From the Studio

thoughts on art and process in action from a contemporary artist

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Transitions- continuing my art through illness

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empty studio

The corner of my empty studio

Since becoming sick with ME/CFS, I have had a lot to contend with and it has changed my practice.  I have limited energy, and I have to spend it wisely.  I have only minutes at a time of standing, walking, holding my head upright, etc. before I need to take a rest.  Then again, my practice changed a great deal when I became pregnant, and it turned out to be the best thing that ever happened to my art (I did the first Identity Tapestry while pregnant and it brought me into Installation).  The main effect is that I have to pace myself, and think through everything many times before I make the effort of _making_.  I suspect it will generate more thoughtful new work. I also have new reserves of patience, and new understanding to feed my empathy.

Right before I got sick I had come to an inflection point in my work where I knew I would have to start hiring assistants to complete large projects, but I was dragging my feet.  For those not familiar with how art at a certain scale of production goes, this is pretty normal and has a long history reaching back to the studios of the famous Renaissance painters and before.  Even without being sick, I needed to accept that I now needed assistants.

For the three shows I did in the first year of my illness, I relied on the help of an awesome network of friends and my husband (who even learned how to dye wool!) to help me do my work.  They were my hands. They got me through the installations at the Contemporary Jewish Museum, The San Jose Museum of Quilts and Textiles and at the Marjory Barrack Museum.  Initially it was hard to conceive of hiring strangers to come into my home in the vulnerable state I was in, given that I had already resisted it before. I wasn’t ready then.

At the same time I became sick, we realized we had to do major repairs to the foundation of our house, and it became a huge remodel complete with moving out.  After I did the museum shows that year, I buckled down to the task of packing and purging the house… again with the help of my amazing friends.  My outside studio space was unreachable for me (and not wheelchair accessible even if I had the energy to work after driving there and parking) and essentially became expensive storage while I hoped I got better.  I turned down some shows and applied to nothing while I used all my energy to move house.

Today I am a little better overall.  The house is moved into a temporary space, and I finally let go of my studio of 14 years.  The new studio and shop space I will have in our house will be an absolute dream though, and I can’t wait.  In the meantime, I have use of our temporary garage and have set up the studio there, complete with a chair that supports my neck and torso so I can sit up longer.

Now that I have the moving hurdle done, I am back to exciting new projects!  This spring I will be doing a new participatory installation that I have been thinking about since 2014 and am super excited about: Access.  There is also another installation in another country coming up in the summer which I can’t wait to do.  Details will follow when everything is confirmed, dried and dusted.

In the meantime, it’s time to take the leap and hire some assistants.  Whatever my condition, my work will continue.

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Las Vegas Humanities Salon and new Website

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Tomorrow night I will be at the Marjorie Barrick Museum in Las Vegas for a salon.  Information here, flyer below.

NH_LV_May 4 Creativity and HealingFlyer-Final.jpg

I am also happy to say that my website has undergone a complete re-write, with new content and more coming.

In particular I hope you take a look at the sound installations Cultural Fabric Breathes Still and Urban Pulse: SF, which now have the full sound elements incorporated into the website.  Other pieces like #DadaTaroT and Between the Lines have more content, with more coming soon to other works like Write Me for Art.

I have a lot of non-art on my plate for the next few months with both moving house and moving my studio space to one more accessible by wheelchair, but in spite of the chaos I’m still working on a new large scale interactive piece.

Written by marycoreymarch

May 4, 2018 at 12:10 am

Posted in Uncategorized

New Experiences, New Material

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Family at Disney

This photo represents one of the first bright spots in my new life as a disabled person (with ME/CFS). Last weekend was the first time in nearly five months I’ve been really able to move around outside the house, thanks to finally getting a power chair that supports my neck and torso.  We went to Disneyland for my daughter’s birthday wish, and we did it to the nines.

I’ve been working on the next two installations (for the Contemporary Jewish Museum and the San Jose Museum of Quilts and Textiles), with the assistance of friends. I know I will need to hire assistants for new projects, but I’m still feeling freshly vulnerable in this state and I need to adjust.  Also, while I love inviting strangers into certain phases of my process,  I’m very picky about who I let into other parts of my process. Thankfully I have amazing people around me.

With my current condition, half the people get better within two years, and most of the rest never do.  I made the mistake of waiting a year for my back to get better nine years ago, and until my muscles stopped working (and compressing my spinal nerve), it never did.  I am thankful to be out of that level of constant pain, though I know I would trade back the pain for mobility in a heartbeat.

So… I am not wasting time now.  My art is moving on, and I have a fire under me to make new work about this experience.  I am very aware that disabled or not, I am very fortunate.  I have good insurance, my husband’s job supports us, freeing me to do my art without the constraints of whether it will sell or needing another job to support it. We have enough money that my condition is not bankrupting us and I was able to buy the expensive chair that allows me to.  I have supportive friends, an education, the tools to self-advocate, and so much more.  But this has thrown into relief how if this is so hard for me, how much harder it must be for most people.

After my recent experience of traveling with a wheelchair, the systemic lack of consideration and ability to do simple things like take a cab with any reliability, get on a plane you were assured you could take your chair on, or arrive with that all-important chair in one piece have given me fire to push for awareness.

I knew I had been thinking about a piece on Access for a while, but I didn’t realize it had been this long!  June 2013!  Usually with something that scale and cost it really helps me to know it will have a space to show first, but I don’t care anymore.  I will build it, and I will find it places to show.  As soon as the next two installations are wrapped, this is my next project.   I have been thinking about it on and off this whole time, and developing it, but now I have new first hand experience of being confined to home and wheelchair to add.

All that said, this new piece isn’t only about disabled access, it’s about all kinds of invisible access- financial, educational, social, racial, cultural, linguistic, etc.  It is about making people aware of what they can do without even having to think about it, and where others are barring and struggling to get in.

 

Written by marycoreymarch

September 29, 2017 at 10:13 am

Overcoming Challenges

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It has been a while.  I have two pieces going up in museums shortly, and there will be another post for that, but I wanted to tell you what has happened to me recently.

For the past four months (since May 20th) I have been pretty much incapacitated.  It started as suddenly feeling odd, tired and wrong at Maker Fair (while hydrated, fed, cooled and well slept).  By the time I got to the car I was too weak and tired to move my arms without effort.  There were many tests, and for over two months, no consensus on what was wrong.  As a woman with a hard to diagnose medical problem (a group classically ignored and patronized by doctors), one doctor told me it must be psychosomatic (though thankfully he was only one out of six and the others did take me seriously).  It turned out to be CFS/ME, a condition that many derided as not real.  Thankfully Stanford finally developed a blood test that shows it is in fact a real thing and published just this July, and NIH has begun taking it seriously with research and funding the last two years.

So… even typing while lying in bed with my head propped has been difficult.  Holding my head up has been a effort that left me sore like an intense workout (and as a competitive gymnast, 15-year martial artist and circus person I know what that feels like).  I was not sleepy ever- my mind was fully awake, but my body could do almost nothing.  It turns out this probably started over a year ago when I had a severe virus that sent me to the ER for _four_ bags of saline.  They told me I was lucky to be alive, and I haven’t felt quite right since, with random bouts of weakness.

With this going on I have not been actively looking for shows and commissions, but when the Contemporary Jewish Museum asked me to do an installation I could not turn that down.  I also kept with the other museum show at the San Jose Quilt and Textile Museum I was already signed up for because I knew I could do it with assistance.  And I am.  I will be there with my art even if I am in a wheelchair, and my art will not suffer for it.

For a while there was no sense of any time recovery might happen (if at all), but for nearly three weeks now I have been on an experimental antiviral treatment that seems to be helping, so fingers crossed.  Not knowing was very hard, but today I am hopeful.  If nothing else the experience gives me more empathy for those in similar situations.  In good news, my back hasn’t been in pain every day for the first time in nearly nine years! Apparently the muscles are too tired to tense enough to squash the ruptured disk.  Little victories.

Written by marycoreymarch

September 3, 2017 at 1:56 am

Posted in access, Uncategorized

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Between the Lines (experience exchange)

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Here are the pictures from Between the Lines (experience exchange) at College of the Redwoods. The piece has already moved from the library at the Eureka campus to another campus for the next two weeks. Sadly when I install a participatory work and then leave it I don’t get to see it fill up with responses, nor do I get to photograph later responses myself.  Here are some of my images from Between the Lines (experience exchange)  before I left.

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To recap the action:  Each participant responds to a personal question related to experiences in the book (Between the World and Me by Ta-Nehisi Coates).  They write their response on one of the 600 individually painted Pages.  They then drop their response in the box and take someone else’s response to hang in the frame they feel it belongs in.

starting table.jpgThe images below are the subjects for the Frames.  Each one is two sides of a major theme in Coates’ book.  Because I was told that some of the students (and certainly the public) would not have yet read the book I had to make certain things differently than if they had.  For example, one of the major themes of the book is “The Dream”, which might sound positive if you haven’t read the book, except in context it is an almost fictional, fenced-in privileged world built on oppression which other people are excluded from, the false promise of which which keeps people from addressing the systemic problems.  Since people wouldn’t know that, I used “Privilege” instead.  I also put quotations from the book around each major theme to contextualize it.

Here are some of the experiences which were exchanged…

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Written by marycoreymarch

March 14, 2017 at 12:47 am

Posted in Uncategorized

At College of the Redwoods

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img_1958Today Between the Lines (experience exchange) went up with the help of the head of the Black Student Union and the Professor heading the Book of the Year project. There are always hiccups, but now it looks exactly as it did in my mind and even though the official opening isn’t until Thursday it already had some participation.Some of the students who will get to participate are taking correspondence courses from prison, and I’m so glad I was able to get something of the piece to them, because having a place for their stories to be told is important.

My interview for the local NPR member station is here.  It doesn’t have the image and specific link yet, but it is the Feb, 21 one.

The piece works much like Scales did. Participants write a response to a writing prompt on a hand-painted paper and exchange it for someone else’s.  Then they read that person’s response and tie it to the frame which they feel it belongs most to (Repression, Expression, Privilege, Opportunity, Love, Hate (fear), Resistance, Compliance, Accepted, Suspected, Hardness, and Openness).  Being asked to place it not only gets them to read someone else’s experience, but it also gets them to think about it in the context of the themes in the book.

I wrestled a lot with the themes and questions.  I had to tailor the themes and questions for people who might not have read the book yet (half the students read it in the second semester), and also to make it approachable.  So much of what is wrong with the world that we need to change is things we cannot bring ourselves to engage with.  My job is to engage people, so I find myself walking the line of bringing up difficult issues in such a way that people can approach at their own speed, even in a way that seems fun and colorful.

I’ll show more about this new work later when I have more pictures of participation, but tonight I’m thinking about the screening of 13th at the college and the thoughtful, powerful discussion moderated by the Black Student Union afterwards.  The students I have met here have been wonderful and I am honored to be here.

in-process on “Between the Lines (Experience Exchange)”

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sprectrum-side These are the first set of “pages” for participants in Between the Lines (Experience Exchange) to write on.  The materials are translucent acrylics on vellum with bookbinding thread sewn into the tops to tie them into the structure.

The piece was commissioned by the College of the Redwoods for their annual Book of the Year celebration.  This year’s book is Between the World and Me by Ta-Nehisi Coates.

The structure of the piece is a large sculpture created a s a physical framing of some of the book’s core concepts  (I saw them, but also based  on interviews with the author, reviews, and discussions with other people).  The questions also derive from the book, and will ask participants to respond with their own related experiences.

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