The two-week intensive class at the CabrilloArts Summer Workshops Program ended last Friday and I was exhausted. So much so, that I skipped the last day, missing the exhibition and the opportunity to see the work created by all the other classes that went on simultaneously. But, I was tuckered out and life conspired. I had too many things to attend to (and the chance to watch Venus Williams and Maria Sharapova play live at Stanford). So for me the two-week escape ended early and abruptly. But that is not to say it wasn't trans-formative.
What an impressive program they have created at Cabrillo. I’ve wondered about it for years. With interesting artists teaching each summer, like Victoria May and Stephanie Metz, a schedule of two solid weeks of art making, and really low tuition, what could be better? Well, in fact, this year it was their new facility, that's what. They opened a huge, beautiful, new Art and Music campus where they held the summer program. It's impressive, though still half empty. For students the dream of a large screen Mac and an Epson printer in every classroom, old-fashioned darkrooms to die for, presses, photocopiers and every other piece of equipment you could want, is there for your use.
Of course this was the year of financial woes and California's crazy budget problems, so the program was canceled. But it was cobbled back together by the dedicated staff at Cabrillo. So although the costs were up and the hours of instruction were down, the program was very much still happening. In addition to working for two weeks in these great facilities, we toured each others' classrooms during the day, socialized over BBQ lunches served on the lawn by the staff, attended lectures at night (and for the faculty, staff and cognoscenti nightly parties were arranged), and on the last day, created an exhibition of student work in the beautiful Cabrillo Gallery.
This year was photo-heavy, much to my delight and consternation. How to chose a class? Brian Taylor taught alternative photographic processes, Robin McCloskey taught Solar plate etching with digital chine collé and Ted Orland worked with Holgas. And that is just the photographic group. There was jewelry being etched and structures being built. A veritable candy shop.
I chose Holly Robert's class on painting and photographic collage. When I was at The Friends of Photography twenty years ago we published Holly's first book. I had been so impressed by her combination of photography and her drawing into paint and it seemed an unusual opportunity to study with her (coming from the Southwest). Little did I know she has been teaching in the Santa Cruz area for years and has quite a following. But a thought-provoking choice it was.
Holly encouraged new ways of working, introduced us to new materials (like minwax and joint compound) and focused a lot on process, intent and completion. Her favorite reminder was to tell us to take our brains outside for a smoke so we could get our work done. Turning off my internal critic is beyond difficult, so it helped to have a new mantra. And once I got used to it, I actually like going for a smoke.
Holly’s self-proclaimed moniker of “bossy art-coach” is a perfect fit. She called us on being timid or avoiding working on a piece that was stuck. She prodded and at times scolded us to pipe down and get our work done. She also spent individual time really listening to each artists' worries. She forced me to solve problems on pieces that I would have been happy to throw aside, but I am glad got resolved. She took her job of being the boss seriously and we all benefited.
In addition to her tenacity she is truly funny. She kept mentioning when she should call social services--referencing my slightly twisted new series "Jackson's World." Or asking us at the end of the day to go home and think about our day and ask questions like, "How nice was I to Holly today? Was someone else nicer? What could I do to make Holly happy tomorrow?"
The freedom of the class allowed me to create this new series which I want to keep working on. But I have to say the reception when I got home was less than enthusiastic. Few people say much when they see these primitive little pieces. But I still like them. And, lest you think this series is about a mother being at wits end with the last of her three sons, its not. It's actually about how I imagine the dream world of my very creative, last child to be. He is at that wonderful threshold of almost being a teenager. One minute he is in a childlike dream world with props covering the furniture of the living room, and the next he is staring me down like I have no business even talking to him. I'm not sure, but I think when he gets back from camp and sees these, he will like the superhero status I've given him.
One of the earlier collages I made during the workshop.So although the focus won't be the same, it's back to the studio for a smoke.
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