Sketchbook

The Proposal,by Lee Puffer. paper 12"x12"

Minimizer, by Lee Puffer. paper 12"x12"

Jackass,by Lee Puffer. paper 12"x12"

Bed of Roses,by Lee Puffer. paper 12"x12"

CakeWalk,by Lee Puffer. paper 12"x12"

Object of Desire,by Lee Puffer. paper 12"x12"

Stranded,by Lee Puffer. paper 9"x12"

Perpetual Oyster,by Lee Puffer. paper 9"x12"

Target, by Lee Puffer. paper 12"x12"

Carrion Bag, by Lee Puffer. paper 12"x12"

Busy Body, by Lee Puffer. paper 12"x12"

Queen of Nothing, by Lee Puffer. paper 12"x12"

Idle Gossip, by Lee Puffer. paper 12"x12"

Cowgirl,by Lee Puffer. paper 12"x12"

Cougar,by Lee Puffer. paper 12"x12"

By default we think of drawing, both noun and verb, as dragging pencil across paper or the evidence of that action. That is not untrue. If we also consider drawing as anything that works in parallel to, or in preparation for, an artist’s primary practice, then these collages are also drawings. Using cut paper, and quickly assembled, these sketches allow me to record ideas for possible future sculptures. There are always so many more ideas than there is time to make them in sculpture. Some ideas are not worth pursuing further. Drawings are artworks and sometimes they are the only record of an artistic idea or impulse. What I find most interesting about drawing as a record is that it gives insight into an artist’s thought process, sometimes more than the resulting sculpture. These collages are part of an ongoing sketchbook. Some of these thoughts make their way into The Hankie Project, some into the Welcome to Oblivion or Stimulatorium series.

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RIPE: Faculty Exhibition at Palomar College

There are only a few days to see RIPE, the Annual Faculty Exhibition at Palomar College in San Marcos, California.

Poster announcement of art exhibition
RIPE Faculty Exhibition at Palomar College . 

My installation/wall piece, Duende, will be on view until next Tuesday. I’ll be there Monday,December 12th at 11:30AM. Join me for a guided tour of the exhibition.

Duende
Duende, by Lee Puffer. Installation view.

I’ve donated a couple of sculptures to the silent auction that supports the art department’s visiting artist program, including this small work (below).

image of snake/hand sculpture by Lee Puffer
Snake/Hand, by Lee Puffer 2016 Ceramic Sculpture

 

Contemporary Ceramic Sculpture at PLNU

Exhibition Announcement. Contemporary Ceramic Sculpture at Point Loma Nazarene University Keller Art Gallery
Exhibition Announcement. Contemporary Ceramic Sculpture at Point Loma Nazarene University Keller Art Gallery

I am pleased to have my installation, Duende, included in this survey exhibition of contemporary sculptors. The work is on view at the Point Loma Nazarene University Keller Art Gallery through September 30, 2016.

Click here for more information on Duende. And let me know what you think.

Detail of Duende, by Lee Puffer
Detail of Duende, by Lee Puffer
Duende, by Lee Puffer. Installation view.
Duende, by Lee Puffer. Installation view.

 

 

On Originality, Part 2

Contemporary painting by Lee Puffer
Neon Yellow, by Lee Puffer. 2016. Watercolor on paper.

Recently I wrote about the urge to be original, observing that young artists are especially  concerned with making something absolutely “new”. I believe that research and study is an integral part of art-making. When artists have done thourough research,  they almost always find artists who have made work similar to what they are making.

Indeed the point of research is to find the other artists, either historical or contemporary, whose work shares qualities with our own work. There are several reasons why this matters:

Most importantly, other artists will inspire us. We call this inspiration “influence”. We will see how other artists approached issues, materials, and expression and learn from their progress.

We are required to know who our influences are. Our first influences are usually our teachers, parents, or peers. As we develop the practice of research, our influences will grow and change. This is a valuable, even critical, part of artistic identity. We are all members of a continuum, it is important to remember that.
Also, from other artists with whom we share certain qualities, we will find out where our markets might be, who our audience is, and which galleries may like our work.

Ideally, when we connect with these artists we will find friendship and camaraderie. Trade secrets will be shared. We will know what to call our style or movement. Importantly, we will be able to put our practice into context.

Just as a singer needs to have musical knowledge, an artist must study art.  Knowledge should be both broad and specific. A broad art historical education includes at least a basic knowledge of all major art movements in human history. Ideally this would include art from all continents and cultures on earth. Along the way, specific movements and genres intrugue us more than others and we naturally develop a deeper knowledge and affinity for those.

Contemporary painting by Lee Puffer
Neon Red, by Lee Puffer 2016. Watercolor on paper.

Regardless of our personal preference, it is also important to be aware of art hierarchies even if we choose to disregard them, which many contemporary practitioners do. We must familiarize ourselves with the arguments surrounding Art versus Craft, for instance. It is valuable to be able to differentiate between High Art and Popular Art, for example. These distinctions are becoming less and less relevant to artists, but the philosophies that form the basis of those arguments still effect us.

Fortunately there are many channels through which we can acquire this knowledge if we are motivated. While Art History courses at a college or university may be useful and enjoyable, they can be prohibitively expensive and time-consuming. With a little effort we can educate ourself with books and essays easily obtainable through libraries and reputable internet sources.

The Human Eye

I took the theme of Eyes literally for the exhibition, Through the Eyes of an Artist, on view at The Studio Door Gallery until June 29th, 2016. As it happens, my most recent sculpture and painting feature an abundance of oddly placed human eyes. The human eye, in absence of the face and body, appears throughout art history in a variety movements and traditions. Here are a few.

False-mirror
False Mirror by Rene Magritte

The eye is ubiquitous in Surrealism, an art movement of the 20th century that concerns itself with depicting dream states, desire, nightmares, and the bizarre world of the human imagination and subconscious. False Mirror (1928),above, one of the most famous paintings by Rene Magritte, seems to imply that human vision is limited, a mirror of our subconscious and a symbol of selective and subjective personal view. The eye in this painting has multiple functions, looking, looked at, looked through.

markryden14
The Apology by Mark Ryden

Contemporary Lowbrow or Pop-Surrealist painter Mark Ryden’s The Apology (2006) features a human eye in the center of a cut tree trunk. With themes borrowed from surrealism and painted in old masters style, Ryden’s paintings both defy and define the categorization of lowbrow art.

obscura_big
Obscura by Tony Oursler

Eye imagery proliferates in the work of contemporary international art star Tony Oursler. Here in Obscura, a multimedia installation 2014, video of human eyes are projected onto sculptural orbs suspended in the darkened gallery. Eerily subverting the art experience of looking at art in a gallery, Oursler’s installation is looking at you.

Tears-of-Joy-alex-grey
Tears of Joy,  by Alex Grey

The human eye is a common feature of folk art, mysticism, and psychedelic art as a symbol of higher power and consciousness. In Alex Grey’s Tears of Joy, the eye image is repeated until it becomes a pattern.

current exhibition of new sculpture by Lee Puffer
Through the Eyes of An Artist, and exhibition featuring Lee Puffer at The Studio Door, North Park, San Diego

Who Cares About Originality?

There are artists, especially young artists, who tend to focus on originality. These artists try to do things that “haven’t been done before” or something “entirely new”. This is a waste of time. I’d like to say that originality doesn’t exist, that it is a notion based on a failure of research, which I do believe to be true, but with technology moving so quickly I have to allow that there will be new, utterly original ideas, tools and objects.

So I guess my argument is, so what? SO you were the first to use a material or technique? Who cares? Other people will do it; some will even do it better than you. After a while it won’t matter who did it first. Quality works of art that resonate will stand the test of time and be examples of their form and style.

Young students, especially those who have not had much exposure to art and design history, often think that because they have never seen something like what they have just made, that it is something entirely new.

I tell them newness is irrelevant. Not good or bad, just not relevant. The more research we do, the more real looking, the more we are able to recognize elements of other artworks in our own. This is a good thing. Acknowledging these influences and investigating them is deepens our engagement to the work and the rest of humanity.

Humans have been around for a long time. All along we have been making things. We are all connected by those objects and images.

Originality doesn’t matter, quality does. For an original object there has to be no other before it, the only one of its kind, never been done before. As soon as something is invented in the world, artists begin to adopt the new material, style, equipment or technique to use in their own way.

Ceramic Sculpture, by Lee Puffer
Snake Dream Brainstorm, by Lee Puffer. 2016. Ceramic and mixed media.

The point is to do what you do in your own way. Do not be too concerned about whether or not is has been done before. If you are working on making your most authentic work, you will be creating a unique artwork, even if it may share some qualities with an existing artwork.

New Work at Art Produce – Looking Back/Forward

Tomorrow, May 21st  is the North Park Festival of Arts. During the festival, the Art Produce Gallery will be open with the Looking Back/Forward; An Art Produce Retrospective on display. Here’s some information about the exhibition:

Lee Puffer at Art Produce Gallery Anniversary Exhibition
Invitation to Looking Forward Back at Art Produce Gallery. Lee Puffer at Art Produce Gallery Anniversary Exhibition.

Join Art Produce for a 2-month celebration of the past 15 years of exhibits and the launch of new cultural activities and engagement opportunities for the neighborhood of North Park in San Diego, CA. Looking Back/Forward is a retrospective group exhibition of 25  artists who have previously had solo exhibits at Art Produce. This rotating exhibit will include site-specifici nstallations, and performance based/participatory interactive pieces in the Art Produce Gallery, the Community Room and the Art Produce Garden. Additional weekend activities in May and June include all ages art workshops, artist talks/salons, pop-up dinners, social dance in the beer garden, and the community wide North Park Festival of Arts on Saturday, May21 st 10am-10pm.

ceramic scuplture
Dream of Snakes by Lee Puffer. At Art Produce Gallery in North Park for Looking Forwar/Back. Ceramic Sculpture by Lee Puffer. 2016. The exhibition is open to the public from May 14 to July 3, 2016

 

 

 

 

The Exhibition is open to the public from May 14th through July 3, 2016

Opening Reception: Saturday, June 11 th 6-9pm

Gallery Hours: 11am-6pm, daily. Entry through Tostadas and by appointment.                   Art Produce  3139 University Ave. 619.584.4448  San Diego, CA 92104          www.artproduce.org

 

 

Olaf Wieghorst Museum and Western Heritage Center

Did you know El Cajon, California had its own museum? I didn’t either until I was asked to participate in this exhibition,  West/East: Established Artists Stand Together, curated by Carlos Castrejon.

The Olaf Wieghorst Museum and Western Heritage Center is pretty special place. The museum is dedicated to the art of Olaf Wieghorst, who is “known for his magnificent portrayals of the nineteenth century American West, exhibited a remarkable affinity for the cowboys, the Native American Indians, and the settlers who helped shape this country’s Western landscape.”WEST-EAST revised copy-2 copy!But it’s not just that. The grounds of the museum occupy an entire city block in downtown El Cajon, a diverse neighborhood with lots of funky shops and hip resaurants that feels like it’s just about to become the hippest-little-best-kept-secret in San Diego county.

The The Olaf Wieghorst Museum and Western Heritage Center campus is a charming exmple of original western architecture and has a beautiful enclosed outdoor cactus garden. Inside the museum you will find many western genre artworks by Olaf and his buddies, as well as historical artifacts. The museum hosts exhibitions by local and contemporary artists and photographers, as well as educational and social programs for the community.

This month I will be exhibiting a suite of small paintings at the The Olaf Wieghorst Museum and Western Heritage Center. The opening is Thursday, April 28th at 5:30PM. Hope to see you there.

Summer Workshop Registration Now Open

This summer I have the pleasure of leading a two-week Ceramics handbuilding intensive for artists of all levels in the beautiful mountain retreat center, Idyllwild Arts Center.

Plans for the workshop include working from the live model and 24 hour studio access.

Class sizes are small so register now! I can’t wait to see you this summer in Idyllwild.

www.idyllwildarts.org/ceramics for more information and to register.

Workshop Flyer for Lee Puffer Summer Ceramics Intensive
Catalog image for Ceramic Scuplture: Anything is Possible! A two-weel ceramic workshop led by Lee Puffer at the Ifyllwild Arts Center in California
Reaserve your spot in my two-week ceramics intensive in the beautiful mountains of Idyllwild California. This summer, July 4-15, 2016. Register at www.idyllwildarts.org/ceramics
Reaserve your spot in my two-week ceramics intensive in the beautiful mountains of Idyllwild California. This summer, July 4-15, 2016.
Register at http://www.idyllwildarts.org/ceramics