Stretching.

I felt embarrassed as I walked up with my three new art pieces for the juried art exhibition. My excitement of making something new and out of my comfort zone quickly vanished into a strange self-consciousness I haven't felt with my art recently.

It is a great local show with great cash prizes. The theme of the show was "Roots." The prospectus wanted the artist to stretch the meaning of roots to family origin, history, root cause...I chose the simple and direct earth-focused approach. I was excited about the theme and felt inspired.

I had been dreaming of going 3-D with encaustic, but struggling with the right material for the wax to adhere to and then it came to me three days before the event. I was playing again. I wasn't going back to a familiar formula.

I made the mistake of showing people the first piece unfinished and by cell phone photograph. What was I thinking? I was excited but too fragile to take their pregnant pause following such statements as "Does this dress highlight my pot-belly?" *Pause, nice smile...searching for the right words* Ugh, it does! I hate this dress. I hate my hair. I'm ugly. I will never get married.

Prior to entering any show I always research the juror. If they are an artist, I check out their work. If they are a curator I check out the shows they have curated and the show themes of their museum or art center. It is usually an easy way for me to decide if my $35 entry fee is an investment or donation. I wasn't sure about this juror. His artwork was not in the family of mine, but I stretched on these pieces and it would be a shame to shelf them.

All three pieces were accepted. Whew.



Earth's Armature - Encaustic, 8" x 8"

The opening came and a good friend said he would be my date. So, we went, mingled and then it happened. I received puzzled looks and awkward, "This work seems like a drastic departure from your usual work." I was mortified and embarrassed. Apologetically I said I was trying something new. I kept thinking I should have kept to the formula. The formula sells and that is what people like.

An old friend came up to me and said something in the same vein, but was excited. He said, "This must have been so freeing for you. You were able to take artistic risks because you have won this show and don't have to prove anything." That was definitely one way to look at it and I'm thankful he made me look in that direction.

The awards ceremony came and my name wasn't called. I am happy to report that my ego survived, did not throw an internal tantrum and stood aside to appreciate the artistic talent recognized for the evening.

What I learned:
Take artistic risks. If you find yourself looking at your old work or work that sells as inspiration for your next piece you are heading toward formula art. I'm a fan of recognizing the hand of an artist and not a fan of recognizing the same visual tricks of an artist.

I still struggle with the difference (is there one?) of decorative art and fine art. Am I painting to match wallpaper or painting for the intellect. I'm pretty sure I have done both.

Chances are that if you make a leap in your artwork you are making a leap somewhere else in your life. I have made some drastic changes in my personal life. It only makes sense that it shows up in my work too.

What do you do to stretch artistically? How do you know that you have actually stretched? What do you see, hear or feel that lets you know you have pushed yourself?

My improvisational theatre teacher says, "Go in the direction you are facing." On the stage, a scene isn't interesting when it becomes transactional or the characters don't change. Artwork needs to make shifts, change and move to keep your audience watching and most importantly keep you interested.

The wheels go round and round.

I'm going on 6 weeks without a car. I've been biking my butt off. It should be coming off soon. I blew out my back tire when I piled on two sacks of groceries and my ass. I'm just guessing that is what happened, but secretly hoping it was a nail.

Yesterday, I road home from work in the rain. I put on this giant blue tarp of a poncho and belted it with a bungee cord. I felt like a wind sail pedaling hard against the wind and any minute I would be airborne. I passed a long line of cars with drivers looking grumpy and grim. Grinning like a goof, I was hoping I would get at least a thumbs up or a encouraging honk. It IS bike month! Nope, nothing. I only passed two people on the usually very busy bike path. I rang my bike bell and waved enthusiastically. I received the "What the hell are we doing on our bikes?" grin. I told everyone I road in the rain and received little to no sympathy. Yes, I do believe I deserve a medal.

Biking to work tips:
1. Roll your work clothes to keep them from being a wadded, wrinkled mess when you get to work.
2. Take sunscreen and apply liberally 30 minutes prior or you will end up with a crooked V-shaped sunburn on your chest.
3. Go to the bathroom before you leave because it is usually a long way home.
4. Learn to change a bike tire.
5. Take rain gear, but don't count on it keeping you dry.
6. Know the bus schedules just in case you are just plain tired of pedaling.

Just some harmless butt wagging.

Last Saturday I was driving down I-5 to Los Angeles for my Improvisation class at the Second City training center. I was happily bopping along in my car rental (due to a recent car crash) and thoroughly enjoying the Sirius radio station by singing along to Erasure, Depeche Mode and the Indigo Girls. I was breaking the chains of love and getting closer to fine in my very hip mini-van.



Oblivious only for a moment, I catch a glimpse of flesh in the corner of my eye. A group of boys were driving beside me with their butts hanging out of each window and enthusiastically spanking them for my benefit. I chuckled but instantly turned my face to stone and did a very motherly, "I'm so disappointed in you" head shake. That was my response? Didn't I have a cooler response readily available? Should I have rated the butts with a thumbs up or thumbs down? Should I have acted like I was phoning 911 to report nude butt wagging on I-5? Nope, all I had was a stinkin' head shake.

But actually, I don't just have a head shake in me...I have much, much more...yes, I have an art sale going on too!

So, pull those pants up and get on over to my online store!

I am selling the Ohio Grouping work as single pieces. If you are insterested in the whole group let me know.

Bean Pimp

At the early age of twelve I was a working girl. Instead of working the streets, I worked the soybean fields. With a pair of tweezers, a Dixie cup and two carpet squares I went to work for just over $3.00 per hour.

For seven summers I clocked in early each day at Funk’s Seed Hybrid Company. In the morning we walked soybeans and in the afternoon we pollinated soybeans. For those city folk, walking beans meant we weeded acres of soybean fields with a sharpened hoe.

In the afternoon we pollinated soybeans. The purpose of hand pollination was to control the soybean plant crosses and create a soybean hybrid with strength and resistance to disease.

The romancing of the soybeans started with a quick session of speed dating. The crew boss created a list of male soybean rows and a list female soybean rows that required a relationship and romance coach. With tweezers in hand, I trotted off to the male row, also known as the pollen parent, and picked a Dixie cup full of small purple or white soybean flowers. This was a quick and aggressive process and a gentle hand was not required.

The true finesse began with the female row, also known as the seed parent or the mother plant. I placed my carpet squares down in the dirt and lowered into a sitting position, straddling the chosen female soybean plant. I examined the plant nodes for a ripe and bulbous bud. My voice lowered and my touch became gentle because the ladies were just that, ladies. With my tweezers I peeled back the sepals, the outer layer of the bud, to reveal the inner folds of the flower. My tweezers grasped the soft base and wiggled it free to expose the fragile sweetness of the awaiting pistil. From my Dixie cup, I selected a flower and stripped away the petals presenting a stamen heavy with pollen. With a steady hand, I gently, so very gently dabbed the tip of the stamen on the tip of the female’s stigma. With a quiver, the pollen would release and cover the female’s womanhood with its sticky residue. I cooed, “take it baby, take it!” hoping my words would encourage fertilization. A week later, I checked all my pollinations to see if my manual mating was a success. My goal was to create the highest number of successful unions each summer. During harvest time, we hand collected the soybean offspring and planted them the following year for scientific testing.

I’m not embarrassed of my seedy past. For seven summers I sat in the dirt straddling soybeans. I blossomed from a child to a young woman. I learned about life. I created life. Some folks called us bean pimps. Maybe we were, but I felt more like a matchmaker and a cultivator of connections. I was a soybean artist.

The Bee Team!

I pity the fool who says the A Team finishes first. If you have a problem, if no one else can help, and if you can find them (I hope this blog helps), maybe you can hire the BEE Team. (I know...my TV reference is dating me!)

The BEE Team is a group of artists that have come together through the online store Etsy.com where you can buy or sell all things handmade. Etsy has turned out to be a great meeting place of super talented artists making a living selling direct and promoting themselves through an established online community.

If you are a collector of art, check out the amazing list of artist working in encaustic.
Such as:
Michele Maule
Shannon Newby
Kate Phillips
Deanna Woods

If you are an artist are interested in working in encaustic, the BEE Team Blog gives you:

• Working with photographs and encaustic

• Call for encaustic art

• Encaustic class offerings

• Resources

I pity the fool that doesn't look, make, and buy art. If you need help, call the BEE Team!

I can't stop singing this song.

Hamster On A Piano


This is art, right? I know, I promised more arty and meaningful posts but this is all I got right now.

I recommend the following to get the hamster song out of your head:

How long has it been?

Life has been a bit of a twirl since the art show at the Bakersfield Museum of Art. As some of you may know, I have a day job as an internal leadership development coach and advisor. Outside of my day job I am an artist, a small business consultant and coach, improvisor and sometimes blogger. As you can see I have been slacking on the blogging and keeping you updated on the newest art projects and random musings.

List of things that have gone and are going on:

• I was accepting to The Second City Training Center's improvisation conservatory. I am just finishing up conservatory one and heading on to two in January.
  
• Next week I am hanging a show at Valentien's in Bakersfield.
• I am finishing writing up a grant for a local art project.
• Currently, I am being psychically and physically stalked by an ex-girlfriend of a man I am dating. (Had a lovely Springeresque midnight moment on my lawn. Yep, it is true!)
• My Ohio gallery had to shut their doors.
• I finished another coaching certification to teach the class Corporate Coach U. I am planning on offering classes mid-2009.
• I am hoping to be vegetarian by 2009. I am slowly transitioning.
• I have been posting too many pictures of my cats on my Facebook and Myspace accounts.
• I'm thinking...just thinking of taking a hip hop dance class. If you know me...this is funny.
  
• My next blog will be more interesting than this one.

Non-perfunctory posts promised period.

Breakthrough

I think you know when it happens, when you feel like everything just comes together and you have done something or made something that has you so proud you revert back to your pre-teen years. You fly in the back door of the house after running from the bus stop with your Mickey Mouse book bag in your left hand and your construction paper turkey with the glitter accents in your right and you shout, "Look Ma, I made this!!"

Here is the latest piece for "Encaustic Expressions" art show at the Bakersfield Museum of Art.

"Growing Wings"

Unfortunately, this is just a little too big to put on the fridge.

Bakersfield Museum Opening - May 22

I'm in a small group show at the Bakersfield Museum of Art. The curator selected 6 artists throughout the US working in encaustic medium. I would love to see you there!

Melt my Art: Encaustic Expressions
Bakersfield Museum of Art
1930 R Street
Bakersfield, California
Exhibition: May 22 - August 28, 2008
Opening: May 22 at 6:00 - 8:00 pm
www.bmoa.org

My lovely cards will be going out next week. Drop me an email if you want to be on my "Self-promotion to those I love!" list.

Here is a sneak peek at one of the six pieces that will be in the show:

"Twin Difference" 7" x 11"

Ohio Show!

This work made its way to a lovely (seriously lovely) gallery in Ohio called Papercuts and Gluesticks. If you are in Ohio, please tell Kari (the owner) how great she is and the space she has created. It is not only good karma, but also true.

"Held Still" 12" x 12"


Grouping - each 5" x 7"


"Through the Fog I see" 12" x 12"

Bad art is so good!

Love it...
Peter The Kitty

Shy Glance

Sunday on the pot with George

Gilded Nude

I think I have a few from art school that might make the cut! Just take a tour of my parent's garage...the "Julia Heatherwick gallery of Shame." There you will find my lamp of terror; a paper mache' woman pierced through the back with a pvc pipe, with her belly blown out with long red entrails rising toward the heavens. That was when the stone spray paint just came onto the market. As if she had glanced at Medusa, she was frozen in her stone state while a light bulb was cleverly hidden in the pipe only coming to 'life' with a rolling click. Plug it in, plug it in! Pure brilliance.

"Waxing On" in an interview by Misti Wilson

An email Interview by Misti Wilson for my upcoming exhibition in Germany.
www.MistiWilson.com
Curator and Art advisor for the upcoming exhibition:

"Kick-ass" - Kunst unter 100
Gemeinschaftsausstellung
Freitag, 11. April 2008
19:00 - 23:00 Uhr
Eigelstein Torburg, Köln

1. When did you start making artwork?
Although not documented for future publishing, I believe my first mixed-media masterpiece was created at the age of four. My father had a large container of wood glue on his work bench in the garage. I safely traversed a mountain of sharp tools to acquire this choice medium. With two hands, I squirted the glue in a Jackson Pollock influenced flourish over the entire garage floor. I chose kitty litter to pour over the top of the glue as the sculptural element. My brush was a large, floor broom. The result was quite stunning. My parents were proud.

2. What inspires your artwork?
Nature and my childhood. I grew up in central Illinois in the corn-belt. Surrounding my country home were flat fields of corn and soybeans. Surrounding the fields were overgrown ditches of tall grass and weeds. I built many forts and structures to escape, daydream and hide my collected treasures. Any plant or grass that can only be seen by lying on your belly is an inspiration.

3. Can you describe your process?
I’m a collector. I am inspired by the tiniest plant, patterns, repetition and rusty, antique tools. My recent body of work uses Encaustic as the primary medium. I carve all of my botanical figures out of the wax with a scribe and fill in the line with pigmented wax to create a wax inlay.

4. Can you explain how you come up with titles and why
you choose to title your work?
I think my titles are getting better. I use to be pretty sparse and direct such as "Dig" or "Spring". I still have a tendency toward simplicity, however, the poet and writer Wendell Berry has been a positive influence. I’ll make a piece and then spend some time reading his poems or stories. This helps me change my language from the visual to verbal. Most of my pieces have little nick-names that I give them that are a bit less romantic and are just for me. Sort of like the nicknames you give to an ex-boyfriend or nosey neighbor, but they are probably kinder.

5. How do you see your work evolving in the future?
Bigger and more sculptural. I would also like to create environments and installations that incorporate sound and technology.

6. Is there a particular size or medium you prefer
working in?
I have been working small scale. I loved making the 5" x 7" pieces for this show. It keeps me simple and direct. My background is in Intaglio printmaking. That has been an obvious influence on my current choice of working with encaustic medium. You can do much of the same effects in encaustic as you do in intaglio.

7. Please describe your studio where you work. Is it
chaotic, organized, in the city, suburbia or
countryside?
One word for my studio: Disaster. When I’m in creating mode I do the strangest and graceless things. I have wads of blue painter’s tape stuck to my wall. It would be just as easy to throw it away, but "whap" I stick it to the wall. I kick things to the side, step on stuff, stack things precariously knowing a disaster is about to ensue. My studio is my second bedroom in a small 1930’s bungalow in an old part of Bakersfield, CA. My studio seeps out into my living and dining room. I have orange, electrical cords snaked to different outlets because I’ve blown too many fuses. Right now, my dining room table is full of little wires with wax tips, collage papers, bills, dried plants and an empty cereal bowl pushing up into this mountain of stuff. Oh my, I think I have shared too much.

8. Do you listen to music while working?
I listen to music during different phases of my work. During the creative, thinking, planning and concentrating phase I like complete silence. During my favorite time, "carving time" I blast the tunes. I’m a hard-core folk music lover! Oh yes, you can rock to folk, let me tell you.

9. When working, what feelings do you feel?
I feel a mixture of emotions. I can feel excited, anxious, angry, frustrated, giddy, content and peaceful all during one sitting. It is like having a relationship with each piece.

10. How do you know when a piece is finished?
I have a physical reaction. I remember going on a two-week road trip by myself from Illinois to Montana. I had just finished reading the book, "Zen and the Art of Motorcycle Maintenance: An Inquiry into Values" by Robert Pirsig. During this self-proclaimed chautauqua, I had beautiful moments while sitting quietly in nature. One memorable moment was in the South Dakota Badlands and another on Avalanche Trail in Glacier National Park, Montana. I remember feeling my chest open up as if I were gasping inside. Honestly, that is what I feel when I create a pivotal piece. They are not all like that or need to be like that as each piece informs my next. Sometimes I just get a smile that says, yes, that is right.

11. Is there anything else you’d like to tell us about
your work?
I’m interested in patterns, connections, relationships and opposites. Recently, I had my friend Sue over for wine and to talk art. She asks the best questions that always pull me out of my head. We were talking about a work of mine called "Together as One." In this piece I had taken pages from a braille book and glued them to two wood panels. I then did a graphite rubbing over the braille so you could "see" the words. I then poured a layer of wax over the pages. I followed that by carving in images of pointy thistles. I liked the idea of seeing what you should feel and feeling something smooth that should be pointy. She said that sounds like synesthesia. Synesthesia is a neurologically-based phenomenon in which stimulation of one sensory leads to automatic, involuntary experiences in a second sensory. That is when I discovered I had a form of synesthesia. When my eyes are closed, I see distinct colors for each defined sounds or tones I hear. Thanks to Sue, I had a profound moment of connection to who I am and what I do.

What goes into art or not...

I went to my favorite antique store for inspiration, The Great American Antique Mall. I always find it in their bargain basement. Yesterday it was 20% off! Can I get a "Hell Ya!"

Well, I found the perfect thing. It was a wood square frame (dove tailed) with two metal screws with hockey stick ends drilled through each side and meeting in the middle. Joining the two screw ends was this threaded, 2 inch, oblong metal ring. The screws didn't quite meet in the middle, but with some fussing I could thread them closer or farther apart. I had visions of placing some little balled thing in the middle and bolting it to one of my encaustic covered wood panels.

Well, I'm holding all my treasures in my arms like a schoolgirl holds her books and the shoe was dropped. "Are you planning on buying that?" Says Jack the storekeeper. "Because we use that for our bed frames. It isn't for sale."

Damn.

He was nice about it, but DAMN!

So, I'm a collector of odd, rusty things that sometimes make it into artwork:
"Bugird"

"Teeter and Totter"


Or they are a little more refined and subtle like the antique book in "When Silent":



And sometimes they are just art in waiting:

I was so happy when I found this 1 ball. While shopping, I was gleefully tossing it up and down in my hand WHEN...you guessed it, I dropped it. It split in half. Shit. But, I think it will be easier to incorporate into something. We'll see.

I'm excited about that tool:


Sometimes they are just inspiration like this "Dirty Sock Boy":

Influence through Improv!

My "Influence through Improv!" leadership workshop has been booked for a conference! I'm a scheduled speaker for the United Way Professional Development Conference for Non-Profits on February 26.

My workshop description:
"Influence through Improv": Let go of “looking good” and embrace “being in the moment!” Within this creative workshop, we will explore taking risks in a safe environment to unleash your inner “real character.” As a group, we will use introductory improv techniques to improve your ability to listen, trust yourself and influence those around you. Leave your thinking self at the door and be ready to say “YES!” to play.

My workshop isn't just improv games, although we do a lot of them. The critical piece is helping the participants make the connection from the abstract activity to what they do everyday. I emphasize the "What will you do differently when you leave here today?" coaching method. Recently, I facilitated a program with 45 executives in Lake Tahoe. The energy in the room went from groans to cheers. I worked closely with the Vice President of the group to make sure I made connections to their plans for 2008 and what it meant to be an aspirational leader. I've finally combined my 12 years management, leadership development and coaching with art, acting and writing to help create creative connections between business and art.

This was quite the contrast from a Improv workshop I did for a group of sixty 3-5 year olds in the Children of Migrant Farm Worker program. With the assistance of two performance artists we told a story as a large group. As I told the story, the dancers acted it out and when we needed sound effects I pointed to a picture of a dog, cat, wind or rain. The kids barked, meowed, stomped and clapped throughout the story. What a hoot!

Stay tuned...I'm working on an art class for business professionals! Oh my!

Grantwriting Thrill Seeker.

Instead of spending hours on a rubber stamp this week, I spent it on writing a grant!

I found out about this grant about a month ago and waited until 3-days before it was due to really hammer it out. Oh so, Julia. I think I like the rush I get from saying, "I'm not going to do it...I just don't have time" to "Give me a cup of coffee and I can get anything done!" It is the thrill of overcoming the impossible.

The Center of Cultural Innovation is offering two grants to California artists funded by the James Irvine Foundation. The Grant for Artistic Equipment and Tools and The grant for Presenting and Marketing your work. I am putting in for the equipment and tools grant.

My angle for my grant was the need to push my work into a larger format and doing that in a healthy and safe studio environment. So, I asked for money to purchase the following items:

Hot Plate 24" x 36"
Air Purifier
Repspirator
Art racks
Studio work tables
Lighting kit

My grant was for roughly $3,777.00. As The Secret says I should say, "I now have $3,777.00 to improve my studio!" You ask the Universe and you shall receive. I'm asking, I tell ya!

I'm also excited about their education classes coming up. Take a look at their -> calendar.

Not to fear my readers who do not live in California. I've included another link -> Here <- to help you find a grant opportunity.

And for you greedy California artists-> Here <- you'll find more resources.

Wait, there is more? Yep.

So many links, so little time!

I'll keep you posted on my grant results!

Breaking Ground StUUio

It is the first day of the new year and I was going to get so much accomplished.

Task List:
Clean the house. Not just pick-up, but really dig in.
Pay my bills
Review my 2008 budget
Write the grant for studio equipment - due Friday

What I actually did:

The making of the "Breaking Ground Studio Stamp!"

I drew out my design with a sharpie on paper:


I carved it in a rubber stamp and printed it on my "What White Rabbit?" mailers:


I printed about five, when I noticed is said: Breaking Ground StUUio.

Here was the brainchild fix:


The final version:


I really accomplished something today!

Obsession, Frenzy, late hours and jalapeño poppers

I'm not sure what happened, but I've kicked into gear again. I have these sometimes lengthy bouts of artistic uncertainty, self-loathing and general sloth-like qualities. And then when mercury finally goes out of retrograde (I blame mercury for everything) I feel the fire nipping at my tail. This reminds me of my first official dirty dream...let me digress:

I think I might have been 7 and I woke from a nightmare that left me feeling, well, embarrassed. I was in a dark and wet cave. (hmmm) There was chanting and a blazing fire in the center of the cave clearing (double, hmmmm). Swinging from the ceiling was a barbaric contraption. Basically, it was a swing with a hole cut out of the center of the seat. Sitting on this swing, was Pluto. He had been very bad, bad dog. The swing was slowly lowering over the flame and as I looked up at him, I clearly could see his butt. It was much like a real butt and completely rosy from the raging flames. Then I woke up and thought, I just saw Pluto's butt!


So, the fiery flames have been nipping and I'm actually spending late hours in the art studio. My recent Etsy store has been the inspiration. I now have ten items ready for the big, flood of sales I expecting to happen. Any day now, maybe today, the end of the week?

In a nutshell, here is what I have done to get this together:

- Opened an Etsy account last year this time - didn't put anything in it.
- Purchased a digital camera
- Actually posted my precious "These Hippos are Happy" painting that I hope finds a perfect home.
- Created a limited edition print of "What White Rabbit?" using iolabs out of Providence, RI
- Signed and Hand-embellished 60 limited edition prints with encaustic to make them one-of-a-kind (this seriously took a very long time)
- Debated for a day whether to go with kraft color flat mailers or white flat mailers - chose kraft
- Created a "How to Care for your new Print" flyer for insert
- Created 8 new pieces of artwork in the past month
- Purchased a tripod because the anti-shake on my camera isn't worth a damn
- Photographed all my new work to post
- Sent out two Myspace bulletins announcing shop
- My mother sent out an email announcing my shop (she has done this twice) - I know, don't say it.
- Sent out an announcement email to my contact list
- Sold 3 pieces off my site from that mailer and 3 pieces locally
And now, I'm sitting on the Etsy forums trying to get any hints and tips on what else I can do to promote my work

OK, so that is a general list of the things I've done.

Here is what I learned thus far:

- The outlay of cash for prints in enormous and is more work than you think for the "potential" profit.
- The Etsy forums suck you in, but are hard to get into the "in" crowd. I feel like I'm a freshman in High school trying to find a seat in the cafeteria.
- I have to open a Flickr account. I guess people get a lot of traffic from it.
- Don't stay up until 4:00 in the morning trying to get a "Treasury" to curate other people's work. This was fun when I did it, but short lived. It will expire in two days and the rules tell you that you can't blab to your chosen that you chose them. Bummer.
- Like I said, the forums suck you in. Decide what information you may want from others prior to jumping in. This can assist your focus. I found myself spending countless hours in the "Etc." thread reading about relationship troubles, holiday gifts received and the worst yet has been "Show me your 'insert any color here'!" This is where you post an item from your store that fits the color scheme. I love this game, but at the same time it feels a lot like playing the Deal or No Deal DVD game. What's the point.

I almost forgot...

Jack-in-the-Box Jalapeño Poppers are really, really good.

New Online Store!

Come check out my new online store at www.JHeatherwick.etsy.com
Keep checking back as I'll be posting more items soon.

Audio Project!

Check out my new audio project Myspace page at: Audio Project

I just posted a little diddy about my experience at a Coaching Conference! It is a one-take improv audio with no edits.

Doing the Nudie Flapperesque Bunny-hug Shimmy

San Francisco always offers me visual delights, good food, weather I love and interesting friends. My good friend John Held, Jr., a mail/stamp artist, curator, gallery director, fluxus plus archivist and fake folk artist, always offers up interesting conversation that teeters on the edge of bizarre. A few weekends ago the bizarre intellectual exchange got visually physical.

He invited me to an event in a four story victorian mansion off of Alamo Square, just a 90 degree angle from the famous seven sisters. He wasn't sure what the attire would be, so I put on the good ol' go to lil' black dress and my three inch heels. I teetered precariously on my left over heels from my big moaning performance of the Vagina Monologues at the Henry Fonda theatre. San Francisco isn't the park right in front of the event type of town and I found walking four blocks uphill to be a challenge, maybe even a performance piece of its own.

We make it up the stairs to the double doors of a dark green, amazingly restored victorian with a square, glowing crow's nest perched four stories at the top, waiting for my arrival. We walk through the doors to the blaring sound of scratchy, 1920's music and a mingling mixed crowd. We pay the $40 dollar suggested donation and weave our way through the house. In the main room, with moody lighting, five semi-nude women in thigh-highs, long strands of pearls, fantastic headdresses, see-through sequins and wearing thick red lipstick lounged cat-like as if in an opium den.

Chairs were placed in a semi-circle around them with very serious looking men and women sketching in small journals and on large drawing boards. Brushing enthusiastically by me, one woman stated, "I'm inspired to write some poetry!" The cynic in me chuckled as I wondered about her inspiration..."On the chair she sat, much like a painted cat, posing like Jessica Lange, wishing for the music to change and hoping she doesn't look fat."

Oh yes, I was inspired too. For a small donation you could grab a few art supplies, some wine and join the drawing party. I did, but was soon discouraged by my lack of focus and lazy sense of line. I folded my sad little drawings, shoved them in my purse and proceeded up the stairs to the crow's nest. Atop this mountain of a home I found a 360 degree view of the city that offered me more sense of awe than the lovely ladies in peek-a-boo panties.

I turned to John and thanked him for bringing me to the nudie, flapperesque non-barney-mugging, visual feast. This was truly the bees-knees, the cat's pajamas as I sunk into the comfy chair perched atop the city in my nest.