teresa + carter: on their adventure

March 31, 2016 in PHOTOGRAPHY

On a chilly day in November, Teresa and Carter wed in the unusual and unique 2640 Space in downtown Baltimore. This wedding was the last in a long season for me, and I have to say that it was full of emotion, both observed and felt. I could feel the closing and completion of things; the sun set earlier, the toasts beginning in the dark of the winter evening, and the tears mingling the bitter and the sweet as the family raised their glasses in celebration.

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Ceremony & Reception: 2640 Space / Catering: Blacksauce Kitchen

READ MY MANIFESTO

I'm Jocelyn, mixed-media fine artist & imagemaker, and I love to share with others. More about me >>

FEELING LOST? START HERE

ART & MOTHERHOOD

I joined the Artist Residency in Motherhood in 2016 in order to embrace the tension & triumphs of life as a working artist and mother.

ON MOTHERHOOD

why artists need to be tidy AND messy

freely choose the tension

one hand, whole self

the view from the minivan

my kids' unspoken rules about making art

invisible things that support creative practice

i started young

artmaking and seizing the moment

making art with kids in tow

structuring the art practice around kids

LIFE WITH CHRONIC ILLNESS

Living with an autoimmune disorder can be difficult, but I try to embrace my limits and find ways to adapt & thrive.

LIFE WITH ILLNESS

self-care is not what you think

invisible things that support creative practice

creative & chronically ill

embrace your limits

APPALACHIAN ARTIST SERIES

I've had the honor of interviewing many brilliant working artists who live alongside me in the mountains of East Tennessee.

THE ARTISTS

artist interview: travis graves

I think many creative people, like visual artists, musicians, authors, etc., can at times suffer from a lack of self-confidence and motivation. One of my biggest hurtles was to take myself and artwork seriously. I realized in graduate school that if I wasn’t invested in my own artwork and didn’t care enough about it, then no one else was going to either. I came to realize that I needed to make my artwork for myself first. And if I thought it was worth doing, then it would have something of value to offer others.

artist interview: joan bauer

I've always appreciated classic art. I don't care for contemporary or modern art, and have always been very drawn to the impressionists. About a year after we moved to Tennessee, I kept gravitating towards my art books that are now all in my studio (they used to be up in my living room). I'd study them at night. I'd pour over Monet and I'd say, “How can I do that in fabric?” I had no idea that there even was such a thing as fabric art. All I knew was traditional quilting, until I went online and I searched for “impressionist fabric,” and all of a sudden it showed up for me.

artist interview: ingrid dyhl

It's super satisfying to see the lines come out and meet up perfectly. It's very spontaneous--whatever comes to me--and depends on what I feel and my sensory input and response. The ones that flow out from me and feel very natural are always the best. The ones that I work really hard on are more difficult because they don't seem to come from the same place.

artist interview: steve denton

I don’t really think it’s unique. The difference between me and somebody else is that they looked at modern art and said, “Well I could do that,” but then they don’t do it.

artist interview: liz layton

Out of necessity of both time and money, I finally became practical with my art process after my son, Strummer, was born. I cannot always produce art objects or physically paint or sew whenever I want to, but, I can very easily write down ideas or sketch simple studies a they come to me (usually!), which I then later elaborate on and fully expand. I now spend much more time planning the overall construction of a piece (conceptual themes, choice of medium and materials, general measurements, cost) so that when I am able to be in my art studio (or, sometimes it’s the living room or dining room or porch) I am able to make better use of my time, and, make artwork that is more successful, visually.

artist interview: brenden bohannon

A big part of my process is finding the right pieces of wood and looking for certain qualities that will show up once everything is done. For anyone who has not worked with wood, 90% of the job is carving, planing, shaping, and lots and lots of sanding. It is amazing what you can accomplish with hand tools and time.

artist interview: tony henson

What makes my creative process unique or different is how I transfer the colors I see and experience in nature into my abstract paintings. Everyone sees differently and I try to show people how I see and feel through my artwork. No one has my sense of color or mark-making. No one sees as I do either.

artist interview: larry thacker

I usually have painting, writing (poetry and fiction), and photography going on in my life at the same time. They all feed from one another for energy and subject material. One idea prompts another constantly, so I’m seldom without an idea for new work.

artist interview: ren allen

Just doing. It doesn't matter if you feel like it, or you're "inspired", action is the magic. Within action you find your inspiration. I know it isn't romantic or exciting to say "DO", but that's really the key.

artist interview: sarah dorr

I make a mess! I have clay all over my house: bags of clay, fired clay, finished pieces, stamps I’ve made, tools, little inspirations. Since it's me in my house with two dogs, this works really well. I would love a studio space, and I would really love for clay to not be everywhere, but this is what works for me for now, and I get work done this way.

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