A Pacific Northwest Portfolio

I volunteer at a regional food bank in southern Oregon, which supplies local agencies rather than individuals.  We’ve had difficulty recruiting volunteers because of this.  Part of the problem is that we do not communicate who we really serve in our facilities, hence to prospective volunteers.  

I’ve begun a project of photographing recipients at the nineteen food pantries and community kitchens served by the United Community Action Network (UCAN) food bank in Douglas and Josephine Counties, Oregon.  

"Hunger", proposed as a billboard poster, 7' x 14', digital file
James Thatcher  copyright  2018

The idea behind this project is to communicate who we really serve, those in need, speaking their untold stories in the facilities where we serve them.  

Let’s humanize our facilities in order to more effectively engage those who are considering  volunteering with us.

Installation proposal, 24 units, each 20" x 16" x 10".

What if it were presented with a pallet of Campbell's Soup,
to be donated to the food bank after the exhibit?

Banana boxes are the ubiquitous containers used to ship, transfer, and distribute food in Oregon, and are an organic choice to support this imagery. 

The nature of “boxness” comes into play constantly:  what goes inside the box?

This portrait featuring Campbell’s soup draws a clear art historical reference, as well as a social reference to soup kitchens from the Great Depression, and a regional reference to the Campbell's Soup production facility just south of Portland, Oregon. 

"Shelf Stable", 2018, 19" x 35", Black and white gesso, latex paint
on reconstructed banana boxes, Campbell's Soup, rope light.
James Thatcher  copyright  2018

While conceptually astute, I maintain a studio for my practice.  It’s a practice that is hands on, technical, and sometimes messy.  I draw, paint, build, sculpt, and install, exploring materials and processes, often eschewing archival stability. 

Cardboard is not archival.  Each banana box has seen multiple cycles, and has become stained, stickered and worn.

"Relief", 20" x 16" x 60", 2018, banana boxes with florescent light. 
What if several filled a space?

There is nothing pretty or glamorous about feeding the hungry.  It’s urgent work with individuals who are sometimes emotional, sometimes desperate, sometimes unwashed.  The need is now, forget tomorrow and its worries. 

Archival, really?

"Food Insecurity", 2018, 96" x 80", Black gesso and latex paint
on banana boxes, stapled to loading pallets.
James Thatcher  copyright  2018

However, moving moments can be had in the midst of serving this population….  

Meeting the woman in Roseburg who shows up at 9am and stands, waiting for hours until the doors of the food pantry open at 1pm, so that she can obtain produce.  

The grateful couple who accessed their local pantry in Reedsport for years, who have now begun volunteering there.  

I met an elderly man in Myrtle Creek’s food pantry who was a long-distance trucker, and through it became disabled with sciatica.  

It’s caused me to be very conscientious about how I handle food during my volunteer shifts.

These are the faces of normal folks:  kids, moms, grandparents.  Who can afford not to be compassionate?

"The Light Shines Through Our Imperfections", 2018, 40" x 48",
Black and white gesso, latex paint on banana boxes
stapled to a loading pallet, two florescent lights.
James Thatcher  copyright  2018

Art as social practice necessarily confronts.  

This project began as a critique of UCAN’s lack of communication, while providing a solution for it.  This portfolio expands the discussion about food insecurity in our region, it promotes the Oregon Food Bank (located in Portland), and seeks to enlist viewers into the cause. 

Change happens one heart at a time.  That includes mine, swept up and renewed in the service to others.  The abundance of this heart expresses itself in artwork that promotes compassion, encouragement, and hope.

  

Custom Campbell's Soup can label, 8" x 4" nominal dimension, 2018, digital file.
James Thatcher  copyright  2018

Join me as an agent of cultural evolution.

http://jtnwdc.wixsite.com/jamesthatcherarts

Rebellion Became an Embrace

For about 25 years I was a cabinet maker.   It’s a world of minute detail:  blueprints, trim, and tight spaces.  Add to that delicate finishes, matching color samples, and pristine installations in expensive homes.

Creating large scale abstract art was a way of taking a break from the fastidiousness of the trade.  Throwing, splashing, thrashing, and dripping fields of paint became a refuge from the demands of the industry. 

However, at the turn of the century circumstances led to a break from cabinet making, as I spent several seasons remodeling and finishing my parent’s home in Michigan’s Upper Peninsula.  

About five years later, my bride’s career in higher education took us to the mountains of North Carolina. I found myself back in the field of high end interior woodworking.  

A custom Maple entry door.

After several years of carpentry and drywall, I found myself poorly suited to the demands of cabinet making.  I’d lost my edge….

It took a few years to sharpen up. Those times were marked with frustration and dissatisfaction and eventually with the real estate collapse of 2008 I was laid off.  I’ve kept my tools but haven’t returned to cabinet making.

Deb’s career has gone forward and the opportunity to pursue my art career is in full flight.  I make this preamble to say that I don’t have much to rebel against any more:  times are good.

As such, the thrashing and running paint techniques of my large scale abstract art had become more of a habit than a reality.  Interestingly, now that the requirements of the field are removed I have discovered that the skills and orientation of my woodworking experience persist.

They have filtered back into my creative life.  

After being away for five years the clean lines and processes re-emerge.  I am not back in the shop polishing fine hardwoods, but I am drafting, laying down clean edges, building structures and enjoying the technical facility that decades of shop experience has instilled in me.  Yay!

The contrary days have passed.  These are quieter thoughtful times.  The means have changed, and the ends necessarily so.  What was rebellion has become an embrace. 

http://jtnwdc.wix.com/jamesthatcherarts

A Moment in the Studio

Recently, I had a moment in the studio that made me stop everything! 

You know how you’ll have your agenda set, your process well directed, all systems GO—me too!  Letting the process take over has allowed paintings to emerge without preconceived notions.  Ah, to be so free….

But this time the picture jolted together before me and I was stunned.  Let me explain:

I’d killed my current painting a couple of times already.  I had a strong bed of texture laid down:  hay and cattails (bulrushes) embedded in a pool of dried latex paint.  Typically I use the lines from the textural underpainting to direct the subject matter, but it just wasn’t working out this time.

So I’d painted over the whole uptight mess—twice now.  I’d gotten a beautiful effect during paint-over #1 by applying a dark wash of watery paint over my texture.  I decided to do that again. 

All was going as according to plan.   The dark wash had gathered into all the pockets of that voluptuous surface and I was forging ahead with a new course of action.

"Sweetgrass Drawing  23/30", 8" x 10", Pastel and Gesso on Prepared Board

I decided that this time I would use the above drawing as a model for the painting.  My plan was to use my data projector to shoot the drawing onto the canvas and simply paint it in.  However I couldn’t get the distance in my studio to enlarge the drawing enough—C’MON MAN!

I couldn’t seem to get a break with this painting!  The next day I decided that I could use the grid formula to increase the scale of the drawing and transfer it to the painting.   A piece of cake, old school but imminently doable….

This decision proved to be the game changer.

I measured out a 12” array over the surface and drew the lines in with charcoal.  The panel was laid on saw horses and as I finished the grid I set it up to begin the transfer process.

GASP. 

I saw it in an instant—a nano-instant. 

The grid broke up this epic field of texture into bite sized portions.  It isolated sections so that they became a group of individual pieces rather than an incomprehensible whole.  The visually overwhelming (who knew?) had become manageable.

In a rush of realization I set down the charcoal and stepped away from the painting.  Oh my goodness, what have I done!?

It was actually interesting!  The different pieces compared so well to each other…my eye was bouncing from one section to the next, over and across—I had to sit down.  I’d been knocked from Abstract Expressionism into Minimalism in one aesthetic hammer blow.

 

And I haven't gone back...

In just a few days I’ve completed 3 other highly textured grid paintings using different colored washes for the background.  I’ve filled in the squares with fabulous colors (say goodbye to the latex neutrals!).  

I’ve left sections empty on some paintings.  I’ve left a group of 4 large panels void of any further markings after gorgeous blue green washes.  I’ve built 18 small square surfaces for a grid installation painting which are now heaped with hay and bulrushes and drying in the barn.

The current studio view

And the struggle, the noodling and the exertion, effort and strain of composing the “brilliant and breathtaking” is gone.  I’d had the nagging feeling that this work with the hay  didn't need to go much further, but I just hadn't found the way yet. 

Now it’s full steam ahead.

If you have frustration or nagging feelings with your creations, Listen To That.  Where are they coming from?  What do they mean?  They were telling me that what I was doing wasn't what I needed; that  I was pushing past my own artwork.

Blow it out—figure it out—talk it out—work it out.  Be bold, be alert, and look for your moment.  Expect it.  Grab it.  Run with it!

http://jtnwdc.wix.com/jamesthatcherarts

Idea Generation Drawings--Getting ReStarted

This series is geared towards artists who want to get re-started in the studio after a long break.

Also referred to as “Ideations”, the Idea Generation Drawing is all about producing ideas quickly.  Each drawing builds upon the last.  It’s a fast way to discover and explore ideas.  One day you may find that your sheets are finished works in themselves.

Take a sheet of 18”x24” drawing paper and divide it into 16 equal sections.  In art school we were told to fold the sheet in half, then again, again and again—16 quick equal sections.  Now get your kitchen timer and set it for 5 minutes.  Yes, 5 minutes.

GO!  At this pace you have less than 20 seconds to fill each section.  I encourage you to finish your first sheets in under 5 minutes.  

Why?  We are most interested in getting restarted through this series of posts.  It is extremely important to see yourself produce a full sheet of drawings, regardless of what you think about the level of finish or quality.  In fact, do not think at all about quality or finish with this work.  Our interest lies in the flow of ideas, their encouragement and their direction.

Do a second sheet of idea generation drawings.  Make sure you follow the time limit and get all the spaces filled.  It may not be easy for you, but again, we are approaching this exercise as a re-starting technique.  Don’t spend any energy fighting it, use all of your energy making yourself produce quickly, right now.

Do you need to do a third?  Go ahead then.

Page one of drawings for sculpture, 2014 (Technically, thumbnail sketches)

Be conscious of where your ideas are going.  Have you discovered an idea that interests you?  If so, do your next idea generation drawing based on exploring that one idea.  See where it goes.  16 versions of an idea borders on an in-depth exploration, which can only yield well founded results.  Not only are you starting again in the studio, but you are building quality into your new artworks by exploring ideas this way.

Page two, drawings for sculpture

Do not give up—you will not fail if you do not quit.  Do you see any marks that are compelling, independent of an “idea”?  Maybe that’s the idea to pursue…be flexible at this point.  You are casting a lot of seeds out there and something is going to take root.

This is the equivalent of a “Free Writing” exercise for writers.  Getting the creative juices flowing is the main point, but you WILL hit an idea that is very interesting using this technique.  Look for that one tiny drawing with the je ne sais qua worth pursuing as a work in its own right. 

How about taking a photo of it and projecting it to scale it up?

There are multiple benefits to this exercise.  You’ll unearth ideas, explore and develop them; you’ll find surprise sections that stand on their own as images, you’ll develop diptychs or triptychs, even book sequences; not to mention how this process enables working in a series.  This is a fruitful approach as a general studio practice as well as for beginning new artworks.

Page three.

I fully encourage you to engage with this exercise.  Do you have a friend who might join you?  Sometimes it is easier to see how the process works when you look at someone else’s efforts.

Idea generation drawing is a valuable skill to acquire and serves well in the lifelong pursuit of art.  You can go through dozens of ideas quickly, arriving at images which are already proven worthy of pursuit.  It will increase your chances for success and a lot of new artwork.

Go get ‘em!

One of three sculptures based on above drawings, James Thatcher  ©  2014

http://jtnwdc.wix.com/jamesthatcherarts

YES! The Artist Speaks

From a reception for local donors to The New Vision Heron Mural:

I’d like to begin with one word, because that is how this project and everything associated with it began.  It’s a small word, but a beautiful and powerful word:  YES! 

When we say “Yes” individually, doors open and change begins.  Being in agreement with an idea, a statement, or proposal means that it goes forward with our blessing. 

When Lee Whaley said, “Yes, I will pursue having the heron mural redone”, the idea went forward in strength; blessed with her skill and experience.  And look where we are! 

When I said, “Yes, I will do the mural”, it opened up 3 years of experience:  From research and design to committee approval, online crowd source fundraising, and fabrication;  Then press coverage as well as getting to write my own guest blog article.  It meant mounting an accompanying exhibit, not to mention reconnecting with my past…everything made possible by one word. 

It’s one word, but it has needed many voices. 

When we collectively say, “Yes”, WE create opportunity.  WE empower those who are asking to make something happen—WE are in agreement with the happening of an idea, and are instrumental in its formation, it’s becoming a reality. 

“Yes” extends our world.  It expands our reality.  It creates possibility.  It unleashes the power to get results.  It represents a decision, a course of action, and a responsibility.  

The responsibility to honor those who agree to support, because now your sound judgment goes on display—the responsibility to verify your support AS SOUND JUDGEMENT.  

Thank you for your support.  Thank you for your affirmation.  Thank you for YOUR vision. 

When you drive by your mural think about this.  Think “YES” for your town, your downtown, and for what might present itself next.  Now you’ve got some experience with the power of your support.  It’s the power of your choice, your voice, your vote. 

You gave me an opportunity by saying “Yes”, and now we stand together with a new vision-- in a new vision.  Thank you for your confidence…it has been a soul changing experience.

Here's the video of the presentation.

Additionally, here's a link to a guest blog post I was invited to write for Artsy Shark about public speaking for artists:

http://www.artsyshark.com/2014/07/22/public-speaking-for-artists/?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+artsyshark%2FNCiC+%28ArtsySharkFeed%29

http://jtnwdc.wix.com/jamesthatcherarts

Extenuating Circumstances and Life.

I once had an 8 year long break between artworks.  I've also had stretches of sporadic art production, grinding out stuff as I've been able to cram it into spare time, doing maybe a dozen measly, incoherent pieces in a year; year after year. 
 
But that really is life...we're not art making machines, we're people; and we make art.  Sometimes there are more important things than doing our artwork.  We are multi-faceted beings, and our artwork is only one facet.  Our other aspects must develop.


It had been 8 freakin' years...my first wife had died of breast cancer.  I was sitting on the sofa maybe a month after she'd passed.  Watching "Roseanne"...


I said to myself, "If I were an artist I'd be upstairs (in my wife's dormant studio) making artwork."  I turned off the television, went upstairs and got to work. 


We return to our art with a deeper experience to draw from; a greater awareness of love, of responsibility, and commitment; and making a more excellent product.
 
Have a little faith, gird up your loins, and believe.  Do you feel that life is crowding art right out?  This is going in a dynamic and profound direction for you.  You will do great and powerful things.  It will work.  You will not fail if you do not quit.  Having responsibilities is not quitting, it is being admirably strong.


You are admirable.  You are strong.  It will show.

Art Forgery and Love

"Graphite Grid, Panel #8"; 2014-17, 16" x 16", Hay Embedded in Latex Paint on Wooden Panel
James Thatcher  ©  2017

I understand.   The wealthy want the best and an investment level artwork is bought to be re-sold at a profit; hence galleries, auction houses and private dealers market the works of grand masters.  Who has time to pursue their own investments, because time constraints, expertise and even fear can come into play in their choices?

Perhaps they hire researchers and then make informed choices.  You’ve got to trust your market analyst, your investment counselors, your interior designer; the galleries, critics, museums…

If investors are quick to research, does this zeal translate to their other interests?

"Hypar with Analytic Function"; 2013-17, 88" x 66", Acrylic & Hay Embedded in Latex Paint on Canvas
James Thatcher   ©  2017

Alas.  Few are passionate enough about visual art to make their own inquiries; but these are the ones who generate movement in the art industry.  And perhaps they send in their people to look, to edit choices and recommend the next purchases…it seems practical, no?

"Hypar Z"; 2015-17, 18" x 24", Acrylic on Canvas
James Thatcher  ©  2017

Buyer beware.  The recent art forgery scandal has made many fools.   Wouldn’t it be better to be surrounded by your own choices, by what you’ve discovered and love; as opposed to being sold a false bill of goods?

Why not come to know the keen disappointment of a day spent going from gallery to gallery, seeing nothing of interest?  Eventually you’ll realize the one place that really does have stimulating work…this is your dealer.  You will know that you are intrigued, you think about that artwork when you’re not there, and you’ll know that you must have it.

"Hyperbolic Paraboloid", 2017, 18", Welded Steel
James Thatcher  ©  2017

 In the end, if your passions change or you were merely infatuated with works that weren’t what you once thought, you can donate them to a hospital, a university, or a charity auction receiving full credit of your purchase price as a tax deduction.  So much the wiser.

Come on out and play ball!  Artists want to do good work; they want to sell it and be able to do what they love.  Every collector who gets their nose dirty by actually collecting broadens our industry and stimulates great activity.  Make jobs, have a great time, and change lives—buy your own art!

Study; 2017, 48", Pine
James Thatcher  ©  2017

http://jtnwdc.wixsite.com/jamesthatcherarts