EmilyDvorin

My family and friends have  always asked me what my everyday looks like. They inquire what my studio life feels like. They wonder what the life of an artist is about. They ask what does "doing your art" mean. Let me attempt to answer, in some more detail, what my day is like...

Typically, I arrive at my studio door with latte and salad in hand, ready to spend some delicious hours concentrating on a piece I am working on. My attitude is always up-beat, anticipatory, excited, when I put the key in the door, flick on the lights, take off my jacket, put on some music and sit down at my worktable, in front of my expanse of windows.  I very soon get involved with my piece. It is mostly a quiet and solitary involvement with the particulars of the process that is ongoing from day to day. The continuity is wonderful to return to. The logistics, problem-solving aspect of the process of doing my art are the pleasures for me. Figuring out each next step keeps me thinking and helps the work evolve. I can easily be at my worktable for hours, concentrating, focusing, working away and not realize that time has passed and that I should maybe get up and move, (or even go to the bathroom!). I am in a form of heaven.
Working on a piece gets to be a deeply powerful experience for me. I sit, I stand and look at all sides of my piece, I poke or sew or weave or pull or push with the materials. Right now I am working on a piece that has taken months to execute. I am at the point of seeing it almost finished. I have gone through the stages of envisioning the work as a whole, putting the various materials together , working intently on the different sections and fitting it all together. I started with pieces of suede and cable ties, in as many colors as I could come up with. I had to decide how I was going to use them with each other, what I was going to "say" in the piece and what the title would be. The title became "Excuses". I came up with a new way of working with cable ties. I embroidered with them, forming words, piercing through the suede, cutting the cable ties off at the "butts". These single words, mostly adverbs expressing excuses like "but", "also", "later", "still", I put onto patches of colorful suede and then had to figure out how to connect them and fit them onto armatures of metal hanging plant hangers.  I have two bowl like shapes that relate to each other and can be displayed either hanging in a pair or sitting on a large pedestal leaning against each other. All along, I was spending time deciding which way to place things, how to attach things, what the ultimate result would be. There is that moment when I cut something or fit something, or place something that always feels like a risk. That is the rewarding moment. I think being an artist for so many years gives me the confidence to "go for it".

When I look up or take a break from my work, I remember my "universe". I do have a studio in a stimulating community of artists in the ICB building in Sausalito, after all. I am a social being and do enjoy talking with other artists surrounding me. I'll walk down the hall to visit or hear a knock on my door and sit down on my couch with another artist for a conversation or even stop for lunch. I have two studio mates who have somewhat different schedules than I do. We always are thrilled when we actually are all there. We each work seriously on our work, but love to chat when we can. I, mostly reluctantly, pack up my pouch, taking some part of the work that I can bring with me to work on at night, and go home.
This is my world. It is the love of my life...

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I have fun with my titles. Each piece speaks to me as I'm working on it.  It evolves; it tells a story. I think about that concept as I am working. It helps me make some decisions, some of the many choices of form, color, details that come up.

Sometimes, I have a title before I even start. I have a feeling that I want to express. I "act it out" in the piece. I explore and expand it. It fulfills the thought, the idea, the concept. I most enjoy this!

Rarely, I make a piece and I do not have a title until it is finished. I have to back-track and think through what I had in mind, what I am trying to express in my visual language, what I want the viewer to get from the piece.

I do believe that titles help the viewer. A title gives an inside look into the artist's interpretation and intention. A title often adds a deeper meaning to the initial impression of the viewer. Sometimes, as is important in my work, a title gives the viewer some information about the materials used in the work. Sometimes, the title is personal to the artist, not necessarily understood by the viewer. But, to me, anything is better and more informative than "Untitled". Even "Piece # 10" gives me more of an understanding of what I am looking at. Taking the mystery out of a piece of art is helpful, in my opinion.

Titles can be informative, thought-provoking, emotional, interesting, light heavy, meaningful, catchy, funny, sad, ironic, and so much more. They do, in any case, connect the artist's concept to the viewer.

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I am a fiber artist, a sculptural basket maker. But really, I am a conceptual artist working with fiber, using basketry techniques.

My work is usually non-functional, not just decorative, containing a story or commentary or reaction. I start with inventing an idea. I expand on that idea with visual elements that suggest a mood or feeling. I like telling stories. I want to comment about that concept using a visual vocabulary. The piece I create speaks to viewers. It is a very special kind of communication.

Recently, I have incorporated text into some of my pieces. I am working on a piece called EXCUSES. I have embroidered with cable ties on suede as many excuse adverbs as I can think of in a colorful patchwork over an armature. It is coming together.

Even when there is no text, there is always an invitation in my work to see it from afar and approach it closer to see the detail, the reward, as a friend calls it, the conversation.  It is my way of talking and being heard.

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I have a kind of self-created routine. It's true... I treat it seriously, like a job. I go to my studio, with latte and salad in hand, and spend a bulk of hours focusing intensely, working on my piece of art. I leave home chores and wife responsibilities and grandma thoughts behind. I work. I think and do art all day. To me it is delicious. It feeds me.

I am fortunate to have this luxury, of a studio outside of my house, that I dreamed of for so many years. Being now retired, it is a blessing to have the time to concentrate on my work as opposed to multi-tasking at work or home. For so many years I worked on my art "on the fly", in between regular life, on the side. Now, my regular life IS my art life.

I am satisfied and fulfilled and productive and even social with other artists everyday. I follow my own schedule. I make my own choices. I express myself. I have a freedom that comes with age and experience, to "act out" when, how and why I want. Lucky me!

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One of the most pleasurable parts of starting a new piece of work is gathering materials. I work with non-precious, ordinary, mundane ingredients. I'm a collector of "stuff", so I  have a lot to choose from. I'm a receiver of many "gifted" objects. People I know give me what they are about to throw away. When they ask me if I'd like their discards, I almost  always say yes. Even people I do not know see my work and send me or bring me donations. My challenge is to imagine how I can use them. It encourages my creativity.

My work is about repeated elements. So, I need to gather a quantity of something. Recently, I had an idea for a vessel to be made with keys. I had a bunch  myself, (you know, in the back of the kitchen drawer, having mostly forgotten what they belonged to). I asked friends and relatives for theirs and still didn't have enough. I decided to post a notice on  the bulletin board of the building where my studio is. Soon I got piles in every variety, more than I could fit into my piece. I'm still getting them. They are common objects in people's everyday lives. Everyone has some. No one has thrown them away.  I had such a sublime experience while working on this piece, reflecting on people's locked spaces, on the many kinds of keys that come and go in our lives, how long-lasting keys are and how necessary they seem to be as an entry to so many aspects of our lives.

And then, there was the time that I put out the "call" in my network for fortunes from everyone's different Chinese restaurants. Funny, we none of us throw them away. We all save  some. We all value them, but not too much. I got tons of contributions.

And, there was the occasion when I asked all my women friends and friends of friends for some shoulder pads. This is another item that I am surprised still exists in their closets. Almost every one told me the same story of hanging on to them, not wanting to throw them away, but hoping to "use" them somehow. I now have more shoulder pads than I could possibly use in a lifetime of work.

I value each and every person who has contributed to my work. Somehow, it makes my work more meaningful to include a small amount from a multitude of different lives. It takes a village...

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My favorite color is purple. It has been that for a long time, even as a child, but especially as an adult. It resonates with me. It speaks to me. It really does.

Purple has an attitude. It is colorful in the true sense of the word. Purple is rich, regal, complex. Purple is earthy, velvety, luxurious. Purple is vibrant, flamboyant, intense. Purple is sensual, emotional, heart-felt. Purple is a blend of red and blue, thick and deep.

I see purple everywhere, in flowers, in skies, in edibles, wearables, readables, in websites, even in cars, (not my preference). I like all shades of purple: violet, lilac, mulberry, eggplant, plum, lavender, amethyst, damson. I also love purple names.

Purple is a color I use a lot in my work. It is part of my visual DNA, my style, my signature. I was never so excited as when I found they made cable ties in purple. Wire comes in purple. Cord, yarn, thread, fabric, plastic, recyleables all come in purple. Purple is make-up, clothing, paint, crayons.

Purple just makes me happy!

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I am so often asked this question at shows. It is always difficult to explain how my mind works and how I come up with the ideas that I have. I have sometimes replied “Because I am wired that way”. I have thought about a better answer, but haven’t come up with a good one. It’s hard to put into words. Maybe, I can think out loud…..

Every day life inspires me. I am inspired by the season, the weather, a new day, outdoors, the ocean, breathing, music, space…… Community and friendships inspire me. Family and relationships with the people in my universe inspire me.

Modern, common materials inspire me. Color, whimsy, exuberance, positive attitudes inspire me. Fiber, texture, repeated patterns of things in life, mother nature, grandparenting inspires me. Details inspire me. The hardware store is my favorite art supply store. The beauty of the ordinary takes my breath away. 

I get downright excited about being an artist these days. I have a real need to express myself. I have a drive to use things in a different manner. I am inspired to share my art.

I am motivated by emotions. I am influenced by the art of basketry and by sculpture. I am impressed with 3-d forms. I am interested in the order of things. I am in awe of tomorrow, untethered by yesterday, especially appreciative of today.   

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My favorite thing to do is my art. The DOING, the MAKING of my art is the most delicious process.  It is the most difficult part to describe, the most asked question of me at shows, the most natural, easy,  practiced part of creating my art.  Truly, the “end results” of my creative endeavors are not as important to me as the process getting there. For me, it is all about vision and exploration. I will attempt to explain it……

It all starts with an IDEA. Creative thinking is a constant. I am always thinking of new ideas for new pieces of my work. I am envisioning the next, next, next piece to work on. I have more ideas than lifetime! I have an idea book that I am regularly writing in. Inventing a concept, “discussing” it with myself, imagining materials, visualizing is all part of it.  I have an urge to tell a story, to comment, to share an emotion, to express myself. Often, one piece “informs” the next picece.

I am obnoxiously organized. I like to clear my workspace of the previous work. I look at materials, organize them and decide how to use them and transform them, following my concept. I GATHER and SET UP specific materials. This is a pleasure for most basket makers. It inspires me.

Next, I jump in. WORKING on a piece, watching it develop, spending chunks of time on it, devoting spirit and energy to it, is an intimate process. I typically spend weeks to months on each piece that I make. My approach is very disciplined. I pay intense attention to what I am doing. I am always “pushing”, working through technical issues, figuring out structure, repeated patterns, form, attachments, consistency of design,  color coordination. I let the piece “talk back” to me.  I am constantly asking questions, answering questions, making choices, using intentional decisions,  adapting, evolving, following my inner voice. THIS IS THE PART I ENJOY THE ABSOLUTE MOST! CREATING a piece.

Working on one piece at a time is my “M.O.”.  I reach a level of concentration, of depth and detail, that I so value that way.  At the time of FINISHING a piece, I have a hard time letting go….. It is harder than it might seem. It is like ending a really good book. But I “listen” to a piece that tells me it is complete. It feels right. I achieve “closure” by putting away the tools and the materials that I have left. I confirm or make up a title. Often, the title has come first with the concept. Finally, I have a piece photographed by my professional photographer, I submit it and show it to expose it to viewers and ultimately, I have to let it go and sell it……      

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Hello All,

When trying to be innovative in my approach to my art form, sculptural basketry, I find myself inventing not only new ways to define and look at my work, but some new vocabulary.

TRANSORDINARY - taking the ordinary and transforming it to be extraordinary, exceptional, different.

UP-CYCLING - giving my materials a new life and an improved identity, more than just re-using, and re-cycling.

MULTI-CONTEXTUALIZING - using the unexpected ingredient in my work. Anything in life is basket material. My personal challenge is to put it together into a vessel.

Any thoughts?

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Hello Again,

Do you know how complicated it is to describe how my creative mind works? I really cannot answer the question about "How do you think of these things?" (Because I'm wired that way.....?) It is sometimes vague and changes from minute to minute. It involves multitudes of mini-decisions - up, down, dull, colorful, tall, short, thick, thin, what materials, which techniques, etc. However, the process of making art, from the mind's eye to execution, is just delicious!

There is challenge and problem-solving. It is very satisfying. There is an idea which evolves and becomes a finished piece. This is very rewarding. There is working to translate a virtual thought into a reality, making something from nothing. This is very exciting. The process feeds my soul, lets me express  myself and is why I am an artist.

Sound at all familiar?

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