Wednesday, October 29, 2014

Lost Boy Racer was nearly lost in the shuffle (Dean Marks)

Sometimes things slip behind the sofa.  Sometimes I slip them into a bag to carry between the house and the studio.  Sometimes they stick to something else and I file them  together but this piece by Dean arrived after I was on my way to Maine (I think) and got swooped up and hung in the Maritime Mail Art exhibition.  In my efficient after-event sorting I discovered this rogue piece that hadn't been blogged! Sorry Dean. 

So tell us, were you standing on the sidelines wreaking havoc like your hysterical woman in the black dress, as the cyclists wound through villages? Were you on a bike? Did you lose your way? 

I once had a rather unfortunate accident on a  bike, racing up a hill, a veritable girl racer proving my strength to the boy I fancied, only to slip off and spocket myself with the teethmarks of a shark. What's your biking story and do you have any scars?

Many thanks Dean. 

Friday, October 24, 2014

Seeing my world through Sue's eyes

I've told you before about my friend Sue Marsdon who tiptoes around my house lfinding different viewpoints to show me later.  

We sing in the bath at Nayland Farm! And Sue has opened the window to that with her wonderful photograph!

Thom Courcelle does the Danse Macabre from the Priory

Great to hear from Thom since his move to the priory. I will think of Thom singing psalms as I light my pumpkin!  

Look at the Guido Vermeulen stamp!  We are all thinking about Guido, it's hard not to. 

Trashtapestry from Susan McAllister

This is a Zen garden triumph!  I'm sure Susan has accomodated every principle of harmony, here.  I am enchanted. It feels so natural, unforced, elegant and raw. Wow. 

And 'Hi' back Susan.

The Fascinating - from Carina!

This is just a taster.  I'm not ready to share more.  In fact with Val demanding that none of us blog anything of his,  I am trepidatious about blogging this! But it is a fascinating piece and my creative juices are bubbling hot and I had to share a little bitty bit with you all!  Thank you Carina!  And the rest of you, ha ha.  I feel some special sauces * coming on!

*DVS phrase for my experimental trashpo.

Moan Lisa's poetic faces

Moan (Maria) sent me an invite to a few weeks back.  I tried to join but needed a code.  I got a code but by that time I think Moan had moved on.  Moan moves quickly, dipping her digital paintbrush into topics that others might tiptoe around! The determination and ferocity of this image may be reflexive… On the back of this altered book page the final words are pr Truth is stranger than fiction

These 5 x 7 photos are either digital sandwiches of text like the piece above, printed onto the text.  This is a letter from Simon Warren.  I recognise the handwriting and the motifs. 

These visual poems use text so thoughtfully.  Moan chooses this 'devilish' expression and then uses bold text to remind me, 'the point of disgust with nings of Europe, the Africa, sh devilish ingredients, the sated.' and that face changes, softens and demands justice. 
Thanks Moan.  Lots of thinking here.

2014//reb.guy.enc.//number//CS02222348 - AND I'M ENCARTED!

Every so often something comes along that really surprises me and this gift from Aristide 3108 is one of those things. I am being celebrated, encarted, and this feels odd to me... I see myself as the celebrator, not so much the celebrated! 

So this is how it went with me.  I got my first ENCARTED from Aristide  a few years ago.  I wasn't really sure what it meant but the cards, like  pieces of a puzzle, distinct, exact and considered spoke to me. With each card I became more confident that ENCARTED referred to the cards, but I didn't have enough context to really understand.  I could only respond to them on one level, on the way they made me feel, the way the text and images combined in a satisfying way. 'Send me your best mail art' proved a compelling strapline, too. 

Back on IUOMA we all talked about whether it needed to be your best mail art. My friends and family wondered why I was sending things I worked on for hours sometimes to strangers in the post, so obsessively. It might never get there.  They might not appreciate it.  You could sell it. It's not something you can explain, this NEED to send things through the post. And of course, people who I send things to become my correspondents and some become my muses or my collaborators and for people who don't send mail art that is just a step too far. For me, it feeds me.

But even then most of the time you never really know if your correspondents, your muses, your collaborators are in sync with you.  You suspect some of them are, but it's a fleeting feeling.

Aristide 3108, my French friend, thank you for the honour and I will treasure my beautiful ENCARTED and try not to blush at the thought of your network hearing my praises!