2021| The ART of IMPROV with Grace Summanen

August 15, 2021

I am excited to welcome, another InTandum pARTner, artist Grace Summanen to share with us about her experience with improvisation. I met Grace through a crit group via The Artist Mother Network and thought of her immediately when the idea of getting together to talk about art with a partner was sparked. Her work and openness to the flow of process has inspired me to be open in new ways, what a gift!

Grace, originally from Ashtabula, OH, currently lives and works in Euclid, OH with her husband and three children. Her artwork pushes traditional definitions through material exploration and systematic approaches to abstraction. She works in various media including relief painting, installation, and works on paper. She received her MFA in painting from Kent State University in 2011 and her BFA in painting, drawing, and printmaking from Carnegie Mellon University in 1996. Grace has shown at numerous locations in Northeast Ohio including Abattoir Gallery, Zygote Press, Spaces, Waterloo Arts, and Yard Projects. She has shown nationally in group exhibitions including To See Is To Have: Navigating Today’s Art Ecosystem at the McNay Art Museum in San Antonio, TX; Big Idea at the Painting Center in New York City; and surface/material at the Pittsburgh Center for the Arts. Through teaching, Grace has shared her love of art with students at local universities including the University of Akron, Lake Erie College, and Lakeland Community College.

What does working improvisationally mean to you? How would you define the ‘Art of Improv’?

The creative process is about discovery. You must work improvisationally to be open to possibilities. I often have an idea of what I want to do but abandon it once I work with the materials. My process is rooted in material play to see what is possible. It is fundamental to my art practice.

Have you always worked improvisationally?

Yes, I think it is my nature in life. Have a plan but react to what comes.

Do you work improvisationally, consciously, intentionally? If so, how do you begin? If not, how do you find yourself getting there?

As I said above, I have ideas of what I might do, but I usually abandon them while working. It helps me to have structure to react to, but by now I know I am not married to my initial ideas. They are more of a way to start. I think there is both intentionality to my process as well as improvisation. I do consciously evaluate my work, but when I am in the process go with what is working.

***T-shirt Mixed Media*** Grace Summanen

How often do you work with improvisation? My process is a back and forth of intentionality and improvisation. It embodies the elements of yin & yang. Every time I work, I do both.

Please share a bit about your process. Do you have methods to getting started? Do you have tricks to getting unstuck? Do you have motivators to finishing up?

I usually pick materials and see what happens. My initial process is to feed off of the last work. Elements or process I thought could be explored further. I collect materials & surfaces. I prep the surfaces & use latex paint to “glue” material to my support. The first few layers are to transform the material to a hard surface but also to create history. I use dry brush with complementary colors to create contrast. When I get to a point where the work is starting to solidify, I switch to acrylic paint. I think about color and how the workflows. I hate to waste paint so when I am at this point, I will use left-over paint on a work that is unfinished or just beginning. It can help move it along in a direction I had not thought. I usually leave a few days between sessions. I find when I come back a few days later a work I wasn’t sure about is finished, or one I thought I was sure about is not. I don’t know how that works. It seems when we are too close to something we cannot see it. We need distance.

Other motivators are researching other artists. I find Instagram good for this. I see work I like & I get inspired. Having conversations with other artists helps as well. Going to look at work in person at galleries or museums. I teach. When I am into a class, I am often inspired by the students. They keep my head in the game. I don’t worry much about struggling with my work anymore. I do still struggle with it. I just keep working. It always balances out. I don’t have to like all of my work. These are good things to know, even though I still do struggle with them. I also journal to help my mind. I started a gratitude journal a few months ago & am surprised how much it helps. I work on myself to stay inspired. The creative process mirrors the life process. I try to keep this in mind. When my work is going well, I am feeling well.

Where do you find inspiration? How do you use it?

I find my inspiration everywhere. My art practice is connected to my life. There is a video I watched of Richard Tuttle. He said something like “Art is about life. All of life.” That resonated with me. I mentioned some inspirations above under motivation. I am inspired by nature and life. I love to read & look at art. I get really inspired by how some artists use materials. I love the history of art. My students inspire me. I know I lead them, but they don’t know I waver in my convictions. Hearing their reactions to art, inspires me I am on the right path. I have always been interested in science, philosophy, and spirituality. This curiosity about life pushes my art. Art parallels life. Through my work, I am searching for meaning.

What advice would you give to someone interested in trying to work improvisationally. Can you share some good advice that you received that helped you become more comfortable this way?

I would advise there is a flow to the process, much like life. There are good days & bad days. The creative process prepares you for this. It is a helpful life skill to be open to struggle because it will come. I think repetition has made me comfortable with the process. I have failed so many times I don’t worry about it. I know it will work again. I also understand not everyone will like what I do, but some will enthusiastically. This is ok and to be expected. I can’t think of any specific advice, but I did have some pivotal teachers. They believed in me when I did not. That was priceless. I am grateful to them.

How would you finish the sentence, ‘What if, . . .?’

What if, what?

What is something you always say ‘Yes and. . .’ to?

“Yes, and no.”

I am constantly questioning myself. It is part of the duality I struggle with. Am I right or am I wrong? Is there right or wrong?

Who is someone you would love to hear from about their work with improvisation?

There are so many. I am inspired by many artists including Richard Tuttle, Lynda Benglis, Allan Kaprow, Jackson Pollock. Some artists I know that have inspired me as mentors or peers: Gregory Coates, Laura Domencic, Martin Ball and Michael Kessler.

What are reading, listening to, watching, or any other inspirational obsessions you would like to share?

I am currently reading, The Art of Living by Crispin Sartwell. I have not been watching anything inspirational. What I have been watching is reruns of Modern Family with my 13-year-old daughter. I have never seen it. It is nice to bond over. I have been immersed into the idea of mindfulness. I have been practicing gratitude, meditation, and trying to ease back into yoga and physically activity. I am interested in the ideas of integrative medicine where you treat the mind and body with healthy life practices. It’s Spring so I have been gardening and bird watching. I have also taken up herbal teas. I have 3 kids; balancing life can be a challenge. I am working on that. I want to be present for them as well as myself.

Thank you Grace! I totally get the challenge of balancing work and kids and art making! It takes a lot of improvisation and too embodies the elements of yin and yang. I like to think about the idea of the process of art making embodying both intention and improvisation, it is a balancing act and as you say 'have a plan but react to what comes’, this is great advice not just for those who make art but for those who want to be more grateful and mindful in all aspects of life. The tools of improvisation are invaluable tools to focusing on what matters in art and in living a good life, no? Another gift my friend. . .

To learn more about Grace and her art, please visit her website at www.gracesummanen.com and check out what inspires her regularly on IG @gracesummanen.

Contact Jen at the art of improv

2021 | The ART of IMPROV with Bob Bosscher

July 04, 2021

Bob Bosscher is an artist living and working in Denver, CO. While he has lived in many different places while growing up, he eventually settled in Michigan for college where he studied Studio Art and Art History. His study and creative work has included ceramics, painting, and other mixed mediums, his current passion lies in fiber and textile art - with a focus on quilt making, and hand work. Because of his love for Art History, his influences extend beyond the quilting world, and include a love of the art of Mark Rothko, Monet, Felix Gonzalez Torres, and Shoji Hamada, just to name a few, but all artists informing and inspiring different elements of what he beautifully creates. Bob also has many years of experience teaching and he loves helping new makers explore their own creative process. I personally know him as a generous, inspiring and committed maker and am thrilled to share his work and experience with The Art of Improv and know he will inspire you to look, see and try things in a new light.

What does working improvisationally mean to you? How would you define the ‘Art of Improv’?

For me working improvisationally means allowing the materials to dictate the design. It is an understanding of play and spontaneity that allows a work to seem unplanned and fresh, but still cohesive to the whole of the work. In quilting, it really is about letting the fabric and process dictate in the moment, elements of the final design. It doesn’t mean there aren’t rules, but the rules guide the process instead of planning the final result.

The Art of Improv comes from the practice and repetition of the experience, allowing your instincts to develop so that once can be more confident with what is being created. In my opinion, great improv comes from a rigorous practice, becoming more familiar with the method and gaining an understanding of how the materials inform the process, and how the process transforms the materials.

Have you always worked improvisationally?

No not really. I would say I often incorporate elements of improv into my process, but the majority of my quilts look very structured and planned. I tend to lean into finding the balance of planned and improv elements, rather than an entirely improv experience. Because I often have an end goal or idea in mind, I try but don’t let my improv impulses completely derail my idea, and if the improv is leading in a drastically new direction, I’ve become more comfortable pausing and taking that new direction in my next quilt, as opposed to completely changing the work in progress.

Do you work improvisationally, consciously, intentionally? If so, how do you begin? If not, how do you find yourself getting there?

I would say I tend to work intentionally. In my quilt making, I will often have an idea, with a fairly clear end goal in mind for how I want the quilt to generally look, however I’ve found that I tend to incorporate improv in my layout process. I will have my fabrics cut, I will know the general goal, but in the layout process, I will try to get into a flow, one where I’m not consciously focusing too much on specifics of where things are going, but trusting my instincts for placement of the different fabrics. I try to do this process fairly quickly so I don’t have a chance to over think the process, and I try and minimize the number of edits or rearrangements I make after my initial layout.

How often do you work with improvisation?

There are elements of improvisation in almost every quilt i make. Sometimes it’s quite subtle, where it might be a last minute substitution of just a block or two as I’m piecing, or it might be an in the moment decision to change the quilting for one block or section to make it slightly different from the rest of the quilt. Sometimes it’s just in the fabric pull itself, or the layout of the fabrics, but it is those little elements that also take a standard quilt and turn it into one that is unique to my mind.

Please share a bit about your process. Do you have methods to getting started? Do you have tricks to getting unstuck? Do you have motivators to finishing up?

I sketch a lot. I have a lot of ideas that I work through on graph paper, with the intent of clarifying where I want to end up. once I have that end goal in mind, I often let the process run itself - I really rely on instincts for fabrics, color placement, and quilting design.

Getting unstuck for me is about looking at the images or initial sketches that inspired me to begin with - that often helps me remember the goal I had in mind that started the quilt, and that will usually lead me to a finish line fairly quickly. Since many of my quilts are a reflection of a personal emotion or experience, recapturing and revisiting those emotions will often help me get back on track when I’ve veered away from my goal.

Where do you find inspiration? How do you use it?

I find inspiration everywhere, in lots of different things, and I have a pretty insatiable curiosity. Museums, gardens, reading books, looking at art works from all eras… so many of these things spark emotions or remind me of experiences that I’ve had, and I use those as a starting place for my making. From there I attempt to translate my feelings and experiences into a design (although often there is a pretty specific mental image that is associated with the experience) and I sketch and draw and refine and redraw until it’s at a point where I’m ready to translate it into fabric.

What advice would you give to someone interested in trying to work improvisationally. Can you share some good advice that you received that helped you become more comfortable this way?

Start small. You can begin with lots of rules and guidelines for yourself, with just a single element of in the moment improvisation. Limit yourself and use up scraps to try things. Don’t be afraid of making mistakes. It’s not precious. Don’t be afraid of knowing you’ll never put what you’re sewing in a quilt. Push yourself to take something you’re working on too far. Know what that feels like so you can identify what ‘too far’ feels like next time. Use dice and make up rules for what you do when you get each number - roll the die and follow the number; this helps to get you going and not needing to make decisions in the moment and to just let things happen so you can be more comfortable with the process. And then, break all your rules. Trust your instincts. And practice, practice, practice.

***Emotions No. 4 : Anxiety : Consternation, trepidation, perturbation*** Bob Bosscher

***Emotions No. 5 : Sparks*** Bob Bosscher

How would you finish the sentence, ‘What if, . . .?’

I often finish this sentence with a ‘What if I change just this small element at this point in the process’ usually as I’m piecing and sewing everything together. I’ll just get a feeling that I need a little bit of a different fabric, or some of the blocks need to be swapped in the moment… I try not to go too crazy but I allow myself the room to play.

What is something you always say ‘Yes and. . .’ to?

Shades of the same color when pulling fabric. Yes to this color, and to the 2 other shades that are just slightly different. I love playing with color in that way to create dimension and depth to a quilt design. Havin 3 slightly different reds or greens often creates a secondary movement to the design beyond the piecing.

Who is someone you would love to hear from about their work with improvisation?

Lisa Solomon. Her color meditations with watercolors are just magnificent and remind me so much of improv quilting, and I could listen to her talk about color all day long.

What are reading, listening to, watching, or any other inspirational obsessions you would like to share?

I’ve been falling down a rabbit hole of birding lately, and although I come from a family of nature lovers, I’ve really enjoyed getting out and exploring the great birding locations nearby me this spring. It’s forced me to slow down and really observe what’s around me. Which is a really good thing to do while making as well - slow down and observe.

Bob, thank you for sharing your work and ideas on improvisation with us! I really love your perspective, and relate to your relationship to fabric, letting it and the process dictate what it wants to become in the moment. This can happen in tiny ways no matter how planned out what you are creating is. It is a gift to be able to chooses to accept or deny it in the moment. To me that is exactly why/how I feel every artist uses improvisation. It doesn’t have to be obviously playful, or put together in the spur of the moment, it is recognizing that the plan will incur its diversions and it is in how far we let those diversions go. Thank you for helping me articulate that! I also love how you talk of color in your ‘yes and. . .’ response, you have a wonderful way with color, and I could listen to you talk about composition. . . repetition, movement, texture. . . all day long! You have a wonderful eye and it shines through so beautifully to your hand, don’t get me started on the meaning. . . Do make sure you check out more about Bob and his work, his ‘Thoughts + Words’ is brilliant, and his statement on why he quilts is worth the trip. . ., to his website at rjbosscher.com and find him on the regular on Instagram @rjbosscher.

Contact Jen at the art of improv

2021 | The ART of IMPROV with Michelle Gallagher

June 20, 2021

I am excited to welcome, my InTandum pARTner, artist Michelle Gallagher. I met Michelle through Instagram on The Jealous Curator generous post inviting and encouraging artists to team up with another artist to hold them accountable and discuss their art regularly. Michelle bravely asked if anyone would be interested in partnering up. Right there on the feed! For the whole world to consider! I mean what is more improv than that? I was drawn to the idea of teaming up with a stranger and was really in awe of this creative bravery so I reached out and we have been chatting regularly ever since. Michelle is currently living and working in Germany, other the other side of the world and I am always amazed at how very similar our lives as artist mothers are. . . So without further ado, let me welcome Michelle Gallagher.

Michelle is an artist, whose work and practice encompasses sculpture, drawing and printing. She often uses clay mixed with traditional printing techniques, embellishing, and adding texture and imagery to surfaces. She studied fine art sculpture and art teaching in Limerick, Ireland. Since, she has lived and worked in a variety of countries from Ireland to Botswana.

What does working improvisationally mean to you? How would you define the ‘Art of Improv’?

To me it means ..following the idea...the material…the thought...finding the rhythm in the work.

Have you always worked improvisationally?

No, when I was an art student...many moons ago! I would sketch out an idea and want to make an exact copy of the sketch. Now...I still sketch out the idea…very roughly...sometimes I keep the idea in my mind...and I allow the material and piece dictate the outcome ..it is intuitive these days...a partnership with the material.

Do you work improvisationally, consciously, intentionally? If so, how do you begin? If not, how do you find yourself getting there?

An idea or thought forms...sometimes I sketch it out, I write it down...mull it over. I research the idea especially if it relates to language perhaps an idiom or saying. I also research the shape and form of the object I might be working out an idea on. I usually have a concept and do some research to clarify and formalize...But I always have to remember the piece will guide me...be intuitive...follow the path.

How often do you work with improvisation?

Always, the material dictates the process..as I work it’s a meditation with the material.

Please share a bit about your process. Do you have methods to getting started? Do you have tricks to getting unstuck? Do you have motivators to finishing up?

I really enjoy baking to get my thoughts into a different headspace, walking in nature and listening to the world around me and switching off really boost my mood and thoughts.

Where do you find inspiration? How do you use it?

I love listening to podcasts, reading, music...chatting with friends going to galleries watching movies, poetry, language nuisances...the list goes on and inspiration can come from anywhere. Something I have read, seen, heard...I just need to be in tune with it and be paying attention.

What advice would you give to someone interested in trying to work improvisationally. Can you share some good advice that you received that helped you become more comfortable this way?

Let the material be your guide.

***Tools of the Trade*** Michelle Gallagher

How would you finish the sentence, ‘What if, . . .?’

What if we had gender equality worldwide.

What is something you always say ‘Yes and. . .’ to?

What’s the worst that can happen, why not...let’s see...

Who is someone you would love to hear from about their work with improvisation?

Anyone?

What are you reading, listening to, watching, or any other inspirational obsessions you would like to share?

Currently reading ‘Once upon a river’ by Diane Setterfield, and ‘Wolfpack’ by Abby Wambach. Watching Shitts Creek and Bloodlands (BBC). Listening to lots of different podcasts, music & Irish radio.

Thank you Michelle for sharing with us! I really love this reminder to let the material be our guide. It is an important reminder as we can forget that we are not in this making business alone are we? Without our material we have nothing, at least nothing to show. . . The material has a major say in how it goes and how you work with that material, how loose or how controlled you are can determine how loose or how controlled the material ultimately is. I love this so much. I find we can get in a rut with the material, always working it in the same ways. One of the things that I love about ceramics, which is a material you work so well with, is all the different ways in which it can be manipulated. It is a wonderful reminder that you can push your material all you want, but sometimes it is definitely going to push back. So true with so many things, no? Don’t get me started with baking!!! Thank you for reminding us all too, that it is important to ask, in not just art making but elsewhere as well, ‘why not. . . let’s see. . .’ This is a wonderful way to go with the flow and discover new things. . . a wonderful way to see how art impacts life. . . it has given me a lot to think about, to be inspired by. . . just like our InTandum chats! Thank you for being brave and helping me to be brave and again for sharing your work and thoughts/process on improvisation with us all!!!

To learn more about Michelle and her work please visit her online at www.michellegallagher.online and check her out on Instagram @mgallagherartwork

Contact Jen at the art of improv

2021 | The ART of IMPROV with Melanie Tuazon

June 06, 2021

I am so pleased to welcome artist Melanie Tuazon to The Art of Improv. Melanie Tuazon is a quilter and fiber artist whose process includes a spectrum of improvisation. She enjoys incorporating planned and unplanned design elements and techniques, which repeatedly use curves, skinny piecing, and beautiful handwork. Much of her work explores how modern domesticity, feminism and identity intersect within the context of quilting tradition. Before she started quilting in 2011 she was a journalist who wrote about creative people for trade magazines. After becoming a mother she was drawn to her own creative practice and the modern quilting community. She was president of the North Jersey MQG from 2013 to 2015. Her quilts have shown and won ribbons at Houston Quilt Festival and QuiltCon, where she was a faculty member in 2018, 2019, and 2021.

What does working improvisationally mean to you? How would you define the ‘Art of Improv’?

Working improvisationally for me is about listening to my inner self when creating and making things that nobody else could make. I’m a quilter, and therefore there exist a lot of choices involved in my art process. Improv for me is about finding a point along the spectrum of choices made before sewing and those made while sewing, continuously assessing and adjusting. I have taught this framing as “Planned and Unplanned,” finding a personalized process that feels supportive but open to discovery and serendipity at the same time. For me, the “Art of Improv” is the practice of making choices that connect to inner voices, making them visible and tactile, telling their stories.

Have you always worked improvisationally?

In ways yes, in others no. I learned how to make quilts from patterns, but I found that I wanted to make my own designs using my own methods, and transitioned to improv as my skills grew stronger. As a child I was a terrible procrastinator and became very good at pulling something interesting together at the last minute, so I had experience with improvising in life. Quilting cured my procrastination by helping me to value craft and plan long-term projects, so I found a place to channel those improv skills in a healthier way.

Do you work improvisationally, consciously, intentionally? If so, how do you begin? If not, how do you find yourself getting there?

I use the spectrum of planned and unplanned elements in many ways, but the most useful one is by starting with a set of rules and improvising within them until I can’t help but break free. It’s like warming up a muscle until it’s conditioned to perform. In my most free and unstructured improv practice, I need to be in a very honest but dreamy place in my mind, and I get there by reading poetry, fiction, or listening to music. That’s how I warm up my improv muscles.

How often do you work with improvisation?

As much as possible. Since my improv process developed, I find myself delighted by the fact that the situations and choices that I make are uniquely mine. I try to keep my technical skills sharp, and I follow patterns for very special people, but I prefer to avoid knowing exactly where a quilt is going.

Please share a bit about your process. Do you have methods to getting started? Do you have tricks to getting unstuck? Do you have motivators to finishing up?

I always start with some kind of inspiration, whether it’s an idea, a fabric pull, or a technique/process. Then if I need more momentum I use making and breaking rules to find the improv rhythm for that quilt. I make blocks or slabs and arrange them on my design wall to see if anything looks off, or to guide the next step in the process. If I get stuck, my design wall is in a high-use room, so I take a break from making and look at it whenever I’m in that room until the next step makes itself clear. I don’t usually struggle with motivation because I use sewing as a daily practice and need something to work on. But sharing a finished product with the world is always exciting. I love the feeling of a finish and it pulls me closer as I get near. But I also find that I get the idea for the next quilt while the current one is near the end, so I’m usually excited to finish and start the next piece.

Where do you find inspiration? How do you use it?

I find inspiration in art that has layers of meaning. That can be literal, as in quilts, but I love how medium, technique, color, lines, subject, and intention can all work together to make a visual statement deeper. For example, my piece “Unruly” is about a feminine figure that is free from restraint. I was able to use improvisation to demonstrate the lack of regulation. I used curves for their relationship to femininity. The colors of the fabric were chosen to include skin tones of all shades. All together, the elements contribute to the intention and message of the piece.

What advice would you give to someone interested in trying to work improvisationally. Can you share some good advice that you received that helped you become more comfortable this way?

I had a huge mental shift in my process when I started seeing my uniqueness and perspective as a strength. As a beginner I learned by emulating other quilters, as many people do, and I found that I could customize the process in ways that made me enjoy both the process and the finished product better. There was no need to do something the same way as someone else if it didn’t serve me.

How would you finish the sentence, ‘What if, . . .?’

What if everyone felt free to make art like themselves?

What is something you always say ‘Yes and. . .’ to?

Friends who share their creative process with me. I love breaking down the thought process and coaching them through the realization of an idea or method.

Who is someone you would love to hear from about their work with improvisation?

Literally anyone and everyone. I love hearing about someone’s process, about the things that go through someone’s head when they are making. I find improv connections in artist talks across so many disciplines, from painting to performing arts.

What are reading, listening to, watching, or any other inspirational obsessions you would like to share?

I find so much inspiration in interviews with creative people in other media. I listen to podcasts while I sew, and I think my brain is primed for inspiration at those times. Recent inspirations that helped me see some of the universal properties of creativity are the writer George Saunders on the Maris Review and choreographer Andy Blankenbuehler on the Hamilcast. My playlists have been full of Emily King and Billie Eilish for awhile now. Whenever I want to be reminded of the timelessness of art I listen to the cast recording of Hadestown. And my kids and I recently finished watching all of Steven Universe, an animated show that was surprisingly and delightfully emotional.

Thank you Melanie! I am excited to check out some of these recommendations! I thank you for taking the time to share with us all here about your work and process. I love the way you emphasize the difference between what is planned and unplanned and that you can embrace improv with both. To me the beauty and gift of working with improv is it makes the times when the plan gets off track, as it always, inevitably does, a lot less frustrating. Once I began working more in an improvised way it really helped me deal with the disappointment that can sometimes happen when the plan doesn’t work the way you had hoped. For me it really starts to diminish the disappointment, and then you start to look for reasons to improvise and I find THAT so helpful in all aspects of life, not just art making. Sometimes you just need to let go and go with the flow. . . It has helped me embrace the adventure that is life!!! Thank you for sharing with me in this adventure. I share your love of hearing about others processes and thoughts while making it is truly inspiring and motivating to me, I appreciate you sharing your ideas and your unique take on working with improvisation. I find it so valuable, and I know it will be inspiring and motivating to so many.

To learn more about Melanie and her art, please visit her at melintheattic.com and check up on here on Instagram @melanie.tuazon.

Contact Jen at the art of improv

2021 | The ART of IMPROV with Laura Wennstrom

May 23, 2021

I am excited to welcome artist Laura Wennstrom to share with us about her work and process with The Art of Improv. Laura is a multimedia artist, working in two and three dimensional formats using quilting, found materials, color, and installation techniques. Her work has been exhibited in numerous group and solos exhibitions across the country. She received her BA in Studio Art from North Park University in Chicago and an MFA in New Media from the University of Illinois at Urbana-Champaign. Laura has a robust teaching practice and has taught classes to children and adults through the Minneapolis Institute of Arts, Bethel University, Parkland College, Urban Arts Academy, and the Minnesota Textile Center. Laura lives and works in Minneapolis with her husband and two young children.

What does working improvisationally mean to you? How would you define the ‘Art of Improv’?

Working improvisationally means making the art as it happens in the moment. Trusting my intuition. Working with color and shape and pattern is a process that comes out when I turn off my analytical, logical brain. "I am making it (up) as I go".

Have you always worked improvisationally?

Yes!

Do you work improvisationally, consciously, intentionally? If so, how do you begin? If not, how do you find yourself getting there?

I think I have always unconsciously worked improvisationally. I do pretty much all life things in life by jumping in and then figuring it out as I go. This sounds really morbid, but in most situations, (especially as a parent) I think through the worst case scenario and set that as the basement or metric for possible failure. As an artist, the worst case scenario usually is that I waste time or some materials, and I'm generally working with salvaged materials anyway, so that mindset is pretty freeing.

How often do you work with improvisation?

All the time. I find myself needing to completely start over, edit, and add constraints on a regular basis. However, I strongly believe that I am always learning from my decisions and I am getting better at trusting my intuition all of the time.

Please share a bit about your process. Do you have methods to getting started? Do you have tricks for getting unstuck? Do you have motivators to finishing up?

I generally work with textile based projects, and for most of the work I do I start with a set of materials that I have been collecting. Sometimes I "make material" and then use the objects or quilted pieces I have made as a larger installation. Recently, I have been working with smaller found textile objects to make tabletop sized compositions that are collage-like in nature. I have bins and piles and scraps all over and I generally just dig and play around until I find materials or compositions that are happy together. Sometimes this comes really quickly, sometimes a composition takes a few weeks. If I get stuck I move onto something else and am also okay with letting an idea die in the studio.

I work on a few things at a time or batch them together and like to separate the "thinking work" from the "labor" part of making. So one day I'll compose and plan out in the studio, and then I'll take the work back into the house to hand sew the pieces while I'm watching TV or hanging out with my kids. Sewing while watching TV is one of my favorite activities ever so I am always motivated to get some pieces going so I can have an excuse to sit on my ass later.

Where do you find inspiration? How do you use it?

I love thrift stores, garage sales, the backs of other people's closets, stuff left in the alley, weird excess materials destined for trash. For whatever mystical reason, I am drawn to certain colors, textiles, and materials. For a long time I ignored this part of my practice as a personal quirk, but now I understand that the collecting is where the intuitive part of the process begins. I am constantly mining the world for materials, fabric, and the materials I select that make it back to my studio have already been curated. In that way, what I am making is directly linked to what I have been scavenging.

What advice would you give to someone interested in trying to work improvisationally. Can you share some good advice that you received that helped you become more comfortable this way?

My sculpture professor in undergrad always said, "let the materials speak", don't force the materials into doing something they are not naturally doing. In this way, I have found a way to work WITH the materials and let the ideas emerge as I manipulate objects in space.

I recently read Sherri Lynn Wood's book "The Improv Handbook For Modern Quilters" and I love how she talked about beginner's intuition. I've been trying to lean into my own instinct. I always imagine a group of 3 church ladies/ quilting ladies looking over their reading glasses 'tsk'-ing the choices I make, accepting advice on how to make them going away. Why is my inner critic a group of church ladies? ew.

I've been thinking about a conversation a friend relayed to me via her sewing machine repairman, John, who said, "just because you can piece technically perfect quilt blocks doesn't make you an artist."

How would you finish the sentence, ‘What if, . . .?’ My kids just left me alone for just a few minutes? Parenting young children in a pandemic with no childcare is.... nuts. I am writing this to the sound of crying. However, when I have the chance for uninterrupted studio time, it is magic, parenting has pushed my intuitive nature to new extremes and it's refreshing to not overthink. THERE IS NO TIME TO THINK JUST MAKE!

***Ansister Prairie Queens*** Laura Wennstrom

What is something you always say ‘Yes and. . .’ to?

Wine and chocolate and my husband putting the kids to bed.

Who is someone you would love to hear from about their work with improvisation?

I am really interested in how other people edit their work. How do you know it is finished? What part of the process always surprises you. In what ways can we push the conceptual boundaries of improvisational work for serious inclusion in the art world?

What are reading, listening to, watching, or any other inspirational obsessions you would like to share?

I recently read Elizabeth Gilbert's Big Magic and I love the way she writes about creative work as it's own mystical, magic force. It was incredibly inspiring and encouraging.

Oh my Laura, I can relate to this all so much. Especially your process, the tinkering and I finally learned that it is ok to step away from some of it, not everything has to get finished now or EVER! The or EVER part was hard to accept for me because the work and time that goes into some of the explorations. . . the preciousness of time alone available while mothering. . . It is a real gift to finally get to understanding it is the time spent in the process of making and not necessarily the product of what is made that matters most!!! This understanding has led to some of my better work. Also I am SO motivated to always have something to hand stitch on in the evenings, then I don’t care what we are watching, it is a win win for my whole family. . . My kiddos are older, pre teen and teenagers, and I totally respect how hard it must be to be going thru the pandemic with younger kids. I am amazed at the lack of pause so many have taken to really appreciate the magnitude of what we’ve been and continue to go thru. Everybody is in such a fuss to stay on track, and I say what’s the rush? There is no deadline to living life, so what if all the kids graduate a year later? I know so many who would have plenty of responses to this, but I say there is no rush, life is not a contest or a race, it makes me giggle, because what is at the finish line, right??? Anyway I hope you are extra kind to yourself as you parent thru it all. Thank you so much for sharing your art and your thoughts on improvisation with us, it inspires and helps me, and I know many others, so much to learn and understand that we all have our own way with it.

To learn more about Laura and her work, please check out these links:

laurawennstrom.com, Laura on IG @laurawennstrom, Laura’s on Big Cartel laurawennstrom.bigcartel.com

Contact Jen at the art of improv

2021 | The ART of IMPROV with Carson Converse

May 09, 2021

The Art of Improv is back and I could not be happier to introduce you to artist and designer Carson Converse. After studying sculpture at Boston University, her interest in the decorative arts and architecture led her to complete a master’s degree in interior design from the New England School of Art and Design. She continues to work in a range of disciplines, often blurring the line between craft, fine art and design. Fueled by curiosity and a passion for the creative process, Carson draws from diverse inspirations when developing her hand-crafted art, interiors, and products. From designing hotel interiors to creating award winning modern art quilts, her work has a consistent focus on strength of form, materiality and attention to detail. Forward-thinking yet grounded in tradition, Carson’s work embodies a dynamic, modern sensibility. She lives with her husband and two dogs in Western Massachusetts.

***Deconstructed No. 1*** Carson Converse

What does working improvisationally mean to you? How would you define the ‘Art of Improv’?

At the most basic level, it’s creating without knowing where the work is headed. I think it’s about working intuitively – learning to work in reaction to (or as a collaboration with) the materials, processes, and your environment. For me, it’s about intentionally getting lost in order to find new possibilities. I guess if I had to define the ‘Art of Improv’ I would say it is the skill required to successfully work this way.

Have you always worked improvisationally?

I think so. The processes I enjoy the most tend to involve some aspect that is out of my control.

Do you work improvisationally, consciously, intentionally? If so, how do you begin? If not, how do you find yourself getting there?

Both. Mostly I fall into it because I’m impatient with the planning stages.

I also consciously work improvisationally to open myself up to new possibilities. After working on a project that is heavily planned, I always take some time to experiment and play.

How often do you work with improvisation?

I guess it depends on how you define improvisation. My work rarely ends up looking like my initial idea, I prefer to adjust as I go. I would say I intentionally work in an improvisational method about 50% of the time.

Please share a bit about your process. Do you have methods to getting started? Do you have tricks to getting unstuck? Do you have motivators to finishing up?

I like to work in series and on multiple pieces at once. Working this way relieves some of the anxiety that can exist in decision making. . . I already know I will be exploring multiple variations which makes each piece feel less precious. If I’m starting from scratch, I usually just start making marks on surfaces or pulling fabrics. Once I’m working, so many different directions and ideas present themselves.

If I’m stuck on a piece, I usually put it aside. . . sometimes for years. If I end up in a creative rut, I use the opportunity to pull out all those unfinished projects. I layer multiple abandoned works on my design wall until I feel drawn to something I’m seeing. I force myself to keep reworking pieces until I like them. This usually leads me out of my creative rut, but if it doesn’t, at least my unfinished project pile is smaller.

Where do you find inspiration? How do you use it?

Everywhere. Most of my inspiration comes from the process itself. There are so many possible outcomes. Most of the time the idea for my next quilt is just a different direction the last quilt could have taken.

There are also ongoing themes that I’m trying to communicate visually. The desire to find a better way to translate and share an emotion or experience drives most of my work. When I’m looking for inspiration, I’m really just looking for methods or solutions to the same ideas I’ve been exploring since I began making art.

What advice would you give to someone interested in trying to work improvisationally. Can you share some good advice that you received that helped you become more comfortable this way?

I think it’s important to embrace failure as an aspect of success. You’re going to make pieces you don’t end up liking—especially when you’re a beginner. It’s just part of the process; it’s how we learn. Planning on throwing out a large percentage of your work can help take the pressure off and give you the freedom to take necessary risks.

It’s also helpful to have a strong understanding of the basics, both the principles of composition and the technical skills used in your craft. These will help you learn from those failures and fix any mistakes you make along the way.

How would you finish the sentence, ‘What if, . . .?’

I’m drawing a blank. I ask myself ‘What if’ questions all the time, but usually it’s for little things like, “What if this piece was ¼” wide instead of ½”?

What are reading, listening to, watching, or any other inspirational obsessions you would like to share?

I listen to NPR or podcasts when I’m working. Some of my favorites are the Moth, Invisibilia, Radio Lab, Here and Now, On Point, Code Switch and All my Relations. I spend so much time working alone that it is nice to hear what other people are thinking about. Often an idea or emotion that comes out of these stories will end up in my work.

Thank you Carson for sharing your work, a bit about your art practice, and how improvisation impacts it. I love and understand your idea of using improv as a reliever of anxiety as it does give you a freedom to fail, which I so believe is an important part of getting to the good stuff. If you know you are going to explore similarly in several pieces you can be looser and more open to truly exploring, because as you attest no matter how much planning you do, things never quite turn out as you plan, no matter how much you put into said planning. What a relief to know, that that is normal AND can be an asset. This is something I wish I had a better understanding of when I began making art. It has been refreshing to learn that someone with your level of precision and attention to detail is open to play AND mistakes! I think it is a big help to others to know this. I also appreciate your reaffirmation to set things aside, hang on to them, but it is ok to put them away if they are not working in the moment. . . come back to it, someday it may make more sense, or you may see it in a new light, or you may know exactly what it needs, or, or, or. . . It makes me thinks to ask ‘What if. . . someday???’ instead of spending to much time being frustrated. What a gift?! Thank you for that as well.

You can learn more about Carson and her work on her website CARSON CONVERSE studio and check out more about her process and inspiration on IG @carsonconverse.

Contact Jen at the art of improv