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A little madness in the Spring, Part Three

Emerging from A little madness in the Spring, Part One -part two

A little madness in the Spring, Part Three is an overlay of thinned, acrylic matte medium applied to the 5 inch x 7 inch inkjet prints on Arches Hot Press watercolor paper.

The water and acrylic emulsion react with the printer ink, new colors and forms emerge from the fluid's flow and drying. Transparency is maintained; the initial layers of photo print and watercolor are visible. A playful relationship between figure ground, past and present begins to form.

Friday 04.21.17
Posted by Robyn Thomas
 

A little madness in the Spring, Part Two

Scans of the the watercolors, see A little madness in the Spring, Part One -part two
printed on 4 inch x 6 inch glossy, white photo paper -unlike the watercolor paper which is a pinkish-beige,soft and matte. These prints were mounted using acrylic gloss medium onto 4 inch x 6 inch birch wood panels with a 7/8 inch depth. Neatness was not a goal during the mounting process and gloss medium was allowed to stick to the front surface of the photos. This has caused the ink to discolor, pool, and at spots to be lifted off the surface. The next step will involve layers of matte medium, gesso and more watercolor.

Three photos of the panels as a group -before, during and after the mounting process.

 

Here is an in-between scan of each panel.

 

Tuesday 04.18.17
Posted by Robyn Thomas
 

A little madness in the Spring, Part One- part two

Scans of the watercolors from Part One, printed onto Arches Hot Press watercolor paper (5 inches x 7 inches) and scanned again. Documenting the in-between state.

 

 

Tuesday 04.18.17
Posted by Robyn Thomas
 

Good Witches of the Between, Part Four

I had spent January and February adding additional layers of oil paint to the collage-painting Good Witches of the Between. By the end of February it had reached this point:

I took it off the wall and moved it into the basement portion of my studio to look at now and again while Franz and Petra worked on One Painting Three. By mid-March I was ready to return to this work and begin copying it.

I had in my studio a commercially stretched canvas approximately the same size as the original work on paper -30 inches x 30 inches with a 1 1/2 inch depth and gallery edge. I've grown re-accustomed to working on harder, less 'giving' surfaces of paper and panel over the past few years. However, because of the similarity in size of the surface and the fact the canvas was fresh, never I decided why not use this as an opportunity to work with the oil paint differently than I had been doing. Instead of responding to a pre-existing painted surface I would be working on a clean surface in response to an image on another surface. I would not be making so much a copy as performing a variation on the theme found in the original paper painting-collage.

As I began painting on the canvas what I came to realize was that I was painting in a way similar to how I painted on 'pristine' canvases between 2000-2014. What had changed was the paint, oil instead of acrylic and oil and acrylic paint markers; and the palette -somber instead of shocking. But these are the parameters my painting is currently taking place within and the shift has occurred over the past three years.

I am still working on this painting and I am not ready to stop working on it (for now). The following is documentation for myself of the paintings development to date.

Thursday 04.13.17
Posted by Robyn Thomas
 

A little madness in the Spring, Part One

XXXVIII

A little madness in the Spring

Is wholesome even for the King,

But God be with the Clown,

Who ponders this tremendous scene-

This whole experiment of green,

As if it were his own!

-Emily Dickinson

 

The first weekend it finally felt like spring a photo was taken at the Morgan Library (NYC) exhibition: I’m Nobody! Who are you? The Life and Poetry of Emily Dickinson.

Playing with the image size, the photo was printed on sixteen sheets of 5 inch x 7 inch Arches Hot Pressed watercolor paper; each print painted with water and watercolors by Petra Nimm.

 

 

Thursday 04.13.17
Posted by Robyn Thomas
 

One Painting Three

The original. Oil on collage surface of different papers on Bristol board, mounted on birch wood panel 11"x14"/27.5cm x 35cm.

Petra's set up for watercolor copy in watercolor sketchbook, 7"x9"/17.5cm x 22.5cm. Petra paints with left hand and uncorrected myopia. Photo of Petra's journal and the two paintings. Photo of Petra's watercolor copy.

Robyn's copy of Petra's watercolor copy using same materials and brushes, with right hand and glasses.

Robyn's watercolor and original painting.

A second copy of Petra's watercolor by Robyn, with left hand and without glasses.

Steps as followed by both Petra and Robyn.

Robyn's copy of Petra's watercolor using same materials, left hand and not wearing glasses.

Franz painting his version. Many videos, most short, less than 1 minute.  Franz's copy is fluid, acrylic paints on 16" x 20"/40cm x 50cm standard foam core.

Still images of Franz's copy at various stages of the process.

One Painting Three

Monday 03.13.17
Posted by Robyn Thomas
 

Petra Painting, Part One

Petra working on watercolor collage at table.

Petra leaves table to work on Good Witches of the Between at the wall.

Petra works on watercolor collages.

Sections of Good Witches of the Between re-purposed for collages with forms cut from Petra's playing with watercolor. Size of works approximately 8"x10"/ 20cm x 25cm; oil paint on cotton rag paper, watercolor on 300lb cold press watercolor paper.

Monday 03.13.17
Posted by Robyn Thomas
Comments: 1
 

Franz Painting, Part One

JANUARY 25, 2017 TODAY'S THE DAY. IT'S TIME FOR ME....

STARTING NOW...ME.

FRANZ IGNATIUS WALSH.

CARDBOARD, THE BACK OF BRISTOL BOARD PAD, THE COVER OF BRISTOL BOARD PAD. SMOOTH, MACHINE TEXTURED, ROUGH AND MATTE.

TURQUIOSE, BURNT UMBER, CAD YELLOW MED, CHARCOAL GRAY. GLOSS MEDIUM VARNISH, BRUSHES, SPRAY BOTTLE, HAIRDRYER, FORK, SPOON, SPATULAS AND SCRAPERS.

DAILY MIX 3.

THREE PAINTINGS BEGUN.

NOT QUITE RED.

NOT QUITE BLUE.

DEFINITELY YELLOW.

JANUARY 30, 2017 BACK AGAIN.

DAILY MIX 3.

VERMILION, CERULEAN, INDIAN YELLOW.

TRYING TO DRIP, IT'S HARD, ONLY DROPS.

SPRAY BOTTLE, FORK AND SPOON, BRUSH, SCOOPED SPATULA, HAIRDRYER.

HOW'D JACK DRIP?

MY FEET HURT. CHEAP SLIPPERS.

BURNT UMBER, GLAZES, GEL MEDIUM.

MOORE NEEDED.

FEBRUARY 24-28, 2017 TOO LONG AWAY. WAITING MY TURN PATIENTLY.

FINISHED 3 PAINTINGS.

MORE VERMILION, TURQUIOSE AND CERULEAN, CAD YELLOW. GLOSS MED GLAZE.

HAIRDRYER.

FEET STILL HURT.

IMPASTO. WASH. HAIRDRYER DIRECTED. SPRAY WATER.

RETICULATION.

TOO LONG.

Some detail photos of the my journal, the paintings in process and a short video clip of me working in the studio.

 

The three completed paintings; each painting is approx. 11 inches x 14 inches- 27.5 cm x 35 cm.

MARCH 3-7, 2017

[SEE MY NOTES ON ONE PAINTING THREE]

DONE WITH COPY STILL WANT TO PAINT.

TIME .

GRAB DEAD END CANVAS FROM RACK. GOING NOWHERE. TRASH. I'LL TAKE IT.

BLUES.

FINISHED.

 

 

Sunday 03.12.17
Posted by Robyn Thomas
 

Influential Dressing

"For the apparel oft proclaims the man," Polonius to Laertes in Hamlet [Act 1, Scene 3] -William Shakespeare
"Clothes make the man. Naked people have little or no influence on society." -Mark Twain

The second quote above is attributed to Mark Twain and was first published posthumously in "More Maxims from Mark" ed. Merle Johnson [1910, p. 6]. In Twain's notebooks and writings there are numerous examples on his ruminations of Shakespeare's Polonius' declamation to Laertes.

The clothes I wear in the studio determine much about how I work. I have different clothes for different types of painting -messy greenhouse or low mess table, small or large scale oil, acrylic, watercolor and/or gouache-  and various environmental conditions -temperature, time of day. I generally wear the same shoes year round. I never paint in rings or other jewelry because I find it uncomfortable, too formal, too dangerous if caught in tools, and hate getting paint on it or unintentionally making marks that do not work. Knowing how my studio attire impacts and is impacted by what I choose to wear when I work I went to the second hand clothing store to select clothes and accessories for Franz and Petra to wear when they are working. As Mark Twain wrote "Naked people have little or no influence on society." and Franz and Petra would first have influence on the society that is the studio once they were clothed.

Considerations when selecting the garments and accessories for each were based on what I had learned about each over the previous six months of their development, how they might work and what materials they might work with. While shopping I tried to not shop for them as much as with them. For example, if I selected a t-shirt from the rack for Franz the question I asked was not 'Would Franz wear this' but 'Franz, would you wear this?' and 'Why would you wear this?'

Photos of the results of dressing Franz and Petra.

Sunday 03.12.17
Posted by Robyn Thomas
 

Good Witches of the Between, Part Three

While posting the photos for Good Witches of the Between, Part Two I was drawn to the detail photographs I had taken documenting the painting's development. Petra has been working with watercolor paints in the studio this past month and I was eager to play with them too. The detail photos provided a starting point down a side path that I could explore with Petra's input.

I printed 35 photos on 4 inch x 6 inch [10 cm x 15 cm] glossy photo paper I had received 'free' with the purchase of ink for a previous printer. I next glued the photos randomly onto 7 inch x 10 inch [17.5 cm x 25 cm] pages of an inexpensive, multimedia sketchbook originally purchased for Franz who had decided he'd rather just draw and stick to dry media in a book, plus he liked the plain black cover of the other sketchbook better. Knowing the gloss paper would resist the watercolor, and that the photos needed a bit more adhesive than the glue stick provided I gave each photo and part of the surrounding page a brush-over with Liquitex acrylic matte varnish. On some of the photos a foggy, brushstroke is visible and the medium impacts the pooling and adhesion of the watercolor paint to the photo and sketchbook papers. The sketchbook paper is a bright white, and approx. 80lb so it has a tendency to warp and buckle. Some of the photos are beginning to come unglued. In order to scan the photos better I removed the pages from the sketchbook; they are shown here in the order they were painted. Each watercolor was produced quickly, with little contemplation; just a response to the photos and its placement on the page, and how the watercolor was flowing and drying. A few of the paintings incorporated rubber cement acting as a mask to keep the page white, draw on a shape, or simply to reduce the amount of layering of color in a certain area of the painting. Photos of the paintings production were taken; however, the images shown here are all scans of the paintings at this 'finished' stage of the process.

Thoughts on going forward: working over some of the paintings using other media, perhaps acrylic to seal the watercolor layer; printing the scans on other papers; working over the printed scans in more watercolor or other media.

Friday 02.24.17
Posted by Robyn Thomas
 

Patchwork Surface

Simultaneous to beginning work on Und das Lied and Hollow Valley I began work on another group of paintings which as yet are not titles, nor am I sure if they are a group of individual paintings, a series or a single work. I am certain they are nearing 'completion' and have decided to post a gallery of their development to date. All the photographs are taken in natural light in the greenhouse or under fluorescent tube lighting in the basement studios, thus the colors do fluctuate and are never 'true'.

The idea I began with is similar to Und das Lied in that I decided to work with a surface that had a (painted?) history upon which to create new work.

In my studio I often use tissue paper, drafting paper, and drawings of my own or my kids, or scraps of paper to remove paint from surfaces I am working on as a means of 'thinning' and 'smoothing' the layer and the mark. But I rarely throw these blotting sheets away. Sometimes I used them to create new works on paper, other times they just trash up the studio. When I need to wrap a present they often make great gift paper! Last January I had many sheets of these papers lying about so I cut them up into 2 inch squares and threw them into a shopping bag. I had spent the fall working on painting on paper and then mounting the paintings to birch wood panels; I still had a few panels in the studio and paper. So I created collages on the paper using the 2 inch squares and lots of acrylic medium and eventually adhered the collages to the panels with the intention to create a single multi-panel painting of an incredibly minimalist nature. But I wasn't happy with it. So I hung the panels on the wall of the greenhouse and worked on them in oils, playing with mediums, textures, shapes and color throughout the summer and fall. In recent weeks I found that they have morphed into studies of form in blacks and whites. All panels are 11 inches x 14 inches; three panels have a depth of 7/8 inch and two panels are 1 1/2 inch deep.

Tuesday 02.14.17
Posted by Robyn Thomas
 

Und das Lied

This post documents a part of my painting practice involving the over-painting of older work to create new work; a common occurrence in painters' studios, but generally with the intent to deny or cover over the history that is buried beneath the new layers of paint. My intention is to create new paintings that acknowledge the previous painting while allowing the canvases to assume a new identity on the surface. I've been working on this piece for just over a year and will be exhibiting during March 2017 at the University of Rhode Island Providence Campus. The original paintings were done in 2003-2005 and were primarily acrylic and enamel paint markers on 5 inch x 1.5 inch x 5 inch canvases. The paintings used in this work are no longer visible on my professional website; however, for an idea of the work I was making during that time visit http://art-robynthomas.com/section/442385-Painting-2000-2014.html.

I knew I would be creating the new work in oil paint so I began this work by first painting over the canvas with a few layers of clear acrylic medium. This was done primarily to seal the enamel paint pen paint which dissolves when in contact with the solvents in oil paint. It also allowed me to add a layer of texture, which would create little windows to the painting beneath the surface once I began sanding away the layers of oil paint I would apply. Although the original canvases were individual paintings I knew they would be grouped in this work to form a single work of multiple parts. As I reached the end of the work the final configuration emerged as a type of timeline documenting a life. Through the use of a mirror backing I add not only a unifying base for the canvases but also small strips in which the viewer may catch a glimpse of his or her self. I have been working with this additional element of the mirror since Spring 2015. Images of work using mirror as part of my exhibition Fractal Edge can be viewed at http://art-robynthomas.com/section/424261-Fractal-Edge.html. A more recent work incorporating mirror with the questions of identity, what is original and what is a copy, is Hollow Valley (approx. 24 inches x 36 inches). This work was begun at the same time as Und das Lied. It has been on view this month in conjunction with Sonata for Psyche Tattooing as part of the Adjacent to Life pop-up gallery project. Here is a photo of that work in situ.

What follows is a series of photos documenting the painting process of Und das Lied from January 2016 to January 2017.

Unfortunately just before I took this photo piece was dropped in the studio and the mirror broke.

"Mein Leben ist nicht diese steile Stunde,
darin du mich so eilen siehst.
Ich bin ein Baum vor meinem Hintergrunde,
ich bin nur einer meiner vielen Munde
und jener, welcher sich am frühsten schließt.
Ich bin die Ruhe zwischen zweien Tönen,
die sich nur schlecht aneinander gewöhnen:
denn der Ton Tod will sich erhöhn -
Aber im dunklen Intervall versöhnen
sich beide zitternd.
Und das Lied bleibt schön.”

Rainer Maria Rilke Das Stundenbuch (1899)

Tuesday 02.14.17
Posted by Robyn Thomas
Comments: 1
 

Good Witches of the Between, Part Two

When we left the Good Witches of the Between in mid-November the original digital print had been painted over, cut apart, scanned and generating other work. On the wall of my studio I had hung a large piece of paper to which I was beginning to glue a few of the pieces of the cut-up digital print. The following photos document the development of that painting over a period of nearly three months.

Sunday 02.12.17
Posted by Robyn Thomas
 

Good Witches of the Between, Part One

Backstory

After working on Dissecting Double Portrait: Self and Petra Nimm I was not sure of my next step. I could have continued on with that piece; the method of copying and revising to create a new, related work allows for endless repetition of the process. However I knew I'd reached a point where I should put that particular work aside. I could have undertaken the same process with the other two double portraits, but there was something about Petra that was keeping me tied to working with her, or at least thinking about her while I worked. I spent the time in the studio playing around with the small oil paintings I am working on, thinking about what I had learned about Petra and myself to that point, what grabbed my attention from that experience and waiting for a beacon to guide me down the next path. And I was thinking about my personal art history.

What have I done before? Any of thing worth revisiting?

Two mornings in a row I woke up to the memory of work I did over ten years ago. I guess you could call them ‘digital collages’ of sorts as the compositions were created by printing, cutting out, laying out on the flatbed and re-scanning. Of these I printed up four at 18” x 24” on glossy paper for a show. A fifth ‘misprint’ hangs in my bathroom, while the other four were buried deep in the flat file. I think I remembered these pieces because they are related to the recent work in terms of the sources, tools and methods I used to create them.

That year, 2005, I had gotten my first flatbed scanner...a separate piece of equipment unlike the all-in-one printer/fax/scanner I have now. I remember working on the pieces during my older son’s nap time. It was a quick, low-mess process that allowed me to achieve results in a very limited period of time. I had also recently installed the open source program Paint.Net onto my Windows PC, so I was having fun playing with it too. During the same period of time I also had one of those cheap subscriptions to Vogue.

The previous winter I created a series of small paintings: acrylic, paint markers and gel pen inks on full page size portraits torn from Vogue. These paintings I neatly mounted with matte acrylic medium to 6” x 9” pieces of ½ inch thick MDF panels. I drilled a small hole in the back to hang them flush to the wall with a small nail.

 

Later that year the December 2005 issue of Vogue arrived in my mailbox. This issue had a great spread from Annie Leibovitz...The Wizard of Oz… with Keira Knightly as Dorothy in her ruby slippers and the rest of the characters were played by slightly mythical creatures of the art world….check it out!

http://enchantedserenityperiodfilms.blogspot.com/2010/01/annie-liebovitz-wizard-of-oz.html

At the time I had begun turning figures in the pages into silhouettes. Coloring them with dark colored Sharpie markers and then cutting the figures from the page. I had a collection of these in a small box, not sure what to do with them but having fun playing with them. They were like paper dolls waiting to be dressed up and placed in a new paper house.

One of the figures I turned into a silhouette was Kara Walker as Glinda the Good Witch… in 2005 it was just too tempting to turn Kara Walker into a silhouette.

I don’t recall what made me begin laying the small portraits on the flatbed scanner. But one day I did. And I printed a few of the scans onto glossy 8 ½” x 11” photo paper. Maybe the box with the figures was out on the kitchen table at the same moment, but somehow a figure landed on top of one of the prints. And the discrepancy of scale hit me. My little paintings were huge next to the small, fashionable silhouettes!

So I laid them both onto the scanner and created the pics. I had the opportunity to put a few pieces in a holiday pop-up show in Providence that season, so I put the files onto a CD and headed out to have them printed up bigger than any of the components were in real life.

End of story...until this past month.

After waking up to my memory of these pieces two mornings in a row I decided to dig them out of the flat file and see what new life they might take on, with thoughts of Petra in my head.

The first pic I chose to work with was this.

It is the one featuring the silhouette of Kara Walker/Glinda the Good Witch. What’s more, if I recall correctly the small painting she stands in front of was over a portrait from a feature article on the painter Elizabeth Peyton in Vogue. Unfortunately the work pre-dates my obsessive documentation with my iPhone camera and a Google image search does not yield the source image. I do recall placing the two women artists together in the image. Because I had Petra on my mind it seemed the right one to start with.

The rest of this post is a photo documentation of the process to date. I am not finished working with this.


I coated the surface of the digital print with 2-3 coats of acrylic medium. This sealed the ink to prevent the solvents in the oil paint from causing them to run. It also added texture to the glossy surface, allowing the paint to adhere and providing a barrier for pigment to grab hold off and to sand down.


After cutting the painting into fragments I laid each piece on my scanner and covered them with a sheet of white paper. Eventually I'll print these up.

 

 

 

 

 

 

 

 

 

Monday 11.14.16
Posted by Robyn Thomas
 

References

Sunday 10.23.16
Posted by Robyn Thomas
 

Dissecting Double Portrait: Self and Petra Nimm

Petra Nimm is the alter ego I know the least of, therefore I decided to take apart the Double Portrait: Self and Petra Nimm first in hopes of learning more about her, and about me.

I began by enlarging portions of the scanned collage.

Next I printed the enlarged portions onto an inexpensive Canson 90Ilb cold press watercolor paper cut to 8 1/2 inches x 11 inches / 21.25 cm x 27.5 cm. After printing I scanned the prints.

Then I began to paint over the prints with watercolor and gouache.

This print I first painted over the blue with a clear acrylic gloss medium. Then I painted with the watercolor and gouache over the slick surface of the medium.

After the first round of painting over the prints, I scanned the images shown above and printed them onto a bright white inkjet paper. Those prints I cut into pieces using a number 11 x-acto knife blade. The pieces I reconfigured into a series of collages glued into a standard, 8 1/2 x 11 black cover, ring bound sketchbook. Then I scanned each collage.

After scanning the collages I printed them onto the same type of Canson watercolor paper.

After scanning each print I added another layer of watercolor, primarily to the negative space on the page, but occasionally to the printed space too.

This process could continue on, but I've decided to stop here for now, to step back and look.

Sunday 10.23.16
Posted by Robyn Thomas
 

Petra Nimm

Two hundred words about Petra Nimm

I’ll be honest, Petra Nimm is a complete mystery to me.

I know almost nothing about her other than her name.

And that she is she.

And that she is left handed.

Melusine told me this.

I haven’t even met Petra.

Melusine told me about her and said she is very shy.

Petra lives alone.

Supposedly she makes art.

She listens to the music of David Byrne.

And Oasis.

And Cole Porter.

Melusine encouraged Petra to open her own Facebook account in hopes it would make her more social, more connected.

Mel and I are her only friends.

How do I know that Petra isn’t a figment of Melusine’s imagination?

I don’t.

She could possibly be.

But I suspect she is not.

I want to believe Petra is as real as Franz.

As real as Melusine.

As real as me.

Petra has an email account. She had to in order to open the Facebook account.

Her email address is petranimm@outlook.com.

I’ve never written to her and she has never written to me.

I doubt she has ever written to anyone.

This is the first I’ve written about Petra.

Aside from notes in my notebook.

Who is Petra Nimm?


[Almost] another two hundred words about Petra Nimm

Petra Nimm is the second alter ego, the focal point of the second Double Portrait collage, but she is the last alter ego I am writing about. I know the least about her. Unlike Melusine and Franz she is not wordy. She is quiet, and maybe only expresses herself through making images? Is Petra a mirror or a sieve?

Because I considered the ‘handedness’ of the other two, based on what I have read, Petra strikes me as possibly being left handed. But I don’t know this because we have not yet really met.

I learned Petra’s name last July in Berlin. While trying to explain the term heteronym I was misheard by a colleague, who thought I was talking about a person named ‘Petra Nimm’. It stuck. In that moment Petra Nimm was born in a miscommunication between two artists. She has not gone away.

Melusine reminds me of Petra; I think because they are opposites. They seem to be friends of some sort. I would like to introduce Petra to Franz; maybe her quiet nature would appeal to that part of him, provide him something he is missing?


Double Portrait: Self and Petra Nimm

I made this collage with the intention of learning more about someone I know so little about, Petra Nimm.

Beyond her name I had almost nothing to work with, just what is written above which came from a few quick notes.

She seems to be an observer.

I approached the collage using the same materials and methods as I did for the first.

The images come from a variety of magazines, not a single type or subject. I did find in one an ad for house paint by Valspar. It featured their color ‘Island Orange’ painted on a house door. The color appealed to me, and on the door it reminded me of Petra. A closed door? Is it the orange, bright, noticeable, definitely catched my attention...but remains closed. Or is it the color orange? Is Petra Dutch? What does orange tell me about Petra? In the same add there was text that said It’s Time To Redefine What Paint Can Do. This is what I am trying to do. Is this what Petra is doing?

The image of myself in Look In Glass is positioned perpendicular to the bottom right corner of the collage. My dark brown eye is surrounded by a splash of aqua blue paint, the tip of spilled paint from the Valspar ad. Diagonally across the composition, in the upper left corner two blue eyes stare straight out at the viewer. In front of the eyes stands an Indian Yellow silhouetted figure, cut across by red squiggles on the edge of a circle. Below, in the left corner, also positioned on the perpendicular are two figures...Hillary Clinton and Kate McKinnon from SNL as Hillary Clinton wearing a pair of bright red boxing gloves. The two Hillarys glance sideways across at each other. The ‘real’ Hillary obscured by washes of opaque gouache, her double, Kate/Hillary slightly more visible. The rest of the collage consists of remnants from paintings, coats of clear acrylic medium, watercolor and gouache to produce an abstract, painterly space.

This collage I scanned like the others at its actual size and saved it as a jpeg [300 dpi]. Then I printed an edition of 12 prints.

In this edition I did not preserved the orientation of the scanned collage in all prints of the edition. Some I ‘flipped’ the orientation so that the pre-existing text becomes more readable and the scanned image less. Still, the image and text that existed on the paper prior to  being printed on vary in their orientation and the time to produce this piece was the same as the other two, approximately 5 hours.

Rrose Sélavy and The Large Glass make appearances in this edition, as does Sam Taylor-Wood and her self portrait Single Breasted Suit with Hare. In that print I intentionally flipped the orientation of the print so that both the pre-existing image and the scanned collage which lined up in their original orientation are both inverted. The prints containing pre-existing prints of the paintings add another layer to the obscuring of the text and images in the collage, and what can be known about Petra Nimm.



 

Thursday 10.13.16
Posted by Robyn Thomas
 

Melusine Van der Weyden

Melusine Van der Weyden is flighty.

She comes and goes as she pleases. She is not very good about keeping appointments, yet in the end she always comes through. Maybe this is why I tolerate her?

Melusine is more interested in words than in images. She has been in my life since mid-June 2015, but most of what I know about Melusine is through the words she has written to others about herself and her adventures. She appears to me to be an avid correspondent.

This past summer Melusine agreed to work collaboratively with me on a series of collage-prints. She contributed at the start by sharing stories of people she met during a recent vacation in Naples, FL. Then she left me alone in the studio to visually work out who these people are. Before she left she agreed to add text to the collages prior to our exhibiting them jointly in Berlin in July-August.

But, she disappeared.

Before she left she wrote a note with a few biographical details.

Melusine van der Weyden b. December 5, 1970/ Germany. Muse, magician, mermaid, lebenskünstler, traveler and teller of tales.

Other bits of personal information I gathered from a letter of introduction she asked me to send on her behalf the previous summer. She wrote:

I am Melusine van der Weyden. Perhaps you recognize my name? I have been around

for quite a while; some even say I appear to be timeless. But appearances, like time

itself, can be deceiving. I admit that I alone have determined the varying pace by

which I travel this winding road; sometimes my cruise control is set to a sensual slow

as not to miss out on the innumerous delicacies placed upon the table, other times I

floor it to catch the butterfly as it breaks out of its cocoon and follow it as it flutters

along sipping the sweet nectar it finds along the way. What delicacies I have delighted

in traveling at all speeds!

Perhaps it is this play between the fast and slow which has created the illusion of

timelessness? Yes, understanding how to play two opposing elements to create a third

which is neither one nor the other; but is an unceasingly pulsating third, existing

uniquely in time or space, undefinable. A third experienced only by leaping into the

gap between the two, an act in which one gives oneself completely to the unknown.

***

She mentioned rather presumptuously that I would be writing her memoir.

I won’t.

After she wrote that letter Melusine disappeared, her usual way of being. This past spring she returned, shut herself up in the spare bedroom for a few days, and without any announcement where she was going suddenly left again. Her visit did produce a few works of Flash Fiction, or maybe a better term would be Flash Fictitious Memoir?

***

Wake Up

“Shit!”

Rings slam into the bridge of my nose, propelling me up and forward in the bed. I clutch my face, eyes squeezed tightly shut to lessen the radiating pain.

“Yawh okay?”

An unrecognizable intonation mumbles up from beside me.

My nose still buzzing, I slowly turn my head with one eye closed, realizing the achiness is not just from the recent backhand. Glancing down at the prone body next to me, its hand outfitted with multiple gold rings grabs tight under a chin I have no sober recollection of, what must have been the pillow I’d laid my head upon. I look up, my eyes quickly adjusting as I scan the dark room.

Where?

Who?

“Sure. Need water and a pinkle.” I replied. The body next to me sends up a slight grunt and extended snore in response.

The chance to make a silent escape from the scene of yet another crime, I lift the covers off my legs and slide out of bed. Collecting clothes and bag scattered across the floor while trying to avoid the smell of my breath bouncing off my chest as I lean forward; the smell, the stickiness between my thighs, and that familiar feeling of deep relaxation wrapping around my lower back tells me it must have been a successful night, at least in one regard.

Seeing two doors I open the one on the right, another bad choice to add to today’s growing list. Bathroom is the one on the left? Another closet. Opening a third door I see a carpeted hallway where I throw on panties, bra, dress and sandals. Down the corridor the sun rise begins to light a living room through gauzy sheers covering a sliding glass door.

How’d I get here?

Opening my bag I find my phone, lipstick and wallet, a set of keys and a folded sheet of paper. Attached to the keys is a plastic rectangle with a tiny piece of paper stuck in the middle.

A calendar alert: flight in one hour.

“Siri, how do I get to the airport?”

***

Flight

Windowless corridor, I could be anywhere in the world,  any time on any day. These places all look the same, people moving through in a trance-like state. Nowhere people in a nowhere land.

At the check-in counter, the line is gone. Just in time. Laying my passport and confirmation sheet on the counter I place my bag on the scale.

“Just made it Ms. Van der Weyden.” the airline rep says.

“Yes, traffic was a pain.”

“It can be that way at times.” the rep mumbles as she types away.

It is not even five AM.

“Here you go; Gate 20, Terminal B. You have 10 minutes before they close the gate. I’ll let them know you’re on your way.” she says with a routine cheerfulness.

At the passport control a stone faced civil servant in a drab uniform glances up, down, up down, scans and then stamps my little red book before silently sliding it back to me through the slot.

Another long corridor lined with Duty-Free shops, always open. I approach Gate 20 and another airline rep calls out,

“Ms. Van der Weyden? ”

I step through the doors and am directed to an empty seat.

First class? I wonder who is paying for this? I know it’s not me.

Twenty minutes later, after the ground is beneath us, separated by air and a few thousand feet of water. My sea tback is in the down position.

“A drink?” the steward asks.

“Yes, thank you.”

It’s going to be a long time before I reach my destination.

I stare out the window into a blue stillness, above the clouds now just the loud drone in my ears and head tells me I’m moving forward and not hanging here, suspended in time and space.

I wonder if she knows I’m coming?

***

Arrival

Twenty hours later the guy next to me leans across, trying to see out the window,

“Did you hear they think the Endeavor was sunk down there?”

“Funny where things and people end up.” I reply, hoping he’ll stay on his side for the remainder of the flight.

We’re flying back down the bay in a slow descent. Smooth as silk until the wheel hits a pothole in the runway and the wings quickly tip to the right. The pilot jerks the plane back to the left before we scrap the asphalt and over the intercom announces,

“Oops! Sorry about that.”

It is morning again as I pull out of the rental garage and onto the airport connector.

No traffic, it must be Saturday.

A light is shining from the kitchen window at the back of the house. She’s up early or didn’t sleep much again.

Standing at the back door wearing her white robe, hair grey and tangled, she snaps at me in a quiet voice.

“I thought you said you were coming last year?”

“I was delayed. Besides, you were busy with other things.”

“I’m still busy with other things!” she grunts, teeth clenched.

“I’m here to help you now.”.

“Well, you can’t stay for long. I still have things I need to do before I go.”

“Don’t worry, I won’t be here long. Just enough time to begin gathering our thoughts a bit more coherently. Then I’ll be off. I won’t be back until you are ready for me.”

“That might be a while.” she snidely snaps.

“Next week then,” I say as I close the guest room door.

***

During that brief visit she did give me an email address. She seemed to have gone digital in the time she was away; although from what I could gather she still prefers handwritten correspondence, calling letters and postcards a lost art form.

She has a point.

Maybe she wanted the freedom of an unmediated ability to correspond with others that her own email account would provide her? Or it was a way of obtaining a virtual home, a place to leave her words while traveling?

Her address is melusinevanderweyden@hotmail.com.

If you feel like sending her an email, please do. She always answers except when she doesn’t. I wrote to her and that is how I discovered she had gone to Florida.

When she left again in mid-June I emailed her a second time, then she was less forthcoming as to her whereabouts. Some things are probably best left unknown when it comes to Melusine. She did promise me she’d meet me in Berlin to finish the collages. And she did.

Despite having obtained her own email account she does not own a computer, and seems to be neither a handy thumbtexter nor in general technologically savvy. When she was around she’d used my computer to generate her correspondences, and so she wouldn’t forget her login bookmarked her web mail page and saved the password. As I said, not technologically savvy. But then, she probably isn’t too concerned with identity theft.

Now I can keep track of her thoughts and whereabouts.

I half expected her to hang around Berlin for the month I’d be there; but knew she probably would not. From the description she wrote of my Berliner abode I can guess why. I found this in an email she sent, it is a pretty accurate description. In the same email I learned that Melusine can be at times philosophical, or opinionated, in her own rambling way.

She said I am welcome to stay with her here in Berlin. Not too magnanimous as it might seem; I think she has come to realize I don’t stay in one place very long, nor do I take up much space wherever I do decide to while. This is a good thing in this place which is quite small, a monastic cell of dingey white cobweb covered walls, concrete floor and chipped paint in Wedding. A bed with antique oval mirror hung above, a set of three drawers tagged with indecipherable letters lounging in a green hilly landscape under blue skies and splattery spray painted white clouds, a rickety table, two faded olive green rough cloth GDR office chairs, a desk lamp on a bookshelf containing language learning books, the best of Candace Bushnell, Dan Brown and The Devil Wears Prada, all in German of course, makes up the large room. In the entry cold water runs in a stainless steel sink set in a roughly cobbled up kitchenette (you could hardly even call it such) with two electro-burners, electric kettle and a refrigerator cube set on a shelf beneath. Next to the kitchen row is a moldy shower in a small bathroom where the toilet sits raised on a pedestal 20 cm above ground. At least the shower has ample warm water. After a quick trip to Lidl for cleaner and a scrub brush and much elbow grease she has managed to reduce the dimension of the band of black running along the edges, joints and corners of the shower stall. It smells. Airing only does so much with the trash bins for this block stationed directly in front of the windows. Of course then the flies, and gnats,and the black cat with the paw permanently bent under after its encounter with a fox in the street late one night, slip into the apartment while she sits typing, reading and painting. I shooed the cat out again just this morning!

***

What I do know is that people need to live the life they need to live. However complex or complicated it might become, arrangements, accommodations can be found. Nothing will be ideal or perfect because both are illusions; the happiness, or rather contentedness, that come from leading that life is no illusion. But most people are blinded and confined to a space by the desire created within themselves by illusion rather than seeing the that the greater desire exists in and lead them to an unbound space that is their life.

***

Soon after arriving in Berlin she came across some writing that peaked her interest and upon learning that the writer, a very reclusive type, might be in Vienna she somehow managed to find a connection to take her in search of another ego. The following are excerpts from emails she wrote describing her travels in search of Herr P.

Saturday I was at the Autorenbuchhandlung on Savignyplattz http://www.autorenbuchhandlung.com where I inquired if they had any of his writings or knew anything more to his whereabouts. The bookseller was not able to find anything of his in their stock and they have nearly everything ever published, but another customer overheard our conversation.

This gentleman told me while living in Vienna in the late 1980s he had made the acquaintance of a Herr P., a bit of a recluse with a memorable name. This gentleman thought this Herr P. was a wordsmith of sorts. Although he had a hard time believing this for as few words ever came out of the guys mouth, some people seem to exist more on paper he guessed. This gentleman and I arranged to meet Sunday for coffee and further conversation.

We met up again at this little place in Prenzlauer Berg and [surprise!] he thought he might know of Herr P.’s whereabouts. By contacting old, mutual friends in Vienna he learned that P., though having spent much of the time since their last encounter wandering throughout the world, was indeed back in Vienna. Imagine that!

We had a lovely day. So lovely I've just now arrived back at the cell. Seeing that R. will be so busy and her thoughts engaged with other things these next few days I decided to take up the offer this gentleman made me, and accompany him to Vienna later today for the remainder of the week. He thinks he might be able to arrange a meeting with Herr P. so that I can speak with him directly about his writing.

***

As yet no sign of Herr P. and I am starting to suspect the gentleman from the bookstore was simply leading me down a dark alley, particularly after last night. Oh well, two can play that game; and besides, that game is best played with at least one other player. I'm not much for solitaire.

***

So, my excursion to Vienna appears to have been in vain. Herr B. did make contact with his friends who are acquaintances of Herr P. and they confirmed for us he is indeed back haunting the cafes and kneipen of the former hauptstadt of the kuk. But, as you mentioned to R., he is definitely a recluse, avoiding contact with even his oldest friends. They told us which places they've heard through rumor he was most likely to be found. I went daily with Herr B., sitting for hours drinking coffee and other liquid sustenances, waiting for him to waltz across our paths.

Once, for a brief moment I caught sight of him. A gentleman of late middle age was sitting with his back towards me on the other side of a cafe just off the Ringstrasse reading a small volume of the poems of Rilke. Thanks to the mirrored wall he faced into which I looked I could clearly see his face: Herr P. was sitting a few meters from me! He's aged well, or at least I can say he is a pleasure to the eyes, especially when one is staring into the blank page that is the face of Mr. Bookstore.

Herr P. must have felt my eyes were upon him, he looked up into the mirror where our eyes met for a split second. Just then the bookstore guy spilled a glass of water across the marble table top. As I quickly looked down to wipe up the mess he made Herr P. grabbed the opportunity to make his exit. I saw his shadow across the table as he passed by and felt the breeze enter the room as he slipped out the door.

I knew then I would not be meeting him in Vienna, he's probably already left the city. So I told Mr. Bookstore I wanted to return to my spot on the shelf in Berlin that night.

***

Mr. B. contacted me, in hopes of regaining my attention, apparently he has his own longings and desires embodied in moi, by providing a new lead on the elusive P. The mutual acquaintances in Wien confirmed that day at the Kaffeehaus he did recognize me pursuing him, this led to his sudden escape. He does seem to want to not reveal himself; apparently that evening he hopped a train to Paris in hopes of keeping himself free from the demands of meeting the desires of another which would prevent him from focusing on his own. Mr. B. offered to take me to Paris. How could I resist when he was paying?

Once in the city of lights I searched for a map that might lead me to the emotional, if not physical corner Herr P. might be hiding in. These things are not sold in corner shops! So I went back to where I originally encountered him…

***

She came back home with me so that we could finish the collages and to help out with some freelance writing gigs I’ve picked up on Craigslist. Unlike the experience with the studio assistant post a number of legit writing/editing jobs have come our way.

Melusine uses her email account to reply to all these inquires and explains our joint effort on each writing project. She and I are fascinated by the number of request we have received to collaborate on writing projects, or to ghost-write memoirs. I have been able to discourage her so far in taking any of these on, but I get the feeling she is really tempted to someday ghost-write someone else’s memoir.

In Berlin Melusine decided that she’d like to, start a Facebook page of her own, as a presence on social media is a key part of personal identity for many people in the 21st century. She was curious of her own profile.

Unfortunately the Facebook ‘fraud detector’ in Germany found her name suspicious, and despite having her own email account she could not open a Facebook account while in Berlin. Back in the States she conjured an alter ego of her own, Melanie Weiden, and opened the Facebook account under that identity. As of today Melanie Weiden has six friends, one of whom sent her a friend request. If you’d like, feel free to friend Melusine/Melanie on Facebook.

Although Melusine has been around the longest and is perhaps at the heart of the project, I am still unsure of what role she will play, if any. Maybe it will be only as a slightly outside observer who records what is happening from her point of view in her correspondences with others or on her Facebook page? Maybe she will go away?


This is the history of Melusine Van der Weyden’s interactions with my life to date. Unlike Franz there seems to be no sudden spark that ignited her into existence. I woke up and one day she was there. I do know that at the time I was thinking about alter egos, mermaids, magicians and muses, and myself. The first name Melusine is of French origins and refers to a feminine spirit found in fresh water, similar to a mermaid, in European folklore. The last name Van der Weyden references the painter Rogier van der Weyden from whom Melusine claims to be descended, and it is a word play around a couple of corners on the last name Duchamp: van der Weyden=de la Pasture=of the pasture=of the field=du Champ. In this way Melusine Van der Weyden became a hommage to Marcel Duchamp [who might have been her father despite his death two years prior to her birth].

Perhaps like Duchamp, Melusine’s most significant contribution to this project might be the questions she raises?


Double Portrait: Self and Melusine Van der Weyden

When I set out to create this collage I did so with the same intentions of learning more about the character, Melusine Van der Weyden, as well as my relationship to her through making that I had when making the double portraits of myself and the two other alter egos, Franz and Petra.

All of the information about Melusine contained in the previous parts of this post I possessed prior to making the collage. I did take into consideration the same questions I was asking myself about Franz and Petra, such as the issue of ‘handedness’, birth date, place of origin.

Melusine is undoubtedly right-handed.

From her correspondences and other writings I knew she was assertive, very self-assured, easily finding her way in and through the world while at the same time like Blanche DuBois in a sense that she is promiscuous and dependent upon the kindness of strangers. But Melusine is of another time and place and will not suffer the fate of Blanche. She is more like Tina Turner in this regard, able to get up and reinvent herself. Simply ‘The Best’.

Although Melusine was the first alter ego to appear, and she is the second one I am writing about, the collage double portrait was the final one I made. I approached it using the same materials and methods as I did for the previous two.

The base paper of this collage is slightly different from the other two. Instead of using a leftover piece of the Arches watercolor paper [I had run out] I used the cover piece of the block which is coated on one side in a black paper pulp printed with Aquarelle Arches in gold ink. I worked on the watercolor paper side.

At the bottom layer of the collage, slightly off center, where the fractal forming strips of an early painting merge my eye peering out from the mirrored box of the Look In Glass is visible.

The images I selected primarily from an issue of Cosmopolitan, a magazine suiting Melusine’s personality. Figures featured in the composition are a current young pop star whose name eludes me, an unknown woman being tended to in bed by two makeup artists, an unknown model lounging dreamily, and what appears to be Tina Turner in her black leather mini skirt, fishnet stockings, stilettos, wild bronze wig and short, faded jean jacket surrounded by middle age women trying to recapture their youth. Only it isn’t Tina Turner anymore than the young pop star is Tina Turner. Upon closer examination it is clear the Tina Turner in this collage is a drag performer.

The text I chose refers both to the figures pictured and to Melusine’s personal philosophy.

I also added a layer of acrylic medium for additional texture as well as to lessen the resistance of the watercolor and gouache I intended to apply to the surface of this collage. Again, I scanned the piece at its actual size and saved it as a jpeg [300 dpi]. Then I printed an edition of 12 prints.

In this edition I also preserved the orientation of the scanned collage. The image and text that existed on the paper prior to  being printed on vary in their orientation. The time to produce this piece was the same as the other two, approximately 5 hours.

One of the things I find interesting about this particular printed edition is the relationships formed by what is printed on the pages of the paper and the images and text in the collage. Pages featuring Rrose Sélavy and the Bicycle Wheel readymade appear as well as two photos of myself with Look In Glass, one being the same image I used in the collage. In the print the drag Tina Turner  is now seen dancing inside the mirrored box. Additionally the placement of the thesis text brings forth some witty juxtapositions, such as in the page with Rrose and the text at the bottom near the woman being tended to by the make up artists: There is a bit of a ‘finished’ look to her now! In a few of the prints where the abstract painting is the pre-existing image I am struck by how the painting creates a whole different sense of space and place for the figures in the collage to inhabit, some sort of landscape or stairwell leading to the unknown appears.








 

Wednesday 10.12.16
Posted by Robyn Thomas
 

Franz Walsh

I’ll start with Franz Walsh as he is the most recent to appear in my studio.

Franz arrived quite unexpectedly on a hot and sunny day in late August. I was driving to the beach when suddenly there he was, sitting next to me in the passenger seat of the car.

“Let me reply” Franz said.

Later as we lay under the striped umbrella and on top of the old IKEA bedspread I ventured to ask Franz this question.

How will you reply, and is it really necessary? Wouldn’t it be best to let sleeping dogs lie?

I should tell you what writing it was that conjured Franz into existence; the email I had decided to ignore, or so I thought.

Currently I am seeking ways to expand my meager income. After accessing my skills and considering the jobs I could do, jobs that were available in my area, and jobs that would fit into my schedule of odd jobs, parenting and art-making I decided I would post an advertisement seeking studio assistant gigs on the local artist community board of Craigslist.

It is not as if I live in a region with a dearth of practicing artists. Despite the excessive number of art students and recently minted art school graduates from which to choose, I could offer 20+ years of experience, writing skills, reliability and a wide-open view of the world.

Early in the morning of the day Franz entered my life I posted the following advertisement:

In need of a studio assistant? I am the person you are looking for. A reliable, responsible artist with 20+ years experience in the visual arts: 2D, 3D and performance. Whether you are looking for assistance on a specific project or in need of regular assistance, from prep to presentation, administration to fabrication, I can do it all. Contact me with what you need and for more info on my skills.

Pretty professional, I thought, and clear as to my skills and what I could offer in the studio. Within fifteen minutes my Inbox pinged with a reply.

    Hey there

If you're a woman, I was wondering if you would consider giving a 45 minute FULL body mass for $150 please?  I am a clean, respectful guy and, if it would make you feel more comfortable, I would be happy to buy you coffee, lunch, dinner, drinks, whatever first before you decide.  Thanks!

Okay. [Not!]

Maybe in the eyes of some people if a person with years and a wide variety of experience in the art world is seeking work as a studio assistant then that person is probably a woman and desperate enough to perform a sex act in exchange for 150 bucks, and possibly a cup of coffee, a meal or some alcohol...just to make it seem more legit and to show the writer is really a ‘clean, respectful guy’ with her comfort in mind.

Ugh!

Yes, Craigslist is a magnet for seekers such as he. At the same time, it was the artist community board, not the personals, and I had been receiving legit responses to other postings. But then, who’s to say his response wasn’t in its own screwed up way legit? Best to ignore, go about my day and hope a more suitable response comes my way.

Back to Franz who, while with me was hiding from the UV rays under the umbrella and coatings of 50+ SPF, told me about himself.

He was born in Rothenburg ob der Tauber, Bavaria on May Day, 1946. His father was an Irish-American GI from the Midwest, a private in the 12th Infantry Regiment, 4th Division. Enthralled by the charms of a German girl Franz’s father upon hearing the news that his division was being sent back state-side went AWOL the month prior to his son’s conception. Hidden in the basement of Franz’s maternal grandparents’ house not far from the old Klingentorturm, Frank Walsh was finally picked up by the MPs in the early morning hours of August 9, 1945 as he lay in the arms of Agnes Gruber with his pants still wrapped low around his knees while the fallout of Fat Man rained down on Nagasaki. 

Franz’s mother, Agnes, was just out of her teens and eager to escape the oppression, control and ascetic experience of her childhood and youth through the pleasures offered by the young men who were now in ample supply. She’d met Frank the day after her home town, known during the preceding 12 years as the ‘most German of German towns’ had surrendered to the 4th Division with nary a shot fired.

Agnes’ parents had since the early days of the NS-regime eagerly towed the party line; living the vision of the ideal German family of the Tausendjährige Reich, waving Agnes’ two older brothers off to war and welcoming them home with tears dripping on the papers that told of their deaths and burials on the frozen, snow, mud and blood covered fields of Stalingrad. Agnes had one younger brother, Thomas age five, whose birth earned their nearing menopausal mother recognition by the state with a Mutterkreuz. After the death of her two older sons, and not having fully recovered from the geriatric pregnancy with Tomi, Agnes’ mother turned her youngest child;s care over to his older sister.

Agnes’ father meanwhile had retired to his chair, staring at the picture above the sofa of the man he had so blindly trusted and whose betrayal he could neither fully accept nor reject. This once ideal German family was blind to their daughter’s Irish-American lover holed up in the basement they had only recently cowered in themselves as the April showers of bombs brought in place of flowers soldiers who deflowered.

There were GIs other than Frank Walsh who Agnes was taken by. However Frank’s persistence, stamina and eventual appearance in the back garden late one night in early July convinced Agnes his intentions were good, or at least good enough so that his interest in her offered the possibility of an eventual escape, even if it was to a place called Iowa.

After the MPs dragged Private Walsh down the street with his wrists in cuffs and his pants cuffs wound around his ankles, Agnes and her neighbor, the Fensterfrau,  propped on her pillow in the window next door, thought that was the last they would see of the red-headed GI from Creston.

What more could Agnes do but refocus her goals on other GIs still installed in the region?

By the end of August a handsome, tall and dark sergeant from Harlem had caught Agnes’ eye, and parts of her had caught his. By Allerheiligen Agnes knew enough by the bloat and nausea that she might just be carrying her ticket to New York City deep inside her. The sergeant, while not necessarily thrilled with the tiny prospect, did feel it was his duty to make the German girl a respectable war bride and married her on Nikolaustag.

Agnes’ parent’s said nothing, but Tomi enjoyed the presence of his Schwager. The winter of 1946 went well in for this new, post-war version of the ideal German family. The sergeant was due to be discharged in late June, after which the happy couple and their baby would set sail for New York. Tomi would follow once they were settled and his sponsor paperwork was processed.

Everything was on schedule until the evening of April 30 when it was clear that the baby Agnes was carrying had other plans. Suspecting premature labor and fearing complications the sergeant took Agnes to the base hospital. Early the next morning she gave birth to a full-term, 4 kilogram, piglet pink, green-eyed and ginger-haired Franz. The sergeant took one look at the boy and knew this was not the son he intended to stroll down 125th Street with. Agnes and Franz were sent back to Rothenburg o.d.T. and by July 1 the marriage had been dissolved and the tickets for Agnes and son exchanged for a few Bavarian trinkets to take back to the real family at home.

Agnes was furious with her infant that he was not who she had hoped he would be. Tomi was angry that he had lost yet another big brother. The grandparents remained stuck in their absence. And Frank Walsh sat ignorant of his progeny in Leavenworth, Kansas.

Franz was the innocent caught in between.

With impatience and aggression his basic needs were met by his mother. Once sufficiently postpartum she resumed her search for her ticket out leaving Franz in the care of his young Onkel Tomi who knew only how to take out his own frustrations of loss on the infant. By the time Tomi had reached puberty and Franz had received his nearly empty Schultüte, donated anonymously by the Fensterfrau, Agnes had chalked up a list of potential addresses Stateside but not a single offer of ship fare. Who’d want a wife with so much extra baggage that it required its own fare?

Then came the letter.

Faschingdienstag 1952 five year old Franz was sitting in the kitchen, hiding from the other children in the street, dressed in costumes and masks lovingly constructed just for them, were celebrating the day before Fastenzeit, the period of repentance also known as Lent. Agnes never made a costume for Franz, took him with a lantern singing on Martinstag, or celebrate any other holiday for that matter. The children of the street knew this and made sure to waggle their wares in front of Franzi, who by then knew enough to lay low for a day or two until whatever holiday or celebration it was had passed.

When he heard the clacking of the mail slot opening and falling shut Franz ran to the door, half expecting to find a taunt or prank of the kids. Instead it was thin, blue envelope addressed to Agnes Gruber. Return address: F. Walsh, Creston, IA USA.

Agnes perked up when Franz gave her the letter. She immediately sent off a reply along with a photo of young Franzi she had taken that very afternoon. When Frank got the photo there was no mistaking his role in Franz’s existence. Pudgy, freckled moon-face; wide green eyes and carrot top, yep, Franz was definitely a Walsh.

By summer Agnes and Franz were aboard a ship headed from Bremen to New York Harbor; from there a train would take them west to Iowa. In the meantime Frank had settled back into life on the factory floor at Bunn, making coffee makers that’d fuel the new, post-war white collar American economy while helping to tend his parents’ pig farm just outside town.

Maybe by the time Agnes finally arrived in the States she was too far along to change her habits, stuck in the chase mode. Within the year she was headed further west towards Nevada, leaving Franz with Frank who’d resigned himself to her leaving them. Franz, now seven, was quite aware of his mother’s feelings towards him and like his father accepted his fate.

In his first year in Iowa he had learned English, and while not being a stand out student, he also was no trouble maker. He had learned early on the best way was to keep his head down and silently observe from the corner of his eye the happenings around him. In southwestern Iowa he did not stand out as a ‘foreigner’ any more than he had in Rothenburg. He remained silent until he’d acquired the flat, midwestern accent of the Walshes. Fortunately Franz had a good ear, he even showed signs of being musically as well as in general artistically inclined. Too busy helping his father maintain the farm, Franz did not partake in the usual sports and other school activities.

After Agnes left, saddled with Franz, Frank took his fate as the luck of the draw and resigned himself to the hand he’d been dealt. Frank never remarried, and while he did not show the outright animosity towards Franz that Agnes and Tomi had, the father-son relationship even by 1950s American standards never really formed between Frank and Franz. Unlike many of the kids his age Franz did not rebel against his father, mainly because he had nothing to rebel against. There was nothing there. Instead he just did what he had to do, slopped the pigs and cleaned the stalls.

By his next to last year of high school it had become apparent to a few of his teachers that Franz, although he could easily assume the role of local part-time pig farmer and full-time factory worker, possessed the potential to explore other paths in life; paths leading away from Iowa. With the encouragement of the art teacher, and Frank showing no signs of support or opposition, Franz applied to and was accepted to art school in Chicago.

At this point Franz broke off the story of his life.

“I’ll tell you more about that period later” he said and then took a drink of his large iced coffee we’d picked up for him at the Dunkin’ Donuts on US 1A.

           So, will you answer my question how do you intend to respond to Mr.             Clean and Respectful Guy?

“After art school I spent most of my time as a studio assistant” Franz snorted. “I can handle him.”

That evening Franz,  who despite the umbrella and SPF now had a ruddier tinge to his complexion than he arrived with, sat down at my computer, opened his Hotmail account and wrote.

After hitting ‘send’ Franz showed me what he had written.

Dear clean, respectful guy,

Thank you for responding to my studio assistant posting on CL.

From the politeness of your email I was wondering if you wouldn't happen to be a painter by any chance? I really love assisting painters in the studio. My favorite task is brush washing.

I believe it is so important for a painter's brush to be properly cleaned so that he can continue to swing it for his muse. There is nothing I enjoy more than to wet down a big brush, swirl it around a tub of "Masters" brush cleaner and preserver, and then careful massage out all the remaining bits of pigment and binder working the bristles from the ferrule through the belly to the toe. After a good work over with my fingertips I like to squeeze the soapy suds out under a stream of warm water. When the last bits of soap scum have been rung from the brush I like to twirl the bristles back into their natural point; unless the brush is a flat, in which case I stroke them back into a smooth rectangle. Finally I carefully place the brush back into its resting place near the palette where can the painter can easily grab hold of it and re-load his brush with a viscous, oily, heavily pigmented paint for me to give a another good cleaning to the next time I pop round.

I really hope you're a painter...

You write you'd be happy to buy me dinner if it would make me feel more comfortable. Yes, I do need to get to know a painter before I am comfortable washing his brush. My favorite dinner is a nice, juicy steak, medium-rare; preferably from Abe & Louie's.

Finally, I should let you know that my name is Franz. I'm 5'3" 275+, born in Bavaria in 1946. Dad was a soldier from the Midwest, mom a German mädel with big tits no soldier could resist...not that she could resist a big soldier either... I was really into tattoos and piercings in the mid-1970s before these hipsters rediscovered body art. Unfortunately age-related hair growth, and loss, along with a few extra pounds has distorted my original creations. But if you're willing to take a closer look I'm sure you'll enjoy what you see!

So, if any of this sounds up your alley I'd love to assist you with your brush.

Thanks again for the reply!

Franzi Walsh

PS My brush cleaning rate is $300 and I finish in 30 minutes.

              What?!

“Don’t worry, I sent it through the CL reply and it is from my email. He’ll never know it was you. And he won’t be in touch again...they never are.”


For the most part this is how Franz Walsh entered my studio. After sending off the email he has hung around, sitting quietly in the corner waiting for the next time I am in need of his assistance.

I have learned a few more things about Franz in the six weeks he’s been around. His physical appearance is very much as he describes it to MR. C&RG as well as what can be deduced from descriptions of him in his infant-childhood.

His early experiences have left him with a void which he spent a lifetime seeking to fill in whatever way he could find in the moment.

He did receive training as an artist, but never pursued being an artist in his own right. Instead he became a career assistant. Never taking the lead, but able to help in any way needed. He is ambidextrous which is reflective of his nature to conform to the situation as he seeks approval, acceptance and love. He has a story, but he does not really have a clear sense of self. His interests in life have primarily been determined by the moment he has found himself in, the people and places surrounding him. One interest which has stayed with him since his teenage years in Iowa has been Lesley Gore. They share a birth date. Franz would listen quietly in his room on the farm Lesley Gore Sings of Mixed-Up Hearts and feel at least Lesley seemed to know who he was and spoke up for him when no one else did and he could not. Since her death in 2015 Franz has felt that this self-assertion that Lesley had so much of has been passed to him, hence his appearance in my studio and his desire to answer the email on my behalf in the manner in which he did.

Feel free to write directly to Franz Walsh at walsh_franzi@hotmail.com


Double Portrait: Self and Franz Walsh

When I set out to create this collage I did so with the intention of learning more about the character, Franz Walsh, as well as my relationship to him through making.

I already possessed certain info about him from the email he wrote in late August.

After discussing the relevance of ‘handedness’ to a ‘maker’ with Andrew Cooks. Knowing that there has been studies on the connection between which hand a person favors and personality traits and health, I did a general search on the Internet to try and find what handedness most likely fit Franz Walsh based on what I knew about him and which might tell me more about him.

At first I suspected Franz might be left handed, and I still feel this might be the hand he favors most. However his early life experiences have left him with the need to conform, remain flexible in any situation he encounters in order to complete the task in the best way possible so that he can gain the acceptance, approval and love that he seeks. Maybe he learned to use his right hand for these reasons?

Because he first appeared to me while I was at the beach Franz seemed like a ‘beach person’ to me. Or at least he enjoys the sights at the beach. I had decided to create a collage using a piece of paper that was a failed test print from a previous project as the base along with some images and text from magazines. The first magazine I opened [HGTV magazine] had on the inside a two-page spread advertising a dream vacation in Maui...the perfect place for Franz, I thought, as well as the text ‘Getting lost paid off.’ I think this might be a personal mantra of Franz’s. The word ‘portrayal’ was printed on the base paper, a remnant of my previous project in self portrayal. The text ‘The One that got Away’ was found elsewhere, possibly in an issue of Cosmopolitan, and sums up the experience of Franz’s life. The one, and there have been multiple ones, always got away.

The image I use of myself comes from an earlier project, Wanderland, and features my face reflected and floating inside the sculpture Look In Glass while the slide show Pages plays on an iPad and is reflected on the mirrored surfaces inside the box. My ‘self’ is also contained in the collage in the scraps of earlier drawings, paintings, and parts of an ‘automatic’ letter written on vellum in ballpoint pen.

After creating the collage, adding a layer of acrylic medium for additional texture as well as to lessen the resistance of the watercolor and gouache I intended to apply to the surface, I scanned the piece at its actual and saved it as a jpeg [300 dpi].

Next I printed an edition of 12 prints. I have a copy of my MFA thesis book that I test printed on cardstock. One side is a scanned print of a panel from the painting Sonata, and the other side contains the text. I randomly inserted these paper remnants in the tray of my printer to see what came out, how the scanned collage of Franz and I interacted with what already existed on the page. In other words I left it to chance to see how the prints played out.

In this edition I have preserved the orientation of the scanned collage. The image and text that existed on the paper prior to the collage-scan being printed on it vary in their orientation.

One of the things I find interesting about the printed edition is that on the one hand I take a convention of printmaking and push it towards a monoprint, but it really isn’t a monoprint as I am always printing the same image...it’s just what already exists on the paper that makes each print in the edition unique. I am still studying the different ways in which the pre-existing image and the pre-existing text impact and expand on the relationship I began exploring in the collage.

The time spent making the collage, scanning and printing it. Re-scanning each print and posting to my website took approximately 5 hours in the studio. I tried to not so much think about but respond to what was coming up about Franz and my relationship to him in the process of making. My intention was to stay loose and playful. The same could be said about how I have approached writing down Franz’s life story. I started with what I knew, which came from the response to the posting, and then followed it where it led me...circumstances of birth, zodiac signs which might align with his personality profile, Lesley Gore, self-assertion,...there is more to Franz and maybe he’ll stay an assistant or some day become his own artist.








 

Monday 10.10.16
Posted by Robyn Thomas
 

Double Portrait: Self and Melusine Van der Weyden

5 October 2016

A collage double portrait of myself and Melusine Van der Weyden.

Papers, acrylic medium, watercolor on Arches Grain Satiné 300g/m2

7 inches x 10 inches [18 cm x 25 cm]


Double Portrait: Self and Melusine Van der Weyden

twelve ink jet prints on card stock

7 inches x 10 inches [18 cm x 25 cm]

1/12

2/12

3/12

4/12

5/12

6/12

7/12

8/12

9/12

10/12

11/12

12/12

Wednesday 10.05.16
Posted by Robyn Thomas
 
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