Lynda Schlosberg

Selected Work : Statement : Résumé : Exhibits & Press : Contact : Links : Blog : Facebook

Where the Process Creates the Answers
 


Archive for the ‘Studio’ Category

Transparency: Where to start?

without comments

With so many different directions to go in, I’ve been thinking a lot about where to start? Most of my paintings in the last several years have started with pooled colors that I then respond to in a variety of ways. But with a painting of this size, I want a plan as to where I’m going. I can’t get half way through, and corner myself with a color or compositional problem, that could be really costly to fix due to the sheer size of the piece. Plus, I have a client that wants a general idea of what they are getting, and I need to deliver it on time for the lobby opening. I can’t get stuck for a month trying to resolve a problem, which—let’s be realistic—might happen anyway!

On my way in to the studio last night, I saw a card of mine that caught my eye. It had a detail of a small painting I had done a couple of years ago on it, where I used cheese cloth as the basis of one of the layers. It gave me an idea…. I took some cheesecloth I had laying around in the studio and I projected it 8-feet high on my studio wall:

cheesecloth-projection-0440

I was excited about the potential of using this as an idea, or at least as part of the process, so I decided to make a large marker sketch (this is about 4 x 5 feet) to get a feel for the pattern it made, and how I might manipulate the negative and positive shapes. Too literal here, but the idea is taking hold….

Cheesecloth scketch

Written by Lynda Schlosberg

April 13th, 2015 at 5:53 pm

Transparency: How am I going to work on a painting this big?

without comments

So, I’ve landed this great painting commission to make a large-scale work (14 x 8 feet). But how the heck am I going to work on a painting that big? It will be hung at least 9 or 10 feet off the floor, and will take up an entire wall in my studio!

Scaffolding is in order! However, it needs to be small and light enough for me to haul up the three flights to my space, be easy to set-up and take down, and not take a huge amount of storage when not in use. So off to Home Depot I go… where I picked up this lightweight system and set it up in my space to see if it would do the job.

Okay, so it’s a little small, and an artist on my floor who does large mosaic public installations (I’m talking several stories high), thinks I’ll be unhappy to work on something this small, but to be honest, I think it’s going to work out perfectly for me. It beats working on a ladder for the next four to six months, and it folds down to almost nothing when I don’t need it. Besides, I can always “upgrade” if I really need to.

Time will tell.

scaffolding-2090

scaffolding-2091

Written by Lynda Schlosberg

April 3rd, 2015 at 3:00 pm

Transparency: The making of an 8′ x 14′ painting on commission

without comments

Recently I was awarded a commission for an 8 x 14 foot painting. It will be hung in a new lobby in Kendall Square, Cambridge, MA.

I’ve never made a painting this large (my largest to date is 4.5 x 9 feet – on paper), and working nearly twice as big will be a challenge on many levels. What is my materials strategy, how will my process scale up in size, and how long will it really take? What will it be like to create a painting for a client and a specific space as opposed to just painting whatever I want? What don’t I know? How will this expand my working process and move my art forward?

I’m hoping that I answer these questions in the next several months as I do my best to semi-forally document the progress of this particular painting. An artist journal of sorts to keep a detailed record of each step and to make my process transparent to anyone who may be interested in watching as it unfolds.

So it all began by first visiting the site of where the painting will be installed, just to get a feel for the location and space. This is the “before” picture and the wall that my painting will go on.

inside-50hampshire-1972

And here is the architect’s early rendering of what the renovated space will look like (sans my painting) when it is due to officially open in the Fall of 2015:

Lobby-Rendering_artwork-forblog

Written by Lynda Schlosberg

April 1st, 2015 at 3:56 pm

Ready for Open Studios Today!

without comments

If you live in the New England/North Shore area, come on by! Details here…

 

Written by Lynda Schlosberg

June 16th, 2012 at 8:12 am

Posted in Studio

The Life of an Artist’s Studio

with 3 comments

There is a fascination with the artist’s studio—the sacred space where it all happens. But it isn’t always so mysterious and glamorous. At least for me it hasn’t been.

I’ve had five studios in five years. Each move brutally disrupted my creative process and impacted the resulting work, yet strengthened my resolve as a painter.

 

SPACIOUS BEGINNINGS

My first studio in Somerville, MA (2007).

 

I started with 600 square feet in a building with five other artists. I thought, “this is how it’s supposed to be!” But after ten months we lost the space. Our faulty landlord never turned the heat on. After a pipe burst and the Fire Department was called in, they shut the building down for a series of code violations. We were never let back in.

I was in the middle of graduate school and needed space immediately. So I moved into a storage unit I had in the basement of my home. It was an 85 square foot closet.

 

THE CLOSET

My second “closet” studio in the basement (2008).

 

Having my studio at home I could work more hours. What was lost in physical space was gained in more time.

It was in this compact space where my propensity for compressed mark making began. I produced a lot of work and after six months I was busting at the seams and going stir crazy.

 

DOUBLE WIDE

My third "expanded" studio in the basement (2008-2010).

 

After negotiating with my tenants, I knocked a wall down between our storage units and expanded my work area into 225 square feet. It wasn’t huge, but it was enough to spread out—as did my paintings; I finished my thesis work: three large 55 x 110-inch acrylic paintings on paper. (Matrix 3, Matrix 4, and Matrix 5.)

 

MOVIN’ ON UP

Into the light! My fourth studio in the upstairs apartment (2010-2011).

 

Over a year later my tenants moved out and I staked a claim in myself as an artist by not re-renting. I moved my studio into the upstairs unit with nearly 670 square feet spread over three rooms—and a big bay window with lots of natural light!

During my year in that space, I got ready for my first two solo shows. (Formlessness and Synthesisions.)

 

RE-COMPRESSION

My fourth studio compressed… (2011-2012).

 

After about a year money got tight; I needed rental income again but couldn’t force myself back into the basement—back into the dark. So I squeezed everything into the four rooms of my apartment.

It wreaked havoc on my art making. I quickly learned that my studio space requires physical separation from my day-to-day living.

 

MOVING OUT

My new fifth studio at Porter Mill (2012+).

 

I put my name on a waiting list for a studio. I got space within four months. Now I’m in 360 square feet in a building with 48 other artists and a two-year lease!

It’s taken a few months to get settled and serious work will begin this June. I am interested to see how this space will impact the work—stay tuned to find out!

 

Written by Lynda Schlosberg

May 21st, 2012 at 9:28 pm

Posted in Studio

Open Studio and Group Exhibition June 16, 2012

with 3 comments


Postcard design: Christine O’Brien; image detail: Matrix 4 Lynda Schlosberg


Please join me on Saturday, June 16th, 2012, 10am – 4pm in my NEW space
at the Studios at Porter Mill 2nd Annual Open Studios event in collaboration with Beverly Arts Fest and Endicott College Center for the Arts. Explore the studios of fifty ceramists, painters, photographers, jewelers, musicians, printmakers, and more! Meet the artists, ask questions and purchase original works of art. A free trolley will be running all day to take you between Porter Mill and Beverly Arts Fest on Cabot Street.

From 5-7pm join me in the Gallery at Porter Mill for a group show of the artist’s in the building and an evening celebration filled with art, food, drinks and live music by Ali Manion and Friends.

I hope to see you there!

Studios at Porter Mill
95 Rantoul Street
Beverly, MA 01915
Studio 2-7/2-8 (on the second floor)

  • Parking: Street parking is available, but unless you get here early, be prepared to walk a block or two. Most parking is non-metered. You can also park in one of the many downtown parking lots and take a free trolley ride down to Porter Mill. The trolley is picking passengers up behind People’s United Bank on Cabot Street every thirty minutes, on the hour/half hour. The same trolley will bring you back up to your car, and to Beverly Arts Fest.
  • By train: We are located less than a five minute walk from the Beverly Depot train station on the Newburyport/Rockport line. When you exit the train, walk towards Rantoul Street, take a right and walk about five minutes to Porter Mill.
  • By car: We are easily accessible by car, located less than ten minutes from Route 128. For directions, click here.

The Open Studios at Porter Mill is supported in part by a grant from the Beverly Cultural council, a local agency which is supported by the Massachusetts Cultural council, a state agency.

 

Written by Lynda Schlosberg

May 15th, 2012 at 10:40 am

Posted in Exhibitions,Studio

Regarding Process vs. the End Product

without comments

Last night I met with my peer group which is a part of the Artist’s Professional Toolbox course I’m taking from the Boston Art’s and Business Council of Greater Boston. In our peer group we have a structured part of our meeting, where we each get time to talk about where we are at and then get feedback.

When it was my turn I shared how I’ve been struggling with meeting goals I’ve set for completing a series of paintings I’ve been working on this fall. My first deadline was to have them done by Thanksgiving.

I missed that one.

Now I’ve set a new one for the end of the year and I’m not sure I’m going to make that one either. I’ve been getting time in the studio (although it does vary from week to week) but I’m frustrated with the fact that I’m most likely going to miss this second deadline.

That’s when someone asked me: “Are you more interested in the process or the end result?”

I had to stop and think.

In reality, it’s a bit of both. But lately I’ve been so focused on just trying to get to the finish line of my goals that I’m missing the process. I’ve been making decisions in my work just to move it forward rather than taking the time to be more conscious about my choices of composition and color. So I added something like, “I’ve been painting unconsciously.”

That’s when someone asked me: “Is that a bad thing?”

No.

In some ways my work is about the unconscious part of our being, and how that unconsciousness mixes and flows in the ether to  collectively create what we call our “life experience.” So perhaps I can give the paintings that have developed more unconsciously some validity – even if I think they are “bombs.” More importantly, I’m being reminded that it’s about the process and not the end result. Isn’t life about the journey, not the destination?

Yet I still struggle with the deadline dilemma. As a painter, we are conditioned to create as much product as we can. We always need to be churning out new work. With an exhibition deadline looming it often becomes about the end product rather than the process. Perhaps there really isn’t an answer to this….since all of life seems to be a cycle of ups and downs the focus between process and product may just have this same cycle too and it’s something I need to figure out how to ride.

Anyway, here’s the last “unconscious” painting I finished (quick shot)…

Currently Untitled, 16×16, acrylic on panel.

And here’s one that has sort of been running on auto pilot. I’m stuck on my color direction. I added this bright turquoise blue and now don’t know what to do. (It was part of an unconscious choice in a rush to finish the piece)…

Work in process, 30×30 inches, acrylic on panel.

So I’m going back to nature to see what can inspire me on it’s next step. I’ve got a composite of images below I hope to pull from and see what happens. It’s interesting to find that these unusual and saturated color combinations actually exist out there.

 

Written by Lynda Schlosberg

December 16th, 2011 at 5:38 pm

Studio Changes

without comments

I’ve been in the process of moving my studio from the basement of my house to the upstairs where I will have better light and more room. Once it’s finished I’ll have a total of three rooms and about 435 sf.

Here is the main room in process of being renovated.

Here it is with the carpets taken out, the floors all fixed up and a clean coat of paint on the walls.

And here it almost set up…

I’ll build a large painting panel that will hang on the long wall to the right (below) that will cover the “cut out” that is open to the room on the other side. I’ll also be installing track lighting to supplement the natural light.

Finally got the second painting wall up and lights installed…so, officially all done and have been working hard.

Written by Lynda

May 30th, 2010 at 9:37 am

Posted in Studio