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I am working on some new Bedouins. I am attempting to do an assembly line method of constructing three at once. However, I seem to have stalled. Maybe I should give up the ghost and just finish up the hare before moving onto the wolf and the raven.
Mom gave me some detail brushes for Christmas. I cracked them open last night and OOOOlala! I have to say that if one is considering what art supplies to spend money on- brushes! For me I prefer a short handled 1-1.5" synthetic and the tiniest detail brush I can get my hands on, also synthetic. I use a big brush for most every thing. Mr. Hicks taught me long ago that if you learn to manipulate the brush CORRECTLY you can paint anything with a nice fat 1.5" brush. His mantra was "the fewer brushstrokes the better".
Over time I have come to appreciate a good detail brush for a good reason. I often want to write or draw on my work with a pen, but all of the layers make it VERY difficult. Often time I just end up ruining a good pen because it picks up paint off of the piece. So a detail brush allows me to create fine, yet dense lines that somewhat mimic pen lines.
Sugar Skulls for my Office Day of the Dead Alter 2009Here is a stab at my artist statement. I am going to revisit it this weekend so feel free to comment.Artist Statement
Taska Sanford
My aesthetic is a defense mechanism. Places and objects that are clean, crisp, and brand new make me crazy because they appear empty to me. These pristine things drive me to crumble the edges; rub dirt, paint, wax, and oil into their corners; tear them to pieces; rearrange; and reassemble. I feel the need to fill every inch of space with color, symbols, words, and mystery. I am compelled by a burning need deep inside me to transform the objects that come into my grasp and the spaces I occupy.
Currently I am exploring two themes in my work, my relations ship with myself and with animals. I create art about myself in an attempt to explore the surprise, anger, frustration, and disappointment I feel when examining my lack of control over my life and my body. In turn I create art that reveals my relationships with animals, and how I hold them sacred. They act as my guardians offering comfort and guidance when I am at most vulnerable, examining myself. From this body of work also comes the crossover pieces that reconcile the division I experience as I swing from one state of emotion to another and back again.
Rizo doesn't work at Timbuk2 anymore. He got a job in the East Bay. Good for him. Sad for me. I miss him terribly. Here is is out having fun at Tahoe. Photo courtesy of May, his mommy.
And here is the bear he danced with at the Christmas party.....