Welcome to the 271st installment of A View From the Easel, a series in which artists reflect on their workspace. This week, artists use biking as a tool for exploration and enjoy the company of California critters.
Want to take part? Check out our submission guidelines and share a bit about your studio with us through this form! All mediums and workspaces are welcome, including your home studio.
How long have you been working in this space?
Seven years.
Describe an average day in your studio.
I usually wake up early, drink a glass of warm water, light an incense stick, and head to my studio which is located upstairs. I start with a few warm-up sketches. If I feel frustrated because something didn’t turn out the way I wanted it to, then I read an art or poetry book or go through the archive of old works. Browsing through them helps to get inspiration. I make it a point to go to the studio even if am not actively drawing. Most of the time I do work on a few pieces at once. I use ink and gouache a lot so I would make a new drawing while the first one is still drying. I put on different types of music depending on my mood — it’s usually Tamil movie tracks, African drums, world music, and Carnatic.
How does the space affect your work?
I live in the foothills and my house is surrounded by lots of oaks, pines, and native plants and shrubs. There are plenty of wild birds, as well. I am a loner, so I like the solitude I have and love the quietness of the place.
How do you interact with the environment outside your studio?
My location is a little further from the actual town which is pretty small. The arts center used to have events pre-COVID. Right now my immediate community is the wilderness and its inhabitants, so it’s the critters and me once I step out of the house. Since I am a certified California naturalist, I enjoy recording or taking note of what’s happening in the natural surrounding, hiking, and walking with my husband. I also bring my drawing tools when we go out in the summertime and draw onsite. I am very much connected to the place.
What do you love about your studio?
The size. It’s somewhat big and I can work on several drawings at once.
What do you wish were different?
More windows, light, and a skylight window.
What is your favorite art material to work with?
Ink, gouache, graphite, other dry medium(s), paper, fabric, and plants.
How long have you been working in this space?
Two and a half years.
Describe an average day in your studio.
Music is a non-negotiable aspect of my studio practice. I feel like music is a medium I understand on a spiritual level — like I can feel everything the musician or DJ felt at the time of inception. I think this attraction to music originated in my childhood, as I grew up Protestant and without the “traditional” Catholic imagery people think of when they think of Latino America. My daily routine varies, but generally I begin my day with a cup (or two) of coffee and then proceed to look at my digital calendar. I like to think I’m unorganized, but really I try to plan my week ahead of time. I don’t have a car, either, so my purchases must be intentional and feasible with a bike, and I grew up very resourceful. My studio practice reflects that resourcefulness, that need to search continuously for inspiration or for new materials that challenge me. Though my week can be pretty planned, my days are full of spontaneity and I almost never allow myself to sink into the feeling of guilt or shame about not getting enough work done, which pushes back against the American work ethic. If things happen, they happen, but if not I make up for it somehow. I “clock in” to my studio usually in the afternoon. I love staying up late and waking up early, but having both is unrealistic for my mental health and I normally think best after 12pm. When I’m not in my studio, I think about my space, about my paintings, about the imagery that excites me and makes me want to return each day.
How does the space affect your work?
I love my space deeply. I remember when I first stepped foot into the white-walled studio. It felt empty without paintings on the walls, but I knew that would change quickly. My setup has changed at least once a year, or sometimes every semester, and there is currently a large clearing in the center of the room for the foam paintings I’m developing. My studio gets quite messy, but I thrive in that chaos and I know where everything is intuitively, from that small X-Acto blade to that shriveled-up tube of random paint I’ve had for a decade. My palette has a large build-up of space, but I somehow see right through the gunk and make my color decisions based on sight and speed. The chaotic energy of my space reflects the multiple directions I’m consistently pulled in and helps me experiment freely without judgment, but with refinement.
How do you interact with the environment outside your studio?
I’ve connected most powerfully to the communities I’ve lived in through riding my bicycle. I’ve had many bikes since I was a child roaming the streets of my Bronx neighborhood, and lots have gotten stolen (rest in peace babies). Biking has provided me with a sense of agency and freedom to see weird alleyways and normally inaccessible parts of neighborhoods. I have an almost immediate memory when biking and can remember the ins and outs of the town I live in, which is currently Bloomington, Indiana. I love taking note of the normally unnoticed — the funny animals, unique foliage, fashion sense. The way the sun sets in the Midwest feels different than the East Coast. There is a strong sense of community in this town and I love attending opera, ballet, or theater with a group of friends or even solo. The painting community is present, as well, and art openings are a must for me to be aware of who’s doing what on this scale. In previous years, I’ve worked as a waiter in restaurants and my weekends were never spent on painting. Now, I take full advantage of anything entertainment-related.
What do you love about your studio?
I love the aesthetic of the building. I am a huge fan of architecture, and the visuals of a space are important to me. My studio door is heavy and, funny enough, that’s one of the features I enjoy interacting with most. Because of its weight, I always feel accomplished when I push it aside, even if it’s just to take a nap on my couch. I also love the wall closest to my window … so many memories of friends are on that wall and their energy lives in my studio, too. It has been a safe space for my friends and me since arriving in August 2022.
What do you wish were different?
A larger window would’ve been great! I’m sensitive to light capacity and though my studio does have good lighting, I would’ve loved to be able to open my window and take a peek outside. The fire escape nearby is a great substitute, though.
What is your favorite local museum?
The Eskenazi Museum on campus is my local favorite. My access to museums is limited due to transportation reasons; if I owned a vehicle I’d be visiting the Museum of Contemporary Art in Chicago every weekend. But the Eskenazi’s design allows for an incredible amount of light to shine through and I respond positively to that. The contemporary gallery is constantly in rotation, allowing for new stimulation, and I appreciate the overall layout of the other quiet galleries.
What is your favorite art material to work with?
Paint. Though most recently insulation foam has captured my heart. I’m currently working on my thesis show, experimenting with sealants, foam, and shiny new material, but through all the experimentation I’ve really realized that I, at my core, love oil and acrylic paint. Its immediacy excites me, the way the paint spreads out on a panel or canvas just can’t be beat. While I love new materiality in my practice, my heart will always return to paint.
