Day 1. It's pouring outside (still). That's good. The studio is where I need to be.
Right away, I think of Leslie Saeta encouraging us to choose a theme before we start, so we don't have to think about WHAT we're going to do each day. Great advice. Which I ignored. So, faced with the blank paper syndrome, I fussed around by clearing room, pulling out my fabric paints, my oil sticks, and sorting through my piles of scraps, fabric and paper. This was fun.
The print set-up on my work table.
I also got smart
and set up my lightbox. It has two 'boxes', a small one for shooting my jewelry, and a larger one for fiber pieces. I didn't want it cluttering up the studio, so I set it up on the guest room bed. Perfect. It's ready, but out of the way.
Then - I got overly ambitious. Too big, too complex. Started in on a piece with several elements, each of which was experimental. By 10:00 I was surrounded by tiny bits of paper, after getting rambunctious with a free-motion stitching idea. Little white paper flakes were floating over my work table, stuck all over me, piled on the floor. OK. Time to re-assess!
I zeroed in on the most completed part of the piece, and pulled it from the overall concept. With this focus, by 11:30 I was done. Being very sleepy by this time, I was sooo glad I had set up the lightbox! Taking a quick picture and posting it on the 30 IN 30 site took less than 15 minutes. Over 200 other people from around the world had posted. To see everyone's 30 IN 30, click here.
Cotton, graphite rubbings, monoprints, oil sticks.