction and comfort, with a side of humor, some vibrant new imagery and no BS to tangle with.
Thanks again to all of you that have supported me getting to this moment, this is a celebration I share with you!!
much love, lots of gratitude,
*the original contemporary prayers in 2013, Help me [ ], do the thing. that followed in 2016 and the Elements: a love letter to all things everywhere, 2019
In just under a month, the third prayer book, which is my fourth book, and is also my very first book fully published by someone else (in this case Simon+ Schuster’s Tiller Press) arrives! As if by stork. It has in fact already been printed but I have not yet seen it. This feels a little like when you’ve given birth in the nineteen fifties and you are waiting for a nurse to bring you your child. But instead your child is going to arrive one of these days via the US Mail in 2021.
It’s in a very small way like that. The hard work is done - or is it? The sweat of creating the thing has been wiped from our brows, and now the book exists, they tell me, and I am excited! It will be fully out in the world on March 23rd 2021!
But for now, the news I have is that your pre-ordered book is within reach, and is available for purchase via the retailer of your choice at this link: bit.ly/contemporaryprayers
It is funny trying to get ready for something you haven’t ever experienced. It’s challenging to know what preparation matters, and what is just spinning wheels. Self publishing is a very different beast. A lot more control, a lot clearer information, a much smaller platform, and for me, a little more of knowing what to expect. Which here I do not!
Especially in the last year, I find that I am committed to having a reasonably day, everyday, wherever I have a choice in the matter. There is so much in this year that reveals how little control we have, and with this information, it’s become clear to me that being kind to oneself and to those around one is a priority. So I will plan on sharing with you in small bites, in palatable doses for both of us, with the intention of enriching your life and moment, and showing up to be a steward for what s arriving. Here are a couple of sneak peak inside pages for you, and some prayers to get a sense of it.
Beginning a year ago in January, I declared 2020 to be the year of the body. There was no evidence in my world of a pandemic, and this theme had no virus or really health related aspect to it. For me, it was a desire to learn to hear what my body was telling me more clearly, how to do a better job of caring for it.
In January 2019, I was starting to get the loud message from eye strain headaches and weird shoulder and neck stuff that I was kind of overdoing it, and essentially ignoring the innate intelligence of my body. So I declared this past year, Year of the Body, and set about a new set of drawings, writing, and thinking about this theme.
I have for a long time understood that for me, a highly sensitive person, grounding in the body was the best way to be in balance. This is a long standing theme in my writing therefore, and there are many related posts listed below, if this sounds useful to you as well. I have found that being able to feel my legs and feet while having a social conversation or an argument was always helpful, and that a walk or a lie on the floor has always beens a fantastic way to clear the head.
Another reason for the body theme is that for years, figures have been lurking in my otherwise abstract artwork, and I've always wanted to push this away. It didn't fit my idea about the kind of art that I make, and so I didn't want to deal with that. So for 2020, I met this head on, and both went through older drawings, and then began a new series that was meant to explore the feeling of being embodied in the day to day. Here are some examples of drawings of mine over the years that clearly have some kind of a figure in them.
TANGLE PROJECT 2009
Toward the end of this year, I shared this whole project with my artist's group, and introduced it with several older projects that also have this body theme, as a connect the dots kind of presentation. So I share this again with you:
In 2009, I did Tangle - a performance and documentation which I showed in 2010 in Lancaster PA in a solo show there called Placeholders at the Ganser Gallery. I took eddies of my stuff, like the contents of a junk drawer or office closet bin, and wrapped these items around my head with twine. I photographed myself like this, and then filmed the process removing each item one at a time, and all of the leftover twine. It was a way of making visible and palpable the feeling of having tension or lots of thoughts in the head, and then clearing the head, using the objects that collect around me as metaphor.
I did this with about thirty piles of my stuff from various parts of my life, exhibiting the films and photographs.
BODY JOURNAL 2010
In 2010 I embarked on a Body Journal Series that has not been exhibited, which was another in this theme of chronic pain and tracking the energy flowing in the body.
In 2007 I had created Three Variables, a series of wrapped wall sculptures that is essentially a version of Tangle but with a bit more remove from the body. This was exhibited at Judy Goldman Fine Art on Newbury Street in Boston and versions have been in group shows since.
CONGLOMERATES / GEODES 2014
In 2014, I made several sculptural projects for a solo exhibition at the 555 Gallery in South Boston. These two were about considering the body as a collection of conditions, or patterns or tendencies, and considering these in a playful physical form.
These are the precursors to the drawings I made this year. I notice a theme of wrapping, lines of tension, and playful variety of things that make up a body. In my humble and non-objective opinion, these projects continue the theme of describing energy, in interaction that's fleeting, in how a body feels from the inside out, in emotion and experience without words. A translation into matter, color line and form of all the objects, the bodies that we appear to be and interact with, their funny jumble of parts and pieces, the ways that they are hard to keep together, have densities, expressions and characters each their own. And in some ways, the way that we are somewhat arbitrary and silly, when in fact it appears we are serious, permanent and somehow fixed.
Next, I'm going to show you the new drawings, as a little series. That blog post is called, Year of the Body 2: The new works on paper.
Before January is completely out, here are some highlights from Hannah Burr Studio in 2019, followed by what’s coming down the pike in 2020.
2019 was my second full year in Ann Arbor. It had a ‘getting the sea legs’ quality to it. We were snuggly situated in our Walter Drive rental home, in our second full year of marriage, and learned some great ways to share space as two adults who like their independence. The good news is that we’re honing our interdependent chops and married life is smoothing out nicely!
The petite garage studio that last winter got shut down due to freezing temps, is happily still functioning and in solid use at the end of 2019. The remedy of a heated blanket under a tented table keeps the most delicate things from freezing, and the rest I heat up as I use. It’s working!
This year my third book the Elements: a love letter to all things everywhere came out! It’s a beautiful print, and the first book where I used an editor and worked with a publishing team. Like the other two books that came before, the printing was paid for through crowdfunding. The first half of the year through June was focused on many many hours, weeks, and months of image file correction, editorial passes, alignment, style adjustments, and proofs sent from our overseas printer.
The second half of the year involved sharing the Elements book first with the beloved crowdfund backers, the Fifth Avenue Press community here in Ann Arbor, and all of my lovely Boston friends and budding Ann Arbor community. We went to the Detroit and North Hampton Art Book Fairs, and the Boston Art Book Fair as well. The book is currently for sale at the Wexner Center for the Arts shop in Ohio, the LACMA Art Shops in LA, the Ann Arbor Art Center, and the Minnesota Center for Book Arts, as well as in the collection of the University of Michigan’s Library, Boston’s School of the Museum of Fine Arts Library, and the Ann Arbor District Library. So, we’re starting to share it beyond the known realms and really fascinated to see where it gets taken on!
We created three large posters and a couple of smaller posters for all three of the books, as well as smaller prints and postcards of each book’s pages - this is a new experiment. The three large posters are now part of library art print circulation at the Ann Arbor District Library, and for sale at our big cartel shop! This involves shipping riddles and storage quandries, but we’re having fun and working it out!
The Time is Color 2 Calendar was printed as round three of this celebration of my favorite ephemeral drawings and art for everybody. This year’s calendar was I think the most fetching so far and I might have two or three kicking around in the edition of 50 if you still want one (ps. they’re on sale at Big Cartel).
I had a solo show called ‘Temporary Arrangements’ at the Ann Arbor Art Center this summer, which included new painting and drawing, and was the first time I’ve shown overt abstract landscape and pure abstraction in direct relationship to each other. The show featured 23 works altogether and has spurred new work currently in development.
In March of 2019, three conceptual projects were curated into an exhibit at the Sorenson Arts Center of Babson College called ‘Reflecting on the Sacred.’ The exhibit was a collaboration of curator Danielle Krcmar and the Interfaith Chapel of Babson. The works included were conceptual and interactive, titled You Are Legend, Salt Project and Send Love, Let Go. I was invited to run a workshop at the Chapel and it was truly a pleasure to work again with Danielle who added lovely new blocks to our collective block project installation built during the workshop. I don’t yet have all of these projects on my site but will soon enough!!
I shared two new pieces as part of group show Kindred, at TrustArt Gallery here in A2. This was a very sweet tribute to the artist’s group I am priveledged to be a part of, and I was really pleased with Barbara Hohmann’s installation of the work. It was a beautiful, spare and complimentary exhibition.
This fall I also led a meditation for curator Laura Earle’s project Unravelling Racism, based on the podcast Seeing White. This was an interesting and mind expanding process for me, and instead of making work for the show, I decided to guide participants in a prior-to-the-body meditation similar to the guided meditation I shared as part of Reflecting on the Sacred. These guided meditations are a new development in the year and one I hope will continue to expand in and outside of exhibition settings.
I got to coach some extremely talented individuals this year, as well as a fine group of public artists this year for Now + There, Boston’s incredible powerhouse initiative/public art incubator led by the incredible Kate Gilbert. These events brought extra trips to Boston to check on the beanpole growth of my niece and nephew, plus visits with sister, parents and friends.
This year also concluded with two other big boons, unexpected and quite amazing. I will wait for a couple of weeks before sharing my 2020 news, and thank you for tuning in!
About two weeks ago, the calendars arrived! This is the third year I've build a calendar from my 12 favorite works on paper, and each year I improve upon the design of the last. What's new in this calendar:
-It's bigger! It's 14" tall, and 7" wide.
-The initials for the days of the week are bigger so you can really at-a-glance this thing from across the room
-I've included international holidays and Columbus Day is Indigenous People's Day, and the solstices
-The week starts on Sunday!
And as before it is
-Editioned by hand
-Hand tied with embroidery thread
-Wrapped in a cellophane sleeve
-Printed on 100# mat coated paper stock
This year there are only 50 in existence! We've already sold through about a third, so please claim yours before they're gone!
These calendars are a labor of love, and this is my favorite one yet. It is inspired by japanese vertical stationary design, and a desire to share my artwork without having to deal with the middle man of galleries, or require the expense of owning the originals.
You get 12 beautiful prints (normally $10 each when I sell them at fairs), for $39. It's like having your own private exhibition and color therapy and inspiration all while staying on top of your schedule. Enjoy!
There are three things in this post: A celebration, an outline of my ten learnings from Elements so far, and some actual dates for celebrating with me and getting your books in Ann Arbor and Boston. Read on!
This early June, the peonies are taking their luxurious time to open here in Michigan.
Yesterday, I finally communicated to the printer of the Elements book, the following phrase:
I approve this book for printing.
This is a big moment in printing a book.
It means that the book is complete: edited, proofread, spellchecked, gone through page by page probably 200 times, updated, and then sent off for proofing again. There’s the proof where you’re checking that no pages are upside-down or out of order, that no headers went mysteriously missing, and that the layout is as expected. That’s called the indigo or ozalid proof. The color looks like crap and there are weird inconsistencies in the ink, but you are supposed to ignore that.
For this project, I approved a wet proof as well. This one roll of paper, about the size of six posters, cost $800. The printer has to set the entire press up with the actual paper and actual ink and final settings, so you can see if the cover is the right tone, the text is dark enough, and how the ink sits/absorbs on the uncoated creamy paper stock I chose.
That in itself could be another round of proofing, but I decided I couldn’t front another $800 to see what a slight modification in the cyan would look like. Most projects don’t wet proof unless like this one, you’re using different paper and have a lot of color artwork in the book.
This book is 428 pages. Early in the process, I had to play about a week’s worth of tetrus to figure out how to consolidate down by about 12 pages. This process involved looking at other books, playing mental scenarios out, and drawing lots of page grids and sketches.
My last two books were 125 pages each, with a single line or two of text on most of the pages. To be honest, back in 2012 when I started working with my first overseas printer, I had no idea what I was doing, and was yes, using a lot of prayer to sleep ok at night and trust that it was all going to work out. I didn’t think much about the paper, I had no idea what exactly I was supposed to be looking at with the proofs that arrived, and I was too intimidated to ask many questions.
Comparatively and in hindsight, I now see that ignorance is bliss, and that a shorter book takes a lot less time to prepare!
On this project I had a book designer Amanda Szot from AADL offering guidance, ideas, and a lovely Periodic Table of Elements.Working with Amanda and learning some of her process made me aware of my very real learning curve with InDesign. I think back to Leila Simon Hayes working on the layout and cover design of the last two books, and how challenging it must have been that I was so fly-by-night and chaotic in my approach. Alas. But I am also fairly detail oriented and scrappy, which is how I probably got it to the printer at all. I’ve learned a lot from the people and process that become woven into the making of these books.
I asked for a lot more help on this project than I had before, and help arrived in very cool forms.
a) I met Patrick Barber, a book designer, at the Detroit Art Book Fair last fall, where he was admiring my paintings. He recommended the overseas printer I ended up working with using his recommended contact. We through books his publishing company had printed with this printer in his Detroit living room, as I scribbled notes and asked all the questions I could think of.
Later in the process, I proposed we barter: His expertise and consulting for artwork. Since then he’s been helping me decipher complex emails, strategize approaches in response, understand the focus and motivation of the printing team, and understand rich black versus straight black, the invoices and purchase orders, exports to PDF, and how to approach each round of proofing. All with enthusiasm, which makes me feel so glad I have work to barter!
Nicco Pandolfi took on an early round of editing, and was paired with me by Sara Wedell, the overseer of my publishing team at the Ann Arbor District Library. This was my frist experience with an editor or a publishing team (of which designer Amanda Szot is also a part), and it both raised the level of support, the bar for the finished product, and my awareness that my one month timeframe to get this book to press was wAAAAy unrealistic.
So, it’s been a LOT more of my life and time than I thought possible to bring this book to the point of printing (one month became five).
I have learned ten things. I have learned to
-ask for help (1)
-set up an ergonomic workstation (2)
-take care of my eyes and body with breaks and limits to my screen time (3)
-slow way down, take the time needed (4)
-consider that I may not know how to spell all words (5)
-put lots of mental emotional padding between me and emails that might otherwise raise up the hackles.(6) For example, the email where I thought the book was going to cost 2000 more than the highest quote (beyond all raised funds), because of a misunderstanding about the number of color pages.
-be curious and open where I might before have been a compact singularity of stress (7)
-tell the truth and extend a deadline which, up until this project I’d prided myself on never having done (8)
-handle things gently and with love, first and foremost myself, and everyone else from there (9)
-navigate around lots of technical stuff in Lightroom, InDesign and and way more about the business of printing in general (10)
...and maybe on the next project, make the book a tiny bit shorter!
In other words, I have changed in significant ways because of this project.
The peony next to my monitor went from deep hot pink to soft light pink like a fading curtain over the last few days. The petals have mostly dropped onto the table. And, there are more adventures ahead with this project.
One more proof, the F&Gs, are my opportunity to remedy tiny smudges or printing anomalies of the final, already printed book before binding, and then it gets delivered.
To be safe, we’re saying the delivery date is September. I plan to have a pick up party in Boston on September 7th, and another in Michigan on September 13th. I rest well in the knowledge I’ve done my best while taking good care of this project and myself, and I trust everyone who has invested their time, interest, money and expertise, as well as emotional support, to get us to these words:
I approve this book for printing.
6 Insights into Falling Back in love with your work, creative practice and life.
Every so often, I hear from an artist friend or in the pages of my studio journal, a sense that our work as artists is boring or repetitive, or not all that interesting. I’ve heard this from artists whose work delights and inspires me and many others. I’ve also seen and felt how these thoughts can feel paralyzing.
We may look at one body of work and think: I love this, but it was too easy to make, too much fun, too simple, doesn’t have consequence, doesn’t address an injustice, isn’t clever….
or similar stories.
It’s a little like how you might feel about your hair: It’s frizzy. It’s flat and lifeless! It’s oily as soon as I wash it! I don’t have any! It’s heavy, thick and weird! It’s graying, it’s thinning, it’s such a blah color.
Whatever you do with it, your hair is your hair. Even if you’re bald, it is what it is. It’s what you have. Art and Hair: not always in our control.
When a friend of mine expressed her relief at finally deciding to let her hair be: go grey, look like it does, it was uplifting and liberating to me too.
As for art: the fact is, I can’t make someone else’s work, and if I try, it’s not going to go well. I can learn from them, try out a technique, but if I’m being honest in the work, genuine and deeply engaging the work, it’s going to be singular. And what it is, is independent of me and whatever I think about it.
From this meandering thought trail, I pull a few insights:
1) I am not my artwork. I am not what people think of my work. I am powerless to change or even truly know what others think of it. Some people will like it, some people won’t, it is what it is, on any level of notoriety or obscurity.
2) I am the steward of my work, it’s foster parent say, and it’s my job to honor, to care for it, and to see it. To be curious about it and learn from it, to show up for it as best I can, which’ll be human, imperfect and OK.
3) Genuineness and your relationship to work comes through, so explore, discover, and pay attention to what you enjoy doing, what you love to do. It is also sometimes the case that you may simply need to see something through, or to break through to something else.
4) It’s not always fun or pleasant, nor does the work always come together - but the messes themselves have great things to reveal.
5) Want what you have. Practice this as a discipline to enjoy your life, work and creative practice more. Wanting what you have is a discipline that helps you feel lighter, clearer and more in love with what’s actually here in your life. Do this by becoming curious and playing with this line of inquiry. Ask yourself:
What’s happening here?
I wonder where this’ll go...
Hmmm. Now this is happening!
What do I appreciate and enjoy in my life?
(Nothing is the answer that will make you feel the worst so dig a little deeper and come up with something)
6) When you see something amazing in another's artwork, life or career, see it as something your heart is waking up to in your own life, something being remembered about who you are and your inherent worth and abundance, and say YES, THAT. That’s amazing. I choose THAT! from the catalogue of life experience. I am open to experiencing that in my own life.
Prior to this practice, it might feel somewhat like an impoverished, smouldering jealousy, comparison or rejection of that other. For an easier experience, see it as a mirror. This plane we live on is dynamic and collaborative. Your part is to know what sparks joy in your life, art and in others.
And further, even if it’s scary, practice the expression of appreciation and gratitude to others. You may find as you do your heart expanding, relating, connecting and serving, instead of - as was my case for much of my twenties, contracting, retreating, judging, comparing, hiding and becoming brittle in the comfort of familiar and inaccurate stories.
When you see something amazing in another's artwork, life or career, see it as something your heart is waking up to in your own life, something being remembered about who you are and your inherent worth and abundance, and say YES, THAT. That’s amazing. I choose THAT! from the catalogue of life experience. I am open to experiencing that in my own life.
I am knee deep in this book project on the Elements. It’s the third book, it is currently being crowdfunded, and I’m going to share in a little more detail with you about what’ll be inside and where I’m at with it.
I have completed all of the artwork for the book. There are two sets of drawings, one completely monochrome, silent and abstract, and the other vibrant and descriptive of each element. The monochrome works on paper are in the Element Index section. The vibrant, colorful, descriptive drawings are in the Element Sketch section. .....
Other visual design in the book includes a comprehensive overview graphic of how the Elements are made in star and space explosions and collisions, and which elements are made how. It was satisfying to pull this together because the information is public, but shared in fragments and super inconsistent graphics and charts across the internet. It was fun to put the big picture together for my own understanding, and I’m excited to share it with you too!
The Overview Section includes this element origins spread as described, as well as two other spreads on the relative abundance of elements across five or six areas including oceans, the human body, the earth’s crust, the atmosphere, and our solar system. Also in the overview section, you will see what elements are in the objects immediately around you as you read, so you can see how not separate you are from stuff.
There will be some quotations in the book that range from scientific to mystical, and essentially say similar things from recent and ancient and moderately older sources: Einstein, Rumi, Buddha, Walt Whitman...
The Element Index section takes what’s shared playfully in the Element Sketches sectoin and presents a more comprehensive list of every single place I could find where this element *is* in our world. Originally the book was just going to be the abstract Index image paired with this list, but it turned out to be a little too a) austere and b) dense for many of my early readers to get into. Hence the new Sketch section.
There is also a Legend in the book, that pairs with each Element Sketch. This legend shares other information that the sketch paper and its treatment yields about each element. For example, if there’s a fold in the paper, the element is magnetic. If there’s an orange stripe along the bottom, it’s radioactive. If there’s an odd shaped hole-punch, it’s used in technology. I hope this is both fun and illuminating as the reader explores and discovers.
I look forward to learning your questions and sharing more as we embark on this book-making, book-realizing adventure together! Back the project here, or share it using the share buttons!
Last year, I made my first, limited edition calendar. It was so much fun to share, to infiltrate your walls in a new way, that I’ve done it again! This may become a tradition folks.
This year’s calendar Time is Color 2019 features my own selection of favorite works on paper, most are ink and graphite on paper. I had great fun selecting and then pairing the images with each month of the year. Also, I listened! and learned from last year that y’all want boxes for your days so you can keep track o’stuff, instead of just elegant and floating numbers. So boxes you’re getting! .....
products, prints and offerings.Guess what just arrived?
A tidy little stack of Hannah Burr, limited edition calendars: Each signed.
A nimble print edition of just 80!
Yours is waiting to brighten your wall.
This is the very first project I undertook this late fall when I finally had a studio again, here in Michigan after a six month nomadic transition. Bundle deals with books are offered through Friday only!!
About the Calendar Series:
Each ink drawing in this series of twelve is its own universe of color and motion, loosely interpreting my experience of the tidy grid of calendar days. Where do they go? Odd the way that time moves, so unlike the charts, numbers and grids we try to capture it in.
Each calendar is signed, one of only 50 prints in existence, and arrives snug in a cellophane sleeve with an introduction to the project tucked inside. Order yours today! Deals below.
NOTE: THE CALENDARS for 2017 HAVE SOLD OUT!
Visit hannahburr.bigcartel.com to see her current products, prints and offerings.
And find more offerings and artwork at hannahburr.com
THANKS AND ENJOY.
More posts about It's April! Here's an update on Book 2: Help me [ ], do the thing.
It exists!! It's been printed!!
I have received two gorgeous advanced copies!!!! I am thrilled. The first book has a baby sister.
There's first a moment where the FedEx package arrives with the advance copies where my stomach drops. I have to ignore the package for a while because there are too many butterflies in my gut. There's always a chance something went south and half of it is upside down or something, and I am first gripped with fear.
At some point, I just sit down and find myself tearing the little cardboard perforation strip on the package and diving in. Then we spend some time, me and this object, together, acclimating to the fact that
THE THING HAS BEEN DONE.
After this comes an amazing segment of time where my heart literally becomes this glowing, warm region of my being as I behold the book on my table. I keep going over to the spot to commune with the very site of the object that all of us together created.
I was tempted to share a photo here, but I think that's for when the rest of the books, actually arrive.
I will greet the books in late May/early June, and promptly send them out to my backers. I can't wait to share the real thing with you!
More posts about Hannah's books and new arrivals.
Hannah Burr is a contemporary artist and author. Originally from Boston, she lives in Ann Arbor MI.