In Search of "Beautiful"

Alpha's Bet is Not Over Yet - New Museum, NYC

2011-11-15T09:38:00.000-06:00

I am a contributing artist to Alpha's Bet is Not Over Yet, an exhibition at the New Museum organized by artists Steffani Jemison and Jamal Cyrus, on view October 12 - December 4th 2011.

I contributed a written piece to Book Club Book, based on Fred Moten's "Black Mo'nin'" essay. Book Club Book is published as part of Future Plan and Program, which was launched earlier this year. The reception and launch for Book Club Book is this Thursday, November 17th at 7pm, at New Museum (235 Bowery
New York, NY 10002). Please join me for the public reading and reception.

As part of the exhibition, I have a poster image on display.

“Museum as Hub: Alpha’s Bet Is Not Over Yet” is an exhibition, reading room, and discussion space inspired by the energy and politics of radical, independent Black periodicals published during the first half of the twentieth century. Borne out of “Book Club” (2010), a think tank and reading group organized by artists Steffani Jemison and Jamal Cyrus for Project Row Houses, Houston, “Alpha’s Bet” investigates approaches to language, the written word, self-education, and democratic distributions of knowledge. The project draws upon two hundred years of dialogues that span the spiritual, pedagogic, visionary, and populist. These perspectives are reflected in the exhibition’s title that paraphrases theorist and artist Rammellzee (1960-2010), who argued that language as a social agreement is not a passive vessel or known quantity but rather possesses the potential to reimagine structures of power.
The centerpiece of the project is an interactive newsstand display featuring complete reproductions of more than 500 issues of Black periodicals published between 1902 and 1940, including The Crisis: A Record of the Darker Races; The Messenger: World’s Greatest Negro Monthly; Opportunity: A Journal of Negro Life; and The Crusader. The installation is designed to encourage browsing of the materials and provides space for both concentrated reading and conversation.
Expanding upon ideas explored in the periodicals on display, Jemison and Cyrus have invited artists to create posters inspired by the American Library Association’s READ campaign. Contributing artists include: Regina Agu, Firelei Báez, Jamal Cyrus, Nathaniel Donnett, Chitra Ganesh, Tia-Simone Gardner, Steffani Jemison, Nikki Pressley, Robert Pruitt and Autumn Knight, Bobby Ray, Martine Syms, and Ginger Brooks Takahashi. These posters are joined by a collection of contemporary chapbooks, zones, and self published volumes, which explore the potential of the publication form today, offering perspectives by: Terry Adkins, Adebukola Bodunrin, Nsenga Knight, David Leggett, Eliza Myrie, Paul Mpagi Sepuya, Mitchell Squire, Martine Syms, Greg Tate, and LaTasha N. Nevada Diggs.
As part of the exhibition, Jemison and Cyrus have invited artists and writers to read selections in the gallery on October 20, November 10, November 17, and December 1, during the New Museum’s free Thursday evenings. Visitors to the exhibition will be able to suggest passages from the presented materials for public readings.
The project is accompanied by an illustrated publication that borrows the form of a reader—a compendium of essays, interviews, and selections from the periodicals and posters on display. Edited by Steffani Jemison and designed by Nikki Presley, The Reader includes contributions from Adebukola Bodunrin, Jamal Cyrus, Egie Ighile, Mitchell Jackson, Steffani Jemison, Ryan Inouye, Sharifa Rhodes-Pitts/The Freedwoman’s Bureau, Ethan Swan, and Greg Tate.
“Museum as Hub: Steffani Jemison and Jamal Cyrus: Alpha’s Bet Is Not Over Yet!” is co-organized by Ryan Inouye, Curatorial Assistant and Ethan Swan, Education Associate.

Installation photos courtesy of Naho Kubota

The Immortal Life of Henrietta Lacks: A Response by African-American artists

2011-11-15T09:00:00.000-06:00

I am exhibiting a collage as part of the group show "The Immortal Life of Henrietta Lacks: A Response by African-American Artists" at Mountain View College in Dallas, TX.
The exhibition is open November 15 - December 9, 2011.

Henrietta Lacks was an young African-American woman diagnosed with aggressive cervical cancer in 1951. During her treatment at Johns Hopkins Hospital (the only in her vicinity to treat black patients at the time), part of her tumor was removed without her or her family's knowledge or permission. After her death, her cells were grown into the HeLa Immortal Cell Line, which is still one of the most commonly used cell lines today in biomedical research and has become one of the most powerful tools in modern medicine. Her cells were used to develop the Polio vaccine, and are used in cancer, AIDS, and radiation research, among areas of study.
Not only is the science of HeLa fascinating, but this book provides a multi-layered investigation of race and medical ethics in the USA and abroad, and the unacknowledged contributions of both Black patients and scientists. Skloot provides personal accounts from the Lacks' family and their troubled histories, but in a way that highlights their dignity and grace. Her narrative style makes this book very difficult to put down, and I recommend this to anyone looking for a great read.

I found the chapter called "Night Doctors" to be especially riveting, as Skloot exposes some of the fear tactics used during slavery in the US, and actual trafficking of bodies of slaves from the South to the North for medical research. It provides an important context for the disparities in health care today when looking at communities of color, in particular that of Black Americans.

"Night Doctors No. 1" - collage, graphite, ink on paper - 2011

Communograph - Round 35 at Project Row Houses

2011-11-14T13:00:00.000-06:00

My 2nd installation, "Resurfaced", in Round 35 (in addition to my individual installation "Nostalgia For the Living") is part of Communograph, curated by Ashley Hunt. Since my residency at labotanica last summer, I'd spoken with Ashley about the progress of my work for "Uncharted" and how I could contribute part of it to Communograph. I set up a looping projection installation of photographs at the entrance of the "Communograph" house that I took of historic floors and foundations in the Third Ward.

Last year I began a series of work in which I experiment with alternatives to traditional mapmaking through image, movement, and sound. I seek to question the authoritative nature of mapmaking and historical assumptions about what content is important for maps, and to discover what is revealed when spaces are mapped from within.

For Communograph, I investigated the floors and foundations of historic and/or abandoned spaces in Third Ward and the immediate Project Row Houses surroundings. The resulting photos are projected onto the floor of the Communograph house, transforming the space into an architectural map that changes and shifts throughout the installation. I am interested in mapping the collective memories left behind in historic spaces and architecture, and I view floors as the universal access point and recorder of human interactions within a space. We all touch the floor, and we all leave traces behind.

Exposed foundation on corner of Dowling @ Elgin, Third Ward, Houston TX

Floor in historic Eldorado Ballroom, Third Ward, Houston TX

via the Communograph website:
Communograph is a multi-platform art project, conceived and initiated by Ashley Hunt and organized in collaboration with residents of Houston’s Third Ward community, Project Row Houses, the Cynthia Woods Mitchell Center for the Arts, and students and faculty of the University of Houston’s School of Art.

Hunt was originally invited to make a map of the Third Ward neighborhood that surrounds Project Row Houses, and through initial conversations with community members and questions about what it means to make a map today, the project expanded into a framework for community-based research, featuring five parallel activities. The title, “Communograph,” was developed to combine “community” with “writing” so as to ground this research in a writing of community from the perspective of the community itself. In this way, each of the five research activities serves as a platform for community members to enter into conversation, sharing their thinking and authorship. The goal is to build local questions, knowledge, audience and interpretation for what will, in the end, become an atlas for community members and institutions.

FIVE RESEARCH PLATFORMS

Each platform acts as the initiation of research processes rather than a final outcome or “finished work” in the conventional sense, and each has been developed out of collective dialogues with the featured artists, members of the sponsoring organizations, and with residents of the Third Ward.

1.The Communograph House, an exhibition of research-based artworks by artists: Regina Agu, Lisa Harris, Journey Allen, Michael Khalil Taylor, Rebecca Novak, and Ifeanyi “Res” Okoro II; the exhibition is curated collaboratively, between the artists and the project’s organizers;

2.Mapping Community Through Creative Action is a series of public programs presented by the University of Houston Cynthia Woods Mitchell Center for the Arts (MC) and offered in conjunction with Communograph, an original project by artist, Ashley Hunt, commissioned by Project Row Houses (PRH).This series is curated by Bree Edwards (MC) and Ashley Clemmer Hoffman (PRH);

3.Sidewalk Talks, a neighborhood conversation series taking place in front of the Communograph House twice a month, organized by the artists from the Communograph House and members of the surrounding community, which will be supported in part by students of J Hill’s IART class at the University of Houston;

4.A project of participatory mapping and story collection, open to contributions by community members and visitors to Project Row Houses, constructed by students of Cheryl Beckett’s Graphic Communication class at the University of Houston’s School of Art with support from the Cynthia Woods Mitchell Center for the Arts;

5.An interactive website (this one), which archives information on the project and an the research that we gather along the way into a searchable database of community mapping for Third Ward, Houston, designed by the students of Beckham Dossett’s Graphic Communications class at the University of Houston’s School of Art.

Nostalgia for the Living - Round 35 at Project Row Houses

2011-11-14T09:58:00.000-06:00

I have 2 installations at Project Row Houses as part of Round 35, on view October 15, 2011 - March 4, 2012.

I was selected for an individual house in the Round, which I used for my installation "Nostalgia for the Living":

I view the body as a reservoir of inherited and collective memories, myths, and shared experiences.

My installation and Ankara [fabric] wall drawing explore parallels between personal symbols of legacy, passage and continuity, and systems within the body, such as the nervous and circulatory. This is an investigation of the physical body as microcosm.

installation of skillets and saucepans - various sizes

Wall drawing - approx 10 ft x 20ft - marker on wall

antique cast-iron skillets - various sizes

What's the New News?

2011-11-01T09:52:00.000-05:00

Nathaniel Donnett is a visual artist based in Houston, and someone that I have looked up to for years. As my career has progressed he has acted as a mentor, friend, and someone who challenges me to think harder and dig deeper into my concepts.
I was thrilled when he invited me to participate in his project "What's the New News," a public arts project in which artists and writers were commissioned to contribute works relating to Third Ward Houston.
Visual artists were provided with news racks, which were transformed into public art pieces displayed in the Community Artists' Collective during the month of September, and then will be installed out in the public at various sites around Third Ward. Writers provided original works, which will be printed on newspapers and distributed via the news racks.

I took the opportunity to create a piece about an issue that I am passionate about, that of surveillance and policing in communities of color, such as Third Ward. The imagery I used draws from photos that I've taken over the years of signage in the Third Ward, new incidents related to surveillance and policing (both locally and nationally), and maps.

From Nathaniel's statement:

"This project seeks to shine some balanced light on some of the stories that have been written about Third Ward," Donnett explained.
"The value of a neighborhood lies in its people, above and beyond its land and physical characteristics. They are who make it what it is, and this project means news for the people and by the people…and that´s the ´New News,´" he emphasized.

My news rack is entitled "Open and Smile" and will be installed at The Breakfast Klub.

"Open and Smile" - news rack, collage, surveillance cameras - 2011

For Oscar Grant

For Chad Holley

rear view of "Open and Smile" - news rack, collage, surveillance cameras - 2011

Surveillance cameras in the interior

Africans in America: The New Beat of Afropolitans

2011-09-21T11:30:00.002-05:00

I've watched the term "Afropolitan" growing more commonplace on social media outlets, in news articles, etc.

I've been very curious to learn if this term, which is appealing because of its global sensibilities, as well as being a term coined by Africans to describe ourselves (a refreshing change), applied to me. Me being a half-Igbo (Nigerian) half-American born in the US, raised throughout Africa (including Nigeria, South Africa, Congo, and other locations), currently living and working back in the States. Does it include my friends who are of African descent in America and other places in the diaspora who may not be able to easily trace their heritage to a specific nation, tribe, or language the way I can?

I've also been interested to learn the end goals of advancing this term and identity. Do the goals include some sort of cultural revolution or awakening throughout the Diaspora? Social or economic improvements? Self-definition?

These topics and more were addressed at a 2 day symposium hosted by HMAAC earlier this month. Participants included:

The Symposium features a talented group of Africans in America, including artist Wangechi Mutu; actor. musician and social entrepreneur Derrick Ashong; author Taiye Selasi, who popularized the term “Afropolitans”; writer Teju Cole; filmmaker Odera Ozoka and arts maven Meme Omogbai. They will be joined by George Washington University professor Nemata Blyden.

*sidenote: Wangechi Mutu is one of my art idols and I had the privilege of meeting her and showing her one of my collages, which was displayed during the symposium. I went completely fan-girl on her, hugs, blushing and all. Somewhat embarrassing.*

My impressions leaving the symposium are mixed. On one hand I embrace the showcasing of diverse African experiences, as well as the flexibility of the term. On the other hand, it is difficult for me to look past the potential classism that can be easily attributed to the term.

The group of highly-educated and internationally mobile global citizens who are the faces and voices of Afropolitanism are a special but growing representation of the contemporary African experience. It was refreshing and inspiring to dine and discuss with the participants.

My Cells (Part 2)

2011-06-07T22:24:00.002-05:00

"Coming Full Circle" - a score by Sarah Ann Phillip's - http://myspace.com/pharasmusic

During the first group presentation at ACA, all of the residents across the various disciplines presented introductions to each other about ourselves, our work and processes.
Sarah Ann Phillips presented symbolic representations of her music compositions. Although I was already aware and curious about some of the variations of the traditional staff and music notes that some composers use for their notations, I had never seen any like Sarah's. She presented geometric shapes, colors, patterns, and non-linear, layered arrangements of sound.
I've had the opportunity to hear Sarah in a jam session, and have sat in on some of her rehearsals. She plays with sonic extremes and improvisation in ways that recall some of the recent performances I've attended via programming by Dave Dove and Nameless Sound in Houston...non-pitch sounds such as key-clicks, string-plucks, striking instruments, and breathing sounds. As she described her compositions, she also includes vocal elements and hand sounds, like clapping.
Sarah is a student of Wadada Leo Smith and his system of Ankhrasmation, a symbolic notation system. One thing that stood out to me immediately in Sarah's notations was that there was an emphasis on allowing space and openness for improvisation and the performer's individual interpretations. She mentioned elements such as "event lines," "rhythm units," and pathways. Sections of bold color are used to provoke a response from the performers as they visualize what the color reminds them of and its properties (such as the squishiness of a yellow banana).
Sarah showed me the notation of a piece that she composed based on New Orleans, post Katrina. She studied aerial photos of the city and its layout, and her resulting notations included colorful shapes and symbols alluding to broken levees, flooding, the Superdome, and other references. The notation for this piece resonated with me not just because of my sensitivity to the events in New Orleans, but also because it opened me more to thinking about site-specific works and other ideas I've been waiting to pour some energy into. More on this later.

My Cells (Part 1)

2011-06-07T22:11:00.002-05:00

"My Cells" - title page to James Brandon Lewis' notebook

While at ACA, I've been enjoying my interactions with concurrent residents in the fields of music composition and poetry.

By sitting in on jam sessions with the musicians here, and attending a performance at Timucua White House in Orlando by Matthew Shipp, I've become fascinated with how composers have different ways of writing and visualizing their music.

I asked associate artist-in-residence James Brandon Lewis about his process and notations. He spoke to me about composing not just from hearing and sound, but also from kinesthetic memory...how the keys on his saxophone feel and the memory in his hands.

James has a very organized, systematic method of practicing and building a personal vocabulary through which he translates his emotions to music. His "study material" includes a notebook where he writes down music notations in numbered "cells." He's not fully certain yet how his meticulous documentation leads to his intense, passionate improvisation that I've been privileged to listen to over the past 3 weeks, but he is sure that his studies feed his end results. In looking at his notebook, I was also sensitive to the delicate, pencil drawn marks he uses to note his music, and recalled again the volume and energy of his sound. It's a beautiful contrast.

James titled his notebook "My Cells." In thinking about my own work and growing interest in the body and memory, and investigating my own sensorial way of recalling specific events and people, I enjoy the intimacy of looking into composers' notebooks.

Manual labor

2011-05-31T10:53:00.000-05:00

Box of my old diaries and letters

As much as I enjoy social media and blogging, I sometimes long for the days when I would write for hours on end in my journal.

I've kept diaries since I was in elementary school. During my residency last year at labotanica, I blogged about how my childhood journals serve as a reference point for my work. There is something magic about rediscovering through my own handwriting how I used to think and how I navigated the world around me. There is an intimacy in that process that I miss.

I still keep several notebooks on me at all times, where I record scraps of thoughts, words or phrases that I overheard or read, and quick sketches. I later mine these notebooks for ideas and glimpses of inspiration. Recently I have started to write at length in my art journals, and I'm excited by how easy it feels to slip back into my old habit. It feels more natural now instead of the shorthand and doodling I came to rely on when I felt the most pressed for time with my previous job and schedule.

Layered Histories

2011-05-27T10:59:00.001-05:00

A photo of one of the abandoned Elder Street buildings

Carrie Schneider, a Houston based visual artist and writer, is assembling a dynamic collection of audio tours of walks in Houston called "Hear Our Houston." The project explores walking in Houston as a "radical act" and invites the public to generate tours.
I recorded a tour and took photos of my frequent walking path around Elder Street Artist Lofts and First Ward.

My photos and tour are featured on OffCite: the Rice Design Alliance architecture and design review of Houston.

During my residency, I've been getting feedback and exploring ideas on some possible ways to activate the abandoned building behind the Lofts. More on this later.

Poly-

2011-05-27T10:28:00.000-05:00

Detail of "Cocoon 2" - dryer sheets, thread, parchment, graphite - 2011
(exhibited at Textile Arts Center, Brooklyn)

Over the past 5 years I've experimented with a variety of media in my artwork. I started out painting and drawing, and in 2008 moved almost exclusively to drawing. I feel that drawing is how I approach most of my ideas, but I have now incorporated collage, fiber, sculpture, and installation into my work. Through my newest ideas and experiments, such as the projects I am developing as an artist-in-residence at ACA, I'm exploring how performative and contextual practices are becoming more important in my work.

My thinking time (Part 1)

2011-05-26T16:08:00.002-05:00

New Smyrna Beach, FL from Regina Agu on Vimeo.

Residency at Atlantic Center for the Arts

2011-05-25T10:56:00.000-05:00

Greetings from New Smyrna, Florida!
I'm currently an Associate Artist-in-Residence at the Atlantic Center for the Arts in New Smyrna Beach, FL.
I was selected along with 8 other visual artists as part of a residency led by Master Artist Rick Lowe.
For 3 weeks (May 16th - June 5th) I will be concentrating on my new work and projects, sorting through my research and archival materials, and learning from the group.
This residency is focused on issues surrounding the built environment, and social practice/community based work. I am learning how to discuss some of my new projects in this context.

During the first week, we each presented to the larger group of residents (concurrently there is a residency for writers led by Thomas Sayers Ellis, and musicians led by Matthew Shipp), and then delved into much more detailed discussions/critiques to our fellow visual artists-in-residence. We have also visited several sites within the local community including historic buildings, heritage museums, and existing creative initiatives addressing social issues in New Smyrna Beach.

I drove for 17 hours straight *whew* from Houston to reach this artist community, nestled by a bay, 6 miles from the Atlantic coast line. I bike to the beaches almost daily. ACA is in a wooded area and is designed to be a retreat experience. I am treated to 3 chef-prepared meals a day, private room, board and bathroom, and a wide range of studio spaces and resource rooms to work, research, and exhibit in. I was also the recipient of tuition aid. This is a true privilege and for the first time this year, I have the clarity to immerse myself in my new research and ideas.

And speaking of tenderness...

2011-05-25T02:04:00.001-05:00

http://www.warsanshire.blogspot.com/
warsan versus melancholy: http://warsanshire.tumblr.com/

Radical Tenderness

2011-05-25T01:00:00.001-05:00

Re-reading this post by Houston-based artist and writer Carrie Schneider:

http://glasstire.com/2011/03/21/the-ten-list-radical-tenderness/

Me, the Impostor

2011-04-21T13:39:00.002-05:00

Visitors to "Extended Drawing" looking at my installation of 100+ drawings (May 2010)

Over the past 12 months I've had to confront some of my greatest stumbling blocks in regards to my art making, and in learning to align my desires for a complete life with my daily actions. As I mentioned in my last post, I took a drastic step to finally allow myself the space to think and create freely, even if temporarily, while I assessed my career path(s), experiences and goals.

Starting in high school, I separated my creative self from the self that earned praise from family, excelled in school, got the right jobs, and bought into a lifestyle that had nothing to do with my desires. This separation continued through college and into my adult life. All of my creative ideas over the years were kept hidden, documented in journals and notebooks that I would put away in boxes or lose. Even my closest friends never knew of my true desires. They could sense (of course, the way true friends do) that something was increasingly wrong and became concerned about my constant melancholy, but they eventually believed my excuses about being overworked, stressed or just going through general quarter-life angst. Although these explanations were partially true, I alone knew the real reason, but I told myself that I was being responsible and doing the right thing.

Over time, I had convinced myself that art making, writing, or any of my other passions were for those other people, the "real artists." Compared to them, I considered myself to be cowardly, not really creative, and uninspired. I hung around art openings to continue my self-education in contemporary art and to get to know other artists, but that was about as far as I dared to go for many years.

As the years and my new art career progressed, I realized that although I continued to show in venues in Houston (and recently, New York), make sales and "pay my dues" as a new visual artist, I continued to lack self-confidence. I felt that I didn't know where my work was headed, or even what it was about. Because of these doubts, my lack of art school education, and my overwhelming day job situation, my fear persisted that no one would take me seriously as an artist, including myself. I was completely entrenched in the "impostor syndrome" described in "Point 2: Don't wait until you know who you are to start making things" of How to Steal Like an Artist (and 9 other things nobody told me) by Austin Kleon.

The best advice that I've received from my mentors, whether in the art world or at my former jobs, all points to working through the unknown. Inspiration is pointless if you are not working. This realization was what caused me to start my "One Drawing a Day" experiment, which evolved into the ever expanding #draw365 project on Twitter and Flickr. I completed one drawing each day from October 2009 - October 2010, no matter how doodly or incomplete it seemed. This project changed my art practice and resulted in several fruitful exhibitions and collaborations.

If you are an artist, make art every day. Then each day, acknowledge your work and push yourself to be better the next day. Artists make art. Writers write. Make the work, and work hard.

Future Plan and Program - Book Launch this week!

2011-04-14T12:05:00.002-05:00

I am a contributor to Future Plan and Program, a publishing project and book club. Our launch is this week in Houston, TX at Project Row Houses.

A publishing project featuring literary works by visual artists from Houston and across the country. Join us for a week of readings, performances and artist talks, held at various locations around the city. All programs are FREE and OPEN to the public!

An Afternoon with Future Plan and Program Authors
Saturday, April 16
12 – 5pm (Art Houses are open) 2505 – 2517 Holman
5 – 7pm (Reading) Courtyard behind 2521 Holman
Join in day of sharing. Bring a bite to eat, check out the new artist projects at Project Row Houses and get a first glimpse as the participating artists/authors share excerpts from their new books. Featuring: Regina Agu, Nathaniel Donnett, Quincy Flowers, Steffani Jemison, Otabenga Jones and Associates, Ayanna Jolivet McCloud, Harold Mendez, Martine Syms, Michael Kahlil Taylor, andJina Valentine.

Book Club: Open Meeting
Sunday, April 17, 2:00pm
2318 Elgin Street, Eldorado Ballroom, Project Row Houses
Join Book Club, a bimonthly reading group, for a group reading of poems and fiction. No pre-reading is required; the text will be distributed during the meeting. Facilitated by Jamal Cyrus and Steffani Jemison.

Steffani Jemison & Martine Syms: Artist Talk
Tuesday, April 19, 11:00am and 1:00pm
Prairie View A&M University, John B. Coleman Library, 4th Floor, Art Gallery
Steffani Jemison and Martine Syms discuss their interdisciplinary art practices. Jemison is a visual artist, a 2009-2011 Core Fellow at the Museum of Fine Arts Houston, and the founder and editor of Future Plan and Program. Syms is a Chicago-based artist and entrepreneur: she founded a gallery and store featuring artists’ books and editions, and her media and new media artwork has been exhibited throughout the country.

Jibade-Khalil Huffman: Artist Talk
Tuesday, April 19, 1:00pm
University of Houston, Fine Arts Building Room 110
New York City-based author Jibade-Khalil Huffman discusses his practice, spanning photography and poetry, as well as his new book, James Brown Is Dead. Featuring a performative slide show by the artist. Huffman’s first book of poetry, 19 Names For Our Band, was published by Fence Books in 2008. He has recently presented performances at P.S.1/MoMA and The Tank.

Artists/Authors: A Roundtable
Wednesday, April 20, 6:30pm
African American Library at the Gregory School,
1300 Victor Street, Mayor Lee P. Brown Reading Room
Future Plan and Program authors discuss writing and art practice. With Ayanna Jolivet-McCloud, Jibade-Khalil Huffman, Martine Syms, Jina Valentine, Harold Mendez, and Steffani Jemison.

Harold Mendez: Artist Talk
Thursday, April 21, 1:00pm
University of Houston, Fine Arts Building Room 110
Chicago-based artist Harold Mendez discusses his interdisciplinary art practice, including his new book, Textes Pour Rien. Mendez has exhibited widely in Chicago and internationally, including the Museum of Contemporary Art Chicago, The Renaissance Society, threewalls, Western Exhibitions, Hyde Park Art Center, and the London Biennale.

So Much I Want to Say: An Evening of Performances
Thursday, April 21, 7:30pm
4807 Caroline Street, Houston Museum of African American Culture
Performances by Future Plan and Program authors: Two poems by Michael “Truth” Graham and Khorey “Greatness” Smith. Better Then Than When Life Was Babble? by Harold Mendez. The Discussant by Jina Valentine. So Much I Want to Say by Ayanna Jolivet McCloud. The Didactic Possibilities of Film Titles by Martine Syms. Adventures in Babysitting by Jibade-Khalil Huffman.

More on (DW)2 D!verseworks Development Workshops

2011-04-09T10:28:00.000-05:00

In February, I blogged about the first of the (DW)2 workshops , which are held in partnership with Diverseworks, The Houston Arts Alliance, Leveraging Investments in Creativity, and Creative Capital.
I was absent from the introduction to the Artist Cohort, as I was in Brooklyn for the artist talk at the Textile Arts Center group show "Missing/Missed".
I have attended all of the workshops though and have met with my group mentor, Dixie Friend Gay, at her Heights Studio.

Since my first blog post, the workshops have spanned Stragetic Planning II, Written Communication, and Budgeting and Finance. I feel very privileged to have been selected, as not only is my knowledge of the "business of art" increasing, but I am put into direct contact with an extremely diverse group of artists and am able to build a relationship with a mentor. This is a much-needed break from my increasingly insular studio practice and self-education.

In a few hours I will attend the next workshop on Marketing, which will be hosted at one of my favorite Houston spaces Caroline Collective.

Idea Income

2011-04-05T13:10:00.001-05:00

I enjoy change. I've come to embrace it in my adult life. My natural curiosity was cemented early on by an upbringing of constant travel and parents who placed a heavy emphasis on education and discovery.
The past 12 months have been tumultuous however, even for me. My life does not resemble what it did a year ago by most measures. Some of this change was initiated by me, according to plan. Some of the more recent changes definitely fall into the "well, that's life" category.

I've hinted at blogging about it several times over the past year, but it seemed too daunting a task, and honestly I wasn't sure how much I wanted to share on the internet as I went through my day-to-day actions of just trying to sort all this out. Friday I shared a link to How to Steal Like an Artist (and 9 other things nobody told me) by Austin Kleon and upon re-reading it, I saw that it was a good framework for my observations on what has been a year of experimentation and taking multiple leaps of faith. By no means do I plan to start an "advice for artists" series of posts, but I do have some lessons that I want to document for my own benefit as future reminders.

The idea that resonated with me the most from Point 1: Steal Like an Artist was the concept of "idea income."

March 2010 I made the decision to leave my job. This was a huge choice and not one that I made lightly. To be blunt, I was burned out and depressed. Years of meeting others (at first family and later, colleagues and peers) expectations in my academic and professional life resulted in me becoming bitter and frustrated. My personal relationships were strained to the breaking point and I felt like I had nothing to look forward to after my high-pressure 12-15 hour workdays plus weekends at the office. My weight ballooned due to lack of physical activity and eating fast food on the go or at my desk. My hair was shedding. Without getting into too much detail about my former employer, it was becoming increasingly apparent that I had to choose between my health (mental and physical) and my professional life.

Not to mention what impact this was having on my art. I am a self-taught artist and I've always fought for my practice, but recently I felt that I was losing. I would arrive home and crash on the couch and fall asleep to internet TV. I had no mental or intellectual stimulation outside the workplace and my art practice was stifled. I was constantly turning down opportunities for shows (and sometimes sales) and I wasn't investing in myself or anything/anyone that I genuinely cared about. Any entrepreneurial activities seemed out of the question.

A few years prior I made an assessment of my work-life balance, my financial situation and savings, my life goals and priorities, and began to plan for a break and a career change. When the opportunity finally presented itself to leave, I acted on it. This coincided with my return from my first show in New York, a group show at Corridor Gallery in Brooklyn and subsequent art sales and commissions.

Thinking back and reading my initial blogs posts about working from my former home and studio [Space is the Place and An Unexpected Plus] , I see that I met my initial goals very quickly. I now had peace of mind and space to think and create. I had the clarity to work though ideas and sort though my inspirations. I had time to read and study, and resuscitate some old research and archiving projects. I could invest time and energy into my health and the people I loved. My "idea income" skyrocketed.

work in process photo - building my sculpture for Discovery Green Park in Sep 2010

How to Steal like an Artist

2011-04-01T13:47:00.001-05:00

How to Steal Like an Artist (and 9 other things nobody told me) by Austin Kleon

I've read a ton of "advice for artists" blogs, rants, and books over the years. Based on my experiences, particularly those over the past 12 months, this is BY FAR the most compelling list. Simple, honest, and unpretentious advice.

Point #2 in particular really resonates with me, as it is something I struggle with daily:
2. Don’t wait until you know who you are to start making things.

An Inspiring Weekend

2011-03-17T12:34:00.000-05:00

Sunday, my cohort group from the (DW)2 Development Workshops met with our mentor, artist Dixie Friend Gay at her home and studios in the Heights. She gave us an intimate tour of her gardens and multiple studio and work spaces, and also a very detailed view into her art process, ongoing projects, and previous work. I admire Gay's hustle, and the savvy ways she maintains control over her finances and her work.

I remember reading about Dixie Friend Gay for the first time in the Houston Business Journal back in 2005/6, when I was still working at my first corporate job out of college. I had been working as an investment assistant and analyst for a couple of years at that point, and my art work was something done in private during off hours, when I allowed myself to daydream about a life that seemed impossible. I will blog more about this at some point. My employer subscribed to HBJ and I came across the article about Gay's process, business sense, and lifestyle. It was a turning point for me in thinking about my own journey, and how my experiences may actually lead to me returning to my art one day and enriching my work.

When I learned that I was assigned to Dixie Friend Gay as my mentor, it was a powerful feeling. Five years later, I was learning from the woman I had read about as a young adult who helped inspired me to think differently about my possibilities as a creative person. Full circle.

--

Monday, I heard Kara Walker lecture at the Menil Collection. I was, of course, familiar with her silhouette, paper cut-outs and (controversial) subject matter. I was not prepared for the sheer scale of her output and the variety of media that she worked with. She walked us through 80+ slides and detailed descriptions of her work. She was candid, a bit unscripted, and refreshingly honest about her contradictions and growth. I was intrigued by her reference to Glenn Ligon as an artist that she would like to pay homage to through some of her work. One of the reasons why I make a point to attend lectures is to learn more about these types of references and cross-pollination between artists. I consider it a vital part of my self-education.

Recent Collage Sales March 2011

2011-03-17T11:41:00.000-05:00

These three pieces sold to a private collector after the closing of Citywide 2011.

Porch Steps - mixed media and collage on paper - 11x11in - 2010

Burdened - graphite and collage on paper - 11x11 in - 2011

Forbidden Fruit - collage and mixed media on paper - 9x12 in - 2010

(DW)2 D!verseworks Development Workshops

2011-02-04T15:03:00.003-06:00

I'm very excited to have been selected as a participant in the Diverseworks Development Workshops, in partnership with The Houston Arts Alliance, Leveraging Investments in Creativity, and Creative Capital. I'm part of a cohort of visual artists and writers at different career levels that will be able to enjoy these workshops (for free, yes!) that cover Strategic Planning, Budgeting and Financial Management, etc.

(DW)² is a six-month series of development workshops for artists looking to expand their practice at the professional level. Along with monthly focused workshops on varying topics, the program facilitates a mentorship to help reinforce the newly acquired information. Since the program’s inception in 2003 and through its years of development, DiverseWorks has been able to assist a diverse group of over 150 participants with their ability to professionally expand as an artist.

We had our first workshop on Wednesday, which was Strategic Planning I led by Sara Kellner from Kellner Consulting. Sara was the former Executive Director of Diverseworks, as well as Visual Arts Director at Hallwalls Contemporary Arts Center in Buffalo, NY. I participated in a workshop with Sara as part of labotanica's School of Latitudes residency last summer, so really psyched to get 2 full workshop sessions with her (6 hours total).

In our first 3-hour workshop, Sara asked us to take part in several exercises designed to get us to think about goal setting, organizing our lives and our practices, and other aspects of strategic planning. We started by listing our accomplishments from previous years, which was followed by creating a vision for our futures, and breaking that down into clear, identifiable goals. She emphasized that we need to be careful not to censor ourselves at this phase of planning and to allow our imaginations to dream as big as we desired to.

I was surprised when looking at my short term goals and how many of them dealt with desires related to quality of life, relationships, health, and other personal goals.. When thinking about my "art career" I'm always so focused on pushing myself to make more (and better) work, to conceptualize, to find new ways to expand my practice, hustling, and balancing part-time teaching and other gigs, that I don't stop to think about the personal side of what is happening. I feel it's distracting at times. Through strategic planning I hope to allow myself to refocus on a better quality of life and having fun in my work.

One exercise that was also very eye-opening for me was writing my obituary, or the view from my 75th birthday. The point of this was to think about how we want to be remembered by our loved ones, colleagues, friends, and what sort of legacy we want to leave behind. Some of these things conflicted with the goals I had just brainstormed, so there's some interesting room for exploration in this area.

As homework, we received an excerpt from The Artist's Guide: How to Make a Living Doing What You Love that goes into much more detail about goal setting and realizing your vision. We also each received a copy of Business of Art: An Artist's Guide to Profitable Self-Employment. I'm going to schedule some dedicated time over the next week to tackling my goal-setting.

Looking forward to Strategic Planning II tomorrow...

Recent collage sales...

2011-02-04T13:43:00.002-06:00

Connected - ink, graphite and collage on paper - 11x11in - 2009

Songstress- graphite and collage on paper - 11x11in - 2009


Grounded - graphite and collage on paper - 11x11in - 2010

Sensitive - ink, watercolor, collage on paper - 9x12in - 2009

These pieces from 2009/2010 have been sold recently to private collectors, and at auction at the Houston Museum of African American Culture (HMAAC) at the fundraiser gala "Eyes Turned Skyward."

In August 2010 I also released a series of limited-edition prints, archival pigment based ink-jet on watercolor paper, of each of my collage pieces. Each piece was printed in an edition of 8, and each print is $25. View the print catalog, there are a few left of each piece...

2011 Citywide Houston - new collages

2011-01-31T16:34:00.002-06:00

**Update Feb 1, 2011 - I was awarded 2nd prize in Citywide Houston 2011 for my work.**

I have 2 new collages on display as part of 2011 Citywide Houston, as well as "Porch Steps" (opening reception details below):

Burdened - graphite and collage on paper - 11x11 in - 2011

R.R. (Meme) - mixed media on paper - 12x9in - 2011

Porch Steps - mixed media and collage on paper - 11x11in - 2010

Tuesday, February 1, 2011
6:00-9:00 p.m.
Prize Winners announced at 8:00 p.m.
University Museum at Texas Southern University
South wing, Fairchild Building
3100 Cleburne
Houston, Texas 77004

Friday, February 4, 2011
6:00-8:00 p.m.
Community Artists´ Collective
1413 Holman near La Branch
Houston, Texas 77004

Free and open to the public.
Questions? Call Chrystal Robinson-Davis at 713-313-7120.

The 2011 Citywide exhibition is sponsored by Five-A (The African American Art Advisory Association) at The Museum of Fine Arts, Houston, with additional support from Texas Southern University and the Community Artists´ Collective.

An update about my "One Drawing a Day" project #draw365

2011-01-27T16:22:00.000-06:00

I was just sitting here thinking about starting another daily drawing project and how I can keep experimenting with documentation and different ways to archive it, share it, etc. Realized I never blogged about the ending of the last one.

I finished the project in October 2010, one drawing a day for a year.

You can view the entire set on my flickr.

The project itself continues to expand and grow via twitter and flickr, and now includes at least 141 artists.

Some prior blog posts: The beginning of #draw365, and a halfway point.

Missing/Missed at Textile Arts Center, Brooklyn

2011-01-25T12:10:00.002-06:00

missing-missed_postcard cropped, originally uploaded by reginaagu.

Please join us for the Opening Reception of

Missing/Missed

A fiber arts show curated by Scott Henstrand

Friday, January 14, 2011

8:00-11:00 PM

Wine and other refreshments

Show Dates: January 14 - February 24, 2011

Artist Talk: January 24, 7PM

Video Night: January 31, 7PM

Poetry Night: February 7, 7PM

Click here to see the full list of artists, their imagery, and personal links

Thanks to the exhibiting artists: Regina Agu, Derya Hanife Altan, Audrey Anastasi, Yael David-Cohen, Julia Elsas, Micaela Hardy-Moffat, Pat Hickman, Peggy Hracho, Sara Jones, June Kersig-Hinson, Inge Hoonte, Mary Lippin, Jill Magi, John Paul Morabito, Celia Pym, Ehren Reed, Dempsey Rice, Maria Scarpini, Marissa Scheisser, Ed Schexnayder, Elizabeth Smolarz, Maria Sprowls-Cervantes, Brooks Harris Stevens, Allison Watkins, Leonie Wunderlich

A closing, a continuation

2010-10-19T12:00:00.001-05:00

(Originally blogged on the School of Latitudes residency blog)

The School of Latitudes closing reception was Saturday, September 25th. The artists had an opportunity to make public presentations about their work and process, and an evening reception followed later that day.
My final installation for “Uncharted” included black-and-white printouts of the 3 study photographs that I posted in my earlier blog [link to photos] and 6 drawings. The drawings are graphite or ink, on parchment paper.
As I studied the floors in my apartment and wondered about the people and fixtures in the former hospital that would have been responsible for the rusted marks, grooves, and cuts in the surface, my thoughts began to focus on the layers of history and importance of the place that I was standing in. When examined against what I was attempting to study through “Uncharted” such as the authority of map (and mark) making ,and tensions caused by transitions of physical places, the photos became an integral part of my project.
The drawings, which are based on these markings and resemble familiar lines used to indicate terrain and bodies of water, are shown here. I see this project as ongoing and will result in continued investigations.

"Las Comadres Recycled" - Photos and Thank Yous

2010-09-08T13:57:00.001-05:00

I've put together a photo set that has in-process and final installation photos of my sculpture as part of "Las Comadres Recycled".

Some special thank you's to those who contributed metal cans and other materials to my sculpture:

My fellow artists and community members at the Elder Street Artist Lofts

Sugarcane

Liberty Station

Grand Prize Bar

Catalina Coffee

Photo Credit: Angeles Romero

"Las Comadres Recycled" - 8 sculptures in the park

2010-09-03T12:49:00.002-05:00

I have been working on a sculpture for "Las Comadres Recycled", a project of Talento Bilingue de Houston and Planeta Verde Now.

Today is the opening reception at Discovery Green Park in Houston, 6-9pm.

EXHIBITION DATES & LOCATIONS:
Discovery Green, September 3 – 17
Guadalupe Plaza Park, September 24 – October 22

A write-up about the show:
At the beginning of JUNE, an open call went out for a juried outdoor public exhibit entitled “LAS COMADRES RECYCLED,” in which Houston artists were asked to create EIGHT life-size statues inspired by fictional “Doñas” (matriarchs) to commemorate sustainable ideas and practices which benefit and nourish our Pachamama (Mother Earth).

In Latino culture, “Doñas” (matriarchs) are revered for shouldering family traditions, enforcing rules and efficiently running the household. These influential women, endearingly called "COMADRES", are integral pillars in the community. As friends who support one another, these relevant female metaphors are symbols which nurture values and behaviors to promote dignity and pride for our collective home.

By creating a memorable and iconic “Comadre,” artists make a dynamic statements relating to the environment. The event acts as a precedent as sculptures are constructed exclusively of recyclable materials and will be a part of a collective outdoor exhibit at both Discovery Green and Guadalupe Park Plaza, two highly visible locations in Houston to be seen by thousands of park-goers.

Now in its second phase, Planeta Verde Now (PVN), TBH’s groundbreaking
green initiative, continues to foster environmental values and sustainable practices through artistic expression and creativity.
Each “Doña” will have an accompanying plaque with her name and accomplishment(s).
Selected artists and respective “Doñas”:

LIZ CONCES SPENCER, Doña Rosa Gardenia Muelle
LIZBETH ORTIZ, Doña Eva Luz
JORGE GALVAN, Doña Susie de la Limpieza
REGINA AGU, Doña Renee “The Fuel Fixer” Green
MICHAEL KAHLIL TAYLOR, Doña One’der Full’estima
STEPHANIE GUAJARDO, Doña Frida de la naturaleza
ERIN FRY, Doña María Ramos
STALINA E. VILLARREAL, Doña Poly frou-frou Sanguínea

For more information contact, Angel Quesada; angel@tbhcenter.org or 713-222-1213

Intro to "Uncharted"

2010-09-03T12:45:00.000-05:00

As part of the "School of Latitudes" residency at labotanica, the artists-in-residence will blog at least once a week.

My first blog post was an introduction to some thoughts on my proposal, and can be read here on the "School of Latitudes" page:

“The strength of maps is their ability to select from reality and abstract the selection via a well designed symbolization.”
- ICA (International Cartographic Association, Research Agenda)
“Wars of nations are fought to change maps. But wars of poverty are fought to map change. ”
-Muhammad Ali
“It is not down in any map; true places never are.”
-Herman Melville

Through my project “Uncharted” (proposed title), I will conduct experiments in mapmaking using sound, movement, text, and drawing. This week I plan to document several resources concerning maps and power, which is one of the driving research interests behind my proposal.
Although not directly related to mapmaking, an article which caught my eye earlier this week does relate to borders and shows a key intersection between the economic, cultural, and physical.

School of Latitudes - Residency program at labotanica

2010-08-25T14:56:00.001-05:00

My proposal was accepted to the "School of Latitudes", a new residency program launched by labotanica. During this 6 week residency, I will be working on my project, "Uncharted" (working title). This is my first residency and I am very excited!

The program officially started August 17th and will run through the end of September.

My proposal for "Uncharted" can be viewed on the School of Latitudes page.

Project Proposal: I propose establishing a headquarters for a fictitious agency/org that deconstructs existing maps of neighborhoods, such as transit maps, street maps, and satellite maps, and conducts experiments in new maps made through recording sound and exploring movement and text, in addition to drawings and marks. Such experiments will be conducted as part of the residency. My intention with this project is to move beyond the 2-D map and to question the authoritative nature of mapmaking and historical assumptions about what content is important for maps, and what sorts of power or information imbalances are inherent in mapmaking systems and the societies/agencies that control them. This organization will focus on 1) neighborhoods and cities in transition, such as Third Ward Houston or Detroit and 2) chaotic megacities such as Lagos, Nigeria. I feel that The School of Latitudes is the ideal opportunity to launch this project.

I first began exploring mapmaking through some drawings I produced in 2008 based on my journals from living in Congo, and I continued to explore migratory movement of people and ideology through my recent collages. I want to start with the immediate location of the space, Dowling Street and the Third Ward area. The neighborhood offers a rich history and area to study physical and cultural transition, the tension between old and new development, and interactions between art, green spaces, and the public.

About the School of Latitudes residency:

Session 1: Artists as Activators

Artists in Residence: Regina Agu, Vonetta Berry, Aisen Caro Chacin, James Ciosek, Jade Cooper, Inge Hoonte, Melanie Jemison, Ayanna Jolivet Mccloud, Heather Korb, Robert McShan, Rebecca Novak, Jennifer Overfield, Irene Ruiz, Stephanie Saint Sanchez, Emily Sloan, Carrie Schneider, Tyson Urich
School of Latitudes is an artist residency that takes place August to September 2010, conceived, curated and presented by labotanica. School of Latitudes explores new approaches to creating and presenting art that are artist-driven, DIY, and that locate creativity in all sorts of environments and places. The residency is not about completing these projects, but simply exploring, launching and testing out these ideas, all the while using labotanica as a hub to do this. The residency will culminate in an exhibition and publication documenting the start of these new projects. The theme of the first session of School of Latitudes is “artists as activators”. The residency locates artists as active agents of change and explores integrative approaches to making art in our community.
“The world changes with each passing day, and art is just one tiny segment. Art has to open itself up, go beyond its fixed boundaries and absorb more nutrients from other sources, perhaps even deconstruct itself into something else.” Hou Hanru
labotanica is a resource and a laboratory. labotanica uses flexible, open-ended formats to frame new art forms and dialogues that are often independent, experimental and developing. labotanica key words: reciprocity, exploration, freedom, latitudes, magical thinking, open-ended, flexibility, de-center, soulfulness, processes. http://labotanica.org

Catalogue for "Wayfarer" - current exhibition

2010-08-25T14:54:00.000-05:00

Catalogue for my current exhibition at Khon's, "Wayfarer": Wayfarer: Exhibition of drawings and collage by Regina Agu

"Wayfarer" - exhibition of new drawings and collage by Regina Agu

2010-08-08T21:08:00.002-05:00

About the artwork:
“Wayfarer” explores the movement of people and boundaries.

In my collage pieces, I reference photos and memories of my travels to Nigeria by drawing images of women (usually relatives) and creating head-wraps using popular food packaging materials. I use these exported materials, which I purchase here in Houston, as a metaphor for the exporting of beauty standards, identity and people across national borders.

The larger graphite drawings shown here are layers of present-day neighborhood decay, futuristic development scenarios, and the shifting of physical and personal boundaries.

Movement (R)evolution Africa

2010-07-07T10:33:00.001-05:00

I had the privilege of viewing the film "Movement (R)evolution Africa" at the MFAH as part of a month of contemporary African film screenings, curated by Akua Holt.

What excited me initially was not only did the film promise to showcase some of the finest and most progressive African contemporary dancers and choreographers, but that the film also featured Nora Chipaumire, a dancer and performer that already earned my admiration during her film "Nora", which I blogged about previously. One of my previous daily drawings was inspired by her and the beauty of her film and movement.

The film raised some important points that resonated with me and confirmed things that I've experienced in my journey as an artist, a woman, and a multi-cultural Black person with ties to both the U.S. and Nigeria.

-- African dance, or rather African art forms and expressions in general, are not acknowledged in the Western media or world view as being progressive, changing, or contemporary. When one mentions African art forms, it usually conjures up images of village life and traditional expressions. Not that tradition is unimportant, but to deny the existence of contemporary voices and expressions is only contributing to the idea of a static, "primitive", monolithic Africa.

-- It's rare that we get to see contemporary African stories being told by African themselves, outside of stories related to poverty, disease, and a position of lack. It is not because these stories do not exist or are not being told. It's just that these stories do not get acknowledged or highlighted in Western media.

-- African art forms are always qualified as "African." While it is important to note that these forms are uniquely and distinctly African, they should be included in the overall contemporary art narrative, and not pigeonholed in this "other" box.

I encourage my readers to take a moment to look at the film's website to learn more about the artists and about why films like this are so important.

Artists include:

Studying expressions - Drawings 252-253

2010-07-06T11:23:00.001-05:00

Note: I've decided that this blog is not the best forum for showcasing my ongoing daily drawing experiment, so this will be my last #draw365 post of this type. Please visit my flickr to view the drawings as they are posted.

In these drawings I was looking to capture different facial expressions in eyes and lips, and notice variations.

I flipped through a woman's fashion magazine and looked at the faces and expressions on the models. Although I expected alot of uniformity in the facial expressions, I didn't expect so much similarity when zeroing in on individual parts, like lips. I guess "pouty" and "seductive" reads the same on pretty much everyone in the glossies...

The second drawing here is also drawn from a photo. I loved the intensity of the photo though, and decided to focus on his eyes. I prefer drawing from life, so I really need to get back to the live model sessions that I used to attend.

Oily shadows - a set of daily drawings (Drawings 243 - 251)

2010-07-06T11:22:00.002-05:00

After the Extended Drawing show closed, I continued my daily drawings by returning to paper instead of drawing on the wall (which I miss terribly). However, I noticed that I wasn't really excited about the precise ink drawings of objects and passers-by that have been the bulk of my daily drawings in the previous months. It felt like the forms from the wall at labotanica wanted to come home with me and take over my notebooks. So I let them.

Oily

Aerial view

Haze

Vessels

More haze...

Release

Bubbles and marks

Marsh

Pencil study of jellyfish

Video: me discussing my work for "Extended Drawing" at labotanica

2010-07-05T11:01:00.000-05:00

Robert McShan, a talented visual artist who works with labotanica, made this video of me discussing my work.

extended drawing - labotanica from robert mcshan on Vimeo.

Final photos of my evolving installation for "Extended Drawing" at labotanica

2010-07-05T10:59:00.000-05:00

Over the course of the exhibition "Extended Drawing," which closed Jun 19th at labotanica, I created an evolving installation that I worked on almost daily. I drew on the walls, creating shadowy forms with graphite, delicate marks including contour map lines taken from some of my daily drawings, and bold lines that I stuck to the wall by "drawing" with black tape. The end result was what I hoped for, an intuitive exploration of markmaking that stayed true to the spirit of my daily drawing experiment thus far. I opened up myself, and the wall, to visitors and suggestions from the public by announcing the hours when I would be working in the space.

To view photos of the wall drawing as it evolved over time, please visit my flickr. I also have photos of the visitors that came by. Some of them brought gifts and other unexpected treats, and our discussions worked themselves into the piece and informed the drawing as the project progressed.

Here's a photo of the completed wall:

The offline life

2010-06-28T15:39:00.002-05:00

Over the past couple of weeks I've been going full steam ahead with several projects, including "Extended Drawing" at labotanica, which closed on Jun 19th, which included me executing a large scale drawing on the wall of the space. I also made a sudden move into a new apartment/art studio loft on the edge of Downtown Houston.

My landlord at my old apartment was very flexible with me and made the process as smooth as possible on their end, and I was fortunate in that I didn't have to pay any fees to move without having given the required 30 day notice. The move was still extremely difficult, in that I had essentially 4 days to pack up my 2 bedroom apartment and all my art studio supplies and move into my new place to avoid penalties and paying rent in both spaces. That's when I learned just how much crap had accumulated in my 2 bedroom apartment over the course of the past 3 years.

I donated a ton of clothes, made countless trips to the recycling center, and posted a listing of "free stuff" on craigslist that included bookshelves, and old microwave, a small TV, and some knick-knacks. Within 30 mins of me posting on craigslist about the items that I placed out by the dumpster across the street, everything was gone.

The heat that week was blistering. Without the help of my brother (who is staying with me) making countless car trips and loading/unloading, I would have given up. When all the heavy items were unloaded from the rented U-Haul, I collapsed and slept the whole day. I still had to go back to my old apartment and clean, but we managed to get everything done. I handed in my keys on time.

Between moving, continuing my daily drawings, working on new projects including a new series of watercolors in my still unpacked studio, and then trying to keep my social media profiles constantly updated for the show, I needed to focus. I've continued to create, but I did need to retreat offline for a bit. I'm easing back into things now.

Oops...One year down...

2010-06-02T19:14:00.000-05:00

And in my running around this week, I missed my own blogiversary yesterday.

I'm supposed to do a special post or something right?

This blog over the past year has grown to encompass travel notes, the start of and continuation of my daily drawing project (which now includes 80+ artists online), and thoughts about my art shows and process. I've written about thoughts on beauty, women, inspiration and general creativity.

There have been alot of personal changes as well:

New daily drawings (Drawings 219 - 223)

2010-06-02T19:02:00.001-05:00

I've been busy this past week, prepping the labotanica art space for my new wall drawing, taking photos, packing up to move to a new apartment/studio (more on that later) and just general administrative tasks related to keeping myself and my art afloat. I am squeezing in some social time at mostly art related events, but not much.

Here are some more drawings from the past week.

Tools of the trade:

Tools of the trade part 2:

Marks

Pattern from Ethiopian scarf I wore to friend's wedding over the weekend:

More twine:

View the set of daily drawings on my flickr
Part of my "One Drawing a Day" project.

I tumble.

2010-05-28T14:24:00.003-05:00

I'm now on tumblr --> Playground of visual artist, Regina Agu

Feel free to connect with me there as well :)I'm going to use tumblr as a running log of things that catch my mind's eye. Quick word, picture and sound bytes.

My tumblr will NOT be replacing this blog though. This blog will continue to serve as the primary work space for me to share and learn from others regarding my art process, critical thought, and other topics.

Drawings from this past week (Drawings 210 - 218)

2010-05-28T02:05:00.000-05:00

View the set of daily drawings on my flickr
Part of my "One Drawing a Day" project.

Nick Cave - Soundsuits

2010-05-27T22:00:00.009-05:00

I just returned from the Nick Cave lecture at the MFAH about his soundsuits. His suits are in an exhibit right now at the CAMH "Hand+Made: The Performative Impulse in Art and Craft."

The CAMH website posted a youtube video about his suits:

(image from LOUDreams) Movement and performance has always interested me, and I am actively working to expand my knowledge of contemporary artists who are able to push the limits of these practices. Also at the MFAH I recently saw Ziya Azazi, a dervish/dance performance artist, perform his piece "Dervish in Progress" live.

I've been testing the waters in my own art practice by participating in 100 Black Women, 100 Actions, and through the drawing performance that I coordinated for the "Extended Drawing" opening reception.

Thelma Golden: How Art Gives Shape to Cultural Change

2010-05-27T10:08:00.001-05:00

Talk by Thelma Golden, Director and Chief Curator of The Studio Museum in Harlem, New York City, USA.

I reposted this from my tumblr.

Photos from opening reception - Extended Drawing at labotanica

2010-05-27T00:42:00.002-05:00

I'm still reeling a bit from the high turnout at the opening reception of Extended Drawing, and the high level of response to and participation with my installations.

Here are some photos from the opening.

View of installation of daily drawings (photo by Robert McShan)

Opening tonight: "Extended Drawing" at labotanica

2010-05-21T16:27:00.006-05:00

http://labotanica.org/projects_extendeddrawing.html
labotanica presents Extended Drawing a new exhibition about experimental approaches to drawing. Through photography, film, performance, site-specific installations, and public art, artists extend the medium of drawing beyond its traditional mode of representation. Exhibiting artists use drawing as a vehicle to explore ritual, participation, documentation, and social interaction. Artists include Regina Agu, Aisen Caro Chacin, Melanie Jamison, Dinorah de Jesús Rodriguez, Ayanna Jolivet Mccloud, Tyrone Saunders, Carrie Schneider, and Christina Summers.
My work for the show is in 3 parts:

1. I have choreographed a drawing performance piece, which will take place during the opening reception.

Image: Study of performance installation of live drawing by Regina Agu

"Performers are assigned marks and text, and asked to draw repetitively on the wall. This process allows the artist to study how her daily drawing meditations translate through others experience and interpretation."

2. I will have selections from my daily drawing project on display. My personal work from this project, which has now reached over 200 days of daily drawing, will be presented as an installation. The project has now expanded to include 80+ artists internationally who draw daily and contribute their work to the Draw365 group page.

3. Lastly, over the next month while the show is up (through Jun 19), I will be working on a site-specific drawing installation and documenting my progress at the space. This installation will grow and change daily. I'll send out updates and also times where I will open up the space to collaborations and visits.
Summary:

On view are a selection of drawings from Agu's daily drawing project, in which the artist has committed to producing one drawing a day and posting online on various social media networks, without rules limiting subject matter, technical complexity, or materials used. The artist started this project as an experiment on Twitter and Flickr. This installation includes original drawings, as well as scanned pages from the artist's notebooks. The 200+ days of daily drawings have been created on loose leaf pages, restaurant napkins, Arches paper, and in various notebooks.

The drawings have grown to include abstract line compositions, collaged elements, figure studies, and objects that the artist interacts with throughout her day and during her travels. This diaristic project is an experiment that allows the artist to expand her drawing practice as a daily ritual while also engaging the public.

To view Agu's growing set of drawings in their entirety, please visit:

http://www.flickr.com/photos/reginaagu/ and select the “One Drawing a Day” set.

Another dimension to Agu's #Draw365 project is that it has grown organically to include 80+ artists internationally who participate by creating and contributing their drawings daily, and help spread the movement through linking to one another's websites, blogs, and Flickr pages, and by re-tweeting the other artists' work. To view the group page, please visit:

http://www.flickr.com/groups/draw_365/

A little girl's story (Drawing 209 - A drawing for Aiyana Jones)

2010-05-19T11:06:00.005-05:00

The Aiyana Jones story is on my mind.

On Sunday, a 7 year old black girl was shot in the head and killed while she was sleeping by police during a raid in Detroit. The raid was also being filmed as part of a reality TV show.
The story, as usual, is being under-reported and marginalized. I can't help but be pessimistic at this point about the future outcome of the investigation.

The circumstances surrounding this innocent girl's death were apparently camera-worthy, namely police officers excited by A&E cameras, shooting-at-will and using unprovoked extreme force. Because of course, we all need to see more images of black homes being raided. However her story, and her remembrance, are barely afforded any media attention.

This drawing is based on graphic image from a flyer I was given concerning justice for prisoners. I found it to be very relevant, and I wanted to re-draw this and put this image out with a dedication to Aiyana.

Part of my "One Drawing a Day" project.

Call for Performers - My peformance installation for Extended Drawing this Friday!

2010-05-18T15:27:00.002-05:00

Image: Study of performance installation of live drawing by Regina Agu

I am seeking performers to participate in a performance installation for the opening of Extended Drawing, this Friday 5.21.10, 6pm-8pm at labotanica (2316 Elgin, Houston, TX)

I will assign the performers marks or text, based on my daily drawings, and they will participate by repetitively drawing/writing on the wall for the opening for 2 hours. The performance will be taped and shared online.

I am interested in seeing how others interpret my experience, which has become a daily meditation, through their own experience and performance.

NO EXPERIENCE NECESSARY. BOTH ARTISTS/NON-ARTISTS WELCOME. Seeking people of all backgrounds. To participate, tweet me @supernova_star or email me: reginaagu81 at gmail

http://labotanica.org/projects_extendeddrawing.html

Dervish in Progress - a performance by Ziya Azazi

2010-05-18T13:15:00.001-05:00

Sunday I had the privilege of watching a performance of "Dervish in Progress" by Ziya Azazi at the Museum of Fine Arts Houston as part of their new exhibit, "Light of the Sufis: The Mystical Arts of Islam."

I've always wanted to watch a whirling dervish performance in real life. Azazi's interpretation of the point where the dancer begins to reach enlightenment through the repeated whirling action was brought to life for 25 minutes of color, motion and sensual music. It was beautiful to watch someone rooted in traditional techniques push the boundaries of this art form.

I did not think it would be appropriate to film or take pictures. So, here's a clip of Azazi in action during a performance that I found on Youtube:

And a vid of more "traditional" dervish:

What's your Story? - a blog post by Karl Nova

2010-05-18T13:00:00.000-05:00

I came across a blog post by Karl Nova, a musician out of London, that intrigued me and got to thinking about what types of stories, if any, I am telling and seek to tell with my work.

From Karl Nova's blog:

The British literary critic Christopher Booker, has argued that there have only ever been seven basic plots, as follows:

1. 'Tragedy'. Hero with a fatal flaw meets tragic end. Macbeth or Madame Bovary.
2. 'Comedy'. Not necessary laugh-out-loud, but always with a happy ending, typically of romantic fulfillment, as in Jane Austen.
3. 'Overcoming the Monster'. As in Frankenstein or 'Jaws'. Its psychological appeal is obvious and eternal.
4. 'Voyage and Return'. Booker argues that stories as diverse as Alice
in Wonderland and H G Wells' The Time Machine and Coleridge's The Rime of the Ancient Mariner follow the same archetypal structure of personal development through leaving, then returning home.
5. 'Quest'. Whether the quest is for a holy grail, a whale, or a kidnapped child it is the plot that links a lot of the most popular fiction. The quest plot links Lords of the Rings with Moby Dick and a thousand others in between.
6. 'Rags to Riches'. The riches in question can be literal or metaphoric. See Cinderella, David Copperfield, Pygmalion.
7. 'Rebirth'. The 'rebirth' plot - where a central character suddenly finds a new reason for living - can be seen in A Christmas Carol, It's a Wonderful Life, Crime and Punishment and Peer Gynt.

I think his post, and this classification of stories, does raise interesting questions about originality and influence for artists.

Ordinary objects (Drawings 203-208)

2010-05-18T00:48:00.002-05:00

It's been a busy week. In my rushing around, I've been drawing objects around my apartment again.

Part of my "One Drawing a Day" project.

Backpack contours - zippers, handles, plastic, pockets:

my handbag:

Cables:

Erasers:

Stack of newspapers:

Stack of books:

New hair (Drawing 202)

2010-05-12T01:12:00.002-05:00

Today I went into my bathroom and chopped off all of my relaxed hair. I had been transitioning my hair since December, so with about 5 months of growth I decided to take the plunge and just cut it off. The resources I relied heavily on during this process are Natural Chica, Black Girl With Long Hair blog and site, Natural Hair Rules, and Naturally Curly.

Truth be told, this is not my first attempt at wearing my hair natural. When I was younger I wore my hair in braids and after about a year of cornrows, braids and twists, I cut off my relaxed hair. However, things were different back then (about 10 years ago). Although there were some online resources, I did not find the plethora of information available now in terms of products and styling for my hair type.

The biggest difference though was my mind state. Although I was "brave" enough to cut my hair, I became very frustrated quickly with the response and harsh comments from my friends and family about how I looked. I was not thick-skinned enough to stand up for myself, and my confidence suffered. I went back to relaxing my hair and have been kicking myself ever since.

Recently I have broken the news to people about my choice to stop relaxing my hair, and I have watched with humor at the frenzied but all too familiar responses from some of them. I won't look exotic. I'll look too manly. I'll look gay (*sigh*). I don't have "good enough" hair to not use chemicals. Hair like mine just isn't "manageable" or "stylish". I am happy to say though that all of these comments just pushed me closer to my decision.

It saddens me that afro-textured hair is still this political and controversial in 2010, and that most black people still don't see the beauty in it, much less mainstream beauty-makers like the media and popular culture. We have internalized an oppressive mythology about our beauty. I see my hair as something unique, ancestral, and beautiful. In cutting my hair, I realize that I am now going head-to-head against myths and stereotypes. I'm ok with that.

I'm not judging anyone that chooses to relax their hair. But I do not want MY hair to be that way. The only reason I was continuing to relax my hair was because of what others would think. I received no sense of beauty or self-confidence from it. In response to that, I am making the decision to stop buying into the lies.

In typing this post I pause every once in a while to play in my hair. I love the softness and the springy coils and curls. This feels like me. I can't wait to see what we grow into.

Dedicated to the ghost of my relaxed-hair past (hair scraps on the floor):

Part of my "One Drawing a Day" project.

A quick trip to Philadelphia (Drawings 199-201)

2010-05-11T10:54:00.000-05:00

I took a short trip over the weekend to Philadelphia to visit with one of my close girlfriends. I realized as I was flying that it was the first time that I was traveling probably in over a year without an art related itinerary. I did a quick google search before leaving to see what sorts of contemporary or modern art centers would be in the area. My hotel was in Center City.

My first impression of Philadelphia was that the Center City area (downtown) was an impressive mix of retail, restaurants, and entertainment. Public transportation seemed efficient (I took a subway to NJ) and well-planned, but there were so many walkable areas I didn't really need to utilize it.

My trip was short and I was there to have fun with friends and go out. Next time though, I think I have a better sense of where to stay, and will plan time to go explore the art happenings while I'm there.

Here are my 3 daily drawings from my trip. I crossed the 200 mark! Coincidentally, I also crossed the 100 mark while traveling, that time to New York for my show.

A view out the window of the departure gate...

My crumpled up boarding pass, drawn while tidying up my hotel room...

A woman studying a textbook at the airport departure coffee shop.

Part of my "One Drawing a Day" project.

Repitition...(Drawings 196-198)

2010-05-08T02:00:00.000-05:00

These past couple of drawings involve alot of repetition of objects and lines. I'll write more about this later, but the new site-specific installation and performance for the opening of my next show: Extended Drawing, will feature this.

I've also been painting the past couple of days.

A pencil sketch and watercolor wash...a painting in progress

This is the repeated traced outline of a dollar sign pendant from a costume.

AAA batteries

Part of my "One Drawing a Day" project.

Elizabeth Gilbert on nurturing creativity | Video on TED.com

2010-05-05T20:15:00.002-05:00

I watched this fantastic talk on TED about creativity, by Elizabeth Gilbert, the author of "Eat, Pray, Love". Incredible discussion of the energy behind creativity and "genius" and how it can be viewed as something divine and esoteric. I loved it. Thanks to Caroline Nevin @rubiesareblue for sharing this.

Elizabeth Gilbert on nurturing creativity | Video on TED.com

I just wanted to make some marks tonight...(Drawing 195)

2010-05-05T00:08:00.003-05:00

195, originally uploaded by reginaagu.

Drawing 195 is a meditation...
Part of my "One Drawing a Day" project.

Odds and ends (Drawings 191-194)

2010-05-04T21:57:00.002-05:00

The past couple of days, I've been drawing small objects again...just little pieces that catch my eye. I place a big emphasis on training myself to literally see better, and notice the details.

collars and buttons

rope and twine

pencil shavings

dried petals
Part of my "One Drawing a Day" project.

An unexpected plus - Drawing 190

2010-04-29T20:41:00.001-05:00

One of the benefits of spending more time in my space working independently, is that I get a chance to invest time into my health and well-being.

Previously, after spending what could be 12 hours a day at a job that I hated, and then spending hours at home scraping my remaining energy into art making, I became extremely productive, although sleep-deprived, stressed, and unhealthy. I used to be an extremely active person up until a few years ago, when I allowed the strain of my professional life to take its toll. I started to gain weight, and my energy levels suffered dramatically.

I've been able lately to try and get back in shape, slowly but surely. I can now get out to the gym often, and work out with a clear mind, instead of thinking about all the things I wasn't doing since I wasn't at the office or preparing for an early morning. I'm eating better. I take daily walks. I've gotten back into running and yoga. Pretty soon, I'll start dance classes again.

Part of my "One Drawing a Day" project.

Halfway Point - "One Drawing a Day" #draw365

2010-04-29T19:53:00.000-05:00

I'm on Drawing 190 now of my "One Drawing a Day" project, and I'm officially past 1/2 year point of drawing daily.

I entered this as an experiment, or a daily challenge to myself, to draw with no rules in terms of media, complexity, or subject matter. The intention of this was to just draw, and to stay loose and flexible and overcome some of my earlier challenges.

I decided to share these drawings online, originally through social media networks such as Twitter and Flickr, and then as part of this blog. The point of sharing the drawings was to interact with others as a type of daily evolving "exhibition" in a way, and to engage other artists and those who may be interested in my other work.
Sharing with others publicly also would add a level of accountability to me continuing in the project, despite the distractions of job, personal life, and all the other excuses I used to NOT make art. Thanks to Gilbert Ruiz and the daily contributions of now over 80 artists online, this project has evolved into a vibrant community of artists, known as #Draw365 (view the group Flickr and Twitter pages).

Sharing drawings with no identifiable style, or progression, opened me up to some criticism along the way. People have commented negatively both on this blog, as well as through the social networks I mentioned earlier. However, I have no regrets about keeping this project open and without restriction.

For the remainder of the project, as I now have more time to invest in my art on a daily basis, I am looking forward to continuing to challenge myself and push this project forward.

One Hundred Black Women, One Hundred Actions

2010-04-29T13:34:00.002-05:00

You can view the broadcast here: http://www.ustream.tv/recorded/6421347

I performed this past Saturday as part of the project "One Hundred Black Women, One Hundred Actions." The premiere performance took place this past Saturday as part of Fusebox Festival in Austin.

I feel like I can't begin to describe the profound effect this past weekend had on me, both personally and artistically. It was a privilege to be around such a large group of beautiful, focused women united through performance and art.

To summarize: "Through physical actions which are recorded on this website in various forms as photographs, drawings, video and written descriptions, the public can respond to the following question: “What is a physical action that expresses your personal power?” From these actions we will choreograph 100 movements to be taught to and then performed live by 100 black women." - excerpt from project website.

I was nervous once I arrived on Saturday to my first rehearsal, and I discovered that we would be learning and performing ALL 100 actions, rather than getting assigned certain ones! But the movements were easy to learn and felt natural, and the energy of the group performing together made us depend and learn from each other. Everything came across as very well-choreographed and synchronized. The performance was broadcast live via USTREAM.

What also impressed me about the project was that so many of the actions seemed born out of desires for peace, strength, visibility, and claiming space. This is in direct opposition to actions being born out of anger or frustration, as the media and other outlets would have us believe are some of the main characteristics of black women and our worldview. It was empowering to act out these positive actions, and to see the reactions of the crowd that gathered to watch us.

Please read more about the project and the co-creators, Wura-Natasha Ogunji and Ayanna Jolivet Mccloud, on the site: http://100blackwomen100actions.com/

Au naturel (Drawings 185-189)

2010-04-28T18:26:00.000-05:00

I've had one of those week's where nothing was really catching my eye in terms of inspiring me to draw. I was feeling pretty bogged down lately, just because of my own expectations and impatience with some of my projects.

I took one of my long walks (lucky to live in a neighborhood in Houston that is great for this, nice pedestrian areas), and realized that all I needed to do was bring along my notebook and soak up some of this sun and cool breeze while it lasts.

I started sketching more outdoors last week. With all the activities I've had going on lately, it allowed my mind to stay free. I think I got in a couple of nice gestures as well and played around with Pentel markers.

Part of my "One Drawing a Day" project.

Drawings 183 and 184

2010-04-24T08:14:00.001-05:00

A crumpled piece of paper...another idea getting kicked to the curb
Part of my "One Drawing a Day" project.

Drawings 181 and 182

2010-04-22T12:48:00.000-05:00

2 most recent daily drawings...just some randomness
Part of my "One Drawing a Day" project.

Gil vs Gil (Drawing 180)

2010-04-20T01:48:00.005-05:00

180, originally uploaded by reginaagu.

I love to listen to music while drawing. Today's selection was Gil Scott-Heron. I thought how cool it would be to have an imaginary jam session with another musician I adore, Gilberto Gil.

Here are some links, enjoy.

http://www.okayplayer.com/news/Video-Gil-Scott-Heron-Me-And-The-Devil-.html

http://www.youtube.com/watch?v=wVEZzX214FQ

Part of my "One Drawing a Day" project.

Free Models (Drawing 178 and 179)

2010-04-20T01:40:00.004-05:00

Ideally, I would love to hire figure models, or sit in on more figure modeling sessions.
Luckily, I have access to some free models that don't move too much, due to the Xbox 360 that has found its way into my living room.

Part of my "One Drawing a Day" project.

Space is the Place (Drawing 177)

2010-04-19T12:43:00.006-05:00

177, originally uploaded by reginaagu.

Part of my "One Drawing a Day" project.

Things are changing in terms of how much time I now get to spend at home and in studio. I work out of my apartment. About a month ago I made a major change to my employment situation, one that (as I hoped) has turned out for the better. For the time being, I am now able to spend a good part of my day creating and thinking, versus having to fight to carve out an hour or so per day where I could work with a clear mind. I am making the most of this time while it lasts, and actively making it last as long as possible.

Having the opportunity to spend more time at my place has reinforced even more the importance of having a dedicated space where I can create and spend some time in solitude. Plus, I can walk outside my door and enjoy some natural inspiration:

Subcultured? (Drawing 176)

2010-04-19T12:13:00.005-05:00

176, originally uploaded by reginaagu.
Part of my "One Drawing a Day" project.

Some quick notes:

I had an interesting conversation with a couple of artists at Boheme on Thursday about sub-cultures and counter-cultures. More specifically, we discussed how much more difficult it may be in the social networking and instant branding age for these groups to form, grow, and persist. Often, the end of a subculture is when its unique style becomes commercialized. An example that has been beaten to death at this point is hip-hop. Others that we discussed that night are punk and grunge.

I often think about how quickly information travels today and how just how much easier it is for unique cultural trends and developments to become appropriated. As soon as something is discovered and shared, it seems we immediately begin discussing branding and ownership. Everything can be made into a T-shirt.

Drawing 175

2010-04-15T01:09:00.002-05:00

175, originally uploaded by reginaagu.

Inspired by sound concert hosted at Richmond Hall by Nameless Sound and the Menil Collection

Part of my "One Drawing a Day" project.

Drawing 174

2010-04-15T01:05:00.002-05:00

174, originally uploaded by reginaagu.

A feather
Part of my "One Drawing a Day" project.

Drawing 173

2010-04-13T00:53:00.002-05:00

173, originally uploaded by reginaagu.

Another expression...
Part of my "One Drawing a Day" project.

Drawing 172

2010-04-13T00:52:00.002-05:00

172, originally uploaded by reginaagu.

Geography of a chewy chocolate cookie
Part of my "One Drawing a Day" project.

Drawing 171

2010-04-13T00:51:00.004-05:00

171, originally uploaded by reginaagu.

Expressions...
Part of my "One Drawing a Day" project.

Drawing 170

2010-04-13T00:50:00.001-05:00

170, originally uploaded by reginaagu.

Expression
Part of my "One Drawing a Day" project.

Drawing 169

2010-04-13T00:49:00.002-05:00

169, originally uploaded by reginaagu.

Design from my favorite ring
Part of my "One Drawing a Day" project.

Drawing 168

2010-04-07T15:59:00.004-05:00

168, originally uploaded by reginaagu.

7 minute study (he makes a great model)
Part of my "One Drawing a Day" project.

Drawing 167

2010-04-06T23:14:00.002-05:00

167, originally uploaded by reginaagu.

Did a bunch of studies today. This is one of them.
Part of my "One Drawing a Day" project.

Drawing 166

2010-04-05T14:33:00.002-05:00

166, originally uploaded by reginaagu.

Little girls love spring (this one is based from a photo, kind of nostalgic too)
Part of my "One Drawing a Day" project.

Drawing 165

2010-04-04T23:28:00.002-05:00

165, originally uploaded by reginaagu.

shopping tote bag
Part of my "One Drawing a Day" project.

Drawing 164

2010-04-04T10:24:00.002-05:00

164, originally uploaded by reginaagu.

Teddy bear - a gift from my youngest brother
Part of my "One Drawing a Day" project.

Drawing 162

2010-04-02T15:43:00.005-05:00

162, originally uploaded by reginaagu.

A cork from a very forgettable wine...
Part of my "One Drawing a Day" project.

Drawing 163

2010-04-02T15:43:00.004-05:00

163, originally uploaded by reginaagu.

Garlic bulb. When starting at it, noticed the fine layers and subtle colors. Added a bit of colored pencil highlights to this one. I think will turn into a watercolor later on.
Part of my "One Drawing a Day" project.

Drawing 161

2010-04-01T09:21:00.002-05:00

161, originally uploaded by reginaagu.

His profile. I think this is one of my more successful daily drawings in terms of detail and capturing facial expression accurately and quickly.
Part of my "One Drawing a Day" project.

Drawing 160

2010-04-01T09:20:00.005-05:00

160, originally uploaded by reginaagu.

laundry folds
Part of my "One Drawing a Day" project.

Drawing 159

2010-04-01T09:19:00.002-05:00

159, originally uploaded by reginaagu.

inspired by spring and some highway landscapes
Part of my "One Drawing a Day" project.

Drawing 158

2010-04-01T09:18:00.000-05:00

158, originally uploaded by reginaagu.
Part of my "One Drawing a Day" project.

a spring inspired scribble

Drawing 157

2010-04-01T09:09:00.002-05:00

157, originally uploaded by reginaagu.

socks
Part of my "One Drawing a Day" project.

Drawing 156

2010-04-01T09:08:00.002-05:00

156, originally uploaded by reginaagu.
Part of my "One Drawing a Day" project.

Drawing 155

2010-04-01T08:45:00.002-05:00

155, originally uploaded by reginaagu.

measuring tape
Part of my "One Drawing a Day" project.

Drawing 154

2010-04-01T08:44:00.002-05:00

154, originally uploaded by reginaagu.
Part of my "One Drawing a Day" project.

Drawing 153-b

2010-03-24T06:54:00.002-05:00

153-b, originally uploaded by reginaagu.

The lovers. I was admiring their quiet intimacy while seated at the bar. I almost didn't draw them b/c I felt like I was intruding...
Part of my "One Drawing a Day" project.

Drawing 153-a

2010-03-24T06:53:00.006-05:00

153-a, originally uploaded by reginaagu.

Poker players
Part of my "One Drawing a Day" project.

Drawing 152

2010-03-24T06:52:00.006-05:00

152, originally uploaded by reginaagu.

A guy.
Part of my "One Drawing a Day" project.

Drawing 151

2010-03-24T06:51:00.001-05:00

151, originally uploaded by reginaagu.

Plastic bag contours. The bag reminded of me of peaks and valleys...
Part of my "One Drawing a Day" project.

Drawing 150

2010-03-24T06:50:00.001-05:00

150, originally uploaded by reginaagu.

A stone from the garden
Part of my "One Drawing a Day" project.

Drawing149

2010-03-24T06:49:00.001-05:00

149, originally uploaded by reginaagu.

Blanket folds
Part of my "One Drawing a Day" project.

Drawing 148

2010-03-19T17:02:00.000-05:00

148, originally uploaded by reginaagu.

My box of "personal belongings" ... not that impressive considering the stress involved. Unimpressive spoils of war.
Part of my "One Drawing a Day" project.

Drawing 147

2010-03-19T17:00:00.004-05:00

147, originally uploaded by reginaagu.

Looking at the corner of my comforter, stitching and folds
Part of my "One Drawing a Day" project.

Drawing 146

2010-03-19T16:59:00.002-05:00

146, originally uploaded by reginaagu.

Just scribbling - turned into a dress and cocktail hat
Part of my "One Drawing a Day" project.