I hate artist statements partially because I feel like I can’t possibly condense everything in ONE statement that would define me as an artist. I am not sure I even want to define myself as an artist. But more than anything I have never liked expressing myself in writing. Writing does not come easily to me and is the reason that I am not a writer. I always feel that my words are disconnected from my true thoughts, like they are lost in translation. Aside from this language barrier I know that my ability to communicate conceptual ideas is essential and I am constantly trying to break through this wall.

Instead of declaring myself an artist I am writing that I am artistic. I like being creative, using my hands to make things, but I have no profound mission or greater agenda that inspires my work…not yet at least. I do however love capturing those unique details that perfectly develop a character. I find that costumes are the perfect medium for me. I enjoy presenting images that help tell the story, make an impression, and provoke both thought and emotion.

Theatre helped me realize the importance of telling a story through images and capturing the things that mark a moment in a person’s life. I am truly interested in the connections we have to items of clothing that we associate with a culture, family member, or time period. It is the reason we cannot part with the necklace that was given to us by someone no longer living. Unfortunately it is the same reason we save our ex-boyfriend’s sweatshirt. I love the idea that we can hold on to a piece of that person, like we might forget them otherwise. These are the details that I mentioned and they are the roots of my designs. I am a costume designer; this much I know and maybe one day I will write a statement as an artist…to be continued.

 

The Wacky Wendigos

After meeting my group members I knew we would create an interesting project. We had an eclectic mix of students…Morgen the screenwriter, Candy the director, Eileen the actress, and me the costume designer. We gravitated toward working from a script because I think we were all familiar with the process but this was surprisingly untrue and we each gained a new understanding of different aspects of preproduction.

I had never heard of a Wendigo before I met Morgen Stern. Our group sat in a circle as we discussed options for our project when Morgen brought this mythical beast to our minds. She described it as a massive snow creature that fed on humans but whose hunger was never quenched. She further explained that this creature’s emaciated body revealed skin stretched over bones and it’s sharp, yellow teeth extended from a boney jaw. The group took a minute to soak in this horrifying visual and then immediately became excited at the idea. Morgen expressed her passion for this particular project and we were on board, so she went to work on the script. While she busied herself with the script the other wacky wendigos and I began researching everything on wendigos but not limited to Yetis, Abominable snowmen and other snow beasts.

As the self-proclaimed costume designer on this project I decided it would be fun to focus on the conceptual design for this creepy beast. While sketching ideas I turned on all the lights in my apartment and made sure at least one roommate was home…I have a vivid imagination. My original sketches showed the potential for animatronic parts to the costume but after discussing the Wendigo’s movements with Morgen she clarified that the creature was limber and moved quickly. It was then that I knew the costume needed to work for whatever actor it covered. I changed my concept to a more simplified version that played up the distortion of the human body.

I started by adding a larger bone structure on top of the body to accentuate the actor’s existing skeleton. Once I made this adjustment I realized how much creepier the form was as it’s appearance stayed close to human. I changed the natural proportions in the collarbone, rib cage, hipbones, knees, ankles, and extended the fingers and toes. I decided the best way to change the face was to alter the mouth line and over lay a structure that accentuated the lower jaw and again changed the natural proportions.

Once Morgen had completed the script the group began discussing the best way to execute the shots. The only way to articulate the shot list was by creating an impromptu storyboard. It was interesting to witness that moment when after months of conceptualizing a piece an artist is able to articulate their vision. All of us worked together to understand what was in Morgen’s mind and it helped us understand how to best communicate ideas of this nature. I liked working directly with the writer. Generally in theatre the designers don’t get a chance to have these types of discussions with the playwright. As I drew out the storyboard it felt like a composite sketch of a crime scene, while Morgen explained how the scene unfolded. I liked finding different approaches to each moment and using the most effective ways to frighten an audience. This project definitely brought out every member’s strengths working in collaborative situations.

 

Performing Art: “Two-fisted Art Attack

On a random “You Tube” tangent I stumbled upon someone interesting and different. His name was Danny Dent, unfortunately he passed away in 2004 but during his career he made more than a dent with his unique style of painting. He created this particular technique in the early eighties that he called “Two-Fisted Art Attack.” He painted with amazing speed, no under-painting, and no construction lines just a giant canvas, paints, brushes, and music. When the music started he dipped all six brushes, three in each hand, into various bright colors and exploded onto the black canvas. He quickly covered the surface with electric strokes periodically dropping the brushes to engage his hands. Traveling across the canvas he stayed in motion to keep the flow of energy and balanced it throughout the painting as he said, “The music makes it more like a dance on canvas.” He also added, “all these things paint, clay, or a horn are all lifeless instruments until we put our passion into them.”

 Danny made art accessible to people, not just the finished product but the experience and satisfaction of finishing a piece. He allowed the audience to be a part of the process. He liked painting iconic images like Jimi Hendrix or John Lennon because he loved the reaction of the audience and their connection to the pieces. His style lives on through inspired artists like Dan Dunn and David Garibaldi who recognize the energy and experience that only live performance can bring to painting. He loved what he did but more importantly what his art did for other people.

 

Test Drive

First post ever... very exciting