Fundraiser exhibit for ffac, February 2014

One of the great things to come out of working on Factory Farming as a subject has been meeting some very interesting people. I recently met with Katie Cantrell executive director of the Factory Farming Awareness Coalition and SF based photographer Caroline Schiff who is working on a project to photograph and tell the stories of rescued farm animals in Sanctuary Stories. Caroline recently had a successful kickstarter campaign to fund her travels and work, and her amazing kickstarter video is well worth watching. We are working together to organize an art show/fundraiser in February 2014 and hope to bring more news soon when we find a suitable venue.

I recently also came across the work of British artist Mishka Henner who uses publicly available satellite images of feedlots in his art. Will images such as these still be subject to the ag-gag laws of Utah, Kansas, Arkansas, Iowa and Missouri which make it illegal to take undercover videos or photos of farms? Ted Robertson writes that some proposals would brand activists as terrorists. I think we all have to start worrying when measures such as this are on the increase.

grey painted square background, in the center, large adhesive black numbers 6 and 7 almost filling the space. The numbers have a white rectangular background

67 square inches, 6 x 6 inches, oil on canvas, 2013

67 square inches is the space an egg-laying battery hen has to live in for its entire life.

Live Painting at the Americas Cup, piers 27/29 SF

Art in the Park, Americas Cup 2013, Fran Osborne, San Francisco

Art in the Park 2013

Until I received an email reminder yesterday, I’d almost forgotten that today, Saturday August 31st I’ll be live painting with about 40 other artists at Pier 27/29 on the San Francisco waterfront, as part of an Art in the Park FREE event to accompany the Americas Cup. There are no races today but plenty of sailing activity out on the bay, so lots of interesting things to paint. I saw some of the amazing craft in the competition from the Bay Bridge two weekends ago and suspect it will be a very interesting and challenging day, and allow me to catch up on the juicy details of what seems to be a rocky start fro the competition. All so very different from my first experience of sailing, which happened to be in the very UK waters where the Americas Cup first began in 1851, establishing itself with the phrase ‘There is no second.’

Anchors away!

Soon after leaving university I went for a weekend of sailing in the Solent in the UK with a boyfriend and his friends. The boat owner and skipper of our voyage was a father to one of these friends and bore a striking resemblance to Robert Shaw in the film Jaws. He had a similar knowing look in his eye, could scream instructions like the best old salty dog and of course would down huge jugfuls of gin and tonic almost continuously. We spent our first night in Lyme Regis harbor and rowed ashore in a very dodgy dinghy not so that we could sit and watch the sunset but so that we could go on a huge pub crawl. The town has very steep streets and I still don’t know how we managed to drink so much and find our way back to the jetty, and row back in our dinghy without being eaten by a Great White. Despite my imagination running wild about never seeing my family again, the weekend was so magical that I can still remember every detail. My land legs took some time to return but the raw, red face and stark white neck I’d acquired from too much sun, an oilskin zipped up tight and no sunscreen, held on stubbornly for another week or so. Every time I think of sailing, I remember that weekend and will probably find it echoing around my head on Saturday, though the Americas Cup, Art in The Park is naturally a much more glamorous affair.

Free Lunch and an Artists’ Lounge!

Today is a FREE event, with lots of art activities for families. As participating artists we have our lunch provided and maybe coffee too, and there’s even an ‘artists’ lounge’. Such luxuries are rarely available for our usual outdoor painting sessions and so I’m determined to make the most of them, and curious to know if they will improve the end results, or simply get in the way. Updates to follow shortly …

Coyotes in the hills and pigs in muck

As an antidote to East Bay Open Studios, I ventured south on the recommendation of a friend, in order to visit Coyote Hills Regional Park for an afternoon of relaxed painting and gazing. The landscape in all directions is incredible with views of the shimmering salt flats at the end of the bay. The marshes on either side of the hills reveal exquisite color and on the very sunny day that we were there, the endless, subtle color shifts were utterly absorbing and hypnotic. The shots below are only from my phone but when I do return again, I’ll post some more serious paintings and sketches. Before we got to the magic of Coyote Hills however, we had detoured very slightly to visit a few kindred spirits of the land … who you also can meet if you scroll down.

Coyote Hills Regional Park, Fran Osborne, 2013

Coyote Hills Regional Park, Fran Osborne 2013

Salt flats at Coyote Hills Regional Park, Fran Osborne, 2013

Looking south at Coyote Hills Regional Park, Fran Osborne 2013

The romance of Ardenwood

Huge swathes of the east bay were fertile farmland until the seepage of urban sprawl swallowed it all up. Now Ardenwood Historic Farm is a little oasis of heaven in Fremont, where families and children can wander at will and Thursday-Sunday visitors can chat with docents in period dress engaged in traditional farming practices and tour the house. The farm is still operating along traditional lines and at weekends this includes a functioning blacksmith’s shop, outdoor cooking and train rides.

Shakespeare’s Forest in Fremont

Ardenwood was named after the forest in Shakespeare’s ‘As You Like It’ and even had its own little railway station back in the day. We had a magical time exploring its 200 acres. In addition to pigs (who were having a mud bath during our visit), chickens, turkeys and rabbits, there are sheep and goats galore as well as peacocks and pheasant, doves and a few cows.

The amazing 4-H program

We wandered around and talked to a very self-assured teenager tending two pigs through the 4-H program. Established around 100 years ago, this organization teaches leadership and communication skills through the rearing of livestock and other creative projects. Now I know why all those teenagers were hanging out with their pigs, goats and sheep at the Alameda County Fair last year.  Long may it continue.

P1030732

P1030734

As we left the Visitor’s Center, a mother yanked on her son’s arm “Come on!” she yelled, “We don’t want to miss McDonald’s do we?” Oh my.

Vending with Rtystyk at the Oakland Internet Cat Video Festival

But is it art?

As darkness descended and the night began Scott Stulen, the curator of the original Cat Video Festival from the Walker Art Center in Minneapolis, began the evening’s proceedings and the collective laughter began to roar out.

We all knew, as Stulen comments in this PBS review that ‘It’s OK to like this’ and whether it’s art or not was not the point at all. What I appreciated so much about this event is that it began with a formal institution like the Walker Art Center responding to a private and hidden fascination with cat videos. They took a risk and treated the genre seriously, engaging the public in a dialogue, curating a compilation of the material, and in the process created a popular festival model that is spreading. People love to share, celebrate and express their creativity, and they love to do it in large groups in public spaces.

Vending lessons

My friend Rtystyk Shavers was such a great partner on the day and taught me so much about festival presence.  We were manning our booth, promoting East Bay Open Studios for ProArts and doing ‘cativities’ for festival goers young and old. What a day! He is a brilliant creator of audience participation and set up a table where everyone could join in and contribute to a funky cat painting on canvas. You can see some of his own amazing work here, and catch him doing more live painting at the Oakland Art Murmur as well as the Malcolm X Festival coming up in Oakland at San Antonio Park May 18th. This painting was created by many, many hands and the calm, smiling guidance of a very generous artist.

2013-05-11 19.16.33

2013-05-11 19.05.16

The other ‘cativity’ was one I’d learnt as a volunteer at SFMoMA, making block prints from cheap styrofoam. If you draw a design and then go over it with a sharp pencil, you can create a printing block that lasts for a few prints, like these happy festival goers.

2013-05-11 17.32.50 2013-05-11 17.43.56 2013-05-11 18.04.25 2013-05-11 18.15.48

According to NPR 6,000 people showed up and the day is expected to raise about $50,000 for the East Bay SPCA. Let’s hope they do it again next year and if you want to check out the videos again, the Walker Art Center has a dedicated youtube channel for you!

East Bay Open Studios 2013

East Bay Open Studios at the beginning of June is an ideal time to visit artists you know and also to discover some you don’t. The newly formed South Berkeley Artists group has been meeting regularly to discuss and show current work and now we get to share it with a much wider audience. Each member works to a high standard and the variety is amazing. We’re challenging visitors to make a trip to each one of the ten studios listed on our map and report back. The numbers correspond to the ProArts website map and you can also download our local map from the link below.

Download South Berkeley Artists 2013 MAP 

.MAP-postcard

You know it makes sense

Visitors get an opportunity to see work in progress and discover where an artist might be heading as well as seeing and connecting with the materials and methods of each artist’s approach. Buying work directly from artists can also be a sensible financial move and many in our group are happy to take commissions.

We all look forward to seeing as many old and new friends as possible during these hectic first two weekends in June.

The full list below is also on our embryonic blog http://southberkeleyartists.tumblr.com/

  1. Peter Baczek: Printmaking & Painting, 2808 Adeline Street, #4, (510) 841-1774, www.baczekstudio.comimage
  2. Ekabhumi Ellik: Painting & Drawing, 2112 Carleton Street, (510) 684-0970, www.oneearthsacredarts.comimage
  3. Harley Jensen: Photography, 131 Alvarado Road, (510) 917-7837 www.harleyjensen.comimage
  4. Kristen Jensen: Painting & Jewelry, 131 Alvarado Road, (415) 310-1103, www.kristenjensenstudio.comimage
  5. Maj-Britt Mobrand: Weaving & Textiles, Glimakra Weaving Studio 2728 MLKJr. Way, (510) 549-0326, www.tapestryweaverswest.orgimage
  6. Fran Osborne: Painting & Printmaking, 2925 Ashby Avenue, (510) 717-8612, www.franosborne.comimage
  7. Gillian Servais: Painting and Mixed Media, 1219 Grand View Drive, Tel (510) 548-8453, www.gillianservais.comimage
  8. Sylvia Sussman: Painting & Printmaking, 2227 Parker Street (rear), Tel (510)  843-0370, www.sylviasussman.comimage
  9. Lee Williams: Painting and Mixed Media, Glimakra Weaving Studio, 2728 MLKJr. Way, Tel (510) 206-9265, www.leewilliamsart.comimage
  10. Joanne Yeaton: Printmaking (Sundays only), 2733 Alcatraz Avenue, Tel (510) 655-5612image

Purrrfect … The Oakland Cat Video Festival

Cat-a-walling

I’m really looking forward to representing ProArts and participating in the amazing Oakland Cat Video Festival coming up on May 11th. I know it doesn’t sound like a normal event for a Saturday in downtown Oakland but you might just get inspired to go along and join with the expected crowd of 5,000, who will be celebrating all things feline and watching cat videos projected onto the Great Wall of Oakland between Telegraph and Broadway at West Grand.

You’ll have fuurrrrn

According to a piece by KQED, when the Walker Art Center in Minneapolis organized the first Cat Video Festival in 2012, 10,000 people showed up to enjoy the curated selection of internet cat videos and share the collective experience of watching them projected onto a big screen. Gems such as ‘Henri Paw de Deux’ will be shown along with many other videos that you may or may not have already seen. If you really want to cheer yourself up now, the hilarity is already available on this dedicated #catvidfest youtube channel but I’m pretty sure it will be even funnier with a crowd. Number 17 is one of my favorites.

There will be food. comedy and an aerial performance before the film show begins. I’ll be at a ProArts table facilitating cativities for all ages so hope to see you there.

‘Making the Brush Behave’ among the free spirits of the Albany Bulb

One of my favorite places to find peace of mind and inspiration in the East Bay is the Albany Bulb. Last Wednesday my most treasured spot there had some great new graffiti art to marvel at, and though a dog walker mentioned the snakes in the grass, I couldn’t wait to explore.  I’ve been reading a little book called ‘Making the Brush Behave’ (irresistible title) by Eliot O’Hara from 1936, and wanted to try out some of his exercises. As I looked around I could see so much to paint I didn’t know where to begin. The view towards Mount Tamalpais is always fascinating because as the light changes and the sun comes in and out, the distant range of hills seems to almost be alive with color. If the weather is calm, sounds of walkers and dogs echo around and the jolting freeway seems a million miles away. Pretty much a blissful time is always waiting here.

Albany Bulb Art, Fran Osborne

Albany Bulb Art, April 2013

On Wednesday however, the graffiti was beginning to whisper louder still and I couldn’t resist looking more closely. This litter bin was a great place to start, being so simple and striking. It was even signed by the artist, Feral, or was it Feraz? Anyway I liked his graphic style on this old, rusty oil drum with just a piece of chalk or soft oil crayon?

A little further on, this snake began hissing and I swear I heard that hyena on the left begin to laugh and snigger.

Albany Bulb Art, April 2013

Albany Bulb Art, April 2013

This guy just wanted to talk and talk and I had to sneak away when he wasn’t looking. You know the kind.

Albany Bulb Art, April 2013

Albany Bulb Art, April 2013

Don’t get me started on this dude …

Albany Bulb Art, April 2013

The art was new, it was loud and it was exciting. The wind was absent and the sky streaked with high cloud. The water of the bay lay calm and flat and I was finally ready to follow Mr O’Hara’s instructions (!!??*#) with a big fat brush.

2013-04-10 14.36.17

One of the magical things about using watercolor is how it changes as it dries. When you add a blob of paint with a quick, satisfying sweep and sit and watch it dry, everything about the hue and intensity of the color and the way the paper shines through the transparent pigment is a little miracle of chemistry. If your paper is rough then this can become an essential element in the process too.

Trees at the Albany Bulb, 2013

Trees at the Albany Bulb, 2013

What Mr O’Hara points out over and over again, is that confident strokes are essential and so I’ve started to really simplify shapes even more than I did before. This line of trees for instance, is painted in a few strokes of connected color, twisting the brush quite quickly to get the raggedy edge of foliage. I’ve learnt to start at the place I want to be the darkest (in this case the right side) and as the brush loses more color and the stroke becomes fainter, it can create a sense of distance. I took the sketch below straight to the studio when I got home and washed out the middle distance a little, repainting when it had dried. I wish I could do the same with the sky but I don’t think it would work because the pigments are staining. There’s always so much to learn as you inch forward with watercolor and at the Albany Bulb there can be an audacious freedom around that speaks volumes if you can tune in.

Albany Bulb, looking towards Mount Tamalpais, Waterclor, fran osborne

View from the Albany Bulb, looking towards Mount Tamalpais

Sacred art awakening

South Berkeley Artists Profile 2

On an ordinary Berkeley street just off Shattuck Avenue, in a typical lower-level studio, a unique artist works carefully, and with great focus. What is not so ordinary however, is that the artist is also a student and teacher of Classical Tantric Hatha Yoga, and his studio produces sacred art and images for meditation. Enter the studio of Ekabhumi Ellik, and you will step into the realm of a tangible and ancient spiritual practice and discover a complex and beautiful artform that is integral to the practice of tantra.

Yantra, by Berkeley's Sacred Artist Ekabhumi Ellik

Yantra by Ekabhumi Ellik

How is this kind of traditional sacred art developing within our contemporary western culture? Is this an artform we can appreciate even if we don’t share the faith, or can we best understand it as sacred craft? How do Ekabhumi and his assistants keep their hands steady when painting all those freehand lines? Still so many questions.

From artist to poet and back again

Like many artists Ekabhumi’s creative journey has been an unpredictable one. He went to art school in SoCal but became frustrated with the gallery system and wanted to follow a different path, one that would lead him away from visual art completely, into a twenty year career as a poet, emcee and organizer of poetry competitions, as well as a teacher and coach for poets of all ages. He returned to making art with his hands again in 2010.

Ekabhumi Ellit, South Berkeley Artists

Creating sacred art

While this work uses the wide visual vocabulary of several traditions, he and his associates specialize in Tantric Hatha symbolism. The imagery one usually sees of deities such as Kali and Lakshmi often date from the stylistic dictates of much earlier times, with goddesses dressed in the royal garb of a particular kingdom. The challenge for a sacred artist today is to capture and embody the same essence and original meaning of the image but try and modernize a little for western practitioners. Updated depictions of deities such as Ganesh, Lakshmi or Kali have more humanoid physiques for instance. Though the visual differences from earlier times are subtle they are quite significant because, as with any religious or faith system, the visual stories they use carry a meta meaning, more than a sacred text can convey.

A book release for spring carries illustrations by Ekabhumi in Awakening Shakti, The Transformative Power of The Goddesses of Yoga, a book by Sally Kempton from Sounds True Press.

The grammar of yantra

While tantra refers to certain religious rituals and meditation practices that have influenced Hindu, Sikh and Buddhist traditions since at least the 5th century, of itself however, it is not a distinct religion. Tantra involves the use of the mantra, phrases repeated while meditating, and the yantra which is a physical and symbolic tool for meditation focus. Each geometrical element of a yantra has a specific meaning and the composition of the overall design may follow traditional configurations for deities or vedic astrological planets. I find it fascinating that the elements of yantra grammar relate very closely to the symbolism of other systems of visual language. Architectural yantras for instance may be used as the ground plan for temples and within this plan, basic geometrical elements have specific meanings and can be ‘dynamic’ or ‘static’.

Ekabhumi’s studio produces large colorful yantras, beautifully painted on wood completely by hand, and built up in layers so that the object has a clear physicality. All are created with the same kind of spiritual devotion and ritual preparation that are an essential part of their purpose and meaning. The pace of creation has to be slow, the intention clear and the mind focused in order to produce perfect lines and curves by hand. I wonder what kind of art we would all create if meditation were to become standard artistic practice.

If you need to know more, Wikipedia has some great information about tantric traditions and history and you can contact Ekabhumi directly here. For information on his yoga classes at the Yoga Tree on Shattuck Avenue in Berkeley, visit the main Yoga Tree website.

slideshow 5

BBC discusses the origin of angels

A postscript to Spiritual Serenity post

For all those Angel fanciers out there, I wanted to include a link to this great, if a little weighty, program about Christian angels, as discussed by Melvyn Bragg and friends on BBC Radio4. Seems they still function essentially as messengers … though they have a complex past.

If outside the UK, it seems the prog. is only accessible via this link and available as a podcast.  Scroll down to find but it might start playing automatically.

http://www.bbc.co.uk/podcasts/series/iotr/all#playepisode22

Lots of other interesting discussions via the In Our Time website, if you have time on your hands.

Maj-Britt Mobrand weaves jazz

South Berkeley Artist Profile 1

Maj-Britt (pronounced Mybritt) Mobrand is an expert weaver and teacher of weaving, and a founder member of the South Berkeley Artists. I used to drive past her very enticing Glimakra Weaving Studio, and wonder who worked there, and how they were making a living as a craft weaver in the 21st century. I was very fortunate to meet Maj-Britt, as part of the East Bay Open Studios 2012, and she shared some of her work and process with me.  She came to the US in 1961 and learned to weave in classes at the Berkeley Adult School and in Sweden. It’s perhaps no surprise that she comes from a family of weavers and textile people from the south of Sweden.

Maj-Britt

The Code of Weaving

Many of her pieces are inspired by her love of jazz, and often use strong colors and abstract forms that seem to reflect her dual heritage as well as her love of practicality and order. Maj-Britt explained that the weaving loom was a precursor of the computer and I began to understand and marvel even more at the parallels and relationships between mathematics, music and weaving. She often uses complex repetitive, graduated rhythms, varied textures and subtle color progressions, though some pieces are more subdued and earthy.  I noticed as she worked in her studio, that even the sound of the loom in operation has its own soothing musicality. “You start a weaving and see where it will take you” she told me.

Maj-Britt Mobrand, weaving, Berkeley

Maj-Britt takes weaving to the streets

Community

Being a craftsperson and artist can often be a solitary and all-absorbing activity but Maj-Britt also teaches and is not shy about bringing her art to the streets. The vintage image above dates from the 1970s when the Berkeley Coop was in full swing, and note that she still wears that groovy hand-woven dress.

Maj-Britt Mobrand, Watermelon Man, 48" x 58"

Maj-Britt Mobrand, Watermelon Man, 48″ x 58″

One large abstract piece welcomes visitors to the studio. “Watermelon Man”, a well-known Herbie Hancock track, began life as a small watercolor by one of her grand-daughters and she found it so unusual and wonderful she wanted to use it as the basis for a larger work. The original design was quite small and Maj-Britt had to enlarge it to make a huge and distinctive weaving at 48″ x 58′. 

In addition to the freeform weaving shown here, she also takes commissions and produces beautiful hand-woven scarves and wraps in a myriad of colors and combinations.

A short blog post can only be a taster of her work, and photographs do not easily reveal the variety of colors and textures or the beautiful natural yarns that Maj-Britt uses and so I urge you to visit her studio during one of the weekends of East Bay Open Studios, June 1,2 and 8,9 2013.

Her studio is at 2728 Martin Luther King Junior Way, Berkeley 94703, or call 510 549 0326. You can email her at glimakraweavingstudio@comcast.net