And here are process pictures of Singularity from start to finish!
Residencies
LSU Vet Med Artist Residency Artwork 5
This is actually the first piece I began here at the LSU School of Veterinary Medicine! I never know how to properly answer people as to how long a piece of artwork takes to finish, as my optimal process involves working on several different pieces simultaneously. If you count start to finish, I worked on it for a month and five days - however, there were a number of days in there that I didn’t touch this piece or only worked on it for a couple of hours…
The subject in this piece is a three-day-old baby Nubian goat; she was fully healthy but was brought in to accompany her brother who was failing to thrive and unfortunately didn’t make it.
Singularity, mixed media including Clinical Pathology’s Diff-Quik Eosin Y stain, Clinical Skills' fluorescein, Histology’s light green stain, and acrylic on basswood panel, 12x24x1.5”, 2022.
LSU Vet Med Artist Residency Artwork 4 Process
Here are some in-progress images of Hosts! I had to almost exclusively use my two smallest brushes for the whole painting, which was tedious but ultimately worth the effort.
LSU Vet Med Artist Residency Journal 5
in Residencies
After I made the pinch pots, I refocused on some of the paintings I had in progress. I prioritized working on my mosquito painting, as since it’s a work on paper it will need to be framed, and framing it for the exhibition here at the LSU School of Veterinary Medicine would be more impactful if the timing allowed! I also continued to visit different areas - primarily large animal and wildlife - to see if any new patients might make their way into my work. I attended the release of a wild black vulture who I’d had a chance to observe several times through the healing process. Wildlife releases are such meaningful moments, and I don’t think I’d ever get tired of participating in them.
July 4th was a Monday, and though it was a federal holiday, captive animals still need food, water, clean habitats, and/or treatments! This meant that I was invited to take a look at several endangered Louisiana pine snakes while they were undergoing routine veterinary testing and care. Later that week, I attended the July exhibition reception at the Baton Rouge Gallery of four different members’ work.
That weekend, the Baton Rouge Orchid Society hosted their annual show and sale, and I oohed and aahed over the specimens on display and purchased several new-to-me orchids. The event was held at the LSU Burden Center, so I also wandered their outdoor gardens until the heat drove me back to the studio! Then that evening I attended the LSU Glassell Gallery’s Bloom opening reception in the downtown Shaw Center for the Arts.
It is really exciting to get to see a variety of contemporary artists exhibit work regularly; I love that Baton Rouge has a sufficiently large artistic population and gallery presence to provide the opportunity to attend this many receptions during my time here.
Below is a photo of a live oak outside of the Baton Rouge Gallery festooned in ferns, lichens, and just being its own little ecosystem - I absolutely adore these trees, even though I’m also allergic to them! They’re iconically southern and also remind me of my grad school days. Then all the subsequent images are from the orchid show and the Burden Center!
LSU Vet Med Artist Residency Artwork 4
This painting originated in the Epidemiology Department here at the LSU School of Veterinary Medicine! I met with a number of researchers in various departments, but Dr. Rebecca Christofferson’s lab offered me a very cool substrate that I wanted to use: mosquito ovipositioning paper! This paper, as its name suggests, is used by researchers to hatch mosquito eggs for research purposes. It’s an interestingly textured paper, and it has aqua lines on it in two configurations; on each 15x10” piece of paper, there are either two vertical lines 1” and 1.25” inside the border, or there is one line 4” inside (or 6”, depending on your perspective).
I asked what purpose the lines serve (they clearly serve some purpose, whether that be for researchers or as an artifact of the production process), and no one at LSU SVM has been able to tell me. I think that’s pretty funny, as it was my first question and the first question out of several of my artist friends’ mouths as well! Dr. Christofferson did just follow up with me to share the mosquito ovipositioning paper is apparently a repurposed seed germination paper, so I will try to follow that thread to see if I can figure out why the aqua lines exist!
As I shared in a previous journal, I took the photos of these mosquitoes myself. This composition includes two female Aedes aegypti mosquitoes, both after a bovine blood meal, and three mosquito eggs to scale with the mosquito depictions. I purposefully integrated cool tones and aqua shadows to tie in the aqua margin lines.
This is Hosts, acrylic on mosquito ovipositioning paper, 15x10”, 2022. It will be window-matted with an overlay of mosquito netting from the epidemiology lab on top of the matboard and framed. I’ll be assembling the frame with the help of my host Rob Carpenter, so I’m excited to see how it all comes together!
My Upcoming LSU Vet Med Artist in Residence Exhibition Details!
The show poster and details have been released for my LSU School of Veterinary Medicine Artist in Residence exhibition, co-sponsored by the LSU School of Art! Here’s the LSU College of Art & Design’s event page for it, and below is a copy of the image and text.
Artist-in-Residence, LSU School of Veterinary Medicine
July 25, 2022 5:30-7:30 p.m.
LSU Vet Med Library
LSU School of Veterinary Medicine presents the art of Shelby Prindaville, and invites you to a lecture and reception featuring our inaugural Artist-in Residence. The lecture, exhibition opening, and artist’s reception will be at LSU Vet Med Library and is co-sponsored by LSU School of Art.
LSU Vet Med Artist Residency Artwork 3 Process
Here are process photos from Lineage! I first used the debudding tool on a plain basswood panel and then painted over it with white acrylic to make the background. Then I drew out the goat contour, and before I even drew the eyes or snout I then went over the area she’d be painted with molding paste several times to fill in the depressions. I added the eyes and snout and a couple more layers of molding paste, and then began painting!
When I paint, the order of what I do can change depending on the textures involved; I always aim to paint further away first and then foreground last, but in this painting’s case I left the eyes and ears for last as I was painting the goat fur with synthetic bristle brushes. They gave the mark-making I was looking for, but their lack of precision meant that I wanted to get the fur mostly down before I addressed those more tightly detailed areas.
After I finished the painting, I varnished it, and then worked on the halter rope before gluing and clamping it onto the basswood panel.
LSU Vet Med Artist Residency Journal 4
Over the weekend, I had dinner with my good friend Dr. John Pojman and his wife and came into the studio and painted. The following week was mostly focused on my studio practice as well, but there were a few interesting events! The first is that some anatomy folks asked to meet with me, and then after I showed them my studio and its current state of affairs, I followed them back to their lab and nosed around. They had a veritable stockpile of bones, as you might imagine, and also lent me some stain powders which I am excited to explore, though a bit less so now that the methylene blue counter stain has revealed itself to be unstable in coloration… but I still want to see what these others can do, and there’s one made out of lichens that sounds pretty promising.
After sleeping on our conversation, I went back and borrowed a giant bucket full of duplicate bones, as with permission from the school I decided I would create a small body of ceramics with bone impressions for texture. I had been so convinced I would not do ceramics down here though that I didn’t bring any tools along. Thank goodness I got the Morningside University Ver Steeg grant, as I might’ve otherwise balked at the cost of buying new ones! I went to the primary pottery supply store in Baton Rouge and picked up tools, a 25lb bag of white stoneware, and three glazes which I hope to combine together in a way that both accentuates the texture while being reminiscent of bone. We’ll see - I don’t really have time to troubleshoot any part of the glazing, so que será, será.
On Thursday evening, my former graduate faculty member and mentor Kelli Kelley hosted a shindig at her house for me to introduce me to some of her recent MFA alumni and current MFA students. It was really kind of them all to spend this time with me, and I enjoyed seeing Kelli’s studio again - it’s perhaps my platonic ideal of studio. It’s big, has a lot of table space and an extremely high ceiling, and just generally cultivates an air of peaceful, creative energy.
After that gathering I made my way out to dinner with a new friend I made after moseying into Mo’s Art Supply - Emily Seba, a talented illustrator and prop designer who also manages this Mo’s.
The following weekend and beginning of the next week was spent busily crafting a small collection of pinch pots; I have to say that though my new tools are fine, I really miss my Garrity tools. (Buying more would take too long in shipping time though, so I made do with the instantly available ones from Southern Pottery Supply.) I learned that a lot of bones don’t really leave as much in the way of impressions as I’d hoped, but there were a few that served me quite well!
The Advocate Press Coverage
in Articles, Residencies
The Advocate, Louisiana’s largest daily newspaper, publicized my artist residency recently in their article “July 4 band concert and an artist-in-residence at LSU Vet School: the area arts and cultural scene” by staff writer Robin Miller on July 2, 2022! Here’s a link to the piece, and a screenshot of the first paragraph (though there’s more to the article).
LSU Vet Med Artist Residency Artwork 3
The adorable Nigerian Dwarf goat model is named Morticia, and she came into the large animal area in need of a Caesarean section. While she has been waiting for her labor to commence, she posed for me. The ways in which humans and animals coexist in domesticated relationships were inspiration for this piece.
Lineage is a mixed media painting incorporating goat halter rope, debudding tool marks, and acrylic on panel, 13.5x13.5x1.5", 2022.
LSU Vet Med Artist Residency Artwork 2 Process
As I mentioned in my first post about this painting, the coloration of the background comes from my novel usage of veterinary stains and medicine as art media, and I continued that color palette into the subject as well. However, there was a lot of trial and error in the creation of the background, and a cyan coloration that was produced ended up quickly going almost entirely fugitive (bleached out). I reinforced it with acrylic droplets as a final step, but as the painting continues to age, the background purple coloration is also beginning to fade. I may need to redo the whole background eventually, but right now I am adopting a wait-and-see approach!
This painting has already had a number of failed backgrounds, because two of the chemicals I tried to use for pigmentation clearly did not work from the start. The first I attempted was chlorhexidine, and the second was light green stain from Histology. “Wait a minute!” you might say to yourself. “Those chemicals are still listed in the mixed media!”
You’d be correct - I left them in because I kept sandwiching new chemicals between layers of acrylic medium, and I can’t be sure that some of those initial layers didn’t create the compositional effects that later resulted from the Diff-Quik methylene blue counter stain. That is the chemical that brought both the purple and strong cyan into to the background, but the cyan came from watering down or thinning out the stain and it began going fugitive quickly. The purple stuck around long enough that I thought it was permanent, but now it too is beginning to fade. I’ll continue to update you as to where this painting ends up, in terms of both aesthetics and process!
LSU Vet Med Artist Residency Artwork 2
Here’s my second finished piece from my LSU Vet Med artist residency! I’m still mulling over the title - my current tentative selection is Wild Card, but I’m open to other suggestions.
I’ve met a lot of very cool animals here already, so this is high praise indeed - this is my favorite animal I’ve met thus far. ZooMed has a superstition they observe: you cannot name a wildlife patient, or its health will go downhill. This little fellow therefore doesn’t have a name, but he’s a real character. He has charisma and attitude in spades. When I arrived, he was a nestling and still had these “Einstein” feathers he’s rocking in the below image, but he’s now a fledgling and is getting closer to release every day!
I specifically chose the elongated landscape aspect ratio of this panel as mimicking the dimensions of the pathology slides. The coloration of the background comes from my novel usage of veterinary stains and medicine as art media, and I continued that color palette into the subject as well. However, as you’ll understand more clearly in the process post I’ll make soon, there was a lot of trial and error in the creation of the background, and a cyan coloration that was produced ended up quickly going almost entirely fugitive (bleached out). I reinforced it with acrylic droplets as a final step.
This is a mixed media painting of a wild brown thrasher nestling including Clinical Pathology's Diff-Quik methylene blue counter stain, Histology's light green stain, ZooMed's chlorhexidine antiseptic, and acrylic on basswood panel, 10x20x1.5", 2022.
LSU Vet Med Artist Residency Journal 3
in Residencies, Interviews, Vendors
The following weekend I went to a Baton Rouge Cactus & Succulent Society sale due to a member who passed away and left some of his collection and pottery to the society; in order to make the most of the event they also put some tropicals and leftover bromeliads from the previous weekend’s sale out for purchase as well. I picked up a few nice plants and a large quantity of small ceramic pots as they were selling them for absolutely rock bottom prices - I think I paid a bit less than $1/pot. I also stopped by an estate sale happening nearby and then had some Vietnamese, followed by stopping in at an Vinh Phat Oriental Market and getting lychee! I love fresh lychee (I was a bit sad they didn’t have any mangosteen though). I also visited a friend and neighbor of Sandy’s named Pat who is a big art collector, and it was fun to see her collection and her house in general - it was a beautiful home. She had invited local artist Joy McDonald over too. Her artwork is very playful!
The next work week (June 13-17) I spent more time with the farm animal folks and met a couple more cute goats, visited the wildlife areas (main building and flight cages) quite a few times, and observed some ophthalmology appointments. I also booked a session with epidemiology to photograph mosquitoes, specifically Aedes aegypti. This was a more involved process than I’d have thought, involving first feeding the females a blood meal, popping them into a freezer just to slow them down/stun them, and then tweezing them onto a metal tray partially perched upon ice, which I could move further away from the ice to thaw them out more or push towards the ice if they were getting too mobile. Aedes aegypti are dimorphic; the males only feed on nectar, so their abdomens are quite thin in comparison while their antennae are lusher than those of the female mosquito.
On Friday morning I was interviewed live on KADN News 15! I will post separately if I can find a video clip to share, but it was a short info piece about the fact that I’m the inaugural artist in residence at the LSU School of Veterinary Medicine, what that’s like, where I’m from, and when my residency exhibition and artist lecture will be occurring.
I also spent a good amount of time in the studio, of course!
Below are photos of my documenting/participating in a red-shouldered hawk’s release, a social media post from the LSU Museum of Art advertising my wares, live mosquitoes on ice (really, even the ones that are upside down), and some anole sightings including a hitchhiker from Florida on a bromeliad, two anoles mating, and the smallest anole I’ve ever seen next to my pointer finger for scale.
LSU Vet Med Artist Residency Artwork 1 Process
I tend to be pretty bad about taking process photos, but I’ve been trying to be more intentional about it for this residency! Here are several images of Fortification in progress, culminating in the finished artwork.
LSU Vet Med Artist Residency Artwork 1
I always aim to capture a sense of place or atmosphere in my residencies, and in this artist residency at the LSU School of Veterinary Medicine I have decided to incorporate medicines, pathology and histology stains, as well as veterinary chemicals, tools, and resources into each of my pieces as art media. (I have no idea how archival some will be - particularly how lightfast and stable the pigmentation of the medicines, stains, and chemicals is - but the evolution of how the artworks age will be interesting to witness and document, too!)
As you may already know, I work on multiple pieces of artwork simultaneously, so the first piece I start isn’t always the first to finish. This piece is actually the second one I began! It is of a Mississippi kite which is a beautiful raptor, and there were three here upon my arrival - two wild kites and one that has been habituated as an ambassador or resident raptor. The depicted wild bird is in a defensive stress posture, trying to look as big as possible so as to protect itself from predators.
This artwork incorporates ZooMed's PVP Prep Solution: povidone-iodine 10% topical antiseptic (also known as Betadine) and Integrative Medicine's AcuZone smokeless moxa-rolls for both the background and feet. There’s also a bit of the Betadine on the eyes over a base of acrylic.
I have titled this piece Fortification, and it is a mixed media painting including the aforementioned veterinary materials as well as acrylic and cornstarch on basswood panel, 20x20x1.5”, 2022.
LSU Vet Med Artist Residency Journal 2
in Residencies
Over that first weekend, I attended the Baton Rouge Bromeliad Society Show & sale, went to a Beatles cover band concert by the Remnants (they did play one CCR song, which is more my jam), listened to the artists’ talks for the Baton Rouge Gallery’s current four-person exhibition, spent some time in my host Rob’s studio (mine still hadn’t been made available to me yet) and took a 4.5 mile walk around University Lake to try out my new camera!
Let me back up. After I agreed to take on this residency, I applied for and was awarded a Morningside University Ver Steeg Faculty Scholarship Grant to help cover associated costs. These include the mundane, like mileage, but also the exciting: a new camera and larger substrates than I have been typically using as well as more paint/mediums.
My old camera is a Sony RX100 II, and I adore it. However, it is eight years old and it’s having ever-more-serious issues; when I wrote the grant application a couple of months ago, I shared that “it is having problems focusing, retracting its lens, and opening and closing its automatic lens cover.” However, it has now also factory-reset itself and then later during a photoshoot the screen showing the previous photo wouldn’t clear and the camera behaved as though I was taking a new photo of the previous photo including trying to adjust focus. It’s not dead yet, but its reliability is heavily faltering.
Eight years is a significantly-above-average lifespan for a digital point-and-shoot camera, and I am a heavy and hard user; this camera has been to the Amazon rainforest, Iceland, and everywhere else I’ve been in the past eight years, and it has put up with internal condensation, ants, and all sorts of environmental conditions. My previous two cameras maybe averaged three years each? So I have a lot of respect for the Sony RX100 series.
My new camera is therefore the Sony RX100 VII. On my test-drive walk around the lake, I took photos in shade, in light, of still objects, of animals, from close range and at distance. Some differences I noted pretty quickly: the zoom appears to be better, and there’s a forced-focus feature. Much like on a cell phone, you can press on the large glass touchscreen view on the back of the camera and force the focus. At first, I was absolutely in love with this feature. I still think I’d elect to have it, but there is a downside; any time you touch the back glass, you’ll set it - even if you don’t mean to touch it at all. Then you have to figure out that it’s been set, and at that point you will need to manually clear it.
When I returned to the vet school on Monday, I was given the keys to the kingdom: my badge which allows me access to my studio as well as all other gated-off areas not for public access, and the door key to the studio itself (a temporarily converted conference room). This week I also met with an epidemiologist specializing in mosquito-borne viruses, wildlife medicine, and integrative medicine. I visited the clinical skills laboratory and the histology labs, spent a bit of time in the farm animal and equine areas, got to watch a red-shouldered hawk release, and began to delve into my studio practice.
In addition, I went out to dinner one evening with my former graduate school professor and mentor Kelli Scott Kelley, and then we took in a jazz concert afterwards!
Also a big thanks to Sandy Sarr, the LSU School of Veterinary Medicine’s Communications Coordinator and my primary point of contact, for documenting my residency so well. I rarely get so many good photos of myself in action!
LSU Vet Med Artist Residency Journal 1
in Residencies, Vendors
When I agreed to do this new artist residency at the LSU School of Veterinary Medicine, my initial assumption was that I’d fly down. However, upon deeper thought, that seemed like it’d be very expensive in that I’d then need to rent a vehicle for two months. I decided I’d instead drive down to Baton Rouge, which is approximately 16.5 hours away from my home in Sioux City.
I broke the drive into three days - on the first day, I finished packing and loaded the car up and then went down to Leavenworth, KS, to visit my very good friend, former colleague, and amazing artist Susan Nelson. The following day, I drove down to Benton, AR, where I had booked an AirBnB ahead of time. Then the final day I made my way to Baton Rouge, LA!
Some observations: It was extremely windy when I left IA (in fact, it was under a tornado watch) and it remained windy until I got south of the KCMO metro. In terms of roadkill, the main species in IA, KS, and most of MO were raccoon followed by possum. Then in southern MO through AR and LA, armadillo was the most common.
I arrived on a Tuesday evening and I met my host: the talented artist Rob Carpenter. He’s a retired art professor from Nicholls State University, and he graciously offered to house me for free in his “auxiliary dwelling unit” or “microtel” as he describes it. It is the smallest space I’ve ever lived in, so it is a novel experience for me. Rob and I then were treated to dinner with Sandy Sarr, the LSU School of Veterinary Medicine’s Communications Coordinator and my initial and primary point of contact.
That following morning, I arrived at LSU Vet Med to get onboarding processes begun and receive some orientation. The next two days were filled with meetings - I met a neuroscientist, an equine surgeon and an equine internal medicine clinician, a DNA researcher, and a clinical pathologist. As a part of these meetings, I explored several laboratories, became relatively familiar with the large animal (equine and farm animal) hospital, and met possibly the world’s cutest two-day-old baby Nubian goat.
In addition, I attended a Baton Rouge Gallery opening for their current exhibition of four members’ work: my host Rob Carpenter, Mary Ann Caffery, Theresa Herrera, and Brian Kelly. It was a hopping reception with a live jazz band, food and drinks, and lively conversation. I had decided to walk there as it was only a 20-minute walk from Rob’s house, and I was reacquainted to the fact that a lot of neighborhoods in Baton Rouge do not have sidewalks.
I also met with the LSU Museum of Art store manager, who looked over the originals and prints I brought down with me, and selected 49 reproductions they’ll put up for sale. While we were doing so, it began do downpour (I forgot how frequently it rains in BR!) so I popped upstairs and checked out the museum itself. By the time I was done, the rain had temporarily ceased and I was able to load back up without getting everything wet in the process.
I'm the Inaugural Invitational Artist in Residence at the LSU School of Veterinary Medicine!
in Residencies
I have extremely exciting news - I have been invited to be the inaugural artist in residence at the Louisiana State University School of Veterinary Medicine this summer 2022! This brand new program is the first artist residency at a veterinary school in the United States, and it’s a huge honor to be asked to set the tone. I’ll be completing a two-month residency in June and July, with an exhibition at the end of July as well as a public lecture sponsored by the LSU School of Art.
Below is a screenshot of the email announcement sent out to LSU, and you can check out their webpage about it here.
Whiterock Conservancy New Artwork: Surface
I just finished my second relief from my Whiterock Conservancy residency earlier this summer! This piece depicts an American bullfrog, Rana catesbeiana syn. Lithobates catesbeianus, floating on the surface of one of Whiterock’s turtle ponds.
Here are a couple of process pictures of the underlying QuickCure Clay relief. I began by sculpting the above-water portions of the bullfrog, and then added patches of algae as well.
After I finished the relief elements, I began to paint! I’m pretty pleased with the end result. I finished this piece with two coats of gloss varnish to contribute to a wet appearance.
This is Surface, 12x16x2”, QuickCure Clay relief and acrylic on basswood panel, 2021.
Whiterock Conservancy New Artwork: Attuned
This is the first figurative piece I worked on at Whiterock Conservancy - a relief portrait of a small species of frog I found in abundance at the river shoreline. The Blanchard’s cricket frog, Acris blanchardi, is an endangered or threatened species in three states so far and is listed as a "Species of Greatest Conservation Need." It is considered a type of chorus frog, and is one of the smallest species of frogs in Iowa. Surprisingly (to me, at any rate) it is also considered a type of tree frog despite being semiaquatic and therefore not having the toe pads of their arboreal brethren.
As always, I began with a contour line drawing. My goal with this piece was a stylized, squashed relief reminiscent of antique bronze relief doors, so after finishing the drawing I began laying in the QuickCure Clay relief. Here are two process photos showing the beginning of that QCC work.
At this point, I got too involved in the actual creation to pause, so we’ll skip ahead to the finished work! This is Attuned, 14x11x1.35", QuickCure Clay relief and acrylic on basswood panel, 2021.
