EmilyDvorin

I am so often asked this question at shows. It is always difficult to explain how my mind works and how I come up with the ideas that I have. I have sometimes replied “Because I am wired that way”. I have thought about a better answer, but haven’t come up with a good one. It’s hard to put into words. Maybe, I can think out loud…..

Every day life inspires me. I am inspired by the season, the weather, a new day, outdoors, the ocean, breathing, music, space…… Community and friendships inspire me. Family and relationships with the people in my universe inspire me.

Modern, common materials inspire me. Color, whimsy, exuberance, positive attitudes inspire me. Fiber, texture, repeated patterns of things in life, mother nature, grandparenting inspires me. Details inspire me. The hardware store is my favorite art supply store. The beauty of the ordinary takes my breath away. 

I get downright excited about being an artist these days. I have a real need to express myself. I have a drive to use things in a different manner. I am inspired to share my art.

I am motivated by emotions. I am influenced by the art of basketry and by sculpture. I am impressed with 3-d forms. I am interested in the order of things. I am in awe of tomorrow, untethered by yesterday, especially appreciative of today.   

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My favorite thing to do is my art. The DOING, the MAKING of my art is the most delicious process.  It is the most difficult part to describe, the most asked question of me at shows, the most natural, easy,  practiced part of creating my art.  Truly, the “end results” of my creative endeavors are not as important to me as the process getting there. For me, it is all about vision and exploration. I will attempt to explain it……

It all starts with an IDEA. Creative thinking is a constant. I am always thinking of new ideas for new pieces of my work. I am envisioning the next, next, next piece to work on. I have more ideas than lifetime! I have an idea book that I am regularly writing in. Inventing a concept, “discussing” it with myself, imagining materials, visualizing is all part of it.  I have an urge to tell a story, to comment, to share an emotion, to express myself. Often, one piece “informs” the next picece.

I am obnoxiously organized. I like to clear my workspace of the previous work. I look at materials, organize them and decide how to use them and transform them, following my concept. I GATHER and SET UP specific materials. This is a pleasure for most basket makers. It inspires me.

Next, I jump in. WORKING on a piece, watching it develop, spending chunks of time on it, devoting spirit and energy to it, is an intimate process. I typically spend weeks to months on each piece that I make. My approach is very disciplined. I pay intense attention to what I am doing. I am always “pushing”, working through technical issues, figuring out structure, repeated patterns, form, attachments, consistency of design,  color coordination. I let the piece “talk back” to me.  I am constantly asking questions, answering questions, making choices, using intentional decisions,  adapting, evolving, following my inner voice. THIS IS THE PART I ENJOY THE ABSOLUTE MOST! CREATING a piece.

Working on one piece at a time is my “M.O.”.  I reach a level of concentration, of depth and detail, that I so value that way.  At the time of FINISHING a piece, I have a hard time letting go….. It is harder than it might seem. It is like ending a really good book. But I “listen” to a piece that tells me it is complete. It feels right. I achieve “closure” by putting away the tools and the materials that I have left. I confirm or make up a title. Often, the title has come first with the concept. Finally, I have a piece photographed by my professional photographer, I submit it and show it to expose it to viewers and ultimately, I have to let it go and sell it……      

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I have been evolving my whole life. I evolved my way into being an artist. I would not have called myself an artist some years ago. I grew into it. My path was not straight, but somewhat crooked. I wasn’t always conscious of my path. But things happen anyway, whether you plan it or not……. True happiness is to have found your calling, even if it was later in life.

In the early 1970’s, as a lawyer’s wife, a young mother of two, I was not working. I took a macramé class at the local rec center. I had always thought of myself as creative and un-trained. I enjoyed the identity of a macramé-er. I loved the knotting techniques, the detail work, the intricacies, the history, the texture. I worked a lot with jute. I reached a high level of competence. I studied books and patterns and knots. I made wall hangings, window coverings, plant hangers and covered bottles. It was “my thing”.

In the later 1970’s, I opened a contemporary crafts store with a partner and got absorbed in the retail world. I sold other people’s art. But, I learned a heck of a lot about marketing and the public. I “retired” in 2008 after 35 years. 

In the 1980’s, I took my first basket making class at the Academy of Sciences in San Francisco. It was an all day workshop in sea kelp baskets. I loved it! It left a lifetime “mark” on my life. I knew I had reached a major crossroad, a “shift” in my direction. It was one of those classic “AH HAH” moments in my life. It hit me hard……. I wanted only to work in 3-D. I felt 2-D seemed limited, not as interesting. I was swept away. I worked furiously at studying any basketry technique I could find in any book I could put my hands on. I started to like to vary the traditional look of basketry by exploring materials. This is when I just started to think of myself as an artist.

In the 1990’s, I started teaching basketry to adults, through the local rec center. Since I had been an elementary school teacher before kids, I comfortably returned to 3^rd through 8^th grade classrooms to teach basketry as a visiting teacher. I still do this, with much satisfaction and wonderful results. I began to get more innovative in my own work. I experimented with odd materials. My work became less functional, more sculptural. I entered shows. I was productive…..

In the 2000’s, I really got serious about my art. I was “materials driven”. I explored, in depth, ways to use common ingredients and transform them. My workmanship improved as my work became wilder, more risky. Concept and story became even more important to me. I developed a “show stopper” look that I still have a reputation for. I built a resume and marketed myself. I won awards. I began giving talks about my work and continued showing all around the country. I evolved into the full-time, dedicated artist that I am now.

I am still evolving…….. happy to be in the universe I have created for myself.

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Okay, I have had my mother’s voice in my head my whole life…… I have always valued being “productive” in my life’s endeavors. I have always been a quiet achiever. I have always had “goals”. “Accomplishing” something has always been driving me…… What’s an artist to do?

Now, I have no one to answer to but myself. So, what does my “personal best” mean? What pushes me? Why do I do what I do? I am whole-heartedly DRIVEN to create. I find it ever so easy, not at all hard, to spend intense thought, time and energy on a piece of my art. I push myself only to listen to my inner drive, my inner judgments, my inner choices. I play with concepts in my head. I always seem to set up a challenge with each project. Real satisfaction comes from meeting the challenge, “figuring it out”, problem-solving. It is easy to do your best at something you love and enjoy. Thankfully, I do not worry about it……

The “personal best” issue gets to be more the “important” aspects of my doing my art. So, what is important to me? What are my own requirements of myself? What is it that I take so seriously? What are the ideals I impose on myself?

Important to me is the vessel form. I am a sculptural basket maker. I push myself to concept different variations on the vessel theme. My 3-dimensional sculptures must hold something, some life experience, some dimension, some commentary, some statement, some story, some attitude, some exuberance or edgy emotion.

Important to me is workmanship, working on my art, a work ethic. I am always working on something. I immerse myself in the work of my art. The process is invaluable, rewarding, core. The craftsmanship of the work must show my best technical skill and have impeccable, organized, noticeable detail.

“Making a statement”, stretching, being different, having a defining look or style,  having an impact on a viewer….. These are important goals of mine. Making some emotional contact with a viewer is why I use so much color in my work. Getting a reaction is why I use so much textural fiber and tactile elements in my work.  It is all about the conversation of fiber art for me……

These are my “rules”, my guidelines, my motivation for myself. My “personal best” means doing my art…….   

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There is an age-old argument that many artists, art magazines, discussion groups and other art-savvy people repeatedly engage in about the subject of fine art vs. fine craft. The main points tend to center around the comparison of the two in the world of acceptable, exhibit-able, collectable art. It seems like some fine artists, especially painters, have a certain definition or attitude about formal training, skill levels, and experience. Artisans/crafters have an attitude about quality, perhaps functionality and technical expertise. Maybe there is different vocabulary for each, but I tend to disagree that one is that different than the other. They meld, cross over and are intertwined. I think you might get different responses from artists than from viewers, from makers than from appreciators…… I can only really react from the artist’s point of view.

When it comes right down to defining or even doing art, every artist has an emotional, subjective prospective. I am no exception….. I am prejudiced…… I am convinced that the worth of someone’s art or craft is in how the artist takes his or her work seriously. I believe that years of practice make for better art, whatever kind it is…… Better art is about creative thinking, depth, spirit, and skill, discipline, patience.

Fine artists are crafters and fine crafters are artists. Fine art has history and fine craft has longevity. They coexist in our lives and live in our homes and  both are collected. Both have perceived worth. Fine art commands better prices and fine craft is not as available in galleries. Fine art is valued by “white” collar people and fine craft is valued by “blue” collar folk. I am generalizing….. I am one-sided in my point of view, granted. I spend time “dancing” between the lines of fine art and fine craft….. My particular kind of work blurs definitions…..

There is the functional vs. non-functional issue. Opinions differ as to the artistic worth of a craft item. It can be argued that pure, unduplicate-able art is worth more. Function has perceived worth. It can be argued that functional craft touches our daily lives, is more accessible and has more value. There can be such fuzzy areas in each that remind us of the other. Fine craft can be functional and non-functional. Fine art has a hard time being functional.

There is the one-of-kind vs. production issue. The techniques and technicals of any art form, or any art medium, require training and practice. Producing a one-of-a-kind piece of art is, in my opinion, as artistically worthy as repeated, production art. Workmanship, quality of work, the artist’s hand is greatly valued in any art. The time commitment, creative design, skill level, sellable product is appreciated.

There is the gender issue. In truth, historically, there are more men, in fine art. Fine craft, historically,  connotes women. From a woman artist’s point of view, more men jury exhibits and shows of all kinds than women. Business isn’t the only place where men are taken more seriously than women, even in this era….. 

There is the 2-dimensional vs. the 3-dimensional issue. More fine art is 2-dimensional, wall-hung work. The majority of craft work is 3-dimensional. I am prejudiced here. I cannot even visualize working in 2-d.  It seems limited and non-textural. Color can pop off a canvas, but sculpture can come alive. Paint can be magical to blend and apply to a surface.  Sculptural elements can be manipulated to form life-like art. I am a fiber artist, after all. So, I again am prejudiced. Just the process of creating something that has levels and thickness and dimensionality is exciting to me.

Beauty and grace in both fine art and fine craft are what I appreciate. Even when art or craft is not so “fine” or not so pretty, and is edgy or raw, it evokes an emotion, a reaction. I want to be coaxed by both to notice and react and pay attention. There is room in my life to hold dear both fine art and fine craft……. How wonderful it is as an artist to even have this conversation in my head.

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Hello All,

When trying to be innovative in my approach to my art form, sculptural basketry, I find myself inventing not only new ways to define and look at my work, but some new vocabulary.

TRANSORDINARY - taking the ordinary and transforming it to be extraordinary, exceptional, different.

UP-CYCLING - giving my materials a new life and an improved identity, more than just re-using, and re-cycling.

MULTI-CONTEXTUALIZING - using the unexpected ingredient in my work. Anything in life is basket material. My personal challenge is to put it together into a vessel.

Any thoughts?

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Hello Everyone,

I am on a mission. I have been actively working toward it for the past 15 years! I am trying to change the assumed, historical, regular classic, fundamental definition of basketry. It is an art form that has been sorely de-rated, misunderstood and made fun of in our modern culture.

The "rules" of basket making have changed to allow non-functional to enter the definition. Materials have expanded and sculptural basketry is a more acceptable way of thinking about this old, traditional art form. Twining, plaiting, coiling, random weave and assemblage are still basketry techniques that I employ. Where I fall into the "unexpected" category in basket making is in using materials differently.

I am on a mission to use traditional techniques with totally familiar, yet non-traditional ingredients. I want to take common, ordinary materials and transform them. There is where I find art. Reed, raffia, natural grasses and vines are not the only basket ingredients...

What do you think?

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Hello Again,

Do you know how complicated it is to describe how my creative mind works? I really cannot answer the question about "How do you think of these things?" (Because I'm wired that way.....?) It is sometimes vague and changes from minute to minute. It involves multitudes of mini-decisions - up, down, dull, colorful, tall, short, thick, thin, what materials, which techniques, etc. However, the process of making art, from the mind's eye to execution, is just delicious!

There is challenge and problem-solving. It is very satisfying. There is an idea which evolves and becomes a finished piece. This is very rewarding. There is working to translate a virtual thought into a reality, making something from nothing. This is very exciting. The process feeds my soul, lets me express  myself and is why I am an artist.

Sound at all familiar?

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Hello Everyone,

The life of an artist feels very schizophrenic. We almost always have to admit that we have multiple personality traits. We are driven toward our art work and we are doing it in isolation. We are out in the world doing "regular life" things and we are social beings. We love to communicate and we relish personal quiet and alone time. We are totally motivated to share our work, although we feel exposed. Our artwork is, after all, about ourselves. We savor the process, by ourselves, of doing our art and we enjoy and feel compelled to seek reactions from viewers of our finished products. 

Who are we? How do we balance the sometimes opposite multiple facets of our lives?

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Hello Everyone,

For years I have had the conversation with myself about why the vessel form is so important to me in my work. After many times of "defending" it, being committed to work with it, loving it, I have finally started to explain the whole concept to myself.

It is indeed vital to me to work in 3D. The vessel form represents a sculptural pallet on which to create surface design and texture. Even beyond that, it allows me to use basketry techniques, to explore structure and to create artwork that has interest on insides and outsides. It is freer and more intuitive for me to work with.

The vessel is a holder of human experience. It contains a "story", using a visual language. It ultimately holds my world, my universe, my environment, my issues...... It enhances my commentary about societal excess, throwaway consumerism, surplus and waste "stuff", household debris and the beauty of ordinary things in our 21st century material lives....... It is not constraining to me. It is accessible.

The vessel form feels very familiar. It feels female. It feels natural. Any comments?

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