Now that my feet are wet with animation, I’m curious about how it can fit inside my practice fluidly. This example of Louise Despont’s animation of her own drawings is inspiring (be sure to watch the little animation on the lower right). I grew up with 70s Sesame Street and in Montessori school, so there’s something very comforting about moving geometries. I have my middle son in a co-op preschool and I love when, on my workday, I get placed in either the “small motor” area, where geometric small parts are manipulated, or “large motor” area, where large geometric pieces are balanced.

Philip Glass + Sesame Street:



FILTER Volume 3: Literary Journal Release Party

Fremont Abbey Arts Center
Seattle, WA

Filter Vol. III Release Party
An evening of readings from Zachary Schomburg, John Osebold, Stacey Levine, Maged
Zaher, Karen Finneyfrock, Ed Skoog, Elizabeth Colen, Elissa Washuta and Sarah
Bartlett . Freshly letterpressed copies of the book will be available for purchase.

Friday, June 17th, 8pm at the Fremont Abbey, 4272 Fremont Ave North, Seattle, WA 98103

7:00 Doors open in Abbey Cafe for drinks (local beer, wine, chai, tea, coffee, snacks)
8:00 show in Great Hall

All ages, mostly seated, PG13

SEATTLE – The 3rd limited edition volume of Filter Literary Journal will be released upon the public!

Filter Vol. III has arrived. This 3rd issue of the entirely handmade journal is a box of wonder: The cover has a paint-by-numbers theme, and the box structure is letterpress printed by Kate Fernandez of Fernandez and Sons. The book will be filled with brilliant work in individually bound chapbooks of prose and poetry, with art postcards and posters that you can remove and display.

The contributors in Filter III are:

Yusef Komunyakaa, Zachary Schomburg, Stacey Levine, Amanda Manitach, Maged Zaher, Sharon Arnold, Martha Silano, John Osebold, Rebecca Brown, Counsel Langely, Ed Skoog, Karen Finneyfrock, Sean Ennis, Sarah Mangold, Gala Bent, Rachel Contreni Flynn, David Lasky, Elizabeth Colen, Sandra & Ben Doller, Brandon Shimoda, Ben Beres, Brandon Downing, Sarah Kate Moore, Dan Rosenberg, Susan Rich, Susan Denning, Sid Miller, Sarah Bartlett, Shawn Vestal, Marie-Caroline Moir, Lucy Corin, Kathryn Kuitenbrouwer, Jill McDonough, Jessica Goodfellow, Jessica Bonin, Friedrich Kerksieck , Erika Wilder, Elissa Washuta, David Bartone, Chris Dusterhoff, Britt Ashley, Becca Yenser, Anne Gorrick

Tickets for the Filter release party are on sale now through Brown Paper Tickets.
Tickets are $8 in advance, $10 at the door, and $5 for students and seniors.

About Filter Literary Journal
Filter is a literary journal made entirely by hand. Each issue contains erasures and other literary art alongside unaltered poetry, fiction and visual art. Filter seeks to represent the work it holds on a visceral level, so that the book is as carefully crafted as the poetry, fiction and art that it contains. Copies of Filter may be purchased at:

Filter Literary Journal is grateful to 4Culture for their funding and support.

graphite, lovelight, ladies of the line

“I do not paint scientific discoveries or philosophies. Art is not ethical, moral, or even rational and not automatic. I paint aesthetic analogies belonging and sharing with everything. I paint to make friends and I hope I will have as many as Mozart.” Agnes Martin

I’m not sure I agree wholeheartedly with the statement above, but I enjoy its strident confidence. Agnes Martin is well known for bringing a certain lyricism to minimalism in the 1960s. As a young art student, at a time when I didn’t have a taste for minimalism, quite, Martin’s sense of order along with a whispery variability caught my attention. Her ability to humanize the grid–a tool that is, at base, mechanistic–makes her a direct antecedent to two contemporary artists that I’ve been admiring lately: Ellen Lesperance and Louise Despont.

Lesperance not only uses the grid (as shown above in a detail), but she embodies Martin’s assertion that the solitary artist-in-studio is actually engaging in a very social act. Her process, which has been described fully in other places, including her own essays, redraws the sweaters worn by significant female activists as knitting patterns, resulting in stunning abstractions with compelling heritage. She does, in fact, re-knit some of the sweaters as well, and in this process seems to draw on a sacramental trust in the power of making. The process of materially revisiting parts of an event whose repercussions (justice, awareness, etc.) are invisible (but just as real as clothing) revives the passion of the women involved in the demonstrations.

Louise Despont also seems to be interested in bridging metaphysical gaps.

“I have a particular interest in cosmologies– esoteric as well as metaphysical,” Louise Despont says in an article from Modern Painters (Feb. 2010). The article also lists some of her resources and influences: “In addition to books on Greek mythology and Egyptian art, her apartment is filled with the writings of the 19th century Swedish theologian and mystic Emanuel Swedenborg and the Austrian philosopher Rudolf Steiner, whose 1904 How to Know Higher Worlds provides her current inspiration, with its meditations on the similarities and differences among animal, mineral and plant forms.” The physical result of these influences puts me in mind of the astounding pieces by troubled visionary Adolf Wölfli.

In any case, as I continue to dig deeper into my material of choice as an artist, I’m inspired by luminous women like these three.


Roland Flexner #1

I’ve been reading, and really enjoying, Margaret Davidson’s Drawing book aforementioned (last post, yo). Recently, I exclaimed in all sincerity that drawing was one of the best things in the world. Weird as it is, I really believe that. Other pursuits carry a similar weight for me– music, for instance– but the exclamation is wholly true. I love the magic of paring things down to elemental simplicity {drawing = a material dragged across a surface where it loses particles in the landscape of its friction} and seeing what can come out of that ridiculously simple act. Margaret’s book feeds this wonder. Even as she addresses very pragmatic and helpful thoughts about types of materials and some of the basics of seeing through drawing, she is also willing to go here:

[Roland] Flexner’s bubbles are unique. They are the product of, and even depict, several physical laws that control all things in the universe, including, we are startled to remember, us.

My husband Zack was in a show that opened this past weekend with Patrick Kelly, whose process exploits basic drawing in a fleshy, almost sculptural way:

Patrick Kelly detail