If you want the 2022 wall calendar 'Especially Now' with 12 never before reproduced works from my studio, you have until Saturday evening to reserve your copies, October 16. I would show you pics of it, but it hasn't been printed yet! This Saturday! After that, the window of opportunity narrows considerably because I put in the print order and will only have one or two copies left available at a higher price. To ensure your reservation go to the shop

hannahburr.bigcartel.com 

and reserve by making a purchase of the new calendar.  They will arrive to you by Dec 1 and you can arrange for them to be sent as gifts as well. Write me a note here or via the shop if you have questions!
There is a discount code for you also!! It is CALFAN2022 and only will work until end of Saturday at checkout at the aforementioned shop  (link above).
There's more context and information on the calendar in this earlier post.

Let me know if you have any questions  - comment, email or reply!

I just hung new work in a show called 'Incomplete' curated by Sajeev Visweswaran, which is about the way that Covid Times have interrupted and effected our lives and art making. The gallery is in a beautiful Detroit building called the Scarab Club. The work I am sharing in this show, nine individual pieces, are unusual in that they are complete, and yet many of them are very spare, spacious and normally would not be the works I would select for exhibition. Here is my statement for the work in the show:

The works I've selected here are complete, though relative to much of my finished work, are quite spare. This selection of works mirrors a practice I began in 2020 of letting there be more space between events, in dialogue, in the day and in my world in general. This includes when a project is partially done, when an artwork feels complete in its spareness, and in the experience of a shared silence as nourishing.
The work called 'Ways of Knowing', is part of a series made from my grandmother Betty's papers, after she died of dementia over a decade ago. It captures a lot of the post pandemic world: how we don't always get to choose or to maintain even an illusion of control. 

My work generally spans many types of media and forms, and alludes to a sparkly underlayer to things as they are already. Sometimes its interactive, conceptual, and public, and sometimes its quieter abstraction, or some manner of scape. 

Hannah Burr October 2021

The window has opened for Calendar Reservations!!!

A limited edition studio wall calendar has become a tradition since I moved to Michigan, as  a way to share with you what I'm looking at and loving as I sort through drawings in my studio, even though you may be far away. Sometimes what ends up in the calendar is a sweet fragment of something from long ago, sometimes its something brand new that I'm not sure what to do with yet, but it looks great in January! This calendar has become a way to feel connected to you and sharing visual ideas with you, in the spirit of my love of multiples and affordable are mediums.

I have been sorting, selecting, googling international holidays, and fussing with moon phase graphics, and the new calendar is both dialed in and nigh!!

Like last year, I will be only printing what I get preorders for. I am accepting preorders through Saturday October 18, which is in just over two weeks.

For preordering, you get a well deserved discount, and here’s how you do it. The calendars are $55 this year, and for preordering, you get them for $50. That’s %10 off. This applies to as many copies as you would like to order.

Preorder it at Big Cartel and use the discount code CALFAN2022 at check out as a proud early bird! Thats a discount of 10% off by October 18 on as many copies as you like. Each copy will be hand editioned.

Go to https://hannahburr.bigcartel.com/product/especially-now-limited-edition-2022-wall-calendar for the immediate product page, and to hannahburr.bigcartel.com for all your other HBS products.
I will send these out to you by Dec 1st this year, or before.

These images are the product in process, and so please forgive any low res oddness. I always proof with a hard copy to make sure it's all accurate, crisp color and nice sharp lines.

Please also tweet, pin and share from the shop, and send this email far and wide, so that no one is sad that they missed the window to order, which sometimes does happen. S please forward this email about, and thank you so much for your interest, patronage, time, attention and friendship.

To a new year of color and inspiration,
​
Hannah B

 I made my first handmade book in college. I took a great, year-long course at Brown taught by the artist Walter Feldman that was half of the year paper-making, half of the year book-making. We had the use of the John Hay Rare Books library, just next door to the art building, and we made books in editions of three or more. I concentrated in my art major on printmaking, and so this theme of multiples in my work begins here. Learning to repeat something that interests me, to see where it leads, began with that printmaking practice and the creation of multiples. I made paper with symbolic content to it, like fibers from my mother's nightgown, dried flowers from her room, and then experimented too with things like coffee grounds, tea staining, lots of sentimental ephemera. Most of the paper I made was white, and I still have a lot of it today.

Bookmaking in the course was formal, and I don't love the books I made in the class. They looked like most handmade books you see at a fancy store, elegant and formal. I did make a final piece which I still value: a sagey green book box, with two smaller booklets inside. One side had a floral handmade paper and photographs of my deceased grandmother, who died when my mothers was five years old. On the other side were delicate reproductions of her medical papers, describing her cancer, her visits, and her autopsy. 

After college, I made and sketched in journals, and began making very experimental books out of things like bed sheet pages, with wool blanket covers, one book with blank pages whose covers were made from a journal whose pages had all been pasted together and were illegible, inspired by the way traditional book board is made.

I've always loved papers: collecting them into groupings by color, folding them, piercing them, dipping and staining them, and of course drawing on them. So many of these books explore and share paper. They are generally not for writing in, not for reading, not for using really at all. They are just little nuggets or facts in and of themselves, and I still value them immensely. 

I enjoy the work of making a book, and I have a box that has book materials in it: the wax for waxing the book thread, stacks of papers and half finished projects, things that would work as book board, etc. My recent books have been to formalize the Death Book project, by making books from the papers of my dear friend Ron who died last March, and my grandmother who died in 2005. The two books are very different, in part reflecting the different scope of material I had for each. My grandmother's papers range all over the place, all her studies, her journal entries, letters and lists. Ron's papers almost all relate to courses he took and independent studies of Buddhist writings and practices. 

These books exist in multiples of maybe one or two. I made one smaller one of my grandmother's materials, but it has yet to get a cover. I also have another book in progress, made from the pink tissue paper backings of a whole series of plastic gloves, an old way of packaging them. The plastic gloves are attached and they are quite something. I have also made books out of carbon paper, paper towel, junk mail, old insurance papers, books of unused tickets, and similar. 

I have been to the North Bennet Street School in Boston's North End, where bookmaking as a craft is extremely exacting, alongside the craft of building violins, guitars and fine furniture. This is not my grade of book, and I'm relieved to say so. I don't know if I would have made any of these books if they had had to be perfect. I am glad they exist. It's funny to me that I then went out and made self and other published books - artist books of a different sort, and that these have become central to what I share in the world. These larger scale production books can be shared much more easily and affordably, handled by everyone, and reproduced easily and yet it's nice to share here the other end of the spectrum of book I have made. ​

I’m fascinated by the trash cans in artist’s studios. They often have a rare level of truly disgusting filth in them, and usually some rotting yogurt or something too. Why, you might ask, is there a higher level of disgusting to many an artist’s trash can than others household or office trash cans? My theory is that artist’s use everything that could be used, scrap paper, things we’ve pulled out of other people’s trash (Hey! this is a perfectly good piece of foam/tupperware container/colorful piece of string!), sawdust, iron filings…and too, many of us are really tired at the end of a day, and so taking out the trash is generally not something I do very often unless its stinking or nothing more can be added to it due to being overfull. That last part is an exaggeration and I do know some extremely fastidious artists. Also, many studios have mice, or other small vermin and so some artist’s do not have the luxury of leaving their trash lying around. Also, about the yogurt, many artist studios don’t have sinks, and so there can be a pain in the butt factor to properly rinsing something out, that, at the end of your work day you can’t be bothered with.

Anyway, it’s often a unique kind of messy, the inside of an artist’s trashcan. Take a peek on your next studio visit occasion, or look at your own trash a little closer. Look in the trash of many households or offices, and you will see the commonplace items like dental floss, q tips, unwanted notes and packaging.

When there is a lot of one thing: plastic bread tags, rubberbands, tiny dots of hole punch litter, and other discards, both kids and artist’s take notice.

There’s a kind of abundance to something collecting, and it becomes a kind of texture or pattern that can capture the creative imagination. Likely, I’m overlaying my own worldview onto other artists when that’s probably not the case for many. And probably, I’m more of a lazy slob than most. Some people may only allow into their studio the highest quality materials and someone else takes out their trash. Others might only work with plants, or single objects, but this is my theory about artist’s trashcans. ​

As for me, there’s always been a desire to reuse what I already have, to make a new discovery in an unlikely place, and to work with what’s already around. I do this with the Death Books and my other handmade artist’s books, I did this when I made Help me [   ], do the thing. from bits of other art projects, when I collage, make most kinds of sculptures like the Three Variables series and Offering Shelf.

Back when I lived in the North East, I used to visit New York, and in New York, my friend David X Levine, in his mid town tiny studio, where I would flip through his lovely collection of black books containing his drawings. We did several trades, and I have a lovely collection of his drawings as a result.
I liked his system, and I learned a lot from his system of barter as well. Bartering is one of the true abundances of being an artist. If someone likes my work, which is certainly not a given but has often been the case, we can often trade services for artwork and it's a win win all around. If there's a mutual fan club going on with a fellow artist, we are often abundant in works to trade. Sometimes, people do not want to barter, and this is always important to fully accept before you even propose it.
When it is a Yes for you both, how to barter is not always clear. And for any kind of studio event, how to share your work on paper with people where it is unframed and keep it in good condition is a real concern.
From David I learned that the black books with plastic sleeves allows someone to really go through your work, and select their favorites, while keeping the works safe from oils and spills. I have grouped work by year or by series in these books. I love to know what work people love because I learn about them, about the work, and it gives me some good information for a time when they might get a gift from me. The worst thing is receiving a gift of artwork that you don't like! What a waste for everybody. So I like to be able to mark pages with sticky notes to help me remember who likes what (this sounds so organized, but then I throw out the notes and it all goes to shit, but I try).
Barter is also a delicate matter because you don't want to trade just anything, and if someone can just pick anything, it would be a disaster if you weren't ready to part with that particular piece, or it was of greater value to you than what you were getting in return. David's system was to have the person pick their five favorites out of whatever selection you were open to bartering for. Then you remove two that you'd rather keep from their selection of five. They then remove one of the three remaining as their least favorite of those three. Which leaves two. Usually, by this point, one of the pieces is crying out as the one: Pick me!! The one that is meant for this person. At this point, in other words, the work selects itself, or one of you makes the move. This way, we've learned a lot, played a little selection game, and gradually, come up with the win win barter choice. Everyone goes away smiling.

So the black books is a way to facilitate this exchange while keeping your work nice and clean. You can also use cellophane protection sleeves, or just a good pair of clean gloves.

One word of caution about the black books: if you buy them used, or reuse them, be sure that they didn't have charcoal or pastel works in them prior, because then you get that crap on your pristine works.

Recently, I decided to reconsider everything by emptying these books, the work in them has gotten a little mixed up and some of it needs to be considered afresh, and inventoried. So now the work is organized and these books stand ready to refill. ​

What's your system, barter story, question or thought? Please share in the comments, it's much more fun with your contributions.

I've been trying to put my finger on something since my return from the Colorado River last week. It was a short trip. Hard even to recall and yet it's left an imprint that moves like a sun spot - always on the periphery of what's going on, but here still, adjusting everything in a way I can't yet place.

While there on the river, one thing presented after the next: floating, climbing, eating, chatting, hauling, organizing, snacking, getting ready for and floating out of the next or last rapid, covering up, cooling down in the water, caring for eyes in the dry hot wind, playing werewolf in the dark with eight people whose names I mastered just as I bid them goodbye. And the whole time trying actually to arrive.
We stopped at many bright and sacred oases, hidden waterfalls and water pools, places where ancient Puebloans  left the mark of concentric circles or stored their grain way up high. Each of us rested on a warm rock in the shade, watched the glowing walls change as we floated up to, by and past their silence and specific set of magnificent scars.

I was rarely alone - normally I am alone more than half of the day. There I sat only a handful of times in solitude. The time I sketched canyon walls in the ninety degree blue white moonlit dark, too bright to sleep in. The times, each of them, when I was easily an early bird, rising before others to stand at river edge, or look out from the privacy of the 'adventure toilet', or to follow the hide and seek of a dawn bird call. The last time was in Deer Creek Canyon, sitting, awed by the height we'd climbed up over the waterfall, to the oasis behind and above it: cottonwood trees, carved pools, the sense of a thin flat plane of water appearing to flow uphill, the surprise of a place you didn't expect, and the overwhelming presence of grief love: when one's home in another has gone beyond one's physical reach, accepting the time had come for them or you to leap the ledge. 
There and finally in Flagstaff when I shut the door to the hotel bathroom, were the moments I registered being alone, outside of the itinerary, the patter of family, short term plans and passerby, the flowing by of scenery unlike the familiar touchstones of my home address and agenda.
The main takeaway: This all slips by. It can't be held. It's vaster than can be comprehended or discovered, it's sometimes floating, sometimes shocking with cold or challenging with a heart-pounding climb. You can't stop it and yet it is saturated with tenderness, an intimacy that you already and ever are, that soft sand suggests and the small circle of a blowing weed traces in it. Just this is yours for just right now. 

Sometimes, when a friend invites me to go look at art somewhere local, I feel the burden of my identification as an artist.  Such a foray as 'artist' often feels wearying. Usually, the evening ends up being a better experience than I thought, about friendship and empathic joyfulness for the artists exhibiting, but the story of the whole thing that proceeds such an outing - the thought and precursive feeling - is what can feel oppressive. It's a shared, social set of norms and patterns that I have been trying to lose for some time. 

Something has always felt off kilter about how normal it is to 'seek' as artists, and how often quite blatantly the commerce game in the US is very stacked against the delicate skin of many a creative. Also lopsided is how gallerists and curators are lightening rods themselves, the focus of so many people's wants, and then also seeking the sales, or the grants, or the reviews. Who wants to relate to the world from that place of lack and want? 
I am reminded, of a trip to New York City I took when I was still in my twenties, with a good artist friend at the time. She had a complete reverence for each work we looked at. She took her time. She was quiet, as if watching wildlife. She was just alight with the work, all kinds, all eras. The fact of its very existence filled her heart, it seemed to me. It felt like we had taken a pilgrimage. 
I was brought up looking at art and going to museums. By that trip in my twenties, I was already sort of numb to its magic. I do however remember being very small, and delighting in a color, a bold assemblage, a particular type of line or mark, or some whole crazy mess or elegant, painstaking arrangement in the white square of a museum. This younger self reminds me that my heart has always been tuned to this type of song. My friend in New York showed me without meaning to, where I had gotten overly familiar with the sacred exchange of looking. Today, the decades of past association appear at moments, to have made me jaded: perhaps because an eye roll is easier than a broken heart.
Put differently, the breathtaking first love of a color and a form, overlaid with a professional career of success! rejection, utter disregard, success! deflation, disillusionment, confusion, bitterness, loss, little success! and then in many regards just turning, three quarters of the way away, can make a little jaunt to an opening, feel complicated for me. 
It's similar to how I have felt as a single woman in my forties, trying to decide if I wanted to join a dating app one last time or if I was completely done. I decided I was done. And from this came a deep layer of, eventually, freedom. I could be a happy spinster! I enjoyed my own company. I loved making an X with my limbs in a bed all my own. Doing whatever the F I felt like, whenever. Having my sister's kids over was delightful.
I regard the newish and changing art scenes around me today with weary distrust. There's the Boston ones, the Detroit ones, the Michigan ones, the Maine ones. Or is there? These are stories and thoughts, based on past experience and conclusions, high and hard moments, objectifying stories, that ultimately have no more basis than me as an object among objects in the world. Stories are so compelling, but they often don't hold up upon scrutiny to have any actual reality to them. Aren't we all just waking up, getting a cup of something, brushing our teeth?  
As a small and separate personality, there is always something more to get. As aliveness itself, the thing that leaves a body so remarkably when it breathes its very last breath, there is nothing ever to want. You are all of that already: all expressions, all things, all epiphanies, high points, all tragedies. 
Making art is a choice to play, a choice to discover what thrills this particular vantage point I call me. What she's curious about, what fascinates and even repels.
This kind of exploration can extend too, to everything. To every moment of apparent choice, to tuning into the inside Yeses and the inside Nos as one finds the flow and eventually returns to just being flow.
Being flow won't look a certain way. It won't associate with a certain crowd. It won't follow a script. But it is joy, wealth and perfection, the way water moves in a river is that. So my aspiration, to say it out loud, is to roll through the chances of experience where they lead, calibrated as I appear to be, toward certain things. Sometimes out of a need for practical outcomes, sometimes out of a pull or an inspiration, sometimes because something is not feeling great.  

In the words of 12th century poet Jelaludin Rumi, 
You are the honored guest. Do not weep like a beggar for pieces of the world.

What appears to be true is that both sides of the coin, the little me with her wants and history and aspirations and hurts and prides is held in the aliveness, the situation itself, the one that hears the prayer. Sometimes there's a moment where a skin gets sloughed off, an old tight story, and for a while I have been molting on this artist one. this artist skin. This form in a sea of forms, stories and associations. 
How is it for you, as an artist or in your profession? Do you sometimes feel the expanded way, and then contract into the local story of comparison and ambition? Do you see it an entirely other way? Have you found ways to stay open and tender even where there may appear be sharks (or at least sharp rocks) in the water? I would love to learn from you, how to surrender this little striver to the great open water of color, light and infinite form. 

My dear friend Ron passed away in early May of this year. He had a form of cancer. We had been walking weekly, getting coffee, and when I moved, talking every few weeks. He read a poem at my wedding. He came to my art events. He taught me how to ground myself in my legs, to listen with my whole body, and to lower my expectations about human marriages, how they roll and how they feel, especially the first few years. In other words Ron was a good friend. ​

When he died, I realized I only had his cell phone number, and it took a bit to get his wife Patty's contact information. I called her to check in, see how she was. I know Patty less, but have spent a number of new year's days at their house, and she too, drove three hours to be at my wedding in 2017. I care about Patty. She was doing OK. I asked her about Ron's papers. She was happy to part with some of them, because she was in a cleaning and clearing mode. She sent me a box which I opened two days ago, with a few books and some of Ron's papers, so that I could make a book with them, one of the series I've made starting 20 years ago with my earliest handmade books. In this series 'Death Books,' someone's papers, after they die, get folded every which way and bound, so that you can see their thinking, their marking and their reading and writing, but it's now sideways, folded, upside down, only partly legible. It is a relic of a life that is now over. It is the data and the trace of the life of that singular mind. 

Opening that box was something. Tender. An honor. First there was a little fat, laughing buddha on top of all the bubble wrap. Then Ron's inflatable zafu, meditation pillow, on which he did many a three month and one month retreat. Inside were his many notes, and his paper's from the Barre Center for Buddhist Studies. His letters of recommendation to join the retreat and have interviews with Joshu Suzuki Roshi, the stories about which I have heard many times. It's Ron in papers. 

These books and the death of people, animals, chapters of life, or relationship, remind me that this art practice is just for fun, whether or not anybody else care's about it. It's just for a while. It's for while I'm breathing, inclined, and able to engage it. Doing something is more important, I feel, than doing it right, or looking good, or towing a line. I can turn a studio practice into those things for sure and I have, but engaging an art practice and making art, to me, is more important than most 'normal activities' in the following way. 

Everything, every object in your world is a kind of icon. It's for doing something with. It prompts a certain kind of engagement. Like a file folder on your computer desktop is an icon. A bowl is to eat soup from. A file folder is to open to see files. A chair is to sit on. A book is to read. A dog is to pet. Icons.

An artwork is to...well what is it there for? What is it for? This line of reasoning kind of halts the automatic engagement, if one is really looking, and can loosen the automatic pilot of doing, responding, engaging. In fact anything. a chair, a book, or a dog, can similarly open things up, if one is really there with it. If one forgets it's name, or what it is associated with, or what you think about it. Somehow art is such a personal rendering with no obvious point, that it can be at times more ambiguous, and open things up. Other times, it's another symbol: of status, of fashion, of historic importance, or the kind I don't like. Art is to look at. Art is to buy. Art is to make. But as Anne Truitt said earlier: 

...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

Death Books is now also a service, which is described more fully on my art website: hannahburr.com/deathbooks. I will make one for you, from the papers of your beloved departed, if you like. 
​

Chop saw is an object that for me factors into a story of success and change over time. In 2009, I wanted a chop saw. The one I wanted was $500. I didn't have this money available for the saw. Wherever possible, I avoid owing banks money, and so I began to put away $5 a week in an envelope labeled "Chop Saw". This became routine, and $5 a week was easy. I didn't think about it until 100 weeks later, the money was there, all saved up in Chop Saw, the envelope. At which point I bought it.​

So that's chapter one, in which I didn't go into debt but I saved up patiently and got the dream saw. I get compliments on it from carpenter types often. Up until last summer, this saw sat on the floor of my studio and got tripped over, occasionally being set up outside in the kitchenette area of Humphrey's studios or in the backyard for use, or the floor of my studio. This led to complications of saw dust and noise. That's chapter two. I have the tool, but the space is not ideal.

Chapter three is that now I have an actual space for this saw, which technically is the unheated wood shop adjacent to my studio, the front part of the garage that is my studio, and it has its own metal table and it's own dedicated spot.

For the first time, there is a true home for this saw. It has been used to build a bed, dining room table, thousands of wooden blocks for the Attendant Series, to cut studs for at least six walls in three studios, all the trim and moulding and two ceiling frames, a diminutive shelf, and recently lots of PVC pipes and too long pieces of firewood. When I run it today, there is the joy of knowing that it isn't causing a dust problem, because it's in a bonafide wood shop! Now, we just need to get all the other stuff like bikes and lawnmowers out of there, and all will be happy ever after.

In June, Guy and I went to a place called Cherry Hill, near Ypsilanti Michigan, where the cicadas have climbed out of the ground, up trees, grasses and shrubs, shed their exoskeletons, unfolded beautiful wings to fly, find a mate, and then deposit their larvae into the ground again, and die.

They are seventeen. This happens over a two week period. This emergence, transformation, mating, birthing, and death happens every seventeen years, in the very same spot: a complete life cycle right there. 

We are on the geographic edge of this phenomena. One cicada landed on our porch column, and faintly, their sounds were audible in the trees around us. Cherry Hill is closer to critical mass of cicadas, and as soon as we left our parked car there, we found fifty or sixty in adjacent shrubs, and their exoskeletons, and in flight around us. 

What they are doing has nothing to do with us. It's happening in a way that is as systematic as a fleet of soldiers storming a beach on a life and death mission, intent on only one thing. They won't destroy crops or bite. The birds we saw were uncharacteristically slow, full after feasting.

I'm not sure what to say about this, except that there's something so direct and tender about this process. I wouldn't likely feel so forgiving if I lived right in the middle of the action where their sounds can get louder than 120 decibels - loud enough that you can't talk over their din. Seeing this literal evolution from gestating, to breaking through yourself, to unfolding new wings, to collaboratively making another life, and then to dying in all of its stages, nakedly, right there on the side of a honeysuckle bush, was pure and tender. And definitely a little sci-fi too. 

Lately, I am undergoing some studio changes. This is an internal and an external thing. I’m looking at what motivates me to do anything, and taking some prompts from my intuition to make some changes.

One of these changes is that I’m going to go from occasionally donating books to a shelter or money to an organization like Kiva microlending (also very fun and low stakes), to baking it into my way of doing business from the ground up.

So far, this has turned out to be delightful.

In the past I have always had some story get in my way of doing this:
a) I don’t make enough money and this will hurt my business.
b) I don’t make enough money and this won’t help anybody.
c) Other people should give to me, they have more than me.
It's amazing how many years of my life I've spent in such a poverty mindset.

I was also just too busy spinning my wheels about whatever I woke up thinking about to make much progress until I began learning about an organization called Effective Altruism, after listening to a podcast in which Sam Harris interview’s its founder, William MacAskill. From there, it’s been a slow slide, involving asking good friends with very different places on the spectrum of wealth, how they do their giving, and then I took a few concrete steps of my own.
While this is a process only in its early phases, as of January 2021, I have set up a system whereby every time I sell a product, a tree is planted in some part of the world where reforestation is needed through Eden Reforestation Projects. This idea came from a lovely conversation I had with friend and design crush Leila Simon Hayes, whose pattern designs and related products are most excellent (she also designed the covers of my first two books) and donates similarly to the Eden Reforestation Project. Through conversation with both Leila and my dear friend, art peer and co-conspirator Sue Murad, I decided to just do it. Additionally, I donate 10% of income that I earn through my studio to something, currently through Effective Altruism, where I know the money will be as effectively used to save or improve a life, as can be managed, based on their careful research and experience.

I wanted to share this news with you, so that every time you find yourself at my shop, or considering the purchase of an artwork, you will be benefiting many, and bringing me a spark of delight in the process!

There are other changes afoot that I will share as they happen, and I will likely focus in on how to give with more specificity as I learn the most effective ways to do so. In the meantime, I wanted to let you know both for accountability and to inspire you to think about where your money goes.

As an end note, this process has made me more aware of who has baked philanthropy into their business models, in formal and informal ways, and made me more and more likely to buy from them than from brands that may have personal profit as their primary goal. I also love this model because it does not follow the non-profit model, which seems to shun money and profitability, and require the exhaustion of always looking for funding. It isn’t always sustainable and seems to equate earning money with being dirty, leaving that to others. I think profitability and self sufficiency is extremely interesting, but all the more so when it’s to make a more powerful change in the world you see around you.

This is big talk from someone who barely knows what she’s talking about, but hopefully it inspires you to be curious and creative in how your money circulates and benefits the world around you.

I know for most of us, it is not currently cold. If you are reading this on a particularly hot day, may this post be like standing in front of the open refrigerator - and a reflection on how much can change in just a few months. This was written last winter.

Today, I consider the cold to be a form of mess. It's a pristine and gorgeous form of cold outside. There are big, slow, lazy flakes floating down, and a fresh, powdery coat of white snow on every available surface. The studio is all snow light, and on both peripheries, the gentle sifting motion animates the windows. It is ten degrees farenhiet outside.

I have built a champion fire in my wood stove. There are five logs ablaze in front of me, and the glass door is closed, so that the fire blazes to its highest. I am doing everything in my power to bring the small thermometer on the stove surface into the 'burn zone', the deep orange part of the thermometer between yellow and hazardous red, between 300 and 600 degrees. Currently, we are at 250 degrees, and having taken off my mittens to write, I have discovered that it's not warm enough. My fingers are quickly cold, hard, frozen nuggets. When I have managed to crest into the burn zone on other days, I have done a little dance and sung a little song. Because once there, you can generally coast there, and actually feel the space heat up. As it stands now, I'm close, but at popsicle finger level still. And I can see my breath very clearly.

Not being in the burn zone means that there is not enough heat in here to step further from the stove, to sit a the table, and get absorbed in artwork. Even two feet from the stove here, is not warm enough for the ten degree day outside bright, no sun. I have thought about crowding all relevant furniture within two feet of the stove. This would be unmanageable on many levels, so it's just a chair.

Is this a problem? Perhaps not, only maybe if I sit and consider this one thing as needing to happen, to be warm in the studio and working when in fact it is too cold to work in here. It may take five years to figure this depth of winter temp management shit out. Is a mess the same thing as a problem? I suppose this whole series is an exploration of that. It is a way of normalizing and sharing the mess as part of what is natural and normal about life. About the activity of being alive.​

In the mind frame of a stoic, I could deeply appreciate that I can just go inside, into the warmth, even climb in the bath, and be overly hot in 30 minutes. I'll go back to the fire with a few more stoking moves, and then we shall see.

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."
Anne Truitt

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. 

This small cylinder is a recent addition. I have had one in the bathroom at home for years, and I enjoy its shape, size and the texture of all of the small Q tip tips making a nubbly top surface. In the bathroom it is for the usual things, but in the studio it is a very specific tool for painting.

When painting in any medium, there is often a need to wipe away, either too wet pigments, or to pull away a lighter line, or a specific spot. I don't generally use it to daub pigment on, mainly because there's too much fuzz and it would likely absorb too much of the paint. But it is a great tool, the Q tip, or cotton swab if you prefer, for removing specific small areas of paint or overly wet paint from an artwork in any paint medium.

I also really do love having such a good use for such a cylindrical cup. I found a couple of these at a junk shop, and used them to drink coffee out of until I noticed a very strong soap smell emanating from my coffee. After repeated washings, there was no hope, but there is use always, for a small container of Q tips, and this is when it became a team player in the studio. ​

Because of it's strong associations, I've spent a lot of time considering whether to use the word 'prayer' in my books at all. It's one of those hot button type of words, for many, and so I considered using several others instead.
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Other words I considered using instead of prayer included:
Petition
Supplication
Affirmation
Request
Poem
Intention
Ask
Aspiration

Have I forgotten any that come to mind for you?
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Writing all of these down makes me a) want to find an anneagram just because that sounds like fun (SPARPIAA? APRIAPSA!) and b) helps shed light perhaps, into what prayer is.

I always find this - that just translating, rewording, re-expressing something a different way, gets in between the labels and the lines a little more, into the experience of a thing itself. I know for me the word prayer is a label. It’s something that THUNK has a symbolic shape and feeling and form. For some, this symbol or label has a positive tone or feeling about it, or a mixed tone, or something aversive, irrelevant or negative about it.

When sharing about this book with say, museum shops, I avoided using the word in email post titles because so many people would just say NEOPE and delete it. Anyway, here’s what I learned from the consideration of and use of other terms.

Petition was not as religious of a word, and so might have been more descriptive or inclusive, and yet for me there is a pairing with politics, PTA meetings, civic dialogue. This kind of petition, meaning the kind you find in three of my books, is intimate, sometimes wordless, sometimes even embodied in gesture.

Supplication, to supplicate, is the ‘act of begging for something earnestly or humbly.’ Someone pointed out to me that that is one type of prayer you might find in my books, but it isn’t what all of them are. Some of them are more like ‘Hey thanks!’ or ‘I’m not cool with this’ and those are points of contact, but not supplications.

Affirmations do apply to many of these prayers. This is language more of Buddhism, freed up from religiosity in the traditional western sense. An affirmation by one definition is a form of emotional support and encouragement, and so when directed from me to me, or from me to someone else, may be like: ‘You’re doing great!’ or ‘You’re beautiful, don’t ever change.’ Some of the prayers in my books have this kind of tone, but instead they would be phrased like ‘Remind me’ or ‘show me that I am beautiful…’ which combines supplication or affirmation.

Requests would work, for sure. or even the word Bid. I like the word bid, popularized by the phrase ‘Bids for connection’ in the work of John Gottman, because a bid can take many forms, and I think prayer can be the way one lives a life, receives a gift, receives an unwelcome piece of news or a loss, or essentially, does anything. So I do like Bid. I’ll keep that one in mind. But on the cover of a book, it might relate more to the association with an auction and the Highest Bidder.

It has been pointed out to me that this series of books of prayers are essentially poems. Yes. However if I thought of them a poems, I would be twisting myself into knots, trying to wordsmith the crap out of them, and nary a one would have been published. So I’m glad that thought didn’t occur to me. But for many, I have learned, they look at these as books of poetry, and this opens things up even more.

Intention. Intention is a word I use a lot. It’s a word that gives shape to the nebulous. It’s a word from which things materialize. I find that prayer is a form of intention. It is an intention perhaps to connect. To widen, open, release, remember, rest, through a bid for connection, or a prayer. It has a great relevance to these books. These books as I see them at this moment, are a way to frame an experience, a way to shape or re-see and turn to a new view of what had previously been understood, thought of, or determined. It’s like a pulling back and opening up. And these are all a form of reshaping, intending. There is a collaborative aspect to both the prayers and to intentions. Intentions perhaps connote a more self oriented activity, but perhaps these prayers are similarly that as well.

Ask is just a term that I rarely use, but a fun alternate to throw in there: Contemporary Asks to Whatever Works? sure, but the grammar gets confusing!

Aspiration - a hope or ambition of achieving something. Yes, this does fit. An aspiration to whatever works, is like a bid or an ask, a form of reaching. And prayer is in a sense an act of reaching.

So, that’s my meander through a process of vetting terms for the title of my books. Incidentally, the third prayer book is called the same thing as the first. Originally it was going to be called Volume 2, with the same name, but the sales team decided that for new readers that would be confusing and so left it off. So I refer to it as the All New 2021 Edition for the purposes of clarity, because it is all new art and all new prayers.

Your thoughts? Other book title ideas for the future?  Please comment below!
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Find Hannah's other books for sale 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.
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