Paper-making in Ghana, or Free Flophouse in Paris

Floating steel fish, Hong Kong

Half the fun of travel isn't the sights, but the experiences you run into - sometimes literally - that aren't available anywhere else.

Here's one I found during my papermaking research - it's a unique cultural center next to the sea in Ghana.

This quote from the site sums up an eccentric spot: "We have potters, batik artists, welders, fantasy coffin makers, art galleries, drummers and many free spirits all contributing to the unique character of the place."

Found via this video


And if you're ever in Paris you should really spend a night at the famous Shakespeare & Co, while you can. This idealistic little spot won't be around forever: spend a week - or a month - in Paris and sleep for free. Work a single hour each day in the bookstore below, and read a book a day.

One "tenant" even wrote a book about the experience.

"my roots are shallow and travelling is part of my life"

Quote from the writer Anthony Sattin here.


Photo from the Mekong Delta for a photo-essay, I've Got my Eyes on You

Preparing for this 4-month trip and book project has been all-consuming in recent months, particularly since I moved to Sydney. I've been researching western and Asian paper-making techniques, paper-mills and -villages around the world, and am looking forward to getting my hands dirty soon.

In the meantime, I've written a book proposal, outline & itinerary, though I was never asked for one. Like a business plan, a book proposal is crucial to direct and contextualize writing and experiences. This has been a dream project - the publisher, (words-)editor and (image-editing) designer haven't made any specific requests. They've been flexible and have shown remarkable confidence in me.


PS: "If I knew what was going to happen, I wouldn't need to write it. The middle way, where you have a focus and a trajectory, is the happy way and the best editors understand this." Anthony Sattin.

Altered states

Part painting, part photograph: it's a hand-tinted print


When I decided to hand-tint blueprints for the Hong Kong book, I knew that there would be some puzzled reactions: is it a painting or a photo, or something in between? For centuries, hand-tinting has been a common way to enhance black-and-white photographs, woodblock prints, and etchings.

After weeks of experimentation, I found that blueprinting for less time (underexposing them in the sun) gave me more freedom when tinting. Instead of simply coloring the prints, I enhanced them, expanded their borders, and blurred distracting details. Beginning with blue adds a brilliance of color straight away, whereas black or sepia subdue it.

When I paint the photo-sensitive chemicals before exposure, I selectively apply them with a brush. Once it's hand-tinted afterwards, it's actually a twice-painted print.


For another perspective, Jeane Vogel talks about hand-altered photographs and their ambiguous position between painting and photography here.


One question I'm often asked is: "Are these your photos?" Of course! I would never work directly with another artist's images.


Art Residency alert: if you're interested in a relaxing, green space for art-making, then Compeung Village of Creativity could be for you. Their focus is on nature, community, and interactive installation art.

Some great photos of the center by Phan Hai Bang, an artist I met in Vietnam last summer.

What's next?

Blank slate: village house in Po Toi, part of my contribution to a forthcoming book

This is the question that the artist & art critic Carol Diehl asks here in her Art Vent blog.

I particularly like this paragraph:

"I believe that in the future (which, the way things are going, could be next week) we’re going to be less fascinated with human dysfunction (a la Dumas and Sherman) and seek more art that inspires us, has substance, puts us in awe of human capability."

Hear hear! Then she says:

"I hope that we’ll also figure out another way of experiencing art that doesn’t involve rectangular rooms, white walls, and track lighting."

Over the past few years I've struggled with the same concept. There's something so stiff about stuff that's made to hang on the wall. Simplistic. In Vietnam I discussed possibilities of collaboration with a sound artist.

"I want art to engage and involve, be more than this static thing that we look at while standing on our feet (although I dislike so-called “interactive art" even more), but has to do with its context and, like music, is woven into the fabric of our lives."


...or perhaps the lives of others very different from ours. Here's a fantastic example of a project in Kenya by JR. Not only do these images portray the inhabitants of the village, but the weatherproof material they're printed on serves another purpose: it protects their homes from torrential summer rains.

she finishes with: "I believe the era of the individual genius is waning, and instead collaborative ventures (between individuals as well as disciplines) will come to the forefront."



A unique kind of collaboration I discovered today:this Facebook portrait project by the painter Matt Held. via His paintings wouldn't exist without the initiative of Facebook; it's more egalitarian than traditional portrait painting, where the artist is using the model as a muse, or has been commissioned to paint by a patron.




For some virtual travelling inspiration, have a look at these artists. They gave free holidays to fellow residents of Jakarta, thanks to some creative Photoshopping.

Pycho Art

Council tower blocks, Aberdeen, HK

It's mid-winter in the northern hemisphere, and -7C in Minneapolis, where my family lives. Short days and long cold nights enhance introspection. Family and friends trudge through snow and skid over icy freeways on their way to work.

Every year, the cabin fever reaches its peak in early February, when after months of confinement we ache to feel the fresh breezes and sun of spring.

Northern spirits are restless and low this time of year, regardless of the world economy. Perhaps that's why there have been so many recent articles written for artists that all have versions of "Keep your head up!"

They boil down to a simple idea: it's all about your attitude - how American is that?


Perspectives on rejection

The encaustic artist Joanne Mattera gives a very New York-ish point of view on how the right perspective can find opportunities in rejection.


Optimistic attitude

Then an interview with the positively practical artist Anne Marchand. A key is her "sense of gratitude and wonder" that get her through the "inevitable droughts of being a creative person".


Art of selling art

and last but never least, Hazel has some insightful words on why the selling of art online is never to be confused with selling widgets on eBay.


Opportunity

For travel artists, here's an Art Residency Alert for you in Beijing, have a look at BDA Space. There are 20 studios available for artists in the capital of Asia's art world.
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