25 at 9,500' -- A Winter Artist's Residency

Breckenridge, Colorado.  9,500 feet above sea level. Deep snow angled against the studio, more white falling from the sky, a swirling winter wonderland.  I've made myself at home in the historic Tin Shop, which was bought and renovated by the town's well endowed Arts/Historic District and is now offered as a cozy guest artist's live/work space.  I was a resident here in 2009 and had the good fortune of being invited back for the month of February.  I am now in the midst of  25+ days to make all the art I can make - and I'm off and running!!

Winter in Breckenridge... snowy Wonderland!!!!

 As always, I've come bearing some notion of my intended projects, but I always allow myself to follow creative tangents as they arise.  It's a bit like tracking an animal through the forest on a winter's day, fun and then fruitless, hopeful and maddening!  Now on my ninth official artist's residency program, I've learned that this is the best time to explore brand new creative ideas and to allow myself to wander into uncharted territory with complete abandon. Since I work in a variety of different media, this can lead to some frantic overwhelm - along with sleepless nights - but I am going with it!!

"Lay Down Your Grief And Kiss The Ground" -- a mixed media piece I created for a traveling exhibit called 'Down the Rabbit Hole'... 

"Earth/Ice Listening" -- Studio installation in progress with encaustic wax, discarded paper towels, charcoal, xerox transfer and pencil drawing.

"Tea Series/Mindfulness" -- work in progress -- discarded tea/bags, Usnea, map, paper towel, beeswax, damar resin, box elder seeds, and ink on paper handmade from old lists, fliers, junk mail.

"Tulugaq/Raven of the North" -- ink, charcoal, and acrylic on tree-free paper

 Along with developing new projects, I've also finished a large commission piece for a buyer who shares my appreciation of raptors and other winged things: Tulugaq/Raven, whose range takes her into the Arctic.  I'm currently working on a second commissioned painting, Falling into Blue, which is a creative exploration of color, feeling, and possibility.  As a friend writes, "the breezy surface pulls you in... and then you fall into the mystery."  To me, blue is the essence of what I found in the very far north - rock and ice, sea and sky - and a reflection of the world that lives inside us all. 

"Northern Nightscape Ice-land Aurora Love", study #7, ink and acrylic on tree-free paper

A pile of my hand made paper in the Tin Shop.  Such pleasure in recycling my To-Do lists into creativity!!

 I'm exploring more ideas about Greenland and the Arctic; about land-earth-ice, climate-environment-ecology, human relationships and how the din of our lives can keep us from hearing feeling seeing knowing.  I also find myself creating simple works of art that are - essentially - a celebration of life and aliveness.  The beautiful miracle of it all, like a love letter to Greenland penciled around the girth of the planet.

I've also discovered a relationship between Breckenridge - this cute snowbound ski town in the high Rockies - and the Arctic: our climate delivers the possibilities of change more swiftly to those places that are either high up, or far up. Altitude vs. latitude.  Here the snow drives fast and hard, while at home in southwest Colorado, drought is the hallmark of the current winter season.  What next??

 For me, I've been invited to go North again this summer, to live and work in Canada's Yukon Territory at the Klondike Institute of Art.  May I discover there an untangled pathway to creating sculpture, installation, painted images, porcelain objects and word-craft that resonate with meaning and reach beyond me into the vastness.  As the poet Mary Oliver has written, "I want to be improbable amd beautiful and afraid of nothing, as if I had wings."  Onward. ~

Greenland: A Love Letter

"Somewhere out there in the ice fragments, I thought I glimpsed my own desire..."  acrylic, text transfer, india ink on canvas.

My Greenland journey is far from over.  Here are a few of the paintings I created in response to my travels in the Northwest of that great cold island. The Arctic lives in me now, and I can't stop thinking about it.  My work continues. 

"The Longspun Story of Earth", acrylic, image transfer, india ink on canvas.

"This story is partly about a kind of heartbreak for a world that remains so vitally unaware of how imperiled it is.  The more I sense the miracle, the more intense appears the tragedy.  The only way to feel better, then, is to appreciate less, which would of course feel worse.  Let's put a positive spin on it and say that for now the miracle is winning."  

- Carl Safina, The View From Lazy Point

"In Greenland I found the bones of myself..."  acrylic and india ink on canvas.

"Melting Greenland/Ice Corral",  acrylic, text transfer, india ink on canvas.

 ~

Also, "For Greenland.  A Love Letter." 

~

"Little Red House at the End of the World", acrylic on canvas with india ink.

Little red house... This painting is inspired by the historical 19th century building (an old Danish cooper's shop) that I lived and worked at in Upernavik, Greenland.  It sits on a spit of land jutting into the sea, wracked by wind and time. Massive icebergs rise and fall to the rhythm of the tides - sometimes serene, sometimes violent - creating a different seascape with each new day.  The light is spectacular.  And it really does feel like being at the farthest edge of the world. ~

Arctic Art, Winter Light

"Looking for the Ice", cyanotype print with mixed media.

Gray December days.  We're closing in on the first day of winter and the shortest day of the year - the very darkest of days in Greenland. Would I see the Aurora if I was still there, spinning through low slung stars overhead, the snow creaking with cold like old bones and the patchy sea ice signaling danger?

Thinking of the Arctic and how, whatever our measure of darkness this time of year, we are all waiting for the light. It unites us.  

"Galaxy - Part 2", cyanotype on paper.  Like the winter night sky.  Full of hope.

          In the meantime, I'm working and making art as if my life depended on it. 

 

Luminous/Adrift, Baffin Bay. Acrylic on paper.

Bones of Greenland, porcelain paperclay.

One of my favorite projects right now is the series of porcelain skeleton ships I've been sculpting. They'll be installed in a gallery from the ceiling, resting on... nothing.  Kayaks inspired by my own powerful Arctic water voyage but also by dying seas and rising tides and temperatures - hanging in delicate balance just as we are.

 

 Semi-frozen porcelain paperclay with ice crystals.  An uncanny resemblance to an icescape.  

"Ice Fishing: Catch and Release", original cyanotype print on paper.

In recent weeks I've mailed off a few dozen original cyanotype prints to my Kickstarter supporters (all the fans that helped get me to Greenland!) and been delighted by the rave reviews.  How do I say thank you?? It means so much to have someone jot me a message that exclaims, "I love the piece you sent. I can't wait to frame it!"  All the uncharted, undeclared hours of toiling alone in the studio suddenly seem worth it.  After all.

I'm also spending countless hours video editing right now, peering over the edge of the Arctic expedition and allowing myself to tumble down into its depths.  Feeling and remembering.  Slicing and dicing the clips to create something someone else would want to become absorbed in.   Hoping I can do it justice.  I have moments of thinking, "Well, there's no adrenaline here.  Only the slow subtle drama of the Ice.  Some humor and thought provoking dialogue. A lot of beauty shot with a mediocre camera.  I'm not a film maker."  Or am I?  

It must be enough. I understand that this intimate and quiet work about the Arctic is bringing me closer to that which is bigger and bolder.  I'm lining up shows for all of it, along with speaking venues about the Arctic, art and global warming.  I've been invited to present at Regenerate, a conference in New Mexico about the ways that art can fuel progressive change.  I feel as if I to have pockets full of answers - and instead I have fistfuls of questions.

Today is December 20th.  Soon I'll begin teaching a semester at New Mexico School for the Arts in Santa Fe. In addition to engendering creativity in young hearts and minds, I long to be a light in the darkness.

A gathering of Solstice gifts.  And a return to my roots with some recently fired functional porcelain - the color of glaciers and December dawn.  ~Love and light to all.

A Forest and the Bones of Greenland

"Galaxy", cyanotype print with usnea, wild rose, river pebbles by Rebecca Barfoot

Life is precious, especially against the unforgiving starkness of the Arctic.  My time in Northwest Greenland heightened my awareness of how quietly fleeting our time is here on this little blue globe called home.  As a result, I’m working a bit feverishly these days, trying to get all my art projects born before time runs out.  I know this is foolish and fearful, but still I’m creating in a hyper-inspired (manic?) state, extra-attentive and energized.  

It’s a fertile place, this focused frenzy- but again, as ephemeral as our waking hours and numbered earthbound days. 

Smuggled Arctic seal bones adorn- incongruously- a bed of autumn leaves

I woke at dawn today with these words whispering through the mental haze of early morning: “In Greenland, I found the bones of my self.”  One part dream, one part highly conscious thought? I suspect a higher sense of knowing before the din of the daily begins, and I’m grateful for the mysterious tiding.   Since Greenland, I have felt the stirring of something old and moss covered inside me, moving and morphing yet deeply grounded.  

I can’t say with precision what happened for me internally in the icescape of the Arctic- but something did happen.  As if the cold sharpness of bedrock and glacier ripped me open like a storm running down the middle of my life, then tossed me back to sea to find my own way back to shore and sanity.  

Glacier meets bedrock, NW Greenland

 Back home I’ve taken refuge in the forest, an impossibility in northern Greenland as the high Arctic is a land without cover.  Refuge and revelry then!  The season here in Colorado has matured to a crisp golden autumn.  I’ve loved watching the world change as the aspen and cottonwoods gather themselves up for winter, shedding their leaves, drawing into themselves.  I understand.  

Aspens in full glory at a secret spot in southwest CO

 I’ve seen a bumper sticker floating around Durango lately that reads, “Trees are the answer.” Ah, the poetry of trees.   How they hold up the sky and root us all at once.  I watch the Halloween skeleton trees outside the studio, shifting and sighing in the late fall wind.  Yet how steady and steadfast they are- my own personal icons of small triumph.   

Beyond the poetic is the scientific:  trees give us oxygen, clean our air, filter the soil, and manage to transform greenhouse gases into wood.  No wonder I’m smitten. 

I won’t ask you if you’ve ever hugged a tree, but when was the last time you laid down beneath a canopy of, say, an enormous live oak- to be cradled by the forest floor, branches and leaves twining above and the open sky beyond? (Now’s your time!  Autumn is perfect!)  The pungent dirt-smell of moist leaves returning to the earth delivers me to a mysterious yet familiar place of yearning. 

A winter live oak thrives in west Texas

Dirt, moss, bones- and those words carved into my mind from this morning.  Greenland is littered with the skeletons of marine mammals that became Inuit food, and also from the natural course of things.  Nothing breaks down- or hides- with any ease this far north.  Bones are so rich in metaphor that they’ve already found their way into my art.  A year ago in the Adirondacks I began working on a series of coil-built skeletal objects in porcelain, beginning as a group of Lilliputian chairs (to be hung on the wall, a slightly twisted testament to comfort that can never be attained). Then I made some small boats, in the same manner and material.  A little bereft, these unmoored ships that can’t bear their own weight on water, slowly sinking.  Elegant and terrible as unprecedented Arctic ice melt.

"Skeleton Ship", porcelain paperclay by Rebecca Barfoot

 I’m building diminutive ceramic kayaks today, reminiscent of my time threading the waters of Baffin Bay this summer in just such a craft (which didn’t sink and never capsized!).  I found piles of seal and narwhal bones on Ikerinarmiut, a tiny island off the Greenland coast.  And ancient human remains nestled in an old rock cairn with a circular skyward opening, not far from my studio in Upernavik.  (Gasp!!  I’d never stumbled upon a human cranium just… lying there like that.  But this was the traditional Greenlandic way until only recent decades.) 

Untitled, by the young, gifted, and tragically fated Francesca Woodman,  MacDowell Colony, Peterbough, NH, 1980 

 For some reason I haven’t quite unearthed yet, I’m more in love with fall this year than I have been since my childhood in New Hampshire.  I was a maker of tree forts then, running around the woods looking for pokeberries and toads, excavating piles of crimson maple leaves to hide in.  Maybe the bones of the Arctic are bringing me back full circle to fall in love with a forgotten part of myself, at once old and young and giddy with living.