I was so fortunate to find studio space at the snug harbor cultural center on Staten Island. The space was small by I shared a giant hallway with other artists. Knowing that other creative minds were so near helped to close up the alienation and loneliness known too deeply by American artists. In this environment, I felt my work grow and become bolder. This sketchbook reflects, again, ideas for paintings, observations from life, and the unending flow of just simple visual thought that would come to mind or visual translations of something flashing by. In 1993, Barry and I had returned to Cancun; A few sketches here of that: the surf, the beach, the winds. I spotted a bird on the grounds of the hotel (I saw many birds on this trip but I had my Mexican bird book, not my Peterson or National Geographic) - on that I simply could not identify. But after making a brief sketch with field notes, and returning home for access to proper references it was a pine warbler, my first I have to add.
In 1993 I had to finally have an operation on my right wrist for carpel tunnel, condition from which I had suffered for years. the situation was becoming unbearable, however; could not sleep due to numbness in my right hand. The operation was successful; I thought it miraculous how much recovery I gained. But the healing process took some time. With my right hand on the mend, I decided to do a bit of "awkward" work with my left. The drawing was so awkward, it looked gawky and childlike. So I proceeded to do a visual story to do a visual story I had wanted to do for a long time. When my sister, Sandra, and I were children, we got to spend two weeks the summer with our mammother and grandaddy in Bervard, N.C. They lived in a lovely little cottage on Probart street. Mamother (our maternal grandmother) loved and spoiled us. My grandfather (grandaddy) worked at a papermill in Bervard called, at the time, Ecusta. Our stay with mammother was a respite from the oppression of my father especially for Sandra. Staying with mammother was like staying at a magical place. She fulfilled a child; dream of being adored, spoiled, and indulged. She knew how to let us have fun. Each day with her was golden.
As I write this at the age of 61, my memories of those special summers serve to bind my sister and me. Our hearts melt together as we recall every detail of mammother and the little house.
With my left hand, then, in 1993, I started the first of several starts of that childhood story.
This sketchbook, too, shows entries that reflect visits to galleries in the city. I always tried to take visual notes of pieces of work that impressed me, or, to saym had a powerful impression on me. Good or bad. Paul Trajman had a powerfully good impression on me.
April 30, 2010
|I.D. #||Title - Description||Medium||
|7||007||"the forever rectangle"||graphite|
|10||010||people on the beach||graphite|
|11||011||winds near the beach||graphite|
|12||012||"Palm Warbler seen morning of 24th of January, Omni Cancun"||graphite|
|16||016||"Our ambassador to the U.N. Madeline Albright as seen on TV"||ink|
|17||017||figure kneeling in the dark||ink|
|23||023||"Gretchen Faust Kevin Warren
Pat Hearn Galler 39 Wooster St. New York, N.Y.10013
|24||024||"Plain brown wooden whlitar chair
dark navy blue
|26||026||Paul Trajman copy||ink|
|27||027||[written backwards]||ink on printer paper taped to the sketchbook|
"One day when me and Mama other were in the porops there came a autfen bowvpous . We covlbirt pet back to the house because it was rainingas hard. But Momma ther told me that the falline rainbrog hittina it puddle were really elap ont tiny banera, fairie porsing up yuon the water btahaw bie looteb ot rainbray ever sinre. Wotoling a puddles driving a rain was like wotthing a favorite doll."
|31||031||two female figures||graphite|
|33||033||two figures sitting in rocking chairs||ink|
|38||038||"Me and Sandra escaping from the wolf"||ink|
|39||039||five human figures surround a wolf||ink|
|41||041||figure sitting on a tree branch||ink|