Mixed Media Artist Judith Plotner

Illustration: Judith Plotner Adirondack Journal I

Many creative journeys are supremely private; others less so, many are degrees in between. The work of textile and mixed media artist Judith Plotner, although largely falling into the former category, can still be considered purely as an example of the rich world that can be composed from the elements that go to make up a mixed media base.

Illustration: Judith Plotner Slate Valley

Plotner uses the broad spectrum of the creative arts, bringing into her compositions the sensibilities of a fine art painting background, as well as that of printmaking, collage and textiles. The great strength of mixed media is the fact that layering and juxtapositioning can be achieved not only with the raw materials available within the different mediums, but also with that of mediums themselves. It is always fascinating to observe how sometimes a medium can complement another, while at other times the opposite can be both the aim and result. This can cause tension within a composition which can be intentional on one level, but have reactions and unforeseen results, sometimes on more than one level.

Illustration: Judith Plotner Adirondack Journal III

The compositions chosen for this article seem reminiscent of small contained packages as if they were enclosed personal observations of the artist themselves. In some respect that is exactly what they are. These observational diary pages if you will contain information, thoughts and muses, often scattered and seemingly random, though often connected by both the individual and the experience.

There is a sense of confinement that is physically attached to the compositions. The surrounding and inert space of these observational essays can seem to isolate the experience, but in fact it is much more a case of the outside space allowing the artist to pinpoint an experience. This helps to discover and identify the completed observation and in some ways allow the outsider to study at least some elements of the parameters that contain the thoughts and processes of the artist.

Illustration: Judith Plotner Autumnal

Although the outside observer is not privy to the internal creative workings of the artist, whether that be personalised or externalised observations and encounters, they can in some respects be privy to the journey itself. By understanding the practical application of mediums and materials, whether that be through layering, stitching, stamping, dyeing, painting or printing, this functional part of the creative journey can be both observed and admired.

It is said that all creativity is subjective, and in many respects that is true. However, often the practical working journey of materials and processes used by the artist can be objectively followed, sometimes producing profound or at least interesting analogies and discoveries.

These five compositions of Plotner's are finely tuned and specifically composed. They are an interesting example of both the personalised experience of an artist, but also of the sometimes complex procedures that can entail the practical application of a mixed media artist. The compositions are wide ranging in their use of mediums and materials and show the genuine creative scope that can be found within the mixed media world.

Illustration: Judith Plotner Global Warming

Judith Plotner has exhibited extensively across the US. She has her own comprehensive website where many more examples of her work can be found. A link to the site can be found below.

All images were provided with the kind permission of the artist.

Reference links:
Judith Plotner website

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Anders Zorn Tapestries

Illustration: Anders Zorn. Dalecarlian Scene tapestry panel, 1909

Anders Zorn the Swedish fine art painter is probably better known outside of his native Sweden, as that of an accomplished and highly successful nineteenth and early twentieth century portrait painter. Zorn travelled widely in both Europe and North America and his portraits made him wealthy and acclaimed. However, as if a tonic for the often unrewarding profession of portrait painter, Zorn had a keen interest in the traditions of his native Sweden. The representation of both a rural and traditional basis of life in Sweden became more important to him as his life and career progressed, so that nearer the end of his life the subject of the traditions of Swedish life and culture became much more acute.

Zorn produced a number of compositions with subject matter that were based on the ordinary traditions of rural life in Sweden. These came in a number of disciplines, most admittedly within fine art painting, but some within the traditionally strong Swedish discipline of textiles. This was not particularly unusual for the period as many fine artists were keen to be seen as pan-discipline workers, producing efforts not only in textiles, but also that of ceramics, metal, glass and wood. That much of this work was art rather than design based did often limit the results, but it is still interesting to note the results of the process of a fine art sensibility being transposed into craft or design.

The examples shown here are relatively straightforward transpositions from a fine art origin to that of woven tapestry. Although there is no overly unique interpretation from Zorn, it is interesting to note how he has interpreted his compositions towards a textile based medium. The work has all the appearance of a graphic based dimension, with figures and backgrounds appearing both fresh and spontaneous, giving the impression of an element of contemporary vitality and spontaneity to the traditional rural scenes. Admittedly, this is not always the impression that has been immediately connected to either rural or traditional lifestyles, particularly by those of a more urban disposition.

Illustration: Anders Zorn. Dalecarlian Scene tapestry panel, 1909

All three tapestries are connected and should by rights be seen as a triptych of panels showing various aspects of the one theme. That theme was to illustrate the life lived in the Dalecarlian region of Sweden. Dalecarlia or Dalarna, is an area of the country that had become associated since at least the mid-nineteenth century as being in some respects, the heartland of both Sweden and its culture.  The native Arts & Crafts movement was particularly interested in using Dalecarlia as a metaphor for all that was considered vital in preserving and prolonging the traditions of Swedish life.

Perceived heartlands were a particular necessity for a number of Arts & Crafts movements, more so in Europe than elsewhere. Specific regions and areas were often interpreted as literal vaults containing the uncontaminated traditions and root culture of a nation. Although much of this was clearly romantically misplaced sentiment, it does not change the fact that areas like Dalecarlia became the subject of intense retrospection and rich subject matter for a wide ranging list of creative individuals that included fine artists, designers, craftspeople, photographers, critics, musicians and writers.

These particular pieces by Zorn were even displayed at the 1909 Exhibition of Swedish Applied Art that took place in the capital, Stockholm. Zorn was not the only fine artist represented at the Exhibition, a number of popular and well-placed names in both Swedish fine art and design were represented such as Alfred Wallander, Carl Larsson and Gunnar Wennerberg. Zorn's tapestry work can be seen as a fine example of both the traditions of Swedish craft and culture, along with the sensibilities of a contemporary artist to those traditions.

Illustration: Anders Zorn. Dalecarlian Scene tapestry panel, 1909

Anyone interested in good selection of the fine art work produced by Zorn during his career might wish to follow the link to the Anders Zorn website which can be found below in the Reference links section, along with some relevant books on Zorn that can be found on Amazon.com.

Reference links:
Anders Zorn website
Anders Zorn
Anders Zorn Rediscovered
ANDERS ZORN, His Life and Work
Nationalism and the Nordic Imagination: Swedish Art of the 1890s
Greeting Cards: Anders Zorn Paintings
Anders Zorn In the Woods 19 1/2 x 15 1/2 Print
Anders Zorn 1860-1920: An Introduction to His Life and Achievements
The Prints of Anders Zorn
Anders Zorn 
The Etchings of Anders Zorn: From the Collection of the Springfield Art Museum
Dagmar, 1911 Giclee Poster Print by Anders Leonard Zorn, 24x32

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Sharing the Gift

I've been looking at some beautiful art prints to buy to supplement my favorite wall in our living room and came across this one a while back by my all time favorite artist, Susan Rios. Just about all the prints on this wall are by her so it was wonderful to add to my collection. I love her art and we've been emailing back and forth. What a sense of humor this woman has. I am astounded by her beautiful paintings and showed her a picture of my wall. I think she liked it, but I would truly love to be able to paint like this little chickee. Oh my, how gorgeous is this one! It is called "Sharing the Gift" and I'd love to have a patio like this one on which to sit with lace cushions, smell the roses and dream of my garden.

This is how it looks on that wall above the biggest painting
Closer view of it.

And a little mosaic table my daughter made that I confiscated while down in California last week. It fits just perfectly there by my chair. I've been looking all over for a side table to sit in that area but wasn't able to find anything. Thank goodness I found this in her garage while down there.
~*~

Random Thought

If you can't forgive your hubby or wife of anything, then you don't love them enough.

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