Numerous Hats

I’ve been wearing my arts management hat this week. An assistant to deal with the field that concerns business operations around my art world would be nice. Even on the road, one has to facilitate the day-to-day operations of one’s own organization — the finances, the sales, the invoices, the inventory, the databases, the acquisition of materials, the marketing...

© 2018 Louise Levergneux, Heads 2014 by Jun Kaneko at the Desert Botanical Gardens in Phoenix, Arizona

© 2018 Louise Levergneux, Heads 2014 by Jun Kaneko at the Desert Botanical Gardens in Phoenix, Arizona

I deal with administration and create policies. But, who fulfills the mission? Most artists work on their own since finances do not allow us to hire staff. We need to understand all business units of a working organization. I've often felt I should fire one of my hats and hire another, better equipped to do the job. But reality presents itself at every turn, and I must deal with the whole shebang!

The teamwork, the creative leadership, and the dynamic process of reflection all lie on my shoulders. Oh! What fun when Income Tax returns are due in 21 days. 

© 2018 Louise Levergneux, a bird making its nest in a Saguaro, San Xavier Mission, Tucson, Arizona

© 2018 Louise Levergneux, a bird making its nest in a Saguaro, San Xavier Mission, Tucson, Arizona

© 2018 Louise Levergneux, a rabbit looking on in Congress, Arizona

© 2018 Louise Levergneux, a rabbit looking on in Congress, Arizona

I prefer to produce than execute administrivia, I’m adept at it, but that is not my labor of love in life. 

At the moment, I am constrained by the living space and suffering from a sprained ankle. These create disquietness, and I can only dream of hiking and photographing cacti in the Sonoran Desert or standing at a workstation swearing at glue that is running amuck. But for the next week, Income Tax and database reorganization are my future.

© 2018 Louise Levergneux, a Geico resting at the Painted Rock Petroglyph Site, Gila Bend, Arizona

© 2018 Louise Levergneux, a Geico resting at the Painted Rock Petroglyph Site, Gila Bend, Arizona

In the meantime, the early mornings are where I dream of new artists’ books. I would welcome the opportunity to visit another studio — I’m in Phoenix, where are you?

What strategies do you pursue to maintain your creative process through the many hats you must wear in a day?

How do you implement these strategies?

What gets your mojo motived?

Documentation

It’s been two weeks since my last post. My friend, Flavie Beaudet, visited us in Arizona and her companionship took precedence over everything else. We enjoyed six days of sun and warmth in Sedona and Gila Bend—what a treat! As artists, art is never far from the conversation, and documenting what we witness is strong.

© 2018 Louise Levergneux, cactus at the Painted Rock Petroglyph Site, Gila Bend

© 2018 Louise Levergneux, cactus at the Painted Rock Petroglyph Site, Gila Bend

I brought my studio outside once again as I absorbed my surroundings with an unconventional eye. As a lover of landscapes, I could finally share with a friend from back home what I perceived in this astonishing—stupéfiant environment.

Textures and colours of Arizona suited Flavie’s fierce sense of design. In the past, Moroccan patterns have influenced her creations.

© 2017 Flavie Beaudet, first layer for a tabletop design

© 2017 Flavie Beaudet, first layer for a tabletop design

© 2017 Flavie Beaudet, the second layer for a tabletop design

© 2017 Flavie Beaudet, the second layer for a tabletop design

© 2017 Flavie Beaudet, several layers later, the finished tabletop

© 2017 Flavie Beaudet, several layers later, the finished tabletop

© 2017 Flavie Beaudet, another Moroccan inspired tabletop

© 2017 Flavie Beaudet, another Moroccan inspired tabletop

We soon watched out for each other's obsessions. This past week, I was fixated on the sky with its fabulous clouds. More on that later.

© 2018 Louise Levergneux, Phoenix sky

© 2018 Louise Levergneux, Phoenix sky

Flavie photographed motifs nature gifted within cacti, trees, desert plants, shadows, hay...

There were rocks to photograph...

© 2018 Louise Levergneux, rocks at Gila Bend KOA Camping site

© 2018 Louise Levergneux, rocks at Gila Bend KOA Camping site

... then there were rocks.

© 2018 Louise Levergneux, Painted Rock Petroglyph Site, Gila Bend

© 2018 Louise Levergneux, Painted Rock Petroglyph Site, Gila Bend

Since my camera was always in hand, I recorded Flavie documenting patterns. I’m looking forward to seeing what will become of this photographic archive of Arizona.

© 2018 Louise Levergneux, on the way to document the desert

© 2018 Louise Levergneux, on the way to document the desert

© 2018 Louise Levergneux, Flavie documenting at the Painted Rock Petroglyph Site, Gila Bend

© 2018 Louise Levergneux, Flavie documenting at the Painted Rock Petroglyph Site, Gila Bend

© 2018 Louise Levergneux, Flavie stealing a shot of the Solana Generating Station near Gila Bend

© 2018 Louise Levergneux, Flavie stealing a shot of the Solana Generating Station near Gila Bend

© 2018 Louise Levergneux, Flavie photographing hay on Citrus Valley Rd near Gila Bend

© 2018 Louise Levergneux, Flavie photographing hay on Citrus Valley Rd near Gila Bend

© 2018 Louise Levergneux, Flavie photographing and enjoying an architect's work at Taliesin West, Phoenix

© 2018 Louise Levergneux, Flavie photographing and enjoying an architect's work at Taliesin West, Phoenix

We all document our thoughts and ideas in different ways, what is your process? I would love to hear.

© 2018 Louise Levergneux, un bis pour toi

© 2018 Louise Levergneux, un bis pour toi

Come Celebrate With Me!

I'm celebrating my first 100 posts today! That’s important!

I chose a few sunset photos I took throughout the last eight months of my journey to revel in this event.

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In the southwest the sky’s performance at dusk never disappoints. The sun dips below the horizon and paints the sky with bold hues of vermilion, tangerine, daffodil yellow, and coral pink. The sun’s rays glow on the clouds and intensifies the colours to create a stunning—stupéfiant—spectacle.

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Your continued reading reinforces my writing 100 more posts in the future. The comments received assist me to recognize that my labor of love contributes to the understanding of artists’ books. In a field where one works in solitude, my blog opens many doors which makes it possible for me to meet artists and their work.

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095Tamarisk-RV-Park,-Christmas-Eve-Sunset,-Desert-Hot-Springs,-CADSC01285.jpg

Thank you for making this a successful endeavour !  — Je tiens à vous remercier pour le succès de cet effort !

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Join me next time for my post 101. I’m interested in featuring your work, please email me at : louiselevergneux(at)gmail(dot)com and tell me what you have been up to in your studio.

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Tucson, Arizona

I enjoy meeting artists as I travel across the US and Canada. To my pleasant surprise, after emailing Barbara Grygutis for permission to feature her work on my last post, I received an affirmative answer to my request for a studio visit.

© 2018 Louise Levergneux, Barbara Grygutis' studio

© 2018 Louise Levergneux, Barbara Grygutis' studio

Her studio in Tucson is at the back of a historic building inside a greenish cage, as Barbara calls it. It was a delight to walk through the wood and glass doors and enter Barbara’s space.

© 2018 Louise Levergneux, Barbara Grygutis' studio

© 2018 Louise Levergneux, Barbara Grygutis' studio

The studio is considerable and airy, with multiple areas, each with a different purpose: spot for the printer, a place for administration, a corner for the computer-assisted design specialist who turns her ideas and designs into computerized renderings. A large shelf with archives of maquettes/models and workstations everywhere... I was given a complete tour of her studio and the first look at some of Barbara’s up-coming public sculptures.

© 2018 Louise Levergneux, Barbara Grygutis' studio

© 2018 Louise Levergneux, Barbara Grygutis' studio

Stuff is widely distributed and filled with the characteristics of Barbara’s work and personality.

© 2018 Louise Levergneux, Barbara Grygutis' studio

© 2018 Louise Levergneux, Barbara Grygutis' studio

Amazed to see the architectural drawings and maquettes for such work as Front Row Center and Sonoran Passage in Tucson.

© 2018 Louise Levergneux, Barbara Grygutis' studio, maquette for Front Row Center

© 2018 Louise Levergneux, Barbara Grygutis' studio, maquette for Front Row Center

© 2018 Louise Levergneux, Barbara Grygutis' studio

© 2018 Louise Levergneux, Barbara Grygutis' studio

Large drawings of new work in progress covered windows and walls. Notes or changes had been made directly on the drawings. The stories and connection to their environment were shared... We talked about the desert and how it related to some of the pieces as in Sonoran Passage where pleated and tapered columns look like stylized saguaros.

© 2018 Louise Levergneux, Barbara Grygutis' studio, sketches and images for Sonoran Passage

© 2018 Louise Levergneux, Barbara Grygutis' studio, sketches and images for Sonoran Passage

I went back on 22nd Street to view Sonoran Passage from below the Parkway. These works of art are best viewed at all angles to understand the connection and interaction to the spaces.

© 2018 Louise Levergneux, Sonoran Passage by Barbara Grygutis from 22sd street

© 2018 Louise Levergneux, Sonoran Passage by Barbara Grygutis from 22sd street

© 2018 Louise Levergneux, Sonoran Passage by Barbara Grygutis from 22sd street

© 2018 Louise Levergneux, Sonoran Passage by Barbara Grygutis from 22sd street

As one of the nation's most sought-after sculptor, Barbara impressed me with her openness to share and her warm welcome.

© 2018 Louise Levergneux, à bientôt Barbara Grygutis

© 2018 Louise Levergneux, à bientôt Barbara Grygutis

Thanks Barbara for a wonderful tour and looking forward to Happy Hour next year!

Texas and Arizona—Environmental Sculptures

A public art piece in Ohio entitled Garden of Constants made me curious about Barbara Grygutis' other works. So far, I have visited two pieces in Texas, Leon Creek Crossing in San Antonio and Silver Lining in El Paso.

Leon Creek Crossing created in 2016, is a layered, multi-dimensional work of art designed for the Hausman Road Bridge at Leon Creek Greenway in San Antonio, Texas. The artwork brings images from the natural shapes of the riparian plant community up from below to create an inviting pedestrian walkway along the otherwise concrete bridge. The canopy of the passage echoes the tree canopy along the Leon Creek Greenway below.

© 2017 Louise Levergneux, Leon Creek Crossing by Barbara Grygutis, seven aluminum units, each 14’ H x 14’ W x 10’

© 2017 Louise Levergneux, Leon Creek Crossing by Barbara Grygutis, seven aluminum units, each 14’ H x 14’ W x 10’

© 2017 Louise Levergneux, Leon Creek Crossing by Barbara Grygutis, a series of seven arched sculptures, evoking natural shapes, combine to form a sculptural space through which the viewer passes

© 2017 Louise Levergneux, Leon Creek Crossing by Barbara Grygutis, a series of seven arched sculptures, evoking natural shapes, combine to form a sculptural space through which the viewer passes

© 2017 Louise Levergneux, Leon Creek Crossing by Barbara Grygutis

© 2017 Louise Levergneux, Leon Creek Crossing by Barbara Grygutis

© 2016 Katie McCann, Leon Creek Crossing by Barbara Grygutis, at night, Leon Creek Crossing is lit from within to create vibrant blue color effects, integrated light

© 2016 Katie McCann, Leon Creek Crossing by Barbara Grygutis, at night, Leon Creek Crossing is lit from within to create vibrant blue color effects, integrated light

We drove to El Paso, Texas to see Barbara's Silver Lining. Fourteen identical sculptures created in 2009, emanate computer-synchronized kinetic light. They are sited on the second story of the El Paso Civic Center to create an elevated pedestrian promenade, which circles the civic center. The circa 1964 building becomes the canvas for a shifting display of brilliant colored light. 

One can no longer walk through the sculptures as the second floor is barricaded. I shot my photos from the barricade and the stairs. It is unfortunate that the city has permitted this building to fall into disrepair. Barbara's sculptures still look good!

© 2017 Louise Levergneux, Silver Lining by Barbara Grygutis

© 2017 Louise Levergneux, Silver Lining by Barbara Grygutis

© 2017 Louise Levergneux, Silver Lining by Barbara Grygutis, fourteen sculptures, 18’ H x 6’ D x 6’ W

© 2017 Louise Levergneux, Silver Lining by Barbara Grygutis, fourteen sculptures, 18’ H x 6’ D x 6’ W

© 2017 Louise Levergneux, Silver Lining by Barbara Grygutis

© 2017 Louise Levergneux, Silver Lining by Barbara Grygutis

© 2009 Vanessa Monsisvais, Silver Lining by Barbara Grygutis, computer-synchronized light

© 2009 Vanessa Monsisvais, Silver Lining by Barbara Grygutis, computer-synchronized light

While traveling through Tucson, last December, I had a chance to view Front Row Center built in 1999, at the University of Arizona. Front Row Center, the environmental sculpture consists of ten bronze chairs and five small amphitheater units used during outside performances and gatherings.

© 2017 Louise Levergneux, Front Row Center by Barbara Grygutis, integrated into the front landscape of the Marroney Theatre at the University of Arizona Fine Arts Department

© 2017 Louise Levergneux, Front Row Center by Barbara Grygutis, 12'H x 3'W x 3'D, fabricated sheet bronze, handmade tile, landscape

© 2017 Louise Levergneux, Front Row Center by Barbara Grygutis, 12'H x 3'W x 3'D, fabricated sheet bronze, handmade tile, landscape

© 2017 Louise Levergneux, Front Row Center by Barbara Grygutis

© 2017 Louise Levergneux, Front Row Center by Barbara Grygutis

We are back in Tucson, Arizona, and serendipitously to my surprise while driving on Kino Parkway I saw Sonoran Passage a sculptural treatment of the major interchange bridge connecting Kino Parkway over 22nd Street.

This gateway constructed in 2015 is the entry point to downtown Tucson and the University of Arizona from the airport. It includes 14 large sculptural elements integrated into the overall layout of the bridge. The bridge piers echo the sculpture forms’ design. The inspiration for this cohesive artwork was the cross-section of the Saguaro cactus, uniquely native to the Sonoran desert setting. Pedestrian rail arches additionally pull together all of the sculptural elements of the bridge. The sculptures are lighted at dusk creating a safe and welcoming atmosphere for commuters around the clock.

© 2018, Louise Levergneux, Sonoran Passage by Barbara Grygutis, 40’ H x 100’ L x 60’ D, aluminum, concrete, light

© 2018, Louise Levergneux, Sonoran Passage by Barbara Grygutis, 40’ H x 100’ L x 60’ D, aluminum, concrete, light

© 2018, Louise Levergneux, Sonoran Passage by Barbara Grygutis

© 2018, Louise Levergneux, Sonoran Passage by Barbara Grygutis

© 2018, Louise Levergneux, Sonoran Passage by Barbara Grygutis

© 2018, Louise Levergneux, Sonoran Passage by Barbara Grygutis

© 2015, Katie McCann, Sonoran Passage by Barbara Grygutis

© 2015, Katie McCann, Sonoran Passage by Barbara Grygutis

Barbara’s sculptural environments enhance our surroundings and reveal unspoken relationships between nature and humanity. She engages the public through her works of art by identifying themes meaningful to each specific site and community. With over 75 large-scale commissioned works of public art throughout North America, Barbara is recognized internationally for her sculptural environments.

When you look at a city from a different and new perspective, one can find the most extraordinary phenomenon for the mind and eyes.

Looking forward to visiting other cities that have commissioned Barbara’s work.

California Palm Trees

Where to go when Texas gets cold? California!

We settled in and reconnoitered the place as we drove around the desert. Traveling in the Thousand Palms Canyon of the Coachella Valley, we found the most delightful haven—the Thousand Palms Oasis.

© 2017 Louise Levergneux, Thousand Palms Oasis

© 2017 Louise Levergneux, Thousand Palms Oasis

Everything is silent in the oasis and you can immerse yourself in the beauty and solitude of the magnificent palm trees. 

© 2017 Louise Levergneux, Thousand Palms Oasis

© 2017 Louise Levergneux, Thousand Palms Oasis

Stepping into this sanctuary, I was startled by the unexpected lushness of the palms. I absorbed the feathery fronds and admired the stately trunks soaring 60 feet high.

© 2017 Louise Levergneux, Thousand Palms Oasis

© 2017 Louise Levergneux, Thousand Palms Oasis

Like all palms, the Washingtonia filifera, isn’t actually a tree at all, but is related to grasses and bamboos. Rather than sprouting growth rings, a palm is basically a column that sucks water from the roots to its sprouting crown via a series of drinking-strawlike tubes. The palm trees of this oasis feed on water from the San Andreas Fault line. 

© 2017 Louise Levergneux, Thousand Palms Oasis, the skirt of dried leaves hanging down the trunk of the native California fan palm is more than a fashion statement; it’s a home to animals who help the palm propagate

© 2017 Louise Levergneux, Thousand Palms Oasis, the skirt of dried leaves hanging down the trunk of the native California fan palm is more than a fashion statement; it’s a home to animals who help the palm propagate

To experience the magnificence of the Preserve, one can trek a two-mile round trip that takes you through a palm oasis, across the fault zone, through a desert wash to the McCallum Oasis, one of the largest groves of desert fan palms in California. 

We were enjoying the trek, our boots filling up with desert sand. I stepped on a tiny rock twisted my ankle and my face hit the ground. Argh!

Remember the two-mile round trip, we still had the one mile back to the parking. Yeow! 

© 2017 Louise Levergneux, Thousand Palms Oasis, all these photos were shot before the fatal kiss the dirt act

© 2017 Louise Levergneux, Thousand Palms Oasis, all these photos were shot before the fatal kiss the dirt act


Charles Hobson created a marvelous limited edition artists’ book entitled Trees and it includes a poem by W. S. Merwin. Merwin’s poem is soft and contemplative and conveys a sense of quiet awe as he looked into trees from a mysterious time and place.

© 2010 Charles Hobson, Trees, an edition of thirty copies

© 2010 Charles Hobson, Trees, an edition of thirty copies

When the book is opened, one can read the poem by standing up the first pages and using it to prop each page against it as the pages are turned.

The small tree in the opening at the front of the book is used to suggest the beginning of a recollection of trees in some distant, remembered time, following one of the threads of the poem.

When "accordion’d-out" the book offers a succession of palm trees that can be positioned on different sides of the standing pages, giving a front and back view of the same image. A large architectural model palm tree sits in the window cut in the last panel which is backed by a transparent image of the night sky.

© 2010 Charles Hobson, Trees, 16 pages, 4-1/4 x 12 x 2 inches

© 2010 Charles Hobson, Trees, 16 pages, 4-1/4 x 12 x 2 inches

The monotypes of palm trees are reproduced as high-resolution digital prints on transparency film. The monotypes lay over the words of the poem, which have been set letterpress to follow the shape of the palm tree trunks – the words of the poem climbing the trees.

© 2010 Charles Hobson, Trees

© 2010 Charles Hobson, Trees

When one shines the flashlight on the tree and through the opening at the back of the book, the light projects mysterious shadows of trees against the luminous night sky.

The book can be oriented in several ways, much as the poem offers subtly varied interpretations. Setting it on its side presents the type reading from left to right (rather than up and down), but results in the trees having fallen.

© 2010 Charles Hobson, Trees

© 2010 Charles Hobson, Trees

A stop action animation about the making of Trees with Charles Hobson and Alice Shaw.

You never know what will inspire you and where you will find amazing, superlative ideas.


Marfa, Texas

We said goodbye to Austin—for now—and visited the city of Marfa recommended by Craig Jensen before leaving the State of Texas.

Marfa, known as a place of creative exploration, is a must see in your lifetime. A small city in the high desert of the Trans-Pecos, near the Davis Mountains and Big Bend National Park is captivating and eccentric. 

Marfa, is a good choice, whether you enjoy history, want to tour the coolest homes, need to get away, or view the mysterious orbs known as the “Marfa Lights.” You can find your groove here. Maybe you could live here.

In 1971, Minimalist artist Donald Judd moved to Marfa from New York City. After renting summer houses for a few years, he bought two large hangars and some smaller buildings and began to create his art. The buildings in Marfa allowed him to work on a larger scale. In 1976, he bought the first of two ranches that became his primary places of residence, continuing a long love affair with the desert landscape. 

© 2017 Louise Levergneux, building that houses Judd's work, The Chinati Foundation, Marfa

© 2017 Louise Levergneux, building that houses Judd's work, The Chinati Foundation, Marfa

In 1979, with assistance from the Dia Art Foundation in New York, Judd acquired decommissioned Fort D. A. Russell and transformed the fort's buildings into art spaces.

© 2017 Louise Levergneux, building that houses Judd's work, The Chinati Foundation, Marfa

© 2017 Louise Levergneux, building that houses Judd's work, The Chinati Foundation, Marfa

Since Judd's death in 1994, two foundations have worked to maintain his legacy: the Chinati Foundation and Judd Foundation

In recent years, a new wave of artists has moved to Marfa to live and work. As a result, new gallery spaces have opened in the downtown area. 

The Crowley Theater hosts public events to nonprofit foundations.

© 2017 Louise Levergneux, The Crowley Theatre, Marfa

© 2017 Louise Levergneux, The Crowley Theatre, Marfa

The multifunctional art space Ballroom Marfa shows art films, hosts exhibits, and musical performances. Marfa Myths, was founded in 2014 by nonprofit contemporary arts foundation Ballroom Marfa and Brooklyn-based music label Mexican Summer. The festival brings together a diversity of emerging and established artists and musicians to work creatively and collaboratively across music, film, and visual arts contexts.

Furthermore, Building 98, is a project of the International Woman's Foundation, which has operated an artist-in-residency program since 2002.

As you can see there are lots to see in Marfa, unless you arrive on a Sunday and leave on Tuesday morning and all these wonderful art organizations are closed on Monday.

We stayed at the Tumble Inn RV Park east of Marfa. I photographed an installation that seemed to appear out of nowhere glowing in the twilight. I got up early the next morning to photograph the same installation at the rose-pink light of dawn. It was bloody cold, well below 50 F/10 C.

© 2017 Louise Levergneux, our little T@B trailer at the Tumble Inn RV Park, Marfa

© 2017 Louise Levergneux, our little T@B trailer at the Tumble Inn RV Park, Marfa

© 2017 Louise Levergneux, Public Art at the Tumble Inn RV Park at twilight, Marfa

© 2017 Louise Levergneux, Public Art at the Tumble Inn RV Park at twilight, Marfa

© 2017 Louise Levergneux, Public Art at the Tumble Inn RV Park after dark, changing colours as we walked around, Marfa

© 2017 Louise Levergneux, Public Art at the Tumble Inn RV Park after dark, changing colours as we walked around, Marfa

© 2017 Louise Levergneux, Public Art at the Tumble Inn RV Park after dark, changing colours as we walked around, Marfa

© 2017 Louise Levergneux, Public Art at the Tumble Inn RV Park after dark, changing colours as we walked around, Marfa

© 2017 Louise Levergneux, Public Art at the Tumble Inn RV Park after dark, changing colours as we walked around, Marfa

© 2017 Louise Levergneux, Public Art at the Tumble Inn RV Park after dark, changing colours as we walked around, Marfa

Do you know this public art? If so please let me know, I enjoyed this piece and would love to find out who the artist is!

© 2017 Louise Levergneux, Public Art at the Tumble Inn RV Park at dawn, Marfa

© 2017 Louise Levergneux, Public Art at the Tumble Inn RV Park at dawn, Marfa

© 2017 Louise Levergneux, Public Art at the Tumble Inn RV Park at dawn, Marfa

© 2017 Louise Levergneux, Public Art at the Tumble Inn RV Park at dawn, Marfa

© 2017 Louise Levergneux, Public Art at the Tumble Inn RV Park at dawn, Marfa

The trip does not end once you leave the town limits. 10 miles/17 km west on the Ryan Ranch you will see the skeleton of the mansion from the movie Giant filmed in 1956.

Keep your eyes peeled! 37 miles/60 km past the city you will encounter the pop art exhibit entitled Prada Marfa

© 2017 Louise Levergneux, The Ryan Ranch, look closely on the very left of the buildings and trees is the skeleton of the set of the film Giant

© 2017 Louise Levergneux, The Ryan Ranch, look closely on the very left of the buildings and trees is the skeleton of the set of the film Giant

Great visit—too cold to stay! We went to California for warmer weather!