Friday, June 25, 2004
A Portrait of the Artist as a Young Enthusiast
Some of my happiest childhood memories are of me kneeling on the floor, surrounded by a mandala of scraps of coloured paper, discarded crayons, glitter and sticky tape. My mother approved of Creative Play, so birthdays and holidays meant a steady flow of arts and craft supplies in one direction, with finished goods, such as hand-drawn cards and embroidered felt needle cases circulating back.
At primary school, I recall folding and snipping paper into snowflakes to make lacey paper coasters to go under my free bottle of NHS milk, distributed to give young Britons backbone. At Christmas, we made paperchains and lanterns out of construction paper and poster paints. Later school art classes were less happy. I was hurt to find school art teachers less enthusiastic about my earnest efforts than was my mum.
As an academic child, I was doomed anyway to forgo such “soft” subjects as art and woodwork, in favour of Latin and extra Maths. But we found a local craft centre that was willing to let a nerdy twelve year old study jewelry making in an adult ed. class. The dusty metal shop was filled with odd-looking tools and unholy smells - jewellers’ rouge hot on the buffing wheels, a brimstone whiff from the acid bath. My parents bore with me, as I produced a series of lopsided brooches and clumsy cufflinks, even when I scorched my eyebrows off with a propane torch. When that enthusiasm faded out, like Toad of Toad Hall, I simply moved on to another medium: clay.
Much later, as an escape from philosophy grad school, I tried drawing, with a wonderful prof. who let me audit his life drawing class. Early on Saturday mornings, Tondino would exhort his bleary-eyed architecture students to “Look more closely, and draw what’s really there!” When I moved to South Bend, I found an informal art group that met each week on the campus at IUSB. We all chipped in to pay a model, and painted or sketched away just for the fun of it.
Through all these efforts, I’ve never produced anything of particular artistic merit, whatever my loyal family might claim. But, at a recent craft show in Milwaukee, I realised how much those early experiences help me enjoy real artists’ work. From the hours I’ve spent squinting at a model, trying to figure out just how the kneebone is connected to the thighbone, let alone how to draw one, I can admire this painter’s accomplishment. Many times, as a kid, I felt the clay spinning between my hands suddenly shudder and hurl itself off the potter’s wheel. So now, I can appreciate the skill behind this finely crafted bowl as well as its beautiful appearance.
This weekend, the annual Leeper Park Art Fair returns to South Bend. Last time I went, it was a blazingly hot day and I strolled from booth to booth, sipping homemade lemonade as I admired the artwork. The art was mostly produced by regional artists and ranged from five dollar wooden knicknacs to five hundred dollar canvases. The vendors were friendly and quite happy to chat about where exactly they’d found that lakeshore scene to paint, or why they’d decided to use that glaze on this pot.
Several carvers showed decoys, and wonderful bowls made from rare woods. One turner from Niles had a basket full of wooden spheres the size of baseballs: I picked one in rosy cherrywood, with a looping grain like a dragon’s eye. From another craftsman, I bought a delicate Christmas ornament carved from the fruit of the Australian Banksia tree. Indeed, I was able to accomplish much of my present shopping for the year in one relaxing afternoon, while renewing my enthusiasm for arts and craft.
A random selection from more than 300 Michiana Chronicles -- refresh the browser to see another set:
Joe Chaney -- More essays by Joe
Louise Collins -- A Portrait of the Artist as a Young Enthusiast / More essays by Louise
April Lidinsky -- More essays by April
Jonathan Nashel -- More essays by Jonathan
Jeff Nixa -- More essays by Jeff
Ken Smith -- More essays by Ken
Jeanette Saddler Taylor -- More essays by Jeanette
