An Optimistic Snake Design for the Americans with Disabilities Act: Celebrating 30 Years

With all my painted snakes sewn up, I turned to painting the remainder of the cut out, sized muslin.  I initially counted six more unpainted pieces, and calculated that I could finish these for the month of July.  Then I encountered two more, so it looked like this project would stretch into August, barring unforeseen difficulties and distractions. 
The first newly painted snake was completed in time to celebrate the thirtieth anniversary of the Americans with Disabilities Act.   He was part of a video sent to the ADA and Arts Access.  Of all the new snakes, the Don’t Tread on the Disabled snake came the closest to being at a rally, albeit a virtual one.

This snake uses the same stamp that I had used earlier on the Don’t Tread on Black Lives snake.  Since the ADA was fashioned after civil rights actions and legislation, it seemed an appropriate reflection.  While the former stamp was light on dark, this one was dark on light.  After the printing on this one, I spent a considerable amount of time working over the prints with fine lines and colorful details.  This design also incorporates some metal leaf, which I rediscovered while rummaging up supplies in my studio.

A Snake for Voting Rights

Rummaging around for more work to finish I came across a third painted snake that had not been sewn up.  This one was the voting rights snake. 

This one, like all the rest,  was originally intended to be stuffed and rounded out so that he could carried around at rallies.  Even though they are not likely to be paraded around live any longer, I still leave a two foot long hole in the center of the body that is sealed with velcro.   Who knows if they might be stuffed animals again one day? 

The voting rights snake  uses a square block print with a repeat design, embellished with small round stamps This particular snake seems like an appropriate one for such a pivotal election year.

18 feet.  Acrylic paint on sized muslin.

Liberty Snake all Sewn Up

Looking in my archive, I see that I had stopped the Liberty Snake project in late 2017 or early 2018.  The reason I gave in my last blog post was that I had lost my access to a sewing machine and was loathe to sew these eighteen foot long art works up by hand.   One of the reasons for beginning them again, however, was the realization that I would not have access to a sewing machine in the future unless I purchased one.  Not being a seamstress and not therefore having a reason to own a sewing machine after this project was finished, I resigned myself to doing these last pieces by hand.
Another factor in my leaving this body of work incomplete,  however, was simply laziness and boredom.  I have a bad habit of abandoning  projects when I am nearly three quarters of the way through.  The allure of the new and the enticement of fresh supplies would entice me away from the work to be done.  That changed with  this great pandemic of 2020.  As exhibitions, book readings, courses, and client purchases dropped off one after another like dominoes, it behooved me to put the break on all purchases of new art equipment and supplies.   Instead, I rummaged around my studio for what available materials and projects almost completed.  I counted two painted “snake skins” that needed to be sewn up.  My last blog post featured the first one.  Here is the second one.   It would have been great for a rally for reproductive rights!

As with my previous snake, I put my small collection of old mother of pearl buttons to use for the eye.

Catching Up on Summer Projects

I have been very active in my writing and in my studio. But I have been finding it difficult to keep up with promotion via all media outlets. Just as keeping up with the outdoor work makes housework neglected, so too, does keeping up instagram and Facebook pages cause a blog post to be neglected. To remedy that, I’ll be posting the work that I have been doing with little text or expository remarks. Hopefully it will not take too long and my blog can become active once again. I’ll begin with the latest projects and then work backwards from there to a place in time when my blog posts began to go fallow.

For this month, I decided to attempt to finish up a project that I had begun in 2017: my Liberty Snakes. These are large painted snakes that I had originally done for social rallies. The first one (and the last!) was the March for Science in early 2017. Considering the dilemma our country is in now with a raging pandemic along with a concomitant viral anti-science epidemic, many of the slogans on those snakes would be especially appropriate today. But others are pertinent still as well.

The slogan on this snake says "Don't Tread on Black Lives," but it is a bit difficult to see all at once because the painted snake is so large - about 20 feet long. I began my project anew by sewing up the painted snakes I had made earlier. This one was created for a Black Lives Matter march but never made it to an actual march, although it was displayed briefly at the local arts center. So this one, like all the others, must only attend virtual rallies now!

The patterns were created by a twelve inch square carved block of linoleum printed in white and silver acrylic over black gesso. The details were highlighted by painting back over the printed form.

I think that one really good reason for my not wanting to finish this large painted snake project was the lack of access to a sewing machine. So this snake, like all the subsequent ones, had to be sewn up by hand - which took hours! But doing so was relaxing for its slow pace. I decided to use up some antique mother of pearl buttons for the snake’s eyes.

Common Ground on the Hill Arts Award

A new award from old friends!  This year was to be my long awaited come back as an instructor at Common Ground on the Hill at McDaniel College in Westminster Maryland.  I had been working towards this for about nine years and then Covid-19 hit!  To my great surprise, my old friends presented me with an art award and the ceremony was last night.  I am eagerly looking forward to my Robin Tillary hand carved cedar flute - better than a statue.  https://www.commongroundonthehill.org/artsaward.html

Art in the Time of Pandemic: Paper and Steel

Art in the Time of Pandemic: Paper and Steel

I looked at my calendar  and saw that tonight was supposed to have been the opening reception for a three person exhibition I had organized for the Orangeburg County Fine Arts Center.  My friend would fly out from Portland for the event.  We would talk about our art and have travel adventures. There was to be an ekphrastic poetry reading by Mind Gravy Poetry the following week.
Seeing the event penned in on my calendar gave me a little pang of regret for all the work that went into this exhibition and to have it all now in a state of frozen stasis. No event, no party, no poetry!
It is possible that the show may go on, but who knows when?  Such is the life of an artist in the time of Pandemic.
Would that the show could be up now!  Here is a virtual tour of what one might see on the wall text, wall art, and the sculptures on pedestals.  We organized the exhibition so that it would be a Dance of Life.

This exhibition features works on paper by Una Kim and Janet Kozachek and the welded steel sculptures of Glenn Saborosch.  The exhibition is
predominately in black and white.

Taking a virtual tour, you would see the following signage:

 In eastern aesthetic, color was thought to appeal to the emotions but black and white was considered the art of the intellect.  An art of the intellect, comprised of stark forms in black and white, stands as a bold counter point to a current mass media culture that seeks to continuously elicit emotional responses, generally  for political and commercial gain.   It is no coincidence, for instance, on social media platforms like Facebook that our choices of automatic response are emoticons.  With its quiet economy of form, Paper and Steel invites the viewer to reflect, rather than to react.

An art exhibition for the contemplative, Paper and Steel seeks to engage, rather than enrage, question rather than proclaim, and celebrate rather than condemn.  The use of steel, ink and charcoal does this by means of techniques and materials that span thousands of years, making the exhibition a living extension of a natural and ancient history.

Artist Statements

Janet Kozachek

My  works on paper are analyses of figures both static and engaged in motion through the gestural capabilities of specialized inks and brushes.  These ink drawings are processed further with charcoals, chalks and pastels to create a rich, sculptural finish.  My educational background is in both western and eastern art, and much of my work reflects that.   The zen like austerity of form in my work judiciously arranges dark angles that enclose well defined negative space yet also includes western perspective and embellishment of surfaces.

The subject of my drawings predominantly addresses cycles of life and death, presenting humanity as a continuum within nature.  Many of my dancers, for instance, appear to grow out of and coalesce with their immediate environments.  This depiction of the human form is derived both from the figure and environment relationships established in western art history, in particular the cinquecento, as well as the eastern spiritual resonance between people and the world in which they inhabit.


Glenn Saborosch

In my figurative pieces, I work in an impressionistic manner, not looking for great detail  but for a feeling of movement. I accomplish this with lines that represent muscle and  bone against negative space to create tension that suggests movement.

In my non-objective pieces, my focus is the same; the interest in the quality of line. It is   lines and the spaces between them that appeal to me. My non-objective work is made  from cast-off parts of machinery, mostly agricultural ones. This series of work is titled  "Home Grown" and they are numbered in order of completion. These sculptures do not  refer to anything in the real world or the job the part or parts formerly performed. 

After being introduced to welded steel sculpture in high school, I rarely looked back.  Steel is my medium and part of my message. My avocations also involve steel--old  trucks, old tractors and parts of things that work or do not.

Una Kim:

Art in the Time of Pandemic: What's On and What's Off

Art in the Age of Pandemic: What’s On What’s Off

It has been a very long time since I have updated this blog.  This is due to so much rapid change at present  and uncertainties for the future.  I have been working through these trying times but mostly adjusting to cascading dominoes of change. So my next few blog posts will be about what is on and what is off, at least to the best of my knowledge. For Today: 

What’s off:
In person meeting of hearts, souls, and minds at the annual learning consortium in Westminster, known to beloved teachers and students as Common Ground on the Hill.

What’s on:
Online version of Common Ground on the Hill. This poses new and interesting challenges for visual artists such as myself.  The material costs will go up due to shipping of supplies and students having to buy their own supplies from the manufacturers instead of in-person division of bulk materials.  However, this will be greatly offset by reduced costs from students not needing to rent rooms or pay for out of town meals.

The silk is cut and ready for distribution for my GOTH course this summer, Ink, Silk, Pencil, Paper.  While cutting the silk, I made a small but significant discovery.  A wayward caterpillar had entered the silk roll and make tiny holes at well defined but problematic intervals.  No worries.  I could cut around it.  But this left odd sizes of extra silk that will be added to the purchased 8" x 10" pieces at no extra cost.  Good for extra practice pieces!


The Imperial Method, or Gong Bi, painting is traditionally executed on sized silk or papers with carefully drawn fine calligraphic lines, then filled in with inks and pigments.  The washes of inks and pigments are applied with two brushes: one filled with water and the other with pigment or ink.  Switching back and forth between ink and water creates an airbrush effect.   It is tricky but you’ll have fun learning how to do this.  I learned the technique from Master Jin, at the Beijing Central Art Academy many years ago.  He was a mountain of a man with a delicate, sweet soul, who told marvelous tales which you will learn too.


Below are some examples of antique Chinese silk painting.  Look closely at the marvelous brush work.  After learning how to make these exquisite lines your line drawing will improve and you’ll be able to apply some of these techniques to western drawing on paper.

Here is an example of one of my illustrations in pencil that makes use of the gong bi line and wash techniques, only using pencil and stumps.  You’ll learn this too!

Common Ground on the Hill - A Long Awaited Return

In this time of cancellations and closures, it is good to hear today that some things are still on! My course in ink and pencil book illustration, Ink, Silk, Pencil, Paper, is open for registration on the Common Ground on the Hill website. The course runs July 5 - 10, from 9 am - 10:15 am. I will be teaching the ink on silk imperial style Chinese painting method and how I have adapted that to pencil and paper for illustrating my poetry books. This is a really fun summer camp where artists, musicians, writers, poets, and dancers from all over the world converge once a year in this spectacular celebration of the arts. This will be my first time teaching here again after an hiatus of ten years. I'm looking forward to it. Follow the link here to register: https://www.commongroundonthehill.org/

Illustration for Woodland Harmonies, by Kristina Miller.  Unpublished manuscript.

Photography at the Orangeburg County Fine Arts Center

The Photography Exhibition, A Few of My Favorites: People, Places, Times and Spaces, is on view now at the Orangeburg County Fine Arts Center.  The opening reception will be this Thursday evening,  March 12, 2020, from 6pm - 7:30 pm. 

Photography at its best satisfies our wanderlust for other places and reveals to us as well the wonders found in the spaces within our everyday worlds. The art of photography is about place, timing, and the artist’s eye. It is an art of presence and patience - about knowing exactly when and where to snap that shutter. The photographer, alert to beauty and meaning, awaits for moments when both of these converge in the natural world. Their steady hands and aesthetic gaze preserves their presence in those moments. This exquisite sense of presence can be found in awe-inspiring vistas, such as the snow covered peaks of Norway in the art of Nathaniel Wallace, and in the sublime night view of the United States Capitol in the poignant photograph by Bill Carter. We are inescapably present in the artists’ intimate views as well. A pair of working hands with fingernails painted like gems of blue lapis are gently offset by a red handled pair of scissors in Bill Carter’s subtle, yet poignant work. Wallace finds a beautiful moment in a store window in the Netherlands, when a calico cat crouches to unknowingly echo the shapes and colors of the art print that it presides over.

The exhibition, A Few of My Favorities: People, Places, Times and Spaces, is an exploration of unmanipulated or minimally manipulated reflections of observed environments. Nat Wallace’s haunting scenes of weathered buildings and abandoned farmsteads around the Southeast record the effects of nature and time upon man-made objects. Bill Carter captures the spirit and mood of everyday people as well as the intellect of iconic individuals. Both artists depend upon serendipity, exploration, and intuition in their photography. Through their evocative art, their photographs invite an internal narrative between viewer and image. These are images that eschewed the world of snapshots and sound bites, encouraging quiet contemplation and taking the time to observe and reflect.

A Seat at the Table: The Chair as Aesthetic and Social Construct. The Ekphrastic Poetry Reading

The opening of our four-person exhibition at the Bassett Gallery at the Fine Arts Center of Kershaw County in Camden, South Carolina was graced by an ekphrastic poetry reading by Mind Gravy poetry.  This group of latter day troubadours collaborates with visual artists to compose poetry and music in homage to the exhibited work.  The following poem was composed by Tamara Miles and was influenced by both the sculptural chairs of Lee Malerich as well as my painting, Cold Morning.

Primitive
by Tamara Miles

Winter in Holland, accented
open space, cast off, tumbled chairs
that trace to our ancestral days.

Storied evolution of seats -
folk culture, anthropology -
throne or rocker, high wooden stool,
chair from which a chaperone stares,
each formed with a creative bent
to tender our hours quiet,
spent alone or near our dearest.

Out here, ghosts claim the catbird seat,
immutable, secure, they stay.

I do not dare to seal these chairs,
nor set them right or bear away
what seems to be abandoned now.
The ancients see it so and smile.

Pawed feet, the chairs may come alive,
in rhythms of their own arise,
and take as dancing partners trees.

I think I see their silhouettes -
The gods of furniture design
surprised to see their chairs grown wild.