​

• A series of neat collages from the upcoming fifth book: Field Guide to Ambiguity. I am hoping this book comes out in 2023 but we shall see!  Here's one!

The book Goodnight Moon is strangely a bit of a lynchpin in many of my art projects. Goodnight Moon was a book I grew up reading when I was very young. I'm sure many of you are familiar with it. It features a bunny rabbit and his mom or grandma in a quiet house at the close of the day. It's dark outside and the mama bunny is knitting while the baby bunny lays in bed.

The narrator then does a kind of inventory of everything in the room as they say goodnight to it. "Goodnight mouse, goodnight house (there's a doll house), good night brush, good night mush" (there's a bowl of mush). We read the book not only saying goodnight to all of the objects in the room, but also, you get to find and pair each object because of how it's illustrated with little side images of each object. You look for the mouse in the scene, seeing it on the side, as well as the house, the brush, the mush, and so on.

I recall this as a very satisfying process, very engrossing and rewarding. I loved this pairing process, and I want to point out to you that in my artwork, I do this all the time, in part I now realize, because I found it such a joy when I was a kid. It's basically pattern recognition, but it's something we're good at as humans, and find pleasurable because it's how we're wired: Look for all the berries on the bush, or the gazelle on the ridge, or the bug in the soup - to keep us safe and fed and alive.

As you forage for a plant or a mushroom, or that perfect black skirt, see your lizard brain at work!

This same simple and gratifying process happens in at least five of my art projects:

Stand In, where I have a legend repeating the objects in the sculpture:  

You Are Legend, where similarly a legend repeats objects in the room you are standing in. This project hasd happened as part of the Reflecting on the Sacred Exhibit at Babson College, and recently, this August I developed it further while in Vermont, on Turd Hill with an excellent group of artists. 

In Offering Shelf, an asterix is in the object and on the label. The image below doesn't show that, but the label reads ' Every  item on this pile is a thought, story, emotion I let go. ' and the pile is detritus and overflow of materials and scraps from my studio (as are the images from the second book Help me [   ], do the thing.  (Offering shelf has been shown three times, at Millersville University, Lancaster PA in a solo show I had there in 2010, at 808 Gallery at BostonUniversity in a group show I was in prior to that, and in another form at 555 Gallery in the 2014 solo show there called Placeholders). 

Again, it's just like in Goodnight Moon. It's amazing to me that a simple impression from childhood creates an indelible pattern of its own across several decades of my conceptual artwork. I asked you this in the Small Spark post a few months ago, and I'm still curious: Was there a specific childhood moment or insight that you remember affects what you do as an adult today? I mean of course, and frequently from pain. But any you feel comfortable sharing in comments below, please do!
​
PS!
There are a few calendars left! I will be sharing them locally at the TINY EXPO in  early December, so get yours now if you are far away. Remember: shipping is free from my shop! See the whole thing here and n Get your copies here! It will be sent to you promptly.

It's interesting to have my studio now in a residential neighborhood. For most of my making years, I have had a studio in a fringe place, on the edge of some urban industrial area with shady dealings and lots of concrete expanse. Once I had a studio in a tiny second bedroom of my own rented place in Gloucester MA, and for a year I rented a friend's back bedroom in JP. Now I am nestled in a type of smaller pole barn structure that resembles from the front a one car garage, behind a modest home, in a circle of nine modest cape houses on a cul-de-sac. It's quiet, there is green space just outside the window - the wilds of my neighbor's yard, and the looming trees of a small wooded lot we can walk in.

Our little cul-de-sac which in french means draw string bag, brings people together, like a draw string pulls the bag closed and closer to itself. Especially as in the last two years, we were grounded, a little cabin fevered, and often gathered out front to socialize, instead of going out places because of covid.

My neighbors John and Kayla, on our blended front lawn one day just after we'd moved in (spring 2020), asked about my work. I shared about the books. As Kayla asked for more detail, her face lit up and  realized that my book was on her bedside table - a gift from her mother-in-law who found it in a local shop. Kayla now has all of my books now in a prominent spot on her living room shelf - a deep honor and a tiny thrill.

Kayla is a pediatrician, we had just become neighbors, and from that moment, it felt like, for both of us, a slightly magical neighbor match. Since then she has had her first child, whom my husband and I have taken out for strolls, changed diapers and put to bed, her father has come and helped install the wood stove here in the studio as we built it, and Kayla and her mom have become a big fan of my calendars.

Recently while I was doing some gardening and her mom was visiting, her mom asked shyly if she might see the studio, so the three of them came over, Auggie in the stroller, Kayla and her mom, and took a peek.

Its a big, active mess in here, but it was really amazing to hear them debate which month in my calendar was their favorite, to hear Kayla describe the kind of completely abstract painting she's drawn to and might buy from me when they move to their new home in New Orleans a few months later, and to experience what it feels like to have neighbors this close.

In fact, my stepfather just came to visit us from Boston and spent his last night watching the college basketball final game with John, til midnight in the house next door, because we don't have a TV. There are many other neighbor stories I can tell, but my point here is, art making is also relationships, vulnerability and being seen. I am having whole new experiences as a first time home and studio owner, being in a midwestern town, and prioritizing community above many other things I might have before.

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Two Reminders!:

1. My solo show at Barickuda Gallery closes this Saturday, October 22 with a Q & A and talk. The gallery is open from 4:30 - 6 pm, and I'll start talking at 5 pm. We'd love to see you.  More details here.  If you'd like to see the show but you're far away, I'll do a livestream on Saturday on instagram which you can watch by simply going to my insta feed (instagram.com/hannahburrstudio) on Saturday during those hours.  Or, leave a comment here and I can send you a PDF of the work in the show once its down. 

2. There are still a few calendars left but they're going fast! I've been selling them at local pop ups and on my shop, where shipping this year is included. I will bring some to the closing event where you can also get them this Saturday. Here's where to buy them online. 

I wanted to share a little bit about woodworking with you. When I built my studio we made a decision to take the front ten feet of the garage and turn it into a wood shop. This makes for a rather inelegant entryway, but fulfills the need for me to have a place to put the chop saw that I've dragged around for twelve years, and usually just stepped over on the floor. Sawdust makes it really tricky to work in a studio if you paint or have any other tacky surface around. My wood shop is fairly simple and thrills me to no end. There's a drill press that I inherited from my father-in-law Gerald Marshall, there's the aforementioned chop saw, that now gets used all the time. It sits on a metal folding table that someone gave us while we were walking by their house one afternoon. I installed these orange wood racks which somehow make it all official. Even though wood sometimes falls on me in a cascade, I'm grateful that it's relatively organized up there.

I use a wood shop as an artist to build various supports and structural bases, and I use it a lot in my home life as well. I've done a whole lot of projects, not the least of which was the studio build itself. The studs for the walls all got cut here and when we were building the space; then, the whole space itself was the wood shop. Next up is to build some kind of a shed so that I don't have to tiptoe around a lawnmower and two bikes and all of the gardening and grill stuff that fills about a quarter of the wood working space.

I wear the glasses (in the photo above), also my father in laws, when I'm working with power tools. I really love them. They're probably 50 or 60 years old. They have no prescription in them. For me they create a sense of continuity with my elders. Also in the wood shop are many of my father's tools and my father-in-law's tools. Because my grandfather and father were both woodworkers professionally I feel a deep connection to them both. My father-in-law was an optical physicist and for quite a lot of his life worked as a consultant. Like me he had many creative aspects of the work he did as a self employed person. Both when my father passed away and when my in-laws downsized to a retirement home, we inherited many tools. When I go up to Maine every year, I often add some strange gem at the Liberty Tool Company to my collection like a graphite line scorer or more clamps. I love to pick through the stuff in their creepy haunted space!

The woodworking projects, most of which happened during the pandemic include many firsts in wood. I learned a lot about myself as a woodworker in the process and continue to learn and make new things as we renovate corners of the house.

I'm going to share in images a few of the projects I've completed. I'm as astonished that I made these things! Thanks for tuning in to this look at what goes on behind the scenes. PS. I don't have any plans I can share because I am a sloppy, undisciplined craftsperson.


Rain Barrel Stand

​Here's the Project Statement. 
These conceptual, sculptural works are found object assemblages used to express ineffable, personal experiences. Sometimes, the experiences mapped through these objects are poignant and moving; sometimes they are awkward and difficult, and or hard to recollect at all.  Fleeting occurances like a wink, the last visit with someone, or an interaction, are broken down into its aspects, and paired to each object. 

In a sense this work is about presence: the presence in objects, and the way presence opens up and closes down in the course of living a life, or the movement through a day. 

I made this series after witnessing humans in that experience of being separated from their things. It's for me both an exploration of the lives of things, their histories as companions in our homes, and their fate in junk shops and land fills. This human inevitability of parting with what we care for and hold closest, as well as my own fascination with all the 'stuff.'  I'm interested in the inside/outside delineation in human experience, what we don't know of another's life, and what's laid open to be seen. Also, what we often can't fully register - those moments - as they happen in our own.  

These works, presented via  garlands, shelves and spindles, generally are under two feet in their largest dimensions. Larger site specific, temporary versions are also in development and I welcome invitations to collaborate with a space and one's 'things.' The work is both the sculptural assemblage and the legend that accompanies it. 

This project first began in 2014, and continues today. ​
​As a side note I've noticed that labels and legends are an integral part of several of my projects. These include the projects Offering Shelf and Fresh Eyes and Attendant. Stand Ins between words and forms also happens in all three books of prayer.

This may sound complicated but it's in fact fairly simple. It's a little like reading the book Goodnight Moon in that it's about pattern recognition and the ridiculousness of a cluster of strange objects.

​

I'm noticing as I make these new pieces that there are certain things that are being illuminated in the poems, and certain things being illuminated in the objects. I'll share some of the themes here. In the poems, what's being described are the things that we tend to miss because they are hard to pin down. Things that are either so mundane that we don't even really register them: Like the times we're alone in between events. It's easy to not even be conscious of that happening at all. Or the times when we have an awkward situation with another person, or an intimate moment that's either welcome one or unwelcome, with a stranger or with someone we love. Also, those moments that are big, poignant and memorable, as well as tender, vulnerable and fleeting, are represented in specific pieces in this series.


The objects also have themes in them as well: they are domestic and often incongruous with one another. They invoke for me a kind of play, a balance, and a kind of jumble. The color palette, texture and overall form of them are composed with a lot of consideration.


I may propose a residency with one of the junk shops because I'm there so often and I'm also kind of curious what exactly I'm doing there. What I find I'm doing is sifting through the evidence of other people's lives and the visible way in which a place like that holds evidence of lives that have either been interrupted by events or where a decision was made to declutter and clear out. Some of the objects that I'm selecting were parts of unfinished craft projects or perhaps were part of a life from another era.


Our lives are so full of things. This is stuff we can't take with us when we die or when we go through transitions that we didn't ask for. These pieces are a way to both honor those objects and the quiet little relationships others have had with them in a home: to translate them with what's going on really behind them and through them. I've heard it said that

Matter is a way of seeing, not something that is seen.

I've also sat with the interesting idea that

Objects are something to think with.

​The first comes from a non dual philosopher Rupert Spira, and the second comes from Seymour Papert, a child psychologist who invented logo programming for children. Both of these individuals share a certain brilliance, and I think this work is an expression of both of these ideas. Seeing this all as metaphor for something else: Isn't that in some ways what life really is? To put it differently, if this is your dream, isn't everything in a dream a metaphor standing in for something else.

If you are local, come to the opening and try your luck at the raffle! We're a small operation, so it'll be good odds in your favor!

And if you want to reserve your calendar - or for any other reason - drop me a line or leave a comment below. 

The gallery will be open by appointment , and for events on October 8 3-6, and for the closing on Oct 22. Masks are strongly encouraged and please do not join us if you are sick.



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It’s August! I’m on vacation! How are you? No really, how are you?

That’s the kind of question I like to ask myself and those around me this month. Below, I have seven prompts for you, to reflect on your experience in the past year, and looking forward to the next. 

August is an enjoyable and slightly disorienting month for me for the past five years, as I am away for the whole month, just as the dhalias start coming up in my backyard. This year I was in Vermont with a wonderful group of artists on residency for a week, and now I’m in Maine for two weeks seeing family and ocean - my saltwater fix for the year!

Being away from studio and home, and sitting down with family and friends I haven't seen for awhile, brings existential perspective on what’s happened and what’s upcoming - as far as I know - when I return home. In Maine I like to check in with myself and when I can with my birthday mate Riley (24 years my junior, my cousins son). By sheer luck, we happened to meet early morning on our birthday on a beautiful dock this year. Riley was going back to his job in NYC that day, and we got in an impromptu birthday check in. We asked one another ‘What the heck happened this year? What did you like about it?’ And ‘How would you like this coming year to go?’ Another way of asking that last question is: ‘Returning here next year, what would you like to be thankful for, amazed by, thrilled about?’ I ask these kinds of questions the week between Christmas and New Year’s Eve, and I ask them in August too.

While I know I do not drive the bus of life, I have found that knowing ‘what’ is in my heart is essential to inviting the universe to collaborate with me in the ‘how’ - I actually never know how any of it will come about, or if it will, but at least I can focus on what would be joyful as far as I can imagine.

This month I wax existential, lie about, float in water, and I spend many long hours comparing rest areas along interstate 90.

Here's some of what's on my list: 
I am grateful that this year I got to develop some new projects and to share them in new ways.
I am grateful that so many of you have expressed a desire to make your own End Papers books, or to have me make them for you.
I am grateful to be having a solo exhibition on Sept 17, in a beautiful white space on the outskirts of Ann Arbor, and for all of the work ready to share.
to feel clearer than I’ve been perhaps ever, on how to best value, prioritize and engage in the creative and personal relationships that make life worth living, and art worth making.

What I would love to see happen in the new year - the one that started mid August on my birthday - is
to see the birth of my new book Field Guide to Ambiguity come forth next year
to see the project Stand In take on a larger scale, site specific version of itself
to see the continued creation and sale of new paintings and works on paper
to have a lovely, intimate and successful course for End Papers, in person and online.
a love the calendar print, for those special VIPs that love it, coming out this fall
and to continue the fruitful collaborations, friendships and professional relationships that bubble forth
All while working at a very human, kind pace, with lots of space for staring at trees and wandering down paths in various kinds of weather.
And for the winter to feel cozy but also energizing and interesting.

Now, for your own reflection, if you so choose, before the fall begins in earnest:
here are some similar, modified questions. Feel free to respond in the comments below!

‘What the heck happened for you this year?’
What are you grateful for?
What challenged you?
How did you rise to those challenges?

What would work better in the next twelve months (or any interval of time you’d like to focus on)

What would you love to see continue, to flourish and grow?

‘How would you like this coming year to go?’     Another way of asking that last question is:
‘In a year what would you  like to be thankful for, amazed by, thrilled about?’

If you get stuck in 'How the heck could this actually happen?, stop yourself.
‘How’ is none of your business. That’s *’s job, or,  the universe’s business, not yours.
The ‘What’ in your heart is what these questions are designed for.

If you like these writing prompts, see what it’s like to have me ask you this kind of question in the space of a coaching call, with a focus on whatever is most in focus for you, right now. 

​Hope to see you for the opening in September!!

Here's a bulletin style update on the pink tub! I first wrote about the Pink Tub in studio objects, and since then the pink tub has had a change because well, it began to smell really bad. It might have been when I threw some tea in there and so there was more biological matter than just pigment and water. When things started to smell skunky I put it outside, and put some boards and a big rock on it. Now it's just to the left of my side door of the studio, it doesn't smell anymore as far as I can tell. I put the boards there so that creatures wouldn't get in and drink anything, but left openings for evaporation.


The idea of the pink tub is that it keeps the watershed clean by not pouring anything down the drain and it evaporates over time by being outside. I want to point out that I like that it looks really more like a Japanese thing now. Do you see it? Anyway, that's all. The pouring mechanism isn't in my studio directly so it's a little cumbersome, but it keeps the airwaves clean and the actual skunks in our yard guessing.

Here are some things I love about Michigan in the summer. That you can float down a river in a kayak, innertube, paddleboard, even with a twelve pack of beer, right through the middle of town like its the seventies, and no one bothers you. (This is certainly a two sided coin especially as I'm sober since 2011!). The state grows excellent fruit - all manner of berries, stone fruits and apples. There are several fruit   trees I hadn't encountered: The unusual sour cherry, the serviceberry, chokeberry, mulberry, and blackberries growing everywhere right about this time. 


And the fireflies. The fireflies (also known as glowbugs or lightening bugs) are more of a phenomena here than I remember them being in Massachusetts. Look out over a field or lawn at dusk and you see these tiny, silent, unassuming points of light rising by the hundreds.


Tonight, I walked deliberately to a park near our house with a big field just as night was falling because I could see that fireflies were starting to rise out of the grass on our own lawn. I wanted to really experience this in the otherwise darkening space of evening.


Here's the thing about that: In order to see fireflies, you can't actually focus. You have to look with a wide open view. It's a kind of peripheral seeing. 


What amazes me about fireflies is that they don't just happen for a couple of days, or in rare locations. They are this magic thing, and yet they happen all summer long as far as I know, and they are simply embedded in lawns and grasses. When they do happen, it's like they're normal. It's like: Oh, it's nighttime and the fireflies are out. 


If you think about it, fireflies are magic. You can't see them if you look for them. They are under your feet when you walk. They are silent and individually a small beetle-like bug. You have to rest your eyes to receive their light show. When received, it's hard to deny that certain magic is ordinary. Shooting stars require this peripheral vision too.


Lately I've been thinking about how I work, about how I go about a day. More and more it makes sense to approach my entire life that same way, with a kind of peripheral openness and a receiving of experience, rather than thinking that I'm actually doing the things that are happening. When there's a difficult conversation, when there's a good piece of news, when something like a project or a task completes, there's a tendency to think "I did it" I focused, I made it happen, I did it. To an extent that's true, but on the other hand, there's a way that we simply receive a flow of experience that doesn't cease.


Over the fourth, we see the explosions in the sky, amazing and awe inspiring. Fireworks have their magic, but in a kind of focal stage area in the sky, and unlike the complete brilliant silence of firefly and the shooting star, they are a loud, hard to ignore and being explosives, both a simulation of and a by product of human war. It's really nice to have this softer, natural phenomenal happening all throughout, asking nothing of me.


Where is there magic right under your feet? Is it in what you are tasting, what amazing things your hands can do like grab six awkward things to take upstairs? A bird in flight, singing. A cat purring on your chest. A flower opening along a fence. A child saying your name. Please let's expand the list! Comment below and add your own...

And where would you like to rest and receive versus go out and get? 

Here are some related pages from my last book, the 2021 Edition of Contemporary Prayers to Whatever Works:

 
I am very excited to share with you about a labor of love that's about to come to fruition: A solo exhibition at TrustArt Studios in a lovely space there called Barickuda Gallery. The space is the brainchild of Liz Barrick Fall, and she's done a beautiful job of building it out with lovely studio spaces, a nice functional kitchen,  and a beautiful gallery space right at the heart of it. Liz and I have been collaborating on this effort, and I will be showing my work: three different projects that speak in a lovely way together, opening on September 17 2022. 
​
ALIVE is how I feel when I watch how the three projects speak to one another, and my deep desire is to see what happens when I take them out of my studio and hang them in this lovely space. 

The three projects are Puffies paintings, Stand In conceptual sculpture, and the Peg Drawings. 

​Puffies:
These upholstered paintings began 20 years ago, first shown in a two person show at Judy Goldman Fine Art on Newbury Street in Boston with Petah Coyne. This kind of painting process came alive for me again in about 2015, and the paintings have been morphing and evolving ever since. ​

​Stand In Series: 
This series began as three pieces in 2014, which got a fair amount of air time in several exhibitions in MA, NY and MI. This project has come back alive in the form of TWENTY new small scale sculptures since I moved into my new studio in 2022!

In 2014, I showed A Visit with You and My Father's Last Day first for a solo exhibition at 555 Gallery in South Boston, and then for a group exhibition at the Drawing Center NY (2014), and again for a group  exhibition at the Scarab Club in NY (2018).

The sculptures are both sculptural and conceptual, and like several other projects involve a Legend, found objects - sometimes altered - and either a shelf, a garland presentation, or a wall cluster presentation.  I'm not going to show all of the new pieces, but this work is really exciting for me as a conceptual project, and as a new approach to building sculpture. I'm so jazzed about it that I'm having a panel discussion called STUFF, with the esteemed artists Sarah Rose Sharp (also a writer and curator in Detroit) and fiber artist/ deep thinker/ sculptor Katie Schulman on October 8 at the Gallery. 

Both of these lovely people make physical objects that often have associations with other places, contexts and times - and I want to see what happens when we sit down to talk about Stuff, in our lives, in our work, how it overwhelms and/or inspires us. My project Stand In is the inspiration behind this talk, and the Stuff Swap that follows immediately after!!

​What all three of these kinds of work  have in common is that they were made by me in 2021 and 2022, that they feel very alive to me: about an action, a placement, an arrangement that feels fresh and maybe even sudden. So while I am the intersection of this work, I am so excited to learn from you what it's all about!
​

​2. Also coming up is a somewhat daunting task for me, creating an End Papers course. The first one at least will be in person, and I will also eventually make it available as an online course. The intention of the course is to make an End Papers book or books of your own, from the papers of a loved one who has passed on. Or, if you just want to be a part of the project but don't have those papers, you can make a book out of some paper stack you've been hoarding, and would like to transform, rather than keep holding onto or throw away. To find more about the project, there's a whole page on my website hannahburr.com about it, or to let me know you'd like to be on the list to take the course when it's all ready, let me know here!

​3. And finally, I've been working on my website a whole lot! Specifically, I am making an effort to be a little more organized in sharing sneak peeks of new work and to make it easy for you to buy anything from a small work on paper to a large painting. I want you to know that I can ship the work anywhere in the US for the price of the work as its listed on my website! Yes: Free Shipping! And, if you are local, there is a discount to pick the work up from my studio instead. While I don't have a point of sale shop set up for anything other than my art books YET, everything I have on view on my website under Landscape paintings, Abstract Paintings, Puffies, Stand In and Peg Drawings are all available  - unless it says otherwise. Shipping is insured and professionally handled so everything arrives safely. This also means that I don't ship any glazed artwork, but I can help you make framing choices and can even send the work to be framed for you if you like.

That's all for now. Thank you very much for reading this far!

I have a folder full of tests. I thought you might like to see them. Because I work in mixed media, and generally never like to do things the way I supposed to, I am always trying things out. I keep these tests in case I ever go back to the same process, which I rarely do. I thought they were pretty! To be honest, I can't often decipher my own notes, so they are at this point primarily just interesting objects to share.

​This was an eight dollar junk shop find and I'm thrilled to lay it down on my $40 rug in my studio. It's most lovely when I've decided to sit in front of the wood stove like in this photo:

I just love the scale of it and the color of it and you can probably see why I like it based on looking at any of my artwork.  And it was only eight dollars!

Yes, there will come a time when I have to start removing more and more stuff from my studio to get through it, this alway happens right? Or it does often for me. For now it adds a cozy element, it gives me another height for sitting at, and it can also be for my feet.

It's really important to me to have some comfort in the studio, so that I can sit with my tea and think and write and not feel like my creative space is only for a certain kind of hard productivity. I need a counter balance to the standing laptop station and I am grateful to have these soft elements to hold the more tender parts of the practice.

Is there something you quietly rely on to bring a little tenderness to your work and focus? I would love to know. Leave a comment below. xo HB



*Photo Credit: Abby Rose.

Before I share about sparkiness, I want to extend an invitation to the WestSideArt Hop this weekend. Please join us if you are in the area (of Ann Arbor MI). Details here. Lots of new things to see!

​Was there a small creative spark in your early years that became a vivid  theme in the work that you do today?

I recently came across this little paper remnant from when I was a kid because it relates a lot to my artwork. I don't remember the specifics, but what I vaguely recall is that this paper was from a listening and noticing exercise I was invited to do for a class in middle school.

This is the piece of paper I wrote on. It had been folded into fours. It's something I keep on my bulletin board to remind me of how impressionable we are as kids and how simple things like this exercise can shape a life.

List making in and of itself has come into my work many times, most notably in Empty Full, in which I inventoried every single object I own as both a list, and as a single calculated volume of space, which then was shared as a hollow cylinder in the same volume, with the list of objects on the floor of the structure.


In Yardsale, while I was holding an object with all of the usual stuff for sale, I asked each customer to cross off of a list an item of their choice for every object they bought. The list was of intangible things I was, I felt, ready to let go of at that time in my life. The list has things like: "Taking the bigger piece of pie" and "laughing when it's not funny".


Visual Traces of Groups of Work. I and five volunteers observed what was happening in the gallery: minute repeating events that are a part of a group at work, that became a list as part of the work, and then got translated into different types of adhesive marks on the walls and floor of the gallery, exhibited along with the list.


Lists also feature heavily in my third book the Elements: a love letter to all thing everywhere. Here, the objects and areas in which each element is found, are listed for all 118 chemical elements, as well as their behaviors, qualities and uses. All of my books except the very first have Indexes, another kind of list and another way to explore and enter the content of the books.


Spot Count asked others to list their noticings in open public spaces like a weedy lot or a park, much like I was asked to do in school long ago, though they moved through the space like you would for a bird count, or for a forensic search, but in my project, leaving colorful marker wherever they stood and observed.


I'm also excited to share that this same theme is coming forth in a new book project that will be ready to fully to share in just a few months. It's a book called Field Guide to Ambiguity, and is about all of the situations in which ambiguity is present, as well as some of the strategies we use to deal with it. It is essentially a list of such ambiguous situations, paired with a new artwork, reflections and variations on each situation, as well as beautiful design by my collaborator Patrick Barber in Detroit. Patrick has contributed much to the building of this book, the structure and the editing process as a book designer and a designer specifically of Field Guides as luck would have it.


I can't wait to share it with you, but for now, let's return to the piece of paper that inspired this post!


Do you have something from your childhood that made a huge impact on your livelihood, artwork or other creative work in a significant way?


What small thing was introduced to you that became a seed, that then grew into something huge?

Here is a photo of me holding one of my smaller landscapes in a landscape. I know this is a social media trope, but it seemed fitting because landscape is a kind of artwork that I've been making since I began.

Before I continue PLEASE NOTE!
If you are in Ann Arbor on June 11 and 12, please join me to see some of these works in the flesh at the West Side Art Hop. I will be showing at Cathryn Amidei's with four other artists and would love to see you there! 

Landscape started for me my first year out of undergrad at Brown, just after moving out from my mother's house where I'd been living. I didn't know how to start making art outside of the context of classes and senior projects and the things you do as assignments when you're a student. Without that structure I felt a little at sea.

By a series of coincidences, I found myself living within a few months living in a big open loft space that is now luxury office space in downtown Boston, but then was a rough, non-live zoned space with huge windows, plenty of heat, and a bright turquoise floor, off of a shared kitchen and five loft mates with similar spaces. It was $400 a month, sigh.

Landscape started then when one of my loft mates suggested that I just focus in on one thing and see where it might lead. I then made landscapes for years and years and sold all of the paintings that I made. It was an incredibly rich time. At one point I had a job that I quit so that I could just make my art for a year. I showed and sold most of that work. Over time, my landscapes became more conceptual and abstract, morphing into projects like Correspondence Project and like Draw Through It. The landscapes became the activity of writing turning into landscape turning into writing. At a certain moment the landscapes had the vertical red line of a lined paper margin, and blue lines across it. Landscape has continued throughout all of the other kinds of projects that I've done, and every year I always have a period where I return to landscape.

In 2019 I had a show in which for the first time I showed both landscape and total abstraction together. It was a delightful pairing. It worked beautifully together and was really freeing to put things all in one place.

Often I find that artists do this thing where they have certain rules of what is and isn't allowed for yourself and your artwork. I think I had the rule that 'you can't do more than one thing, and that if you did, it was problematic.'

I want to honor the abstract landscape in my work because I have many of them in my own home, in other people's homes and I value them tremendously.

​
The natural landscape is a place I feel deeply at home and return to every day to birdwatch and forage for mushrooms, and to get bathed in green or brown or white and get perspective.

If you are in Ann Arbor on June 11 and 12, please join me to see some of these works in the flesh at the West Side Art Hop. I will be showing at Cathryn Amidei's with four other artists and would love to see you there!

​Do you ever notice how you need to make a mess to really get organized? I'm finding that to be more and more true in my art studio. I like to share about messes, and it's a requirement that I be able to be messy in my creative space. I have to be able to pull everything out and try a bazillion different things, and it has to be left half done so that I can come back and respond the next day. This makes my studio kind of an uncomfortable place for my engineer husband who much prefers the data cell and the number, and why he thinks twice before casually opening the door to my space to seek out the ladder say.

I'm grateful to have someone like him who is really good at sweeping the kitchen floor, because it sure isn't me! I do wipe the counters down though and lots of other stuff.

One thing that makes a big difference to my studio practice these days is clarifying a process for myself, and then committing to and sticking with that process. For example, How to do a photo shoot, how to make a painting support, or how to do my business numbers every month. The point of clarifying a process this way is so that I don't have to remember how I did it the last time, instead I can just look it up. I've found that making these How To lists are really deeply important for my practice. Each of these things is a valuable trove of process. These are the assets of my business and studio practice, they are how I get things done.

To give you an example, the project Stand In I'm in the middle of, has many moving parts. It involves trips to junk shops, a particular list of what I'm looking for, building structural supports, writing and editing poems, trying to apply a poem to objects and finding it doesn't work and doing this enough until I find a process that does work, and then it involves once I make a sculpture and pair it with a poem in a way that works,  how the heck do I document it, create the legend and store it? Then I need to take it apart, photograph each piece, digitally edit the series, create the label, and make sure that I have a photograph that's both high quality and high resolution and also lets me remember how to assemble it. And then there's oh my God writing instructions for other people to know how to assemble them.

This takes a lot of time and love. If I didn't feel compelled to do it, it wouldn't happen. Recently art friend Deb Todd Wheeler was asked what advice she'd give to an artist starting out, and her response was: only do it if you have to, only do it because you couldn't not do it. I think I feel that way about this process. Because it is messy and chaotic and both fun and overwhelming at times: I trip over things, I break things, I forget the revelation I just had if I didn't write it down. The more time I can spend tidying and putting into boxes and labeling and coming up with an archive system, the more I am expressing love for and the value in what I'm doing.

I recently came across a bizarre show on netflix called 'Old Enough.' It's a Japanese reality TV show where a toddler is given an errand to run, usually with one or two stops picking something up or dropping something off at a shop or with a family friend. It's an interesting look at rural Japan and working class Japan and just how different Japanese and American culture are in many respects. It's in moments very sweet and also disturbing. The other night in the middle of the night it occurred to me why it was compelling to me: All of us are toddlers on an errand.​

Doesn't it just make sense?

When we're up at night trying to get sleep but finding that the mind won't turn off, it really does strike me that we're toddler sized in a big world, in the middle of a crowded fish market trying to remember which stall mom gets the sea bream at. Or trying to understand how to pull a cabbage out of the ground that is connected by this incredibly thick root system and it's getting dark and we have to walk home in the dark. Isn't that really just what life is like?

When worry is happening, when stress and anxiety are there in the middle of the night, usually somebody or some situation looms incredibly big in our thinking. In this way too we are like toddlers on an errand because as a little three-year-old tries to negotiate a grocery store counter or shop stall or people's big bodies while moving through a crowded space, it's overwhelming, and so can life be. In the morning when we wake up, what worries us is often right-sized again.

I don't know that I have more to say here but as you're going through your day, think of it: Toddlers on an errand. Everyone around you and you yourself. In the middle of the night, think of it: We are toddlers on an errand.

PS. In about the fourth episode, I decided the show itself is kind of dark. The kids, these two and three year olds, somehow know this isn't normal and that there's something off about the whole situation. This speaks to their purity and the way things just often are twisted around and you see innocence being lost in some episodes which feels sad. But yet, perhaps it's riveting because that is how it is for every one of us, in some way, and we have at our core that same clarity, that same innocence.

I want to share about a long ago dream turned actual: a functional, bondafide studio closet. In my nomadic years, between 2007 and 2010 when I moved my studio four times, I had a lot of opportunities to think about what did and didn’t work in a studio situation. **


One of them was tripping over my chop saw which lived on the floor, and covered everything with sawdust when I used it, and storing all my boxes, finished materials and supplies in plain sight. It worked well eough, and I loved the place I worked more than anywhere in the world, but dared I to dream, the first thing was a closet: a discreet place with a modicum of order, good shelving that I couldn’t see and didn’t have to drape sheets over when I opened my studio.

My friend Tracey Easthope here in Ann Arbor, with her husband John DeHoog, came over and advised on the design. They helped us figure out exactly how this might work in the raw space we turned into my studio in the summer and fall of 2020. Their idea was a partial wall, blocking off one window with no formal door.
​
At first it looked like this.

And then like this.
​

And then like this when my friend Patrick and I put in the flooring. 

Here's the cieling. PS Guy wired the whole place for electricity. The closet has its own electric and light. 

Finally, and momentarily, it was this gorgeous potential space. I made some shelf brackets with our friend Thom’s borrowed jig, and then put up wood we’d brought with us that was sitting out in the weather in the yard of our last rental, for the shelves.

And here’s what it looks like full! Actually, its way messier than this, but this was what it first looked like, all organized and full, a year ago. Now of course, I can barely step into it, but at least I can't see it without rounding a corner!

Yes. All things tend toward entropy, especially if a) I am involved, b) it’s an art studio and you make stuff in more than one medium and more than two dimensions.
There’s another critical few features to this closet.

1. This closet is the only enclosure that I can safely heat while I am away. I installed a ceramic wall heater and block off the entrance with insulation material when I leave. I first gather up all cold sensitive materials: adhesives, pigments, things with hinges, and stow them all in there. And then I turn the ceramic heater on to its lowest setting and it turns off when the small space is at that low, fifty degrees or so.
2. The wall that creates the closet is a lovely white wall: drywall backed with full plywood sheeting, so that I can hang whatever I want without having to find studs. This is a wonderful wonderful thing. ​

For you today, I have a brief talk I gave back in the fall of 2018 called 'Art Among the Elements.' at a local night club as a part of Nerd Nite - a story corp style gathering hosted by the illustrious Ann Arbor District Library. I talked for 22 minutes about the third book which was in process at the time: The Elements: a love letter to all things everywhere.

I share in this talk about why I make books, how I came to make this one on such a different subject than the two prior books (on prayer), and the distilled learnings and takeaways from the process to date.

I am sharing it with you here. It’s not the live talk, so you can’t hear the wild and untameable audience participation, but the sound quality is pretty good and there are some pretty slides. A note too that I have a few scientific facts *almost* right in this talk, corrected when I actually did complete and publish the book in 2019.* Please enjoy and thank you for helping make this book a reality!

All I had at the time of the talk was a prototype with a slightly different name. I was still working out layout and layering of the meaning and content of the book. Looking back, it’s amazing to see how many things needed tremendous time and patience to come into focus. I didn’t learn how to give them either until I was in the very end stages. In essence, this book taught me to slow the F down, care for my body, and to tolerate uncertainty better than I had ever been able to before.

To see the book in its finished form, you can visit its official web page, or find it for sale in digital or physical form at my shop. You will also find a grid poster, a set of prints and a set of postcards, as well as a curriculum to walk children and adults through the book scavenger-hunt and interdisciplinary-style, which is my teaching and making way.

Speaking of uncertainty, that’s a topic I am currently exploring in another decade-long book project that is underway in earnest today! I will share more about that soon.

*The primary factoid to correct is that Hydrogren formed not immediately after the big bang, but as things cooled down in the time that followed when atoms could in fact pull together at all. 

​Share with me your thoughts! What is sparked in the electric being that you are by this topic and this story?​

These drawings are new as of spring 2021, although I have been sketching these out for about six years. I brought the materials to begin them from Boston when I moved in 2017, when I was thinking about innovative displays, and then there was so much moving around and upheaval that it didn't come back up to work with until I was back in a permanent studio and able to relax a little. 

The peg drawings are occurring in tandem with the Puffies, and with the Stand In project, another sculptural variation.  I was really delighted when I first discovered that the paintings and these sculptural wall pieces worked so delightfully in tandem. In other words they really talk to each other!

The peg drawing series is one kind of work that feature things with holes in them,  a theme in my creative process that I recently wrote about.  These Peg pieces consist of a wooden peg or pegs affixed securely to the wall, and then reinforced two dimensional-ish forms that hang from them, including materials such as card stock, book board, cardboard, painted, dipped in plaster and paint, found and sometimes folded. Some of these objects are single, beautiful fragments that I have loved and held on to for years, a patterned discarded paper scrap then dipped in a thick paint, or paper that's been dyed, dipped, scored. These are arranged in a specific compositions, and simply hang in small divots on the horizontal peg in a given order. When you purchase a peg drawing you get instructions on how and where to best install the work, the hardware and the peg. The work can be presented as this simple ephemera, or you can have the work framed in a deeper box if you have a very windy or high traffic kind of spot in mind for the piece. 

Making this kind of work is all about textures, color therapy in its own right, problem solving, constant pairing, stepping back to asses, and  composition. 

My favorite part in problem solving was finding as many things with holes in them, and as many ways to make a hole, as I could, trying out all the processes, then refining and refining until I was clear on what I was delighted with, interested in, and what made a piece shine.

So far I have exhibited the pegs as part of the 'Incomplete' exhibition at the Scarab Club in Detroit MI, and again at the 'Art for Right Now' exhibition at B Gallery in Castine ME. An exhibition at TrustArt will also include several peg drawings later in 2022. I'll keep you posted! Here's are some more examples. 

I welcome any questions, thoughts or comments and respond as soon as I see them. It adds whole new dimension to my work to share it and to hear how it bounces off others!

When I set up my studio, I put two chairs, both trash finds, and a cheap rug, right in the middle of everything. This is because I love a studio visit. I also have the kettle and cups, and a pile of books. This is so that it's easy to have someone over to visit me in the studio, to see what I'm doing and to share what they're working on, or what they are interested in in my work. 

I think this is my very favorite thing - aside from being alone and making art - about art making, is that it has led to so many lovely visits, friendships, interesting insights and perspectives and collaborations. In other words, yes, relationships! So I wanted to just let you know that if you'd like to come handle a handmade End Papers book, peer around the edge of the puffy paintings, or share a cup of tea,* drop me a line! I would love to have you over and learn what drew you to connect. You are welcome. 

If you came to the studio, what would you like to see, ask, or talk about?

If you used to come to my studio in Boston, what do you most remember about it? What did you most enjoy?

Please share below in the comments, both so that others can learn, and so that I can too!

* Just be clear, you could have your own cup of tea...I would provide it, but we would each get our own.
** Here's a blog post about End Papers, which used to be called Death Books.

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

• save trees and paper, and money,
• give the book easily as a gift from afar,
• bring it with you on travel more easily, and
• see the colors through light versus ink, which is a vivid, whole, new experience.
• give someone you love a meaningful gift for Valentine's day - instantly! 

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
and
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. 

I am taking a moment out of the deeper posts here, on subjects ranging from Death to No BS approaches to meditation, to a survey and narrative history of objects in my studio, to share with you that there are a few copies remaining of the calendar Especially Now - a year in 12 artworks by Hannah Burr (that's me!) AND that it is A GENEROUS SALE ON REMAINING COPIES while there are a few left! The remaining copies 4 or 5? Are $22 off, with adjusted postage to reflect the normal cost, post holiday.*

So for 2022, keep your $22, and get one of these limited edition calendars for only $33 as a gift for your new year self: color, form and inspiration changing every month plus an ever-ready answer to the question 'what day is it again?' while you're quarantining from a covid scare or just emerging into the strange light of another new year.
Also, congratulate yourself for biding your time, keeping a careful eye on your budget, or plain forgetting to order your copies until now! It is your lucky day.
To snag your copies, go to hannahburr.bigcartel.com and put the discount code NEWYEARNOW in at check out. 

While you're there at the shop, you may notice a couple of other exciting developments which I will be announcing shortly as well!

*the USPS raised their holiday rates quite a bit this year and so for the holiday, rates needing bumping in the shop as well. They are now back to "normal". 

Enjoy and happy new year. Especially now.

PS. I give 10% of my gross profits to charities through Effective Altruism, excellent organizations like WakeUp! and one tree is planted for every individual product I sell through a $1 contribution to EdenReforestation (Thank you Leila Simon Hayes for this excellent idea!)

​I want to put in a plug for the awkward - especially as it relates to our relationships. Awkwardness gets a bad rap in our modern culture of the smooth and the glib, but to me it's a refreshing kind of honesty. What is awkward?

• Children starting kindergarten, not knowing how to interact with each other.
• When someone begins to cry in front of you, sometimes.
• When there is a long silence and it's uncomfortable. 
• A first kiss, when its not in the movies, and when its honest.
• An apology. 
• A difficult conversation.
• Being a tween.
• Being a middleschooler.
• Being a teenager.
• Being a baby and not knowing how to use your body or that you even have one.
• Being a young adult.
• Being at all.
• Being sick. 
• Being fired.
• Getting old.
• Getting examined at the doctor, and the dentist.
• Talking about money.
• Setting a boundary.
• Saying no.
• Sitting with someone who is grieving.
• Sitting with someone who is dying.
• When conversation dies down.
• When no one laughs at your joke
• When no one laughs at someone else's joke. 
• When you don't know what to do.
• When you forget who you are. 
• When you remember what you forgot. 
• When you have to ask for help.
• Getting to know a new friend, sometimes. 
• Being in and talking about a conflict of any kind.
• Not understanding how something works, and having to ask again. 
• Silences when no one has an answer.

Please share your versions of awkward below. 

Even the word itself is an awkward spelling. What other word has to Ws flanking a K? 

The most awkward moments in my life are the moments when I was being honest. When I didn't look good, but was being true. 

What has been awkward lately in your life? Can you see the humanness in it? What do you love that is awkward? Or what do you not love? 

Below is a bit of a year in review for us both. Before I share how things unfolded to me, I'd like to invite you to pull out a journal and pen, make a cup of tea and settle in to reflect on your own year. I have included a list of simple reflection prompts at the end of this post, and I have spent many a new year's day with friends or somewhere in the week before Jan 1, considering what's gone on in our lives for the past 365 days or so.

What did you lose in 2021?

What came into your life in 2021?

What is different from a year ago?

What are you loving in your life right now?

​What is not working right now, and what does that tell you about what might work better for you? 

Three + favorite moments from your year: 

Three things you can place on the altar and release from 2021.

What surprises you most about this past year of your life?

What is a constant in your life through this past year and beyond?

What qualities of experience do you want to invite in moving forward?

Please use the comments below to suggest other prompts as you are inspired to share them, and any insights into your year you'd like to share. 


I started to write my year in review in a period of great striving. Since then, the duracell bunny in me has kind of run out of batteries for the season. There was a little sadness and concern about this at first, but then I started to feel the telltale signs of freedom and inspiration that come with any form of surrender.

I could just tell you how great it all was, and wish for you that your life was equally as great, with a wink and a smile. But I will not do that. 

Here's how my year went, as I reflect on it now. 

A book came out in March. It was confusing because it's the same title as my first book, but its a different book. It's a lovely little book, which you will really enjoy if you like my two other prayer books. I spent about six months contorting myself into pretzels to be ready for the launch, and then just felt a little lost and confused about why and what for. 


My art studio is a complete bright spot, and now too a warm spot, as I finally figured out how to work the wood stove. I have the right wood and the right fire building technique. There is less soot settling on my drawings, and when I leave at night, I do a little bow because I can't believe that this space is mine to use every day. 

I was very intent on doing a whole bunch of art book fairs and pop ups, really laser focused on this. And somehow with all of my striving, I have ended up participating in only one of the seven I had wanted to participate in, which comes up in early December. It's a wonderful little day-long pop up event and now I am happy that this is what I'm doing.

I set up a few talks online with bookstores and libraries, and saw how hard people work to facilitate and share these - staying at work into the dark hours, dealing with zoom, following up. Everybody works so hard. It's also very cool to see how these things always have the flavor of the group that ends up attending, whether there are fifty of us, or three.

I did a deep dive to figure out how to 'connect with my audience' and 'get my stuff into circulation' more, and have concluded that what is involved in this is a huge huge amount of lifelong, ongoing work that does not spark joy in my heart. I put all of it down, surrender that project, and await with curiosity to see what happens next. 

I have begun to archive the work of Janet Gallup, a printmaker and the deceased wife of our friend Al Gallup here in Ann Arbor, who has all of it in a shed he bought for it, after he and his kids dispersed as much of it as possible. I don't know exactly what is compelling me here, but I am very interested in what happens to a body of work when the artist's body is gone, and Janet's is here to attend to - and it's a beautiful collection. I will share more on this soon.


I have made a few death books and will make three more soon, and made formalized this project in 2021. 


So in this year where I feel more alive than I have ever felt, there is a lot of a theme of death, surrender and stopping. These are not new themes, but they are newly applied in ways that surprise and interest me, and lead to freer experiences of the life that's here to be lived. I have absolutely no idea what is to come in 2022, but I wish you a balance to whatever has felt like too much or too little, some quiet time in the wee hours of January, and a creative spark of joy in your heart.