Residencies

Whiterock Conservancy Journal 2

The fourth day of my residency at the Whiterock Conservancy involved taking the Gator UTV out to the Garst Farmhouse Historic District - a long trip! We saw a coyote for just a moment, and several turkey vultures. There was also a ridiculously friendly miniature donkey at the farm who I enjoyed making the acquaintance of. I didn’t take many photos on this day as I had discovered to my dismay the previous night when attempting to swap out and recharge my very low camera battery that I had somehow managed to overlook packing my charger and spare battery (which was charging in it). I’m still not sure how that happened; it’s one of the most important items to bring along and I’m usually so good at packing! I think it’s a combination of not having traveled much the past year along with a more procrastinated packing approach (admittedly in part due to the proximity of the residency).

I was just beginning to resign myself to needing to drive a round-trip five hour journey to retrieve it when my friends all came together for me and managed to send the charger and spare on their way with a friend who was arriving to join our party that evening. After she got here with my fully charged spare and the charger itself, I was so relieved! We celebrated by going on a five-person evening hike of the Shooting Star Trail. It has a lot of beautiful ferns, and I found two absolutely tiny wild strawberries which I harvested for chromatography purposes.

The fifth day of our residency brought another two of my friends and their children! We set off as a group of eight on a hike of the Pond Hopper Trail with its abandoned log cabin, explored the beach again, and checked out the River House Barn.

On the sixth day, the eight of us hiked the Riverside Trail and explored the 805 Cabin area. We then went on the Templeton Rye distillery tour in nearby Templeton, IA! In the late afternoon, we returned to the beach and I harvested some of the “blue” clay that is a part of the cliffside across the river while a couple of my friends played in the river and were nibbled upon by minnows. To get to the clay, I needed to cross the river, squelch through the very-eager-to-eat-shoes opposite bank, and then climb up a relatively steep cliffside before digging it out and trying not to gather too many rocks, roots, dirt, and other materials in the process. I didn’t get a ton of it - maybe six or seven pounds - as after the vein I was digging became exhausted, the others were all even higher and I thought they were too steep to tackle. Plus I was worried about trying to manage too heavy a weight on the return journey!

It was an even more precarious climb back down with the clay in hand, and crossing the river while laden also proved difficult! I resolved to go a second time and make use of the walking stick in the house to get some more from a bit higher up. The rest of the evening I cleaned most of the clay of rocks, pebbles, sandstone grit, and roots. One of my friends departed to start her own adventure hiking the Loess Hills for four days.

We took it pretty easy on the seventh day in the morning. I had been told that there was both “blue” and red clay in the land trust, but while I was told explicitly where the blue clay could be harvested, the red clay was just an aside. In the afternoon, we went on a Gator adventure to try to see if there was red clay harvestable in this other cliffside we’d seen on the way to the Garst Farmhouse. Unfortunately, when we got up close and started poking, it was all sandstone and solid rock; we managed to harvest about a teaspoon of red clay from one tiny little pocket! Later on I asked the groundskeeper who told me about the red clay where it was located, and he tried and failed to find it as well. He said it’s only harvestable in particular seasons/weather events and it’s just not possible right now.

Late that afternoon my two friends with their children also went back home, so it was just me and my two remaining friends who had arrived at night on the second day. We went on an evening Gator trip to see the final stretch of double track trail that we hadn’t yet explored on the other side of the bridge near the Garst Farmhouse, and were rewarded with a swooping show by a flock of swallows (which was nigh unphotographable due to their speed and size).

On the eighth day, we visited Des Moines as none of the three of us had been there before!

Whiterock Conservancy Journal 1

On my first day here, I unloaded my car which I had packed with art supplies, groceries, my bicycle, and a small suitcase. I’m staying at the River House, which is a very nice three-story house filled with art and books. I then headed over to Liz Garst’s house - she is the founder of the Whiterock Conservancy - and spoke with her and a couple members of her family for a while before heading back to the River House and testing out the Gator UTV.

The second day I met two of the groundskeepers here, and one - Amanda - took me on a small tour of the prairie loop, the abandoned log cabin and turtle pond loops, and discussed with me some ideas on good pigmentation and animal sighting opportunities. I shared with her that I have had a deep desire to see a wild tree frog for the past few months, and she replied that she sees them occasionally and will keep an eye out. I also rode my bicycle on the main trail loop that goes down through the campground and out past the turtle ponds, and met a couple of very nice women camping on the way! I spotted a number of turtles from afar as well as some frogs, geese, and dragonflies. I also harvested some plants and soil samples with the intent of doing some new chromatography artwork. In the evening, two of my friends joined me as my guests for about a week of my two-week residency!

On the third day, my friends and I ate breakfast together and then took the Gator UTV out for a spin, and I taught one of them how to use it. Then I biked the turtle pond section while they Gatored it, and we met at the top of the hill and hiked the Bluebell Trail together. It took us about 4 hours to get back to the UTV, but that was at a very leisurely pace and we collected a lot of chromatography material along the route! On the way back home, I passed Amanda and stopped to say hello; she remarked that she had seen a tree frog as well as a toad about five minutes previously near a tree and pointed it out. I hopped off my bike and went to search the radius, and I miraculously found the tree frog! He even held really still on the branch he was on while I took him out of the brush and permitted a decent amount of photos before he got froggy on me. That evening we were all invited to cocktails at Liz’s house where she shared more about Whiterock’s mission of conservation and sustainable agriculture as well as her family history - including a visit from Soviet Union premier Nikita Khrushchev during the Cold War to learn about hybrid corn from her grandfather!

Artist Residency at the Whiterock Conservancy!

I am currently attending a fully funded artist residency at the Whiterock Conservancy outside of Coon Rapids, IA! Whiterock Conservancy is a nonprofit land trust. I was invited to attend after applying along with a recommendation from my friend Terri McGaffin, who completed a residency here a couple months ago!

The residency is hosted at the River House, and the conservancy spans over 5,500 acres; as such, I brought my vehicle and bike along, but I have also been provided with a Gator UTV as a part of the experience. I wasn’t sure whether I’d enjoy driving a UTV around, but it turns out I do! As you’re motoring up a steep hill in total isolation and crest the top to see the landscape unfold around you, you can’t help but feel the wonder of both nature and human ingenuity.

Stay tuned for photos of my explorations, journal entries, and new artwork!

BROTA and Buenos Aires Series "Gardens of Memory" Wabi-Sabi

I know, I know… I made so much new work on this past summer’s BROTA residency in the Buenos Aires Botanical Garden that I still haven’t posted it all online yet - so here’s another reveal!

This piece is titled Wabi-Sabi because I think it’s reminiscent of Japanese wabi-sabi aesthetics. It is a mixed media piece including a NOID dried leaf collected from the Buenos Aires Botanical Garden, methylcellulose and toner photographic transfer, and matte medium on artisanal handmade paper, 14x11”, 2019. 

BROTA and Buenos Aires Series "Gardens of Memory" Dried Sweetgum Leaf

This is one of my favorite new pieces from this summer’s BROTA residency in the Buenos Aires Botanical Gardens! It’s a mixed media piece including a methylcellulose transfer of a photograph I took of a Monstera deliciosa collaged atop a dried sweetgum leaf (Liquidambar styraciflua). The support is handmade artisanal paper from Ato Menegazzo Papeles.

BROTA and Buenos Aires Series "Gardens of Memory" NOID Leaf Skeleton

Information is power. I try to ID all of the species I work with, as each species is important and adds layers of meaning and interest to my pieces. Accuracy is equally important however - randomly guessing at species IDs does more harm than good, in my opinion. The first leaf skeleton piece I shared with you, which incorporated a sacred fig or Ficus religiosa leaf skeleton, was identifiable due to its very specific and unusual shape. In this NOID leaf skeleton, however, the shape alone does not sufficiently distinguish the leaf from other trees in the Buenos Aires Botanical Garden. Since it is a skeleton, I also cannot use leaf color, texture, weight, and/or attached branches or flowers to contribute more identification information. Though I researched for some time hoping to find a conclusive match, I eventually had to concede that I cannot definitively identify the leaf species which is what makes it a NOID (a term we use in plant identification that - perhaps obviously - stands for no identification).

This artwork is mixed media including a NOID skeleton leaf, matte medium, and handmade artisanal paper and is 12.5x9.75” (unframed dimensions).

BROTA and Buenos Aires Series "Transmigration Landscapes" Failed Tests

I experimented with a number of different chromatography processes to learn which method would be conceptually and aesthetically strongest for my own practice. Two of the failed tests I did were interesting enough in their own right that I kept them, too, though as is evident they use a different technique that proved less effective at pigment differentiation than the process I used for the main Transmigration Landscapes.

These are, respectively, Failed Test 1 and Failed Test 3.

BROTA and Buenos Aires Series "Transmigration Landscapes"

I had my chromatography series Transmigration Landscapes framed right before moving, and so I’ve taken the time to photograph the pieces in their final form! From this Buenos Aires Botanical Garden collection, there are seven framed pieces each containing five loosely grouped chromatography plant portraits. The framed dimensions are 8.875x30”.

These are, in order:
Transmigration Landscapes : Arc
Transmigration Landscapes: Atmosphere
Transmigration Landscapes: Cadence
Transmigration Landscapes: Flare
Transmigration Landscapes: Percussive
Transmigration Landscapes: Reflective
Transmigration Landscapes: Vibration

BROTA and Buenos Aires Series "Gardens of Memory" Sacred Fig Skeleton

This is one of my favorites (I have several!) of my new pieces from this residency - it’s perfect in its deceptive simplicity. I say deceptive because work went into obtaining the components of this piece, from learning how to make banana paper while on residency in Peru, to sifting through hundreds of fallen leaves in the Buenos Aires Botanical Garden before finding this perfect leaf skeleton specimen, to discovering that the two suited each other beautifully.

This artwork is mixed media including a Ficus religiosa skeleton leaf, matte medium, and handmade banana paper and is 17x11” (unframed dimensions).

BROTA and Buenos Aires Series "Gardens of Memory" London Planetree Leaf

And here is another mixed media leaf piece in the overall Gardens of Memory series. This one includes a London planetree leaf, methylcellulose, toner, and acrylic on artisanal handmade silk paper.

BROTA and Buenos Aires Artwork Series "Gardens of Memory" Oak Leaf

This is another mixed media leaf piece in the overall Gardens of Memory series. This one includes an oak leaf, methylcellulose, toner, and acrylic on artisanal handmade silk paper.

BROTA and Buenos Aires Series "Gardens of Memory" Homes

My new photographic transfer technique using methylcellulose and toner doesn’t require a flat surface for the substrate, so I also created this piece Gardens of Memory: Homes. Eventually displayed on a small marble pedestal, it is a mixed media sculpture including a found snail shell, bird’s nest, methylcellulose, and toner. The piece is probably a little larger than you might imagine - its core dimensions without the pedestal are 5.125 x 5.125 x 3.5”. The snail shell is that of an apple snail, so titled because they can grow to the size of an apple. I sold this piece while in Buenos Aires to another artist, the very talented Masako Kano.

BROTA and Buenos Aires Artwork Series "Gardens of Memory" Sycamore Leaf Diptych

Here is a new diptych, meaning partner pieces that will always be shown together. Diptychs can also be framed or otherwise physically linked together, too, but in this case I am framing them separately. These are mixed media pieces including sycamore leaves, methylcellulose, toner, and acrylic on artisanal handmade papers. The first paper is a very eco-friendly renewable dyed banana paper that I collaboratively made on a former residency in Peru, and the second is a handmade silk paper from Ato Menegazzo Papeles in Buenos Aires.

BROTA and Buenos Aires Artwork Series "Gardens of Memory"

As you can see in this earlier post, I worked atop two very large trunk cross-sections for a permanent outdoor installation. I also worked atop smaller trunk and/or branch cross-sections as well. Here are four new pieces in my “Gardens of Memory” series. The series is so titled because the substrate is very directly a part of a once-living tree (paper is too, but in a more distanced form), and the images atop it are from various botanical gardens I’ve frequented.

BROTA and Buenos Aires Radio Interview

I’m on Argentinian radio! I was invited, along with Patricia and the woman who agreed to cater our reception with her waffle company, to join Radio Conexión Abierta on their program La Vida Moderna de Analía. It was an hour-long show, and it was held entirely in Spanish. We talked about my upcoming exhibition reception, art, BROTA residency, Kansas, the Wizard of Oz, and waffles.

Above are a couple photos from the interview, and if you’d like to hear it in its entirety, you can below!

BROTA and Buenos Aires Outdoor Installation Pieces

Here are two partner pieces I created to donate and install permanently in Buenos Aires after I leave with the help of BROTA! They are both mixed media pieces including acrylic, methylcellulose, toner, and marine varnish on a tree trunk cross-section, and will be diagonally mounted on wooden poles outdoors when installed. The institution that will host these works is yet to be determined. The two pieces are part of my Garden Memories series.

BROTA and Buenos Aires Artwork Series "Transmigration Landscapes" Preview

With permission from the Buenos Aires Botanical Garden, I have been taking plant samples and using chromatography to create a series of very literal plant self-portraits that also function as abstract landscapes. I am titling this series Transmigration Landscapes. There are 35 of these portraits, as well as 2 test designs that I liked enough to keep as well. Since I currently don’t have access to a scanner, processing photos of each to share clean images of the work requires a significant investment of time, so I figured I’d share a peek now with the promise of more to come!

BROTA and Buenos Aires Journal 3

Saturday I went out to see the ferias in Plaza Serrano and Plaza Armenia, and also just to walk around Palermo Soho, a neighborhood that is supposedly reminiscent of Soho in NYC. I ate at a vegan “fast food” restaurant which had Chinese-influenced vegan “hamburgers” of all sorts, but I didn’t think it was very tasty. Then Patricia and I made a night of it in the house, drinking champagne and eating pizza (which we burned a little by not understanding the oven since it was our first time using it). Everything in the house is gas, and the manual lighter that was built into the stove is broken so if you want to use it, you have to light a match, turn on the gas, and wait for it to catch alight in whatever you’ve turned on - even in the oven, which was a first for me! (I’m used to this system with ranges, but never before with ovens!)

Sunday Patricia took me to La Boca, a neighborhood which is famous for its painted houses which resulted from impoverished townspeople using random siding in various colors as their building material, which had the side effect of creating a very vibrant look. There are a few blocks that are extremely touristy in this neighborhood, but the rest of it is considered quite rough, so Patricia thought it best that she escort me. We wanted to have empanadas, but finding a restaurant that served several types of vegetarian ones took a lot of searching! Eventually we found a place that had corn and cheese, four cheese, and spinach and cheese ones, so I had one of each. The corn and cheese and four cheese versions were my favorite of the three. La Boca also is known for its football (soccer); there’s a stadium near the touristy area and this evening there was a game, so we left before fights and/or riots broke out on the street (apparently this is a thing that sometimes happens in Argentina).

Monday we were going to chill and I was going to work in the studio, but then we found out that there was a city-wide transportation strike of all modes on Wednesday and we were planning to have an excursion then, so instead we went to Puerto Madero, where there is a famous bridge called El Puente de la Mujer, which translates to “Bridge of the Woman” or “Woman’s Bridge.” It is meant to abstractly represent a couple dancing the tango. I don’t see it. I guess on the weekends this area is somewhat hopping, but Monday is a day when most stores are closed and Puerto Madero is mostly offices anyway, so though I appreciated getting to see it, I wasn’t super enthused with this neighborhood. We did stop for ice cream, though - I’ve been on a hunt this whole time for coffee ice cream, which no one has (this is the first time in all my travels that coffee hasn’t been a default flavor!), so Patricia recommended I try sambayón, which is a port flavored ice cream. I liked it!

Tuesday I went to the garden again. Patricia and I had been trying for over a week to get the garden to let us use two large tree trunk cross-sections that were just chilling in their space, but the garden had other plans for them. (My plan was to make mixed media installations with them to donate back to the garden in a permanent installation.) We then tried to see if they could make us some, but no luck. Then Patricia found similar cross-sections for sale on Mercado Libre, which is kind of an eBay/Facebook Marketplace for Argentina. Patricia didn’t have a profile so she figured I should set one up since I was going to be the buyer. This ended up engendering a cascade of issues, which I won’t bore you with, but several days later we managed to successfully purchase two. We also went to an opening reception for a former professor of Patricia’s, who was exhibiting mixed media paintings and some alcohol ink prints. I really liked the latter.

Wednesday was the strike day so I worked in the studio and on getting Mercado Libre to cooperate. The following day was also a studio day.

The next day I was feeling too cooped up, so I went to eat out in Recoleta and then walked a short distance to take in the famous Recoleta cemetery. The cemeteries in Argentina are all walled in, which is an interesting cultural difference. The interior is really surprisingly compelling, though - I’m not generally a big cemetery-tour person, but I really enjoyed strolling through this one.

Saturday I worked on art in the morning, and then met Patricia in Palermo Soho to see an art opening at a plant store in the early evening. The exhibition was cyanotype prints of plants, which was a good fit for the space! Then Patricia and I ate at a strange Middle Eastern vegetarian restaurant that had trippy videos of Jesus and Krishna playing. The food was okay but not stellar.

Sunday Patricia and I went out to the suburbs to see a more “countryside” area of Buenos Aires at the house of a friend of hers. We had lunch in an town called Ingeniero Maschwitz followed by ice cream - and this place had the closest to coffee ice cream I’ve seen here (it was called moka, but there was no apparent chocolate) and also had a fantastic flavor called rusa which was walnut custard.

Some general musings, in no particular order:

An Uber driver asked me if I was vegetarian out of nowhere and when I answered yes, he then said he could tell by my appearance. I asked what that meant, and he responded that I look healthy. Then he asked me how old I was and upon hearing my response he added that I look younger because I am vegetarian. I didn’t get the impression that he was vegetarian, but I should’ve asked. Two different drivers thought I was from Brazil, which is perplexing because I don’t know how my accent could read as Portuguese-influenced…

A handful of the words are different in Argentinian Spanish. Avocado is a weird one - I’ve never heard palta before. Many people here speak English pretty well - a much higher percentage than in Spain - though of course most of my conversations tend to be held in Spanish since we are in Argentina.

The house keys in Argentina are old school skeleton keys. Not just for my house, but others too.

I’ve read that Buenos Aires is the Paris of South America. I have to say that while I’m having a fantastic time on my residency here and love BROTA and the botanical garden, the city itself has suffered from the economic crisis in Argentina: it has edged out art and artisan products, independent restaurants, public transportation updates and improvements like e-signage, and so on. Petty crimes like pickpocketing are also more common. There is a lot to enjoy about the city nevertheless, but I’d like to see what it will become in a hopefully-soon-to-arrive more stable and prosperous period.

The traffic here is terrifying and parking is nonexistent. Natives often are scared to drive in Buenos Aires because there are no rules; I would never recommend a foreigner attempt to rent a car and drive here. I do wish the bus system was more understandable to me, though; I have no problems with using the bus system in Spain in various cities but Patricia was correct that this one, los colectivos, is not set up for easy outsider usage.

The house/mansion I am staying in is in a very ritzy area - apparently famous stars and politicians have houses here and a number of people have told me it’s a really good location. It is not near easily usable public transport like the metro (Subte) or trains.

There are tillandsia (air plants) EVERYWHERE and I want to adopt many of them. I don’t have a CITES certificate, though, so they’ll have to stay here.

BROTA and Buenos Aires Artwork 1

I’ve been working on two different series of artwork from the start using the new-to-me methylcellulose and chromatography papers, but both are very experimental and I’m not sure exactly what the finished products should even look like at this point. That’s why I’ve yet to reveal much in terms of production other than a couple early test images from the chromatography papers.

However, I started feeling anxious about how experimental I’m being - of course it’s good to experiment, but I wanted the comfort of completing a more traditionally “me” type of piece with a clear end point. Plus, I bought those artisanal handmade papers from Ato Menegazzo Papeles, and it would be a shame not to even work on some while here!

This not-quite-finished painting is of a dwarf water hyacinth, Eichhornia crassipes. The common names in Spanish for this plant are (as per Wikipedia): jacinto de agua, flor de bora, camalote, aguapey, lechuguín, tarope, tarulla o reyna. I chose this plant in particular because I love how graphic and full of character it is, and the fact that it’s an aquatic plant means that the whole of the plant, including its root system, can be shown in a figure-ground relationship that also celebrates the handmade paper. Water hyacinth is an ornamental plant that is occasionally consumed and used medicinally, but is also highly invasive in warm climates and is often illegal to own or sell. An interesting dichotomy that inspired my current tentative title: Adrift.

BROTA and Buenos Aires Journal 2

On my third day, I spent some time working in the studio. I brought some very new-to-me, experimental papers that I wanted to try to work with, so I started off with the methylcellulose paper. It dissolves in water, but if you print atop it with toner (using a laser printer) the ink is supposed to remain, floating, in the water. I wanted to see if that meant I could collage with it and if it would be a visually distinctive method. It turns out the ink doesn’t hold together super well - maybe because I didn’t just print straight black on it - but if you move quickly you can still catch the image though it breaks and twists in uncontrollable ways. I’ve always liked collaborating semi-chaotically with water, so this suits me well. That evening Patricia took me to an opening she was participating in: Art & Swap 19. Artists display their work, and viewers place Post-Its near any work they want to offer a “swap” for - I saw web design services, therapy sessions, artwork trades, and more - and contact info and if the artist is interested, they will negotiate a swap. The opening was a real event, with free food from food trucks (french fries, filled croissants, and mini waffles as well as coffee and beer)!

The next morning, Saturday, I woke up with a sore throat and a cold. I was grumpy about it because it is not my ideal way to spend residency time, but it’s understandable when flying, coming into contact with tons of new people, and visiting an area where you have no local immunity. I rested for a day, but then tried to get on with seeing Buenos Aires. I visited the Feria de San Telmo, which is a big open air Sunday market similar to El Rastro in Madrid. Unfortunately for me, El Rastro is more to my taste; the goods at the Feria de San Telmo were mostly leathers/furs, Mafalda cartoons, pipes, piedra rosada (a pink stone that is the national stone of Argentina, but I’m not into that shade of pink), and yerba mate mugs. None of those really appealed to me either for myself or as gifts, which is of course not the market’s fault. The prices were also relatively high, which I had been warned about. I did eat lunch at a vegetarian restaurant near the start of the feria, and that was nice, as was getting to see the feria and that part of the San Telmo neighborhood! On my way back, I stopped by the Feria de Recoleta, which was quite similar in content but smaller and in the midst of a park.

The following afternoon Patricia took me out on a search for several of the items I’d requested - starting with artisanal papers and spray fixative. Unfortunately neither of us realized what a chore finding artisanal papers would be… due to the ongoing financial crisis in Argentina, some of the stores we went to visit had shut, others had downsized their selections, and eventually we ran out of options for the day but Patricia had one last lead we’d look into later. We then went to her neighborhood to find me a mortar and pestle that I had decided I needed for a second type of experimental artwork along with isopropyl alcohol, and tried to hunt down a shop that would sell me prints-per-page on my own paper on a laser printer, in case I wanted to print more on the methylcellulose paper. Patricia also invited me to dinner, so when we were all done shopping for studio supplies she made Milanesas de soja with salad. Milanesas are a sort of patty, and can be made out of many things but these were soy because she likes them and I’m vegetarian. It was a good, long day.

The next day Patricia met me in the botanical garden to take a couple photos of me for her Instagram announcement post about my residency. I needed to go to the garden anyway to collect leaves for the second type of paper I wanted to work with - a filter paper that would allow me to practice chromatography. Using a mortar and pestle, I can grind up leaves and/or flowers with alcohol, and then the filter paper will soak up the solution and separate out each pigment layer - chlorophyll A, chlorophyll B, xanothophyll, and carotenes. Each plant will presumably have a different chromatography, so the paper rounds will function as abstract portraits.

The following afternoon Patricia and I journeyed to the final lead for artisanal papers: Ato Menegazzo Papeles. The owner is a very nice man who makes his own artwork, does letterpress and printmaking, and had a few handmade papers as well as a lot of decorative and stamped papers. I bought several sheets. Then Patricia had taken notice that I like tiles, so she suggested we go to a tile store. I was excited, as it would never have occurred to me to ask, but I do like tiles! We stopped by one with antique tiles and one that had some modern options. Unfortunately I had to limit how many I could buy as they are surprisingly heavy and there are luggage weight limits. I’ve also heard terrible things about the mail service in Argentina - unlike in other residencies, I’ve been advised not to mail anything back as it likely won’t ever arrive.

Thursday I spent gathering more plant samples from the botanical garden and Patricia and I stopped in at two exhibition openings in galleries on the same block that evening. Both were very small, but one had ceramic wall pieces that I liked. That brings us to Friday, which I spent in the studio again!