Open For Business

I was not wanting to set up the shop until I had more to sell...but the overwhelming response to my soonish upcoming move has made me reconsider.

Truth is, life in itself has become a business, and with the appearance of social networking *ahem, Facebook* making a name has become that much easier. Or harder, since there is suddenly so much more competition.

My studio mates are purists. They are part of a movement to bring academic realism back into the mainstream...and I'm with them to a point. I won't lie: there IS structure to art. But there is also evolution of business, culture, technology, and most importantly, audience to consider. Currently Etsy.com is my happy medium--an attempt to begin what will become my "name" while giving me enough time and space to develop that into what I really intend it to be.

If anyone wants to see the small shop (with it's one item), you can find it at: emmablanco.etsy.com...

Similar upcoming goals to watch for: added sections to the etsy shop (and items of course!); foundations for Tracks, a comic book following an Elder Bleu--probably using Kickstarter.

All I Wanted Was A Life of My Own

Consider the homeless man. No one wants him around, and so he sleeps wherever he wants, whenever he wants. He goes and comes as he feels. And is he miserable? Maybe.

It's the same as Huck Finn I would think. Someone who never had much to care for can never find themselves caring about more than that, even when it is handed to them. They appreciate the gesture, or so I would assume, but how often is it that they change to be something new?

And then consider the suburban housewife who runs around all day trying to make meaningless ends meet. Soccer practice, PTA meetings, groceries, and finding time for Ellen or Oprah (depending on preference of course). And she is probably just as miserable as the homeless man!

Which is why I went back. I stood outside in the cold, letting my hair freeze, waiting for that big, tall, insanely politically incorrect punk to open the door and smile and say "Welcome back." And the moment I picked up that pencil, facing my grey Stonehenge, I could simply smile and consider everything that I had just gotten back. And there is nothing else but me, right here, right now.

Consider the point, the line, the plane. Consider how in this space, there is really one true placement, one true gesture, one true size. From point a to point b, there are infinite possibilities, once you know the rules. And what are the rules? Would you know? Can you tell?

"It's just like riding a bike" Ryan said, looking over from his canvas. And I smiled and considered. Yes, yes it is.

To Serve a Higher Cause

One would think after six months of intense mental, spiritual, and intellectual workouts the fat would all just fall off. All that strain, all that labor, pressured into a blade that just slices all the undesirable stuff right off.

And yet for some reason the enigmatic paper proposal goes half written. I waded through all of my collections of knowledge. I purged it forth, supporting my ideas purely with legitimate quotes and about seventeen opening lines later I come to the real Maleficent, enchantingly beautiful despite the green skin. Why in the world am I writing a paper proposal for a cause that can be answered with one drawing?

How, in the light of the Restored Gospel, do we portray the Divine? With respect, in its purest form. Points. Lines. Planes.

So give me something to believe 'cause I am living just to breathe. And I need something more than what I'm breathing for, so give me something to believe.*

While sitting here in my sweats, channeling Carrie Bradshaw with an unblocked writers block, one has to wonder: when will the believing really kick in.

Then I realize that it already has. And while I may not really care to finish the paper proposal, I do care to find out exactly what prompted me to begin one in the first place. The girl working the graveyard shift at the local McDonalds would not care to deal with a subject so obscure. Kandinsky. Human Bodies. Why would anyone care about one or the other?

But the girl who will not settle for the lesser attentions of a man, the girl who shows up to work five minutes early, the girl who will give anything for what real relationships she has created her entire life. That girl I shake my finger at, for she is trouble. Man-eater, heart-breaker, untouchable copy of what has been, will be, and simply is somewhere other than here. I sigh at her, at the notion of extreme cost. Breaking, broken, raw. Raw in its pinkness, bloodiness. Raw in an open wound gaping in expression of pain, joy, ecstasy.

She is waiting impatiently for me to retch my guts out and return, water bottles, Tylenol, blankets and all. More, more, always more. There will always be something more. Is it enough to breathe? Never did anything require such a high price. For what must give for a single shallow breath? How many people lie in beds selling their souls for just one more? How many hoarde it in anticipation, fear, selfishness?

In, out, one two three four, in, out, one two three four.

It will not be wasted, not yet. Not yet. Not yet.

*From "Believe" as performed by The Bravery

Bittersweet Ambition

Ryan Brown was crazy. He wanted me to drop everything and go to Florence. That's in Italy. He's always been like that I suppose, but somewhere in our teacher-student relationship that quote just to the right by J Fettingist became more and more true, and I had stopped receiving all the things he was putting into my head and was blatantly objecting to them. I only did that because he was crazy. He wanted me to go to Florence.

I did learn from him though. He and Wulf Barsh von Benedict would give me theory articles to read. I was a good student then (a phrase which really 'means I read them'). One of the things Ryan harped on the most was taste. He would come in every morning with a liter of diet coke and crack something about how I was short (he's 6'2"), then he'd sit down for a couple minutes and give his lecture about whatever had pissed him off in the last 48 hours.

I have to make a side note here: you know how there are certain teachers you gravitate towards? Makayla knows, certainly, because she gravitates back to Dr. Cronin. Well, that was me and Ryan. I took Observational Drawing from him. Then the senior illustration course on gesture drawing. Then Intermediate Life Drawing. He pissed me off every single day, and yet at the beginning of every class, I was ready to face him again.

One day he sat down on the edge of the model stand with a stack of papers and handed them out. It was an article called "A Note on Taste." Actually, it was a section of a chapter, "Tone and Colour Design" in a book, Oil Painting, which I'm going to guess is by someone relatively old. Anyway, whoever wrote Ryan's inspiration of the day said that taste is determined by familiarity, and that good taste can be developed. What really seems to sum it up is the last sentence of the chapter, which says:

All good artistic work is new; but its newness is of the inevitable sort that naturally grows from sincerity; not the forced newness for the sake of difference, which characterises so much of the peculiarity that in theses days masquerades as originality.

His point in the whole thing was that it isn't so much about being as it is being while meaning something. And while someone can develop a taste for something, that doesn't mean the antithesis can't exist. It also means that on the individual scale, good and bad are entirely relative, but on the grander scale, they are definite. There is such a thing as skill, and whether one possesses it or not will determine if they are good or bad.

Ryan was huge on that because here's something of a little secret: art is not just about the idea. It has to have one, but there has to be a structure. I like to think of it as language. Movements change it, but it is rooted in a place that it draws upon for stability--for definition. The thing is, once you know what good art really is, crafted through study and reflection and skill, taste is redefined.

The hard part about writing this post is that I didn't drop everything and go to Florence. I stayed. I wont lie, there are days I sincerely wish I had gone. But what really sobers me is that Ryan taught me so much about life, art, humanity, God, and myself that it seems almost like I owe him something. It is a similar feeling towards Mully; but the fact is, Ryan shared what he felt and what he knew to be true on a daily basis. And some days he was completely off. I wont lie--he's an arrogant conceited jerk...but usually he was right. Ryan inspired me to be a great person. I studied every reference he gave me. I aimed as high as I could with every line until I stopped caring. And he said to me that June day in his studio, "Look at you! You're coagulating right in front of me! I don't know what happened to you, but pull yourself together. You don't even get dressed for the day."

I could hate him for that day. But the thing that I've realized as I sit with Makayla and discuss her relationships with Cronin and Muhlestein is that I miss every second of Ryan's influence in my life, and that I will always regret the day I walked out of his studio and never went back.

I didn't draw this. This is a photo of Ryan.

(My mother never knew what he looked like, but she hated him to the core.)