Debra Disman

Artist

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New Work

TRANSITION I

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TRANSITION I

What a tangled web we weave…

Even when we don’t practice to deceive…

A ways back, I finally transitioned from my long-time blog, “Artissima – The Blog of ArtiFactory Studio, to my new blog at DebraDisman.com.

My last Artissima post announced this move, (for it is indeed a move…just as potent as a physical one), and I let go/discontinued/ceased to pay for my Custom Design on Artissima, knowing that I was moving on, forging ahead, going forward.

And I am…along with my work, my blog, my life. as we all (hopefully) are.  As we all (hopefully) do.
Putting in the requisite work, effort, perseverance and commitment.

Yet, a bit later, I suddenly wanted the Custom Design back, back on my “old” Artissima blog, enhancing, beautifying, communicating and transforming…it.

WordPress had changed their blog design structures and it wasn’t so easy. Somewhat bewildered…at my own emotions and attachments, as well as web protocols, I sought advice from my dear friend and designer, Dianna Jacobsen  of Jacobsen Design.

Dianna had designed both my sites, my Artissima blog, and all my support materials (“marketing collateral”).  She told me, of course, to let it go. Not necessarily to let the old site and blog go, they still live (and radiantly I must say…even after all this time) on the web… but to let go of holding onto the old Custom Design, and my attachment to making and keeping the site and blog (in my mind) absolutely perfect.

“The older sites don’t adapt that well to the current and constantly changing digital environment.” she said (I paraphrase). “Stop ruminating about it, and move on.” (I paraphrase, but you get the idea.)

I needed to hear that.

So much seemed to be changing, much of it changes I had initiated, instigated,  pixel by pixel, but some changes that I hadn’t, – that I definitely would NOT have chosen. All forming what feels like a massive transition, where everything in  the world seems to have gone off its axis, requiring fresh eyes, energy and attitude.

I know this is growth, but sometimes it is confusing, sometimes it is overwhelming, and sometimes it hurts.

But we keep moving along…moment by moment, one foot in from of the other.

“The Whole World is a Narrow Bridge. The Important Thing is Not To Fear.”

Thank you for helping the through the “narrows” this time Dianna!

 

Story Time

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Story Time: BedTime Story I

I am repeating a bit in this post, lingering in my Studio Residency and show of work at Camera Obscura Art Lab at 1450 Ocean in Santa Monica.

I showed a work titled “BedTime Story I“, featuring, or shall I say employing tiny masks; faces of clay, made by my Mother, the ceramicist  Judy Disman.

My Mom had made these tiny faces of clay expressly for me to use in and on my artists’ books, even making tiny holes in them so they could be sewed  into and onto the book structures and become integral to them.

The faces were a natural for a piece about “bed”,  and made the book into a more literal narrative then I had originally intended. I work fairly abstractly, though still in a loose book format, and the addition of representational elements changed the feeling of the piece. It could then be “read” more literally.

The faces even became interactive, with two of them contemplating each other.

Others became sentinels, gazing benevolently out from their “beds”.

Far from creating an image of sleep, the faces express the experience of being wide awake, perhaps listening to, creating, or becoming a story. A bed time story.

The faces become the actors in the story, played out through the pages of the book. Each viewer will read the story in their own way, and reach their own conclusions about it.

We may wonder what the beings or characters expressed or indicated by the faces are thinking, and if they are having sleepless nights. Perhaps they are worried under their smiling visages. Perhaps they are presenting to us a mask, and there are dreams and roiling emotions, even nightmares, underneath.

Perhaps formal, textural,  decorative, haptic or totemic qualities of the work will prevail for some. In any event, BedTime Story I was a pleasure to make.

Again, Mom, thank you for the collaboration, and for creating these tiny pieces for me.
It was great to work with you. Sweet dreams.

 

NEW WORKS Show at 1450 Ocean

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NEW WORKS Show at 1450 Ocean

April 14, 2018.

Textile artist Huong Nguyen and I shared our work with the Public at the Camera Obscura Art Lab at 1450 Ocean in Santa Monica.

It was a wonderful round-up of our Studio Residency activities which took place January through April, 2018.

This post is a “send-off” of sorts to the Residency, which had a profound impact upon me, my work, and Life. Thank you, 1450 Ocean….

A tour around the Studio, as we prepare for our Show.

The spaciousness of space…tables for materials, and visual reminders, inspirations and cues.


The “spinning book” moved around.


Beautiful light off the Ocean flooded the glassed-in Studio.


I finished, if there is such a thing, filling my “sketch” book here.


“Rapunzel“, Book board,  mulberry paper, linen thread, gold thread, untreated canvas; “Window Treatment“, Book board,  file folders, hemp cord, watercolor paper, mulberry paper, acrylic paint, waxes.


“The Fall“, Board, untreated canvas, hemp cord, watercolor paper, mulberry paper.


“Throes of the Body“, Book board, untreated canvas, hemp cord, watercolor paper, mulberry paper.


“In the Profusion“, Book board, untreated canvas, hemp cord, watercolor paper, mulberry paper.


“Burning Bush“, Board, thread, linen thread, dental floss, mulberry paper.


“BedTime Story I”, Book board, wood, fabric, hemp cord, watercolor paper, incorporating tiny ceramic “masks, made by my Mom, the ceramicist Judy Disman.
Mom, it was great to work with you.

Pathways to the next Thing.
We are Travelers.

 

 

 

 

 

In Resonant Residence (7)

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 In Resonant Residence (7)

I formally began Studio Residency at the Camera Obscura Art Lab

in Santa Monica Wednesday January 10th.  I share the sunlit space, located within the beautiful Mid-century building overlooking Palisades Park, Santa Monica Beach and the blue Pacific with textile artist and fellow Studio Artist-in-Residence Huong Nguyen.
“About the Art Lab and Camera Obscura

1450 Exterior
Vintage Camera Obscura
 
 
 
 
Step inside the Camera Obscura Art Lab and you’ll find a welcoming space with fantastic views of Santa Monica Bay and the Pier. The Camera is located in a midcentury time capsule in Palisades Park between Broadway and Santa Monica Blvd on what was once the site of the Pacific Electric Railway’s North Beach Station. Designed by noted architect Weldon J. Fulton (who’s work can be found around town including the classic Camera Obscura sign and font, the Montana and Fairview branch libraries, and the former Zucky’s building on Wilshire Blvd), the building’s exterior features walls clad in chunky Palos Verdes stone, glass walls, sloping roofs, and projecting canopies and rafter beams. It was donated to the City of Santa Monica by Marcellus Joslyn in 1955.”

The huge studio windows look out on palms, walkways and a huge assortment of passers by, strollers, park wanderers and beach combers. The Studio is a magical place to work.

Fifth Workshop, February 10, 2018: “Simple Sewn Booklets” AKA: Single Signature Books

Signatures are gatherings of folded pages, which when stitched together, can become the text block (area where text is added).  In this process, we sewed together a single signature using the very useful pamphlet stitch.

   

We attached the covers to the signature, so that the stitched spine was exposed.

Participants could design and embellish their covers before gluing them directly to the signatures, or attach the covers, then develop them. Some “covered the covers”,, learning folding and cutting techniques and creating covered corners.

 

They made creative use of cord, lace, decorative papers…beads and more,

 

including repurposed jeans, specifically, the denim pockets!

 

The components of the book were prepared for participants to use, covers and signatures cut into squares, sewing holes punched.  Yest still, the makers used every moment of the 2.5 hour workshop to create and develop their books.

Human ingenuity, devotion and love of the handmade never cease to amaze me…I am blessed to witness this regularly in my practice.

Gratitudes…

 

 

 

 

 

In Resonant Residence (4)

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In Resonant Residence (4)

I formally began Studio Residency at the Camera Obscura Art Lab

in Santa Monica Wednesday January 10th.  I share the sunlit space, located within the beautiful Mid-century building overlooking Palisades Park, Santa Monica Beach and the blue Pacific with textile artist and fellow Studio Artist-in-Residence Huong Nguyen.

“About the Art Lab and Camera Obscura
1450 Exterior
Vintage Camera Obscura
 
 
 
 
Step inside the Camera Obscura Art Lab and you’ll find a welcoming space with fantastic views of Santa Monica Bay and the Pier. The Camera is located in a midcentury time capsule in Palisades Park between Broadway and Santa Monica Blvd on what was once the site of the Pacific Electric Railway’s North Beach Station. Designed by noted architect Weldon J. Fulton (who’s work can be found around town including the classic Camera Obscura sign and font, the Montana and Fairview branch libraries, and the former Zucky’s building on Wilshire Blvd), the building’s exterior features walls clad in chunky Palos Verdes stone, glass walls, sloping roofs, and projecting canopies and rafter beams. It was donated to the City of Santa Monica by Marcellus Joslyn in 1955.”

The huge studio windows look out on palms, walkways and a huge assortment of passers by, strollers, park wanderers and beach combers. The Studio is a magical place to work.

Magical, material world…

Gatherings of ideas and materials…in a book.

Beginning “Throes of the Body”…sculptural book …or… sculpture in book form.

Book board, mulberry paper, watercolor paper, canvas, acid-free archival PVA-polyvinyl adhesive.

Resurfacing…

Holding the shape of the accordion folded spine.

Looking forward…

In Resonant Residence (1)

By

In Resonant Residence (1)

I formally began Studio Residency at the Camera Obscura Art Lab


in Santa Monica Wednesday January 10th.  I share the sunlit space, located within the beautiful Mid-century building overlooking Palisades Park, Santa Monica Beach and the blue Pacific with textile artist and fellow Studio Artist-in-Residence Huong Nguyen.


We will both teach weekly public workshops on Saturdays as a key component of our 14 week residencies.


I will be teaching “Flag Books and Found Writing” Saturday January 13th as my first workshop…looking forward to this.


At 1450 Ocean, I was greeted by glass doors and gleaming floors…


and gorgeous views of rainy park and sea. Getting ready here to set up shop.


Handmade papers may find their way into something.


Resonant materials. The power of cloth. Texture. The tactile. Textiles. The haptic.


Haptic “sketchbook”…planning to complete its pages during the Residency.


I begin two pieces with watercolor paper, canvas, book board and wood, cont series of works that progressively investigate the emotional, sensory and evocative aspects of texture, textiles, cloth, fiber, cord and string in book format. Through these works i aim to  the very nature of the book as object, communicative tool and form of expression.


Accordion spine of watercolor paper, and book board.


Experimenting with Baltic Birch plywood covers.


“The Sheltering Book‘, about to transform into “The Big Beach Book”…this metamorphosis  to be enacted in part by workshop participants!

Grateful, honored and  thrilled to be part of this process…moving forward.