The expression “belt and suspenders” came to mind the other day. I was speaking to a young artist who was just starting to work with oil paint and she mentioned that when enrolling in her painting class, it was mandatory to sign a waiver, part of which required her to wear latex gloves while in the studio. Now, I know this is a more common practice nowadays than when I was a pup, and it’s always kind of bugged me. Much of the joy I get in making art is tactile and the thought of separating me from my materials, even a scosh (that’s a technical term), makes me, personally, cringe. In fact, I was taught when buying paint, you should always unscrew the cap and squeeze a dab onto your finger to test the color and the viscosity. I still do that (on the rare occasion that I’m not purchasing my paint online) and have more than once been admonished by a clerk.

But, I get it. We live in a fearful world and are programmed now to take as many precautionary steps regarding our safety as possible. And we all have to make choices that we’re comfortable with - like wearing a helmet when cycling, ear protection when mowing the lawn or goggles when dealing with something particularly nasty and toxic (like hot dog water). It’s just difficult for me to bring that caution into my studio process. That’s just me.

And this sent me down a path thinking about other “mechanical challenges” that artists perhaps should pay MORE attention to than the absorption of heavy metals through our fingertips. Ergonomics, for one thing. Many of my artist colleagues of a certain age are now suffering from joint and muscle issues due to poor posture and working habits. Standing at an easel for long periods of time can come back to bite you, quite literally, in the ass. Sciatica is real, as is neuropathy and bursitis. Many of us who went to Swain should have paid more attention to David Loeffler Smith as he cautioned us to stand straight and develop good habits, unlike himself, who painted leaning forward over a table top.

And don’t get me started on carpal tunnel syndrome.

The point is, there’s certainly a balance to be struck between full body armor and going commando when making your art. If you’re a “belt and suspenders” type of bloke, by all means, go for it, but make up your own mind, don’t have it forced upon you in the name of liability.

Jeremy Frey

I had the opportunity this past weekend to take in the Jeremy Frey show at the Portland Museum Art up in Maine. What a treat to the eyes and to the soul. If you are not familiar with Frey, read up on him here. He is a contemporary Passamaquoddy basketmaker who learned his craft from his mother and has brought the art form to new, absolutely stunning levels. From a craft perspective, his work is beyond compare - intricate and consistent in execution. But, as an artist, his color sensibility and palette are transcendent. He literally weaves a palette that is harmonious and mesmerizing.

There is a film in the exhibit of his process - from tree to finished product that would be interesting enough without its conclusion, but the climax of the fabrication process is what struck me. Following all the work in making this beautiful, perfectly formed basket - a process that took months - the final frames of the film are him carefully, reverently placing the basket on a stand and setting it afire. As the timeframe of this immolation goes forth, audible gasps arose from the audience around me, and at the end, a collapsed pile of ash is left smoking.

This puzzled me a little, but probably not as much as others around me in the theater. Those of you who follow my blog know that I stage a springtime ritual of artwork burning. I consider it a cleansing, and maybe a little bit of sacrifice, and it helps me to move forward with my painting in an inexplicable way. BUT, unlike Frey, I toss a failure, a total POS crappy painting, into the pyre - not a showpiece that had been quite literally sweated over successfully for months. I went in search of why he does this, and it turns out he’s not very forthcoming about his reasoning. Some have speculated that it has to do with his cultural heritage in some way, or it’s a political statement. My brother took it as pretentious. I’m not sure. I do know that it didn’t bother me…and I kind of liked that he’s staying mum about it.

Go see the show though. Really, it’s gorgeous.