Showing posts with label thesis. Show all posts
Showing posts with label thesis. Show all posts

Thursday, March 22, 2018

Women Art Show at the Carr Center - One More Month!

When I went to write this entry, I thought I would be telling you all that you have only one more week to get over to the Carr Center in Detroit to see the Women Art show on display for the month of March. But it actually turns out that they've extended the show, and the exhibition will now be up until April 26th - so you have an entire month still to go see the paintings, sculptures, drawings, fiber arts, written words, and photographs in this varied, awesome show!

Here are some photographs I took of my watercolor "Bandaged Duality" hanging in the gallery during the opening reception. It is on a white pillar close to the front door as you walk in.






There was also a sign up at the opening reception, listing the names of all women artists participating in the exhibition. (My name is in the third column.)




For more information, check out the Carr Center website: https://www.thecarrcenter.org/

Friday, February 23, 2018

Women Art Show at the Carr Center

Exciting news - I recently had a watercolor painting accepted for the 7th annual Women Art Show at the Carr Center in Detroit, MI!

This year's theme is "Nevertheless She Persisted" and will feature artwork by 55 women artists, including my painting "Bandaged Duality," which was created as part of my honors thesis series at EMU back in 2009-2010.





The exhibition lasts from March 3 - March 31, 2018, with a panel/opening reception Saturday, March 3 from 6-10 pm, at the Carr Center (1505 Woodward Ave., Detroit.) For more information, check out the Facebook event: https://www.facebook.com/events/348196222327031/

The 22"x30" watercolor painting (which is 26"x33.5" framed) will be for sale for $449.

If you're in the Metro-Detroit area during March, definitely come check it out! :)

Saturday, January 21, 2017

"28 Years" - Explanation of Years 15-28

As part of my "research" for planning my new colored pencil drawing, "28 Years," I went through old journals, drudged up memories, and decided what two flowers would best symbolize each of the years of my life.

Yesterday's post talked about the symbolism for Years 1-14. Today, I'm going to focus on the last two rows, row 3 & 4, which will represent Years 15-28.

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Year 15 (2003)
  • Cherry Blossom: symbol of transience, good education, womanhood, love, wisdom, and the short lived beauty of youth
  • Fern: symbol of sincerity
This year was the year that I was 14. My dad finally found new work after fifteen months of unemployment. I finally got my first period, years after I thought I might. And I started my sophomore year of high school. In my journal I wrote, "I'm not supposed to feel. I'm not supposed to care. I should be above this stuff, this human emotion. I'm better than this." Another day, I wrote, "For now I guess I'm stuck being me. Maybe one day that'll make me happy. Maybe one day I'll be proud of myself." None of my friends had the same lunch as me, so I did my precalculus homework during lunch and wallowed in self-pity. I often felt very lonely, and like I wasn't good enough, but I put on a brave face, same as always. I joined Drama Club and tried to make new friends.

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Year 16 (2004)
  • Marigold: symbol of pain, grief, cruelty, jealousy, beauty, warmth of the rising sun, creativity, and a drive to succeed
  • Hollyhock: symbol of ambition, abundance, and fertility
This is the year I was 15. I had some of my worst classes this year - not academically, but emotionally. I had a lot of classes where none of my friends were with me, and I felt very alone. As part of our physical fitness requirements, we had to do a swimming unit, and I struggled with feeling comfortable with tampons. I wrote in my journal, "I'm not perfect. I'll never be perfect. But try telling my brain that. I've been told all my years that I'm capable; I can be anything I want to be. So I have to be everything I can be. Anything less is disappointment." I also wrote, "Am I ugly? Am I too shy? How can I become more outgoing? Why does no one like me?"

I started junior year and took three AP classes. I was constantly comparing myself and my grades to my friends. Any bad feelings or stress I had I was just burying deep inside so no one would know how sad I was.  I wrote, "I'm drowning / My throat's closing on me / There's no more air / A savior is what I need / To get me out of there." I started questioning the religion I was brought up in (but silently, only silently, in my head). I wrote tragic stories where horrible traumas happened to my characters. I wrote, "Imagination is so much more than real life."

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Year 17 (2005)
  • Tansy: symbol of hostile thoughts, health, and longevity
  • Purple Hyacinth: symbol of sorrow, regret, grief, and pleas of forgiveness
This is the year I was 16. One of my closest friends was upset with herself (in much the same way I was upset with myself), and I had such nice things to say to her, to try to cheer her up. To myself, I was much meaner. In my journal, I wrote, "I know I'm in a self-deprecating mood, but I don't give a shit. I'm sick of crying these god damn self-pity tears but I can't get out of this funk." I also wrote: "Please. Just make the world fuck off. I'm sick of all this shit. I just want to scream and cry and hope that one day I stop being a bitch. I'm so horrible. I don't deserve to live." I spent the summer in France, spending three weeks with a French family. I started senior year. Some of my friends started dating, and I felt left behind. 

I wrote: "She's put herself on a pedestal / All she can do is fall / Can't meet her own standards / No one else comes to her rescue / They are too busy also holding themselves up to high standards." I also wrote: "How can any God, any Creator of the universe, love someone who hates herself so much?"

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Year 18 (2006)
  • Zinnia: symbol of endurance, lasting affection, daily remembrance, and thoughts of absent friends
  • Dandelion: symbol of resilience, overcoming hardship, healing from emotional/physical pain, emotional/spiritual intelligence, survival, long-lasting happiness and youthful joy, and getting wishes fulfilled
This is the year I was 17. My New Year's Resolution was: "Be super happy with myself and love myself. Fill any void in my life that way instead of looking for someone else to do it for me." I "forced" myself into the drama club - when I didn't get a part in the play, I got involved in behind-the-scenes crew, so that I would have fun things to do, ways to destress, and opportunities to make new friends. In my journal, I wrote, "I fear success. I fear the new situations and new feelings that might come from dating someone. I fear loving someone too much. I fear rejection, too." I was not happy with my grades, my SAT scores, or my college acceptance letters. Good news meant nothing, and bad news meant everything. Still, I tried to be brave, and confident. I wrote, "I need to live in my imagination less and focus on the real world. I need to be more confident in myself and my abilities." I wrote, "I'm nervous. I just want to stay in high school forever. I know high school. I can do it well. College is going to be different. And I'll revert back into my shell like a scared turtle and never say a word and be so quiet that no one will befriend me." 

I took AP art and grew as an artist; I decided to major in art in college. I graduated high school and started at EMU. I wrote, "I hate feeling depressed and self-loathing and yet I do it all the time. I hate myself for hating myself." Friendships from high school changed and faded once we no longer saw each other every day. I felt like I didn't belong in college; I felt like a fraud. I wrote, "All day it has kind of felt like a dream. Everything seems off. Nothing matters because today is all a dream and I'm going to wake up soon. Nothing can hurt me today; I am invincible."

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Year 19 (2007)
  • Protea: symbol of change, resourcefulness, daring, transformation, diversity, courage, hiding thoughts/knowledge and keeping things to yourself
  • Hydrangea: symbol of heartfelt and honest emotions, gratitude at being understood, opportunities for love, a deep understanding between two people, frigidity, and apology
This is the year I was 18. I wrote, "Sometimes I need to hear that I'm beautiful or intelligent or loved. And I think that's a reasonable request. That's not being selfish. Everyone in the world deserves to hear those things." Another day I wrote, "If Christianity is right, and there is a hell, I am going to it. I'm ungrateful and selfish and demanding and awful. If I wasn't already on the list, I am now. I'm writing down my own name. I'll condemn myself. It's where I belong." Still another day, I wrote, "I am above this blindly believing in God shit."

I met the man who would one day become my husband - we talked online, we hung out as a group with friends, and we started dating. I got a job in the art department. I showed a collection of self-portraits at the EMU symposium and felt pretty damn proud of myself. I wrote, "If I'm confident in my abilities, I'll be amazed, I think, of what I can accomplish. I have always been (to some extent) confident in my intelligence and my artistic abilities and I think that has a lot to do with my success in those areas. But I could do with more confidence - in my looks, in my personality, in my value as a friend and as a person." I wrote, "I am proud of the person I'm becoming. I may be lonely and I may be insecure and I may have bitchy moments but I'm also becoming more comfortable with myself." Summer was lonely again (my boyfriend went home to Maryland), and the start of college's sophomore year was rocky - my mom was in the hospital, and I had new roommates and struggled to open up to them, or to try to make new friends - but I also worked as a teaching assistant for an art history professor, and I loved my classes and the amount of control I had over picking which ones to take.

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Year 20 (2008)
  • Red Tulip: symbol of true love and declarations of true love
  • White Jasmine: symbol of sweet love, beauty, sensuality, purity, good luck, love, and respect
This is the year I was 19. My boyfriend gave me a promise ring. I switched from a drawing concentration to watercolor and graphic design. I studied abroad in Switzerland, Italy, and Greece for five weeks over the summer. I started junior year and had new roommates again. I fell into old patterns of shutting myself down and not allowing myself to make new friends, but I also grew closer to my boyfriend. I knew I could always be honest with him. I worked as a tutor for art history. I continued to love my classes.

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Year 21 (2009)
  • Acanthus: symbol of art, enduring life, pain, sin, punishment, and mourning
  • Amaryllis: symbol of pride, worth beyond beauty, splendor, strength, and self-confidence
This is the year I was 20. I was getting toward the end of college and worried about my future. In my journal, I wrote, "It sounds dramatic to say that he helped me out of a dark place, but that's exactly what he did. I was lonely and depressed, at a school without any friends. I felt like I had driven all those closest to me away. He made me feel loved again. He made me feel like I mattered." I also wrote, "It's time to open up. That's my problem - not opening up about shit. It's time for my art to mean something."

I got a new job - working as a graphic designer for EMU's Campus Life. I got a new dorm, one without any roommates this time, so I could feel comfortable just being myself. And in October, Mike and I got engaged.

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Year 22 (2010)
  • Purple Iris: symbol of wisdom, compliments, eloquence, good news, royalty, faith, hope, and a bridge between earth and heaven
  • Love Lies Bleeding (Amaranthus): symbol of hopelessness, hopeless love, compassion, and sacrifice (especially the self-sacrifice of Jesus)
This is the year I was 21. I finished my thesis watercolors and my thesis paper and graduated EMU. I felt like I was getting recognition I didn't deserve - or maybe, for the first time, I actually felt like I deserved it. I moved into an apartment with Mike, went on a Mediterranean Cruise with Mike's family, and started planning our wedding. I tried to find a graphic design job in the Grand Blanc area but couldn't. I was kind of listless, not sure where to go now that I had completed the one solid goal I had always had (go to college). I wrote, "I just have no motivation. I kind of feel depressed. I don't know if I'm just not ready to give up on childhood, not wanting to get a real job; or if I don't feel like I'm good enough, worthy enough to get hired; or if I just don't want a job like the ones I've been looking into. I don't like not having a concrete next step." I wrote, "Some days suck. Some days I hate myself for being such a worthless failure of a person. I just don't do anything. I'm not good for anything. I'm not productive, I'm not contributing anything to society, I'm no good to anybody. I could write a longer list of self-insults, but I've done all that before."

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Year 23 (2011)
  • Peony: symbol of a good marriage, a good life, compassion, honor, wealth and riches, romantic love, beauty, bashfulness, and shame (especially of nakedness)
  • Myrtle: symbol of marriage, true love, good luck in love and marriage, chastity, marital fidelity, and prosperity.
This is the year I was 22. In my journal, I wrote, "I ignore big problems until they go away. I focus on little details. I make small, stupid things big and important because that's easier to do." I wrote, "There are certain things about myself that I've always been sort of frustrated with, downright disappointed in, and felt like I needed to change. Like being more outgoing and more confident...I've decided to stop thinking of such things as wrong, or bad, or shortcomings. These things are a part of me - they're a part of who I am, at least at this moment, if not for all time - and I need to learn not just to accept them as a part of me, but to grow to love them and cherish them as things that make me or my situation unique or interesting - things that make me me." Mike and I married in July. We honeymooned in Greece (Santorini and Mykonos). I still did not have a (paying) job. I tried to start a business, Invites by Andrea, and designed sample stationery to showcase what I was capable of.

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Year 24 (2012)
  • Pansy: symbol of thoughts (especially lover's thoughts), remembrance, and consideration
  • Daffodil (Jonquil): symbol of rebirth, new beginnings, uncertainty, returned affection, springtime, creativity, inspiration, renewal, vitality, awareness, inner reflection, memory, and forgiveness
This was the year I was 23. My husband and I bought a house and moved to Rochester Hills. I started working retail at Charming Charlie, while continuing to work in my spare time on the occasional invitation freelance job, my "Ideas by Andrea" blog, and my art projects and novel writing. It might seem strange that I felt better about myself, "just" working retail. But I felt like I was making positive steps in the right direction, that I was at least contributing something to society again, and that there were people who relied on me. 

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Year 25 (2013)
  • Purple Carnation: symbol of capriciousness, whimsy, changeable natures, and unreliability
  • Four o'clock Flower (Marvel of Peru): symbol of timidity, afternoon, and nighttime beauty
This was the year I was 24. I worked at Charming Charlie most of the year, but felt that working there more than a year would not continue to be steps in the right direction for me. I didn't want to stay too long that I felt stuck there, or that I stayed there because of a sense of obligation or fear of leaving and trying something else. I applied for substitute teaching certificates. I was pretty sure I didn't want to be a teacher - but then again, I had considered it as a possible career long ago, so what if I was wrong? In my journal, I wrote, "Keep on trying; you'll never win / Lock and key; you can't get in."

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Year 26 (2014)
  • Lettuce: symbol of never giving up
  • Lavender: symbol of purity, silence, caution, serenity, calmness, devotion, virtue, wishes coming true, grown-up femininity, refinement, grace, elegance, delicateness, and preciousness
This was the year I was 25. I quickly realized I hated substitute teaching, but I continued to do it because I felt that we needed the money, that I needed to contribute something, and that somehow, it might be good for me if I kept at it. I also, of course, continued to work (as always) on my art and creative writing in my downtime. I chose which days to work as a sub, and ended up choosing fewer and fewer days - because I'd rather spend my time once more stuck in my imagination than in the real world.

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Year 27 (2015)
  • Sage: symbol of wisdom, immortality, and a long life
  • Goldenrod: symbol of encouragement, money, and precaution
This was the year I was 26. I had some gastrointestinal issues which were probably linked to stress rather than any particular physical cause, and it was finally this that prompted me to see a therapist. All the low self-esteem and warning signs I'd written in my journal for years, always that nagging thought in the back of my mind that therapy might help, and it took physical symptoms to admit to myself that I couldn't continue on indefinitely the way I had been trying. Dysthmia (continual low-grade depression) and avoidance personality disorder were discussed, researched, considered. I quit subbing. We adopted Ginny. I worked on my story a lot, and sent out my first query letters (which were rejected).

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Year 28 (2016)
  • Bells of Ireland: symbol of luck
  • Gladiolus: symbol of strength of character, remembrance, honor, faithfulness, and conviction
This was the year I was 27 (last year). If you follow this blog, you know what I was up to this year, because I've already written about it. I had artwork shown at local galleries, got back into acrylic paint, did a lot of colored pencil work. I started a part-time graphic design job at Temple Israel. I edited my novel(s) and sent out more query letters (all of which were also rejected). 

I am not the same person I was at 15, or 20, or 25. And yet, I still am.

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I don't know what Year 29 will bring, or what flowers will best symbolize it when I reflect on its twelve months in hindsight. But these are the symbols I've decided for the years of my life which have already occurred, and the flowers I will be drawing in my new piece, "28 Years."

Obviously, not all of the things listed for each flower are ones that apply to me - especially since many of the symbols actually contradict each other. But I included all of the differing symbols anyway, just to show the possibilities which it might represent.

I am excited to continue work on this drawing. Now that all the research and planning and reflecting is set up, the drawings themselves should go pretty quickly. :)

Thursday, September 22, 2016

Characteristics of a Rose

I've started a new colored pencil project recently that focuses on the subtle differences of roses. This large drawing will include thirty different rose pictures, spaced out in a grid of five rows of six roses each. It's still in progress, but the real reason I'm delaying posting photos of the drawing so far is because first I wanted to write a few things about where the idea came from and the thought I put into this piece - before I ever picked up a colored pencil to draw it.

I know there are many types of roses - Wikipedia says there are over a hundred species and thousands of cultivars (ornamental garden roses) - but I'm not a botanist or gardener, and haven't educated myself on these categories. Instead, what I mean by "differences" are variations in characteristics that any rose can have - from species to species, but also within a single species. For instance:

- Color: Is the rose one color? Two? Several? Is the inside a different color than the edges of the petals?

- Shape/Fullness/Openness: Is the rose mature or is it a rosebud? Do the petals curl outward, or back inward? Is the inside of the rose visible, or are petals covering it? It is round and full? Is it wilting?

- Texture: Are there any lines or wrinkles visible on the rose petals? Are the edges of the petals browning, crinkling, drying up? Are there any holes or tears from insects or other outside forces?

- Environment: What is touching the rose? Other roses? Insects? Dewdrops? What is in the background? Leaves? Grass? How tall is the grass? Is the background too dark to see what is in the background at all?

What's more, I looked at these differences through the lens of metaphor, continuing with the symbolism I started using for my thesis watercolors in 2009. In those paintings, I compared roses to female genitalia. I called those roses "core imagery," and said that they were symbols for actual body parts, for female sexuality as a specific or abstract concept, and even symbols for women - that the "core imagery" could also be a metaphor for a woman's life or personality, related or unrelated to her sexuality or sexual organs.

So looking at the different ways I could describe a flower through that lens, the questions become:

- Color: What might the different colors mean? Red could be pain, anger, menstrual blood, love. Pink could be warmth, romance, the beginning or end of a period. White or cream could be purity, or perhaps coolness - a desire not to be touched. Or it could signal ovulation/fertility, discharge, mucus, or other physical symptoms of a woman's cycle (and therefore most likely signify a desire to be touched). Orange could be passion, self-confidence, exuberance. Bluer purples would then be days that are more cerebral than physical - days of self-reflection, meditation, relaxation. And roses that display more than one color would have a hybrid of these characteristics.

- Shape/Fullness/Openness: What might a rose's shape then signify? A mature, full bloom could be interpreted as a physically mature woman - one who has gone through puberty but not yet hit menopause, a woman who is fertile and "in bloom." Or perhaps it could be a woman who is "mature" in another way - emotionally mature, spiritually mature, etc. A woman who is comfortable taking up space; a woman who has healthy self-esteem. A rose whose petals are reaching out, opening the flower as wide as it can, might be a metaphor for acting extroverted, feeling bold, being comfortable, or searching for friendships or a mate. A rose whose petals are curling in on itself might signify shyness or reticence, or a woman looking back on herself, her life, or even masturbation. A rose that is open and exposing its inside for pollination might be a metaphor for sexual desire or sexual openness; a rose that is closed off might be "closed off" - in all sexual or emotional connotations of the phrase.

- Texture: What might different textures mean? Lines or wrinkles might symbolize life lived, experiences experienced. Blemishes could be age marks, or wounds (as they were in my thesis - holes and tears indicative of physical or emotional traumas). Dryness might symbolize physical dryness - due to a lack of sexual desire or simply from changes throughout a woman's cycle - or emotional fragility, with a petal's brittle, brown edges acting as a metaphor for suffering. Or, conversely, such dryness might be interpreted as emotional strength - hardness, numbness, stoicism. It depends on the person, I think, and what she sees as important.

- Environment: Things in the environment around the rose would obviously also transfer into symbols of the things (or people) around a woman's life. Dark, mysterious surroundings could signify disturbing traumas, disturbing dreams, general life stress, or even something as innocuous as time of year (short days, long nights, colder weather). Grass and leaves could be items on a to-do list, with some days requiring more work and more effort than others; or they could be people talked to on that day; or general life stressors that were considered, ignored, or triumphed over; or grass could be a metaphor for pubic hair, with shorter or longer grass revealing personal grooming habits. Visiting insects could similarly be conversations with other people - or, if sticking with a strictly sexual interpretation, a sexual act. Just as roses open to let bumblebees pollinate and spread their seed, so too could an image of birds or bees stand in for..."the birds and the bees." Other roses in the background could stand in for other women - friends, coworkers, family members, sexual partners, etc. Raindrops or dew could be physical dampness (due to sexual desire or cyclical changes), or they might symbolize tears and emotion, or even stand in for perspiration - endorphins released during exercise, or "fight or flight" anxiety, manifesting as shakiness and sweat.

Many of these interpretations contradict themselves, and many depend on how far exactly one wants to take the idea of "core imagery." Is the rose a whole person, or just part of a person? Is the rose a person's emotions and personality and mood? Or is it simply sex and nothing greater - sexual organs, body parts, genitalia.

It is these sorts of questions that I kept in mind while I decided what rose images to use in starting my large 30-rose colored pencil drawing (which I'll start posting pictures of on here tomorrow). The drawing is going to be called "30 Days," with each rose standing in for a single day in a woman's life. I chose 30 because it's about the length of my personal cycle (and because I was particularly intrigued with how different colors or textures might symbolize different parts of a cycle, rather than just the week of menstruation we typically think/hear about), but also because it happened to fit nicely in a grid. I could've just as easily gone with 29, or 31, or 32 - but 30 is a number that led itself best to the proportions of the paper I'm using, where five rows of six roses fit just about perfectly.

Thursday, August 18, 2016

Notecards ("Floral Watercolors" 4 Pack)

These four notecards are prints of watercolor paintings I've created over the years.

They are available for sale here on Etsy.





The four featured prints are:

- Barcelona Flowers, a 15"x22" watercolor painting

- Rose Stems, a 15"x22" watercolor painting

- Pam's Wedding Bouquet, a detail of a 8"x10" custom watercolor painting commissioned by Pam for her daughter's wedding

- Pinned for Safety, a detail of a 22"x22" watercolor painting I completed as part of my senior honors thesis ("Flower Symbolism as Female Sexual Metaphor") at Eastern Michigan University (which you can read online in its entirety here if you are interested).

Two of these original paintings have already sold; a third is hanging in my dining room and is not for sale. But "Rose Stems" is still available for purchase as well, here on my Etsy page.

This set of notecards is available also on my Etsy page, as well as at the Paint Creek Center for the Arts in downtown Rochester, Michigan.














Here is a photo of me holding up the "Pinned for Safety" notecard next to the original "Pinned for Safety" watercolor hanging on the walls of my house. You can see how close the colors of the print are to the actual colors of the watercolor (as well as how I cropped this particular piece to fit into the horizontal format of the notecard).






Wednesday, May 4, 2016

Scarab Club Exhibition

I'm pleased to announce that one of my paintings, "Silk Caution," has been selected for the juried "Blooms, Bugs, Beasts" Exhibition at the Scarab Club gallery in downtown Detroit!




This 22"x30" watercolor painting was completed as part of my Eastern Michigan University senior honors thesis series in 2009-2010. It was also recently included in a French-Canadian art documentary TV series "L'Art Erotique" on ARTV (February 2016). For analysis on this painting (and the other works in that thesis), search the "thesis" tag on this blog or read my thesis here.





The Exhibition runs from Wednesday, May 18 - Saturday, June 25, 2016. There will be a reception Friday, May 20th, from 5-8 pm. The Scarab Club is located at 217 Farnsworth St. in Detroit.

Hope to see you there!! :)

Monday, March 21, 2016

Etsy Favorites

I have several listings on Etsy that acquire "favorites" (even if those "likes" don't always lead to sales). The two runaway winners are -

Custom 8"x10" Flower Bouquet, Watercolor made to order (on Etsy here)



And

Waterlilies, 11"x15" Watercolor (on Etsy here)




Each of those paintings has several "favorites." My next two most popularly viewed and liked items are:

Feminine Layers, 22"x22" Watercolor (on Etsy here)



And

Poisoned Rose, 22"x22" Watercolor (on Etsy here)



Then I also have many listings that get a few/a couple of "likes" -

Candy Still Life, 10"x13" Colored Pencil Drawing (on Etsy here)



Radiant Dahlia, 5"x7" Colored Pencil Drawing (on Etsy here)



Rose with a Hint of Aqua, 5"x7" Colored Pencil Drawing (on Etsy here)



Impatiens in Rochester, New York, 5"x7" Colored Pencil Drawing (on Etsy here)



Rest Stop Zinnia, 5"x7" Colored Pencil Drawing (on Etsy here)



Winter Bench, 22"x30" Watercolor (on Etsy here)



Bound, 22"x30" Watercolor (on Etsy here)



Dramatic Sky, 11"x15" Watercolor (on Etsy here)



Italian Gelato, 11"x15" Watercolor (on Etsy here)



I love connecting with people who find my artwork online!

Friday, March 18, 2016

L'Art Erotique Recap: What's in a Name?

My episode of ARTV's L'Art Erotique docuseries, Desirs Secrets, aired in Montreal in early February. Though the video of it is up on Vimeo, it's for private access only (otherwise I'd link it here). It was (of course) all in French, and I haven't had time to translate it all yet to see exactly what they said about my art, but from what I can glean so far it seems to be a pretty accurate representation.

I'm very grateful for the opportunity to get my work seen by more people, but I do have a major complaint. They listed my name as "Andrea Frownfelter" on the video, even though I expressly told them many times that my name is now "Andrea Arbit."

I understand the confusion - they contacted me to be a part of their docuseries because they found and read my thesis online (which you can read for free here: http://commons.emich.edu/honors/238/). I wrote this thesis in 2010, the year before I was married, and so it was published under "Andrea Frownfelter." Maybe they would have published it under a different name if I had asked, but I didn't ask, because I was pretty sure the answer would be a resounding "no." I wanted to earn graduation credit for my thesis, and so I used my (then) legal name, the name that would appear on my diploma.

I was already engaged at the time, and knew I would be changing my name soon to "Andrea Arbit." I was slightly worried that it would lead to some confusion, since I planned to use my married name on all future artwork and projects completed after 2011, but I figured it was just the first few paintings of what I hoped would be a long artistic and writing career, and that in the end it wouldn't make much difference.

I didn't realize that my thesis would continue to connect me with people years after graduation. I've been married almost five years now, and graduated from EMU for six years, and in that time I've tried to make a name for myself as "Andrea Arbit." But it is still "Andrea Frownfelter" who is often cited, because that is the name listed as the author of my thesis. Maybe if I knew this would still be coming up six years later, I would've asked EMU if they could publish it under the name "Andrea Arbit." I should've asked. The worst they could've said is no, and just maybe they would've said yes.

Every time I received an email from the people producing the L'Art Erotique series, it was addressed to "Andrea Frownfelter" or "Mrs. Frownfelter" (which was never my name; I was never a "Mrs." when I was a "Frownfelter") or even, once (strangely), "Mrs. DeAndrea." I politely corrected them each and every time.





When I was interviewed in person, I even filled out a form with my name and title as I wanted it to be used in the show. I wrote "Andrea Arbit." None of these instances of telling them my new legal name apparently stuck, because when the episode aired, I was listed as "Andrea Frownfelter."

This was my chance at getting the name "Andrea Arbit" out there - and connecting my new name unequivocally with my thesis paintings, so that there would be no confusion that we were the same person. Instead, they perpetuated and exacerbated the problem, naming me as "Andrea Frownfelter" when that isn't a name I've used for any of my art or writing since 2011.

Honestly, every time I think about it again I get a little angrier. If I had wanted to continue to be known as "Andrea Frownfelter" I would have used that name. I do not use that name anymore, and told them so many times. They did not respect my wishes.

I feel a little weird complaining about it, because I feel like it's the opposite problem that many women have. I hear more stories of women who do not want to change their name after marriage who are bullied into changing their name anyway, or who are called or addressed by a name that isn't theirs and which they've never taken, just because other people (whether they be strangers or family) can't fathom a woman who would chose to keep her birth name. Instead, I get called by my birth name when I want to be addressed by my married name.

Maybe it just goes to prove that there's no right way to be a woman and have a name, even in contemporary society. Those who don't want to change get shamed at for not changing; those who do want to change but already have something out there with their birth name on it face constant issues with getting other people to acknowledge the new name. It's ridiculous - and it's usually a female-only problem. Women are the only ones routinely expected to change their names (change their identities) throughout their lives. Our choices to deal with this problem are to face scrutiny for keeping our birth names, never marry, or never produce anything before marriage that gets our name known.

I married when I was 22 years old! It's not like I had decades of an illustrious career attached to the name "Andrea Frownfelter." I had one academic paper, which I wrote when I was 21. That was it! What, was I supposed to marry before I graduated just to avoid this problem? Or go through extra red tape to change my legal name without being married, just so I could use the name I wanted to before graduation?

I didn't want to be known as "Andrea Frownfelter" because I didn't particularly like the name. It was nothing against my family; I just didn't like the F sounds. My brother had actually been bullied a lot as a kid by peers substituting other F-words into his last name. ("Fartfelter" and "Frownfarter" probably being the nicer of the possibilities you can imagine). Though I avoided much of this name-calling myself (somehow), knowing how easily kids were changing his name did little to make me want to keep mine. I also didn't like the length. Sometimes it was hard to fit the name on forms. (I pity anyone who has a long first name and a long last name - I can't even imagine!)

I've always wanted to be a writer or an artist, to create things and attach a name to those things, to be known. I played around with pen names as a kid. When I pictured my first published book, I didn't picture it filed under F for Frownfelter. I knew it would be something else. It didn't have to be my real name, but it had to be a name associated with me somehow - a name I'd come up with or decided on, a name that would be my own.

Then I happened to fall in love with someone with the last name "Arbit." It was pretty convenient. It was a shorter name, a name I liked, and a name I thought sounded good with my first name. I thought the alliteration might help with name recognition, and it didn't hurt that it was at the start of the alphabet. I figured I'd use it as my writing name, my artist name, my legal name, and the name everyone would call me.

I always wanted to change my name, and I saw getting married as a wonderful excuse to do so. Not only would it be easy to legally change my name at that time, but (I thought) it would also be easy to socially change it at that time - that everyone would easily accept my decision because it was part of a tradition. In addition, I expected to have kids one day, and wanted to avoid the headache of different last names within the same family. It made sense for me to change my name, and to change it to the name of the person I was marrying. I felt a little weird about it, being a self-proclaimed feminist. But I rationalized away such weirdness by reminding myself that being a feminist is about doing what feels best and most self-empowering for each individual woman, and for me that was changing my name.

I like being "Andrea Arbit." I enjoy the way it rolls of the tongue. I enjoy the way it looks. I enjoy signing it - whether it's just the last name scribbled into the corner of artworks or my first and last names, two capital A's, signing a check or document.

But none of that should even matter. I don't have to give a reason why I want to be known as "Andrea Arbit." If I ask you to do that, why can't that request just be accepted? I owe no explanations. There is no reason for someone to disrespect my wishes and call me by anything else - even if the thesis that brought me into your attention has my last name listed as something different. Why is it so hard to do what someone asks you to do regarding their own identity? It's their identity. They know best. 

I can't even imagine how difficult it must be to be transgender.

All I'm asking for is to be recognized by my changed legal name, which happened almost FIVE YEARS AGO and was acquired in the most privileged, traditional way that it could possibly be acquired, following naming conventions which have been around for literally centuries. And even this I have problems with.

I realize that this is probably just a "lost in translation" or "falling through the cracks" sort of thing - I was emailing and talking to several different people through the process, and most were good about addressing me as "Andrea Arbit" (or simply "Andrea") in further correspondence, once I corrected them. They were also translating back and forth between French and English. I don't think the used the wrong name maliciously or intentionally. Mistakes happen. I get it.

But it's still really disappointing that I was called the wrong name on television, that my artwork was attributed to a name that no longer exists, and that I was denied the opportunity to promote my desired, currently utilized, legal name to a wide audience. I hope their mistake doesn't do too much to hold "Andrea Arbit" back from the recognition she's working hard to earn.


Friday, January 22, 2016

Studying Art in College

Art is one of those subjects that you really don't have to go to college to learn - because so much of it is just based on practice and doing some art experimentation every day, there's a lot you can do at home. And with the rising costs of college (at least here in the U.S.), it can start to seem a little futile to go spend all that money (and likely go into debt) to study something that will bring you little job prospects. (The term "starving artist" doesn't exist for nothing.)

Creative writing is another field like this. There's a big debate among contemporary literary writers about the importance of the MFA - some insist that a good MFA program is crucial to learning how to write good stories; others insist that it's not necessary.

I can certainly see both sides. I pursued a BFA in watercolor and graphic design at EMU, and can speak to the great experiences I had there that I wouldn't have gotten anywhere else. Of course, on the other hand, I'm currently writing a novel (without ever having pursued an MFA), and thus hope that I can find success with my writing without going through this step.

A lot of it depends, I think, on your financial situation. Given today's economic climate, I don't know if I'd recommend going into massive debt for either sort of degree. The financial pay out will likely not be worth it. On the other hand, if you have the resources to cover it (or most of it), there are definitely positive aspects to pursuing higher education in a field you love. The networking opportunities (if you take advantage of them) will likely be helpful, as well as opportunities for building up your CV.

My CV would be a lot shorter if I didn't have all my projects at EMU to showcase - from the yearly symposiums I talked about in recent posts to the senior art exhibitions EMU set up in its student and university galleries. Furthermore, because I wanted to graduate with "highest honors," I wrote a senior honors thesis - which has probably given me the most exposure of anything, due to its free availability online. I got to do that interview for the Montreal TV series "L'art Erotique" because the producers found and read my thesis online, and I have also been contacted by others (college students, fellow artists, fellow feminists, etc.) from around the world who have read it.

I was lucky enough to have scholarships to attend EMU, and to have family (my uncle in particular) kind enough to help pay for many of my remaining expenses, including room, board, textbooks, and art supplies. I did accumulate a small amount of debt - but it was small enough that I was able to pay it off soon after graduation (despite having no steady income). I realize this is not the case for everyone (which is why I am hesitant to say "Go to college! It's worth the cost!" without knowing others' specific situations). But I did give a lot of thought to my finances in choosing to attend EMU. I also got accepted into the University of Michigan - a school with a vastly greater reputation, but a higher tuition. It was difficult to turn that down - especially given that many of my high school friends were attending U of M. But U of M did not give me the amount of scholarships EMU was willing to (EMU gave me a full-tuition scholarship for four years), nor did they promise the same sorts of opportunities. At U of M, I would've been a small fish in a big pond. At Eastern, I was a big fish in a small pond. I was guaranteed opportunities to showcase my artwork at the symposiums every year. I chose EMU because I knew it would mean I could skate by with very little debt; if I had chosen U of M, that might've (probably would've been) a different picture.

I do have to say - one of the drawbacks of the amazing opportunities at EMU was that I got a little spoiled. So many things were offered to me without my having to put forth much effort to seek them that I had very little experience scouting opportunities after I graduated, and little confidence to try. College is a beautiful, protective bubble - which is great while you're there, because it gives you room to try new things, figure out what you really want to study, and begin to define who you are. But it's not so great after graduation, because then you're faced with a rude awakening when you enter the real world.

It was harder to stick with art once I didn't have assignments to complete, or quotas or deadlines to meet. I didn't have professors (or anyone else) expecting artistic output from me. It was also harder to find ideas, harder to find critique groups, and harder to find places to show my work or try to sell it. This is also true for writing. Though I didn't take advantage of many creative writing classes in college (I only took one), I'm sure if I'd prioritized it, there would have been greater opportunities to find in college than outside it. Critiques would be built into classes, and fellow writers would be easy to find and befriend. Outside that protective college bubble, none of that is the case anymore.

For awhile, I didn't really try to find places to show my art, or try to network much at all. I just didn't know what to do, or where to start. And so now there's this gap on my CV, between when I graduated in 2010 and when I started trying to put myself and my art out there more this past year. I wish I'd made more connections earlier, talking to local art councils or art galleries. But at least I'm doing it now.




Tuesday, January 12, 2016

Melange Modele, Oian Sunset & Barcelona Flowers

Today's post will feature three watercolor paintings that I completed in 2011 and sold in 2014.

The first one is "Melange Modele" - which was a full sheet 22"x30" watercolor painting on paper. The style is similar to my early thesis paintings in 2009, where I combined pattern imagery with roses.

Here, there are two large roses, adorned (tattooed, perhaps) with patterns. The background is also decorated with pattern, giving the painting an overall patchwork or scrapbook collage feel. I further played up the cut/torn paper aspect by blocking off parts of the design with masking fluid, so that the painting would look torn, or layered with "windows" of transparent paper.

This is the full-size painting:

"Melange Modele" - 22x30" watercolor painting on paper (2011)
by Andrea Arbit. Part of the collection of Silva & Smith.

And here are several details of the work:


"Melange Modele" (detail) - 22x30" watercolor painting on paper (2011)
by Andrea Arbit. Part of the collection of Silva & Smith.

"Melange Modele" (detail) - 22x30" watercolor painting on paper (2011)
by Andrea Arbit. Part of the collection of Silva & Smith.

"Melange Modele" (detail) - 22x30" watercolor painting on paper (2011)
by Andrea Arbit. Part of the collection of Silva & Smith.

"Melange Modele" (detail) - 22x30" watercolor painting on paper (2011)
by Andrea Arbit. Part of the collection of Silva & Smith.

"Melange Modele" (detail) - 22x30" watercolor painting on paper (2011)
by Andrea Arbit. Part of the collection of Silva & Smith.

"Melange Modele" (detail) - 22x30" watercolor painting on paper (2011)
by Andrea Arbit. Part of the collection of Silva & Smith.

"Melange Modele" (detail) - 22x30" watercolor painting on paper (2011)
by Andrea Arbit. Part of the collection of Silva & Smith.

"Melange Modele" (detail) - 22x30" watercolor painting on paper (2011)
by Andrea Arbit. Part of the collection of Silva & Smith.

"Melange Modele" (detail) - 22x30" watercolor painting on paper (2011)
by Andrea Arbit. Part of the collection of Silva & Smith.

"Melange Modele" (detail) - 22x30" watercolor painting on paper (2011)
by Andrea Arbit. Part of the collection of Silva & Smith.

"Melange Modele" (detail) - 22x30" watercolor painting on paper (2011)
by Andrea Arbit. Part of the collection of Silva & Smith.

"Melange Modele" (detail) - 22x30" watercolor painting on paper (2011)
by Andrea Arbit. Part of the collection of Silva & Smith.

"Melange Modele" (detail) - 22x30" watercolor painting on paper (2011)
by Andrea Arbit. Part of the collection of Silva & Smith.


The second painting is a half-sheet size (15"x22"), also watercolor on paper. It is titled "Oian Sunset."

The flower image was based on a source photograph I took of tropical pink flowers in Oia, on the Greek island of Santorini (where I went for my honeymoon in 2011). The flowers took on a silhouette quality with the beautiful sunset behind them, making them back-lit. I added one of my designed patterns to the yellow background, which I painted with a hint of gold metallic watercolor paint.

Here is the entire painting:

"Oian Sunset" - 15x22" watercolor painting on paper (2011)
by Andrea Arbit. Part of the collection of Silva & Smith.

And here are some detail shots:

"Oian Sunset" (detail) - 15x22" watercolor painting on paper (2011)
by Andrea Arbit. Part of the collection of Silva & Smith.

"Oian Sunset" (detail) - 15x22" watercolor painting on paper (2011)
by Andrea Arbit. Part of the collection of Silva & Smith.

"Oian Sunset" (detail) - 15x22" watercolor painting on paper (2011)
by Andrea Arbit. Part of the collection of Silva & Smith.

"Oian Sunset" (detail) - 15x22" watercolor painting on paper (2011)
by Andrea Arbit. Part of the collection of Silva & Smith.

"Oian Sunset" (detail) - 15x22" watercolor painting on paper (2011)
by Andrea Arbit. Part of the collection of Silva & Smith.

"Oian Sunset" (detail) - 15x22" watercolor painting on paper (2011)
by Andrea Arbit. Part of the collection of Silva & Smith.

The third painting purchased as part of this set was also a half-sheet size (15"x22") watercolor on paper. It is titled "Barcelona Flowers."

In my post of Barcelona photos yesterday, I shared the source photograph I used for this painting. I took the photo in the Parc de la Ciutadella in the summer of 2010. I did not add any patterns to this piece, but did alter the design from the photograph in a few painterly ways. I decided which parts to render more detailed/realistically, and which to leave more abstract.

Here is the source photo, for those who don't remember from yesterday:

Photography by Andrea Arbit (2010)

And here is the entire painting:


"Barcelona Flowers" - 15x22" watercolor painting on paper (2011)
by Andrea Arbit. Part of the collection of Silva & Smith.

The details of this painting are below:


"Barcelona Flowers" (detail) - 15x22" watercolor painting on paper (2011)
by Andrea Arbit. Part of the collection of Silva & Smith.

"Barcelona Flowers" (detail) - 15x22" watercolor painting on paper (2011)
by Andrea Arbit. Part of the collection of Silva & Smith.

"Barcelona Flowers" (detail) - 15x22" watercolor painting on paper (2011)
by Andrea Arbit. Part of the collection of Silva & Smith.

"Barcelona Flowers" (detail) - 15x22" watercolor painting on paper (2011)
by Andrea Arbit. Part of the collection of Silva & Smith.


These paintings have already sold (all three to the same collector), but I have many more paintings in these styles (and others) available for purchase through my Etsy shop.

I also take commissions! If you want something that I no longer have for sale, please contact me. I can make you something similar, or something custom - whatever you desire!