Leah Virsik

Together with some great help and valuable input from Claudia Lamar, Lanell Dike and Lorraine Bruce we put up my Dichotomy installation Tuesday evening at the Kensington Library at 61 Arlington Avenue, Kensington, CA. It’ll be up July 1–August 29, 2010. The library open hours are Mon & Tue: 12 – 8 Thu: 10 – 6  Fri: 1 – 5  Sat: 10 – 5.

di·chot·o·my: division into two parts or classifications, esp when they are sharply distinguished or opposed.

Acknowledgments
Thank you to my husband Tom for your patience and for listening. I appreciate you making me a priority and for helping me to clarify my thoughts for this project.

Thank you to Claudia Lamar and Lanell Dike for your enthusiasm and assistance in hanging this installation. Lanell, thank for suggesting a cleaner way of hanging and Lorraine Bruce, thank you for this opportunity and for asking me to exhibit in the first place.

“Meaningful Work”
mixed-media: paper, canvas, thread, collage, fabric, muslin, acrylic 7″ x 5″
©2010 Leah Virsik

I’m working on finishing up postcards for my show at the Kensington Library next week and trying to determine appropriate words for my process. I’m also thinking about my next question regarding the evolution of my work as I’m working through Alyson B. Stanfield’s Relatively Pain-Free Artist Statement e-book.

I started the postcards in November 2009 in response to inspiration from Jennie Hinchcliff and Carolee Gilligan Wheeler’s book Good Mail Day and Leah Piken Kolidas’ Art Every Day Month Challenge. I started these works as something that I could do quickly and post on my blog in an evening. I initially sent them out to a few people and then I held back. I wanted to hold onto them and now they’re turning into a sixty postcard installation project. The roots of this work is about appreciating the process and ultimately, myself. It’s about play, acceptance, non-judgment, love, messiness, experimentation, connection and exploration. It’s also about working fast and completion. On one hand, the work is great fun and I get lost in it and don’t want to stop. On the other hand, it’s really difficult work that I don’t want to do. I love the work and I can’t believe I’m getting away with it. All these contradictions…Dichotomy feels like it’s going to be a good title. Thanks Tom.

I’ve created this project, designed how it’ll look, put it out into the world, and am in the process of defending (or at least explaining/creating a story about) it to my audience and my inner critic. It’s my first wall… outside of the studio. At times, especially lately, I’ve felt down about it… how do I hang them? It’s not going to work the way I’ve envisioned… no, no it’ll be fine… Tom helped me and I bought some nails he suggested. I’m excited about the way they look on the wall in the studio now. How do I arrange them? By color? By date created? What if I’m hurrying too much and I’m not doing the work or myself justice? It’s painful or so I choose it to be at times. It’s all an experiment. This is a picture of where I’m at in the world today. Do I like the picture? At times, I really do, other times I don’t want to look at it. It’s my work and I’ll continue to do it.

Next post will be more about my process and about how my work is changing.

“Clingy” mixed-media: paper, wire, collage, muslin, acrylic, metal, aluminum, molding paste 4″ x 6″  ©2010 Leah Virsik

Sunday evening at 6 p.m. marked the end of the final weekend of Pro Arts East Bay Open Studios and I didn’t want it to end. I definitely faced some challenges during the busy times trying to juggle multiple situations and trying to do too much. But it was a good learning experience and hopefully I’ll handle it better next time. I had a lot of great visits from friends, family and neighbors. One woman saw my card in a café which was a nice treat.

I worked on creating more postcards for my upcoming Kensington Library show during the slower times. There’s something about being in the studio and working and having to be in there that is extremely satisfying. By the end of the day Sunday, inspired by a neighbors’ comment, I was using metal wire in my postcards like “Clingy” above. I’ll be working more with metal and jewelry in the future and hope to finish up some metal books. Ultimately, I’d love to get over my fear of fire.

I taught many people how to make mini books with my promotional postcard. Some people, like I mentioned in my last post, elaborated and added their own spin to my demonstration in inspiring ways. It is my intention to create a safe space that fosters this creativity and honors and accepts people where they are in their process.

As I continue to gain insight in this intention…I realize I need to start with me, create the space and let go. The magic will happen from there. Thanks Lanell for listening to me talk about this tonight and offering your insight!

Day One of Open Studios went really well. I decided to teach people how to make little books with my promotional postcard and my day went by super fast! Lots of great friends, family and neighbors came by. I really enjoyed teaching the kids, the adults too… but the kids are so interesting. They have lots of different ways of doing things that get the same results. I so appreciate this opportunity to learn and be taught by them. I want to connect with other people and build relationships and this is definitely a way to do just that.

Pro Arts Open Studios 2010
Saturdays and Sundays: June 5-6 and 11-12 | 11am to 6pm
My studio: 3934 Madrone Avenue, Oakland, CA 94619

Please join me this weekend and next for Pro Arts Open Studios as I open my studio along with 460 other Bay Area Artists. There are now four of us, on one block, open the first weekend! Karen Schwenk next door to me is open both weekends and Barbra MacNair my neighbor behind the fence and Robby Dickinson are open June 5-6.

Come learn how to make a mini-postcard book! If you’d like a postcard with an image of my book “Honesty” shown above, please let me know.

Bind Your Own Small SCRAP Journal
Saturday, July 10 | 1pm to 4pm
SCRAP 801 Toland Street, San Francisco, CA 94124
Entrance on Newcomb, between Toland and Selby

I’ll be teaching how to bind a small journal using a running stitch from all those interesting SCRAP remnants! $20 plus materials fee. To register: email workshops@scrap-sf.org or call 415-647-1746.

“Green Blue Landscape” pictured above

Solo Show
July 1-August 29, 2010
Kensington Library 61 Arlington Avenue, Kensington, CA 94707

I’ll have many small postcards on display. Come check them out if you’re in the area.

My photo above is Alissa Neglia’s Root to Crown, 2006 at Dejerrassi.

I was inspired by Andy Warhol’s quote “Either once only, or every day. If you do something once it’s exciting, and if you do it every day it’s exciting. But if you do it say twice or just almost every day, it’s not good any more.” This quote is in The Happiness Project I’ve been reading. I try to create every day. And if I don’t… what I do is around creating. I was trying to work on my art for 15 minutes in the morning and 15 when I get home. It does work well for small projects. Discipline can be quite the challenge for me. Do you have a art schedule or certain hours where you work on art?

Anyway, just want to share a bit of what I’ve been up to… Tom and I went on a really great tour of the Dejerassi Resident Artists Program by Dennis O’Leary, Executive Director of the Program. Very inspiring and good exercise! I mentioned I make books and Dennis’ wife, Catie O’Leary (who creates beautiful collages from original engraved illustrations from antique books) mentioned the Bedford Gallery’s show entitled Unbound: A National Exhibition of Book Art Opening July 11 where she’ll have a piece on display. Looking forward to that!

I was at SCRAP on Saturday taking Jody Alexander’s class on Wearable Books. I made “spitballs” from paper. The paper really does make a difference. We soaked paper in water and then rolled it into a ball. When they dry… mine still seem a bit damp, they can be made into beads or whatever. I love Jody Alexander’s work. Very inspiring! She’s teaching at Foothill College over the summer. One of the books she shared that she’ll be teaching is the cross structure binding by Carmencho Arregui. I am super enamored by that binding and very inspired to make it. I will learn it in the near future. In the meantime, maybe I can learn how to make this sweet little “package”.

Now why am I inspired to make that specific book structure and package? That’s part of my next question working though Alyson B. Stanfield’s Relatively Pain Free Artist Statement workbook. I had an emotional response to that book. It was a small criss-crossed leather notebook with embroidered knots, ledger paper and Jody Alexander’s handwriting. It was so precious to me… I asked to see it again. I had never seen that type of binding before. I think I thought Keith Smith was the only book artist making up book structures. I felt a bit obsessed trying to figure out more about the binding. I’m fascinated by construction, structure and three-dimension.

Tonight I went to hear Val Britton and Jeff Hantman (who coincidently did a residency at Djerrasi) give talks about their work at Kala’s Fellowship Talks. I’m went because I’m curious about Val Britton’s work and how she’ll be influenced by her upcoming residency at Recology SF. I didn’t know of Jeff Hantman but I really enjoyed hearing about his process. He started by showing works on paper and then on wood. He then started learning to bend the wood and applies collage and printing to the surface. What seemed the most interesting to me was how important it is for him to create his “surface”. And really it’s not about surface, the whole piece is his art… I felt like I could relate in that I really enjoy the construction of creating a book… the process of learning how to construct, build something. As I’m writing this, I realize my struggle has been wanting to unify the construction of the book and what’s inside the book. Sometimes, after I make the book, I’m not as interested in going back into it with writing, collage, etc. So if the binding is the last thing I do, then it’s more unified. I’ll definitely need to explore this topic more.

mixed-media book: (running stitch) paper, thread, wallpaper, beads, button, eyelet, elastic
2 5/8″ x 3″ x 3/4″ ©2010 Leah Virsik

My books are getting smaller and smaller lately. I’m using up scraps of paper, mostly and preparing for a class at SCRAP on Saturday, July 10th from 1:00 to 4:00. More details soon!

Still working through Alyson B. Stanfield’s Relatively Pain-free Artist Statement e-book. I’m on a tough question about categorizing my work. And partly I think because I have two different things I do… books and abstract paintings… which at times overlap. Currently, my book focus has been on binding books by hand. Some of my books are one-of-a-kind artist’s books but many are blank books. My blank books are one-of-a-kind as well with emphasis primarily on the cover and the binding. I really feel like I’m in the middle of my creative process and I’m not quite sure which direction I’ll go. I’d like to create more artist’s books but I also get a lot of satisfaction out of quickly making a handbound book. Lately, I’ve been making books as examples that I can teach.

My abstract paintings, abstract expressionism for lack of a better classification, consist of many layers and elements, including paper, paint drippings and eggshells. I work on them without intention until I feel they are done. I’m motivated by color and texture and how they interact with each other on the substrate. My books on the other hand have a very specific intention, measurement and precision.  Lately, I’ve been experimenting a lot with sewing, embroidery, and quilting, incorporating these elements into my books. I try to work fast with a relaxed focus… working with the piece as it develops.

A moment to brag…my husband is the best! Tom drew this over a year ago on a pad of paper and I just discovered it this morning! What a nice surprise! It’s fun stuff like this that really makes our relationship special.

I’m enjoying reading Gretchen Rubin’s “The Happiness Project Or, Why I Spent a Year Trying to Sing in the Morning, Clean My Closets, Fight Right, Read Aristotle, and Generally Have More Fun”. She quotes William Butler Yeats: “Happiness is neither virtue nor pleasure nor this thing nor that, but simply growth. We are happy when we are growing.” As a life-long learner, this makes so much sense to me. I’m coding email campaigns at work and I enjoy it tremendously because there’s so much for me to learn.

In my last post, I wrote about my artistic influences and even though it was extremely long, (thanks to those of you who read it!) I feel like it could be even longer because I’m surrounded by so many things that inspire and influence me. I always love a good story and I’m always inspired by good storytellers. Currently, I’m enjoying reading Lisa Occhipinti’s blog who I discovered via Cloth Paper Scissors. When I think about storytelling, I think about my sister Erin, and conversations of us being verbally challenged. So nice to have other methods of communicating, through writing and visual images. Erin has a very inspiring blog, entitled Butter Badge, where she documents the food projects that have taken over her weekends. She’s very passionate and I’m waiting for her book to come out!

“Believe” acrylic/collage: paper, acrylic, rub-on letters 6″ x 6″ ©2010 Leah Virsik

I found this quote going through some high school memorabilia…

“We are all guilty of crime, the great crime of not living life to the full.  But we are all potentially free. We can stop thinking of what we have failed to do and do whatever lies within our power. What those powers that are in us may be no one has truly dared to imagine. That they are infinite we will realize the day we admit to ourselves that imagination is everything. Imagination is the voice of daring.” ~Henry  Miller

I’m continuing to work through Alyson B. Stanfield’s The Relatively Pain-Free Artist Statement e-book. This time I’m working on writing about my artistic influences.

I was recommended a book on encaustic and after looking through the book, I looked up the author online and found out she was teaching at an Artful Journey. Totally engrossed on the Artful Journey site, I temporarily forgot about encaustic and became fully enamored with DJ Pettit.  I was taken by her books and her stitching. After discovering her,  I started doing some “renegade sewing”. My mom taught me how to sew at a young age but what I remember most is jamming up her machine with thread and feeling incredibly guilty for “breaking” her machine. Now when I jam it up, I fix it myself, without guilt.

Artist, Teddy Goldsworthy-hanner referred me to Daniella Woolf who works with encaustic and books. Ahh, heaven!

Tom and I were getting our marriage license at Oakland’s Clerk Recorder’s Office and I was mesmerized by a button portrait by Lisa Kokin of her father. When I read that she taught classes, I knew I wanted to meet her and study under her.  This huge portrait of buttons was something I had never seen before. I was in awe… up close it was a mass of buttons and mixed-media and from a distance it was a portrait of a man. Anyway, as I’ve had the chance to see more of her work, what really stands out for me is her thoughtful process, conceptual approach and her delightful humor. I connect with the layers and depth of meaning in her work.

I really appreciated Robert Rauschenberg‘s concept for his Erased de Kooning at the SFMOMA. I especially loved his piece entitled Hiccups at the SFMOMA as well. Unfortunately, no photo but it was long: 9 in. x 752 in. (22.86 cm x 1910.08 cm) made up of prints, solvent transfer and fabric, with metal zippers on 97 sheets of hand-made paper. Another obsession of mine… long, massive works… it’s intriguing. Creating something bigger than myself in many ways is important to me. I appreciate Rauschenberg’s collage and paintings and the raw, organic feel to his work.

I got to see an incredible retrospective of Mark Rothko’s work at New York’s Whitney Museum of American Art. I almost wonder why I was so taken by this exhibit. Was it the docent, the exhibit or his work? It was probably the entire experience. I could sit in front of one his piece’s at SFMOMA for quite a long time just being. I’m attracted to his work because it’s massive, dominating in a way, peaceful, abstract, colorful and simple.

The Slanted Door in San Francisco had some Rex Ray pieces on display for awhile. That may have been where I first saw his work. His work has a lot of precision, especially some of his bigger pieces that I’ve seen at Gallery 16. I’m attracted to that precision and obsessiveness. As I’m writing this, it reminds me of the obsessive quality of Lisa Kokin’s work. I’m particularly attracted to repetition as well, as in repetition of elements. Some of Rex Ray’s smaller pieces are covered in resin which I’m quite attracted to… that highly shiny quality. I use resin in some of my own works. I’d like to try it with paper at some point too.

Kiki Smith, Eva Hesse and Helen Frankenthaler are some other artists that come to mind. Kiki Smith does a lot of work with the body and sculpture and ties it in really well with storytelling. When I think of Eva Hesse, I think of strings and large installations, the color white and an ephemeral quality. I remember connecting to Helen Frankenthaler’s paintings and the fact that she’s a woman.

Other influences in my work: I mentioned repetition and I have done some screenprinting and letterpress work. There are multiples that come out of printing. I create advertising for a living and it’s printed in multiples, hundreds of thousands at times. I’ve often wondered about what can be done with the leftovers, other than recycling. I’m influenced by what goes in the garbage. What else can it be used for?

I began my career designing newspaper advertising. At my brother’s graduation from U.C. Berkeley, I remember seeing a newspaper on the ground, it was garbage, but I had created the ad on that paper that no longer had value. It was quite depressing at the time. But now, I see it as a challenge… how can I create value in something that has outlived it’s original purpose?

Thank you for two incredible years! Looking forward to more with you. xo

Click on photo or here for artwork details.

A week ago Friday, Tom and I had the pleasure of seeing San Francisco Film Society present An Evening with Don Hertzfeldt. Wikipedia states that “Hertzfeldt has never held any job other than creating his own animated films, not even in his youth.” This intrigues me. My curiosity was appeased when he asked the audience to thank his parents for never pressuring him to do anything responsible in his life. Wow! I appreciated him sharing that. And even more than what you’re given, it’s what you do with it, that matters. Nice to see an example of a working artist who was given a lot of freedom and has created his own unique, successful direction in a non-commercial way.

I’m continuing to work on Alyson B. Stanfield’s Relatively Pain Free Artist Statement e-book. I’m on the third question and it’s getting difficult. On a side note, I’ve started flossing on a regular basis. It just clicked, I made a decision and decided how I could fit flossing into my routine. What I’m really talking about is self-discipline and that’s what I’m dealing with as I continue blogging and working through Alyson’s questions. Eventually, I’m hoping it’ll become “just what I do”.

I’m writing about my experience creating the book above entitled “Honesty” at an incredible retreat: An Artful Journey with DJ Pettit in February 2010. My biggest takeaway was that it gave me the desire to teach differently. I’ve been teaching some project-based book binding classes and while I enjoy them, I’d like to encourage my students to do work that is their own. I’d like to teach technique, not necessarily specific projects and really encourage students to do work that speaks to them. I want to provide less materials, less control and more freedom.

In teaching bookbinding classes, I’ve provided the majority of the materials. It’s been an easy way to focus on the binding technique. It’s similar to what I’ve learned in other bookbinding classes I’ve taken. Occasionally, students will come up with alternative ideas from what I demo and I’ve been encouraged. I want students to think about how they can make their work theirs. I want to teach technique, share inspiration and create a more open, creative structure that doesn’t stifle the students’ freedom.

I’d like to create a space where students make work that oozes their passion and personality. I want to bring people out, connect with them and help them connect with themselves. When I saw DJ Pettitt’s work on her website I knew I had to study with her. Her books, her texture and colors… I was drawn to her. I felt I wanted to learn to paint on photographs as well but late Saturday night at the retreat I wasn’t so happy with my photograph paintings. I got a chance to connect with DJ. She appreciated my photography and suggested I could use my own photos by themselves without painting over them. I was encouraged. She also said, “You don’t have to do anything you don’t want to do” and relayed a sweet story about her husband. It made sense. When I struggle with something, I need to look and be super honest with myself… What is my purpose in doing this work? Am I really enjoying it? What I had really been enjoying was my previous day ‘s art where I was making a “mess”, painting abstracts and creating a lot of work in effortless excitement. I focused on that fun, inspiring work and cut it up into smaller pieces (with some inspiration from Kelly Warren!) and created the book above out of my work that really spoke to me.

I know there’s a learning process and things don’t always come easily and immediately but if I focus on what I most enjoy, I produce my best work. When I go back to projects that I haven’t finished, many times I’ll realize why and be gentle on myself for not finishing them. I made more books this weekend. That’s something that just comes easily. I’m a little obsessed.