What I Am Looking Forward to this Fall (Hint: one includes Paris)

The upcoming fall season brings much good news. Listed below are 3 items I am especially grateful for and excited to share with you:

I am honored and humbled that AIR Serenbe has chosen me for their artist residency for the month of November. What an honor! I will spend an entire month in the wooded community of Serenbe located southwest of Atlanta, Georgia, USA. I will be in my own cottage, with no assigned tasks except to explore, discover, experiment and create art!  This accomplishment would not be possible without your continued encouragement of my work and me. (Thank you!)

Nehi Cola. Front Ave and 10th St, Columbus, GA, by René Shoemaker

2) I'm also thrilled to report that the Paris exhibit is finally going to happen after many delays due to the pandemic. I will be hanging the tropical flowers themed exhibit at La Caféothèque de Paris next week. In the heart of Paris, La Caféothèque is situated in the 4th arrondissement, right on the Seine River with a view of Notre Dame Cathedral. The exhibit opens on Friday August 28th. The reception (vernissage) will be held in October and I will be sure to let you know the date so that you can plan ahead to attend (!). I am extremely excited to be part of this two-person exhibit, held in the heart of Paris, which includes the French artist Anne Buxerolle.

Begonia 'Raddi', 2020, by René Shoemaker, at La Caféothèque de Paris.

Lévitation 009, by Anne Buxerolle, at La Caféothèque de Paris..

3) Les toits d'Aubusson is included in an exhibit that opened this week at ATHICA, the Athens Institute for Contemporary Art. SPACE: 2020 Juried Exhibition "references SPACE which is found all around us . . . as a concept and a construct with many different connotations." I am proud to have been chosen in this competitive exhibition, which will be on view through September 27.

Les toits d'Aubusson, included in the SPACE exhibit, sold to a collector in Chicago this week

Finally, as you know, for a number of years I've been working hard to bring the best art possible into the world to share with you while seeking to reach a wider, global audience. In the service of this goal, I am raising my prices on original art effective October 1st. As my subscribers, collectors, and loyal supporters I wanted to offer you this window of time to buy original art at the original price. (Fine art prints will remain at their current price.)

In 2001 when I first exhibited at the Clayton Street Gallery in Athens, Georgia, a silk painting sold, unframed, for $100. Today, the cost of materials, upkeep for the studio and working every day to bring my best art into the world is not sustainable at my current prices. Adjusting the prices to more  accurately account for the value of time, labor, and skill I invest and the quality of the materials I use will insure that I can pay my monthly bills, allow my business to thrive, and enable me to continue to create art over the long term.

I appreciate your understanding, and as always, I am abundantly grateful for all the ways in which you continue to inspire and support me. 

Église de Notre-Dame de Montluçon, France

La Creuse, France

Upcoming:

August  28 - October 15, 2020
De l'écorce à la fleur:
Les temps de la forêt
La Caféothèque de Paris
52, rue de l'Hotel de Ville
 Paris, 75004, France

Now On Exhibit:
August  15 - September 27, 2020
SPACE: 2020 Juried exhibition
ATHICA: Athens Institute for Contemporary Arts
675 Pulaski St, Suite 1200
Athens, GA 30601, USA

EXPOSITION! Decouvrir: Felletin et ses villages

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Photo Credit - Yveline LeGrand

I’ve been really busy in my studio and beyond here in central France! The reception to my exhibit, which opened on June 1st at La Mairie de Felletin (Felletin City Hall), was so well received. It was my second exhibition about (and in!) Felletin in two years; I am happy to share that my audience grew! And to also see the arrival of familiar faces among those that attended my first vernissage... well, I’m proud. And the Mayor and her office are happy to now share my work with their visitors and dignitaries!

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Many attendees noted that my work has progressed exponentially since last year. I heard that it was more free, that the the colors were more alive, and that my subjects grew to include more diverse places and spaces.

I was honored to hang larger silk paintings this year (last year it was forbidden), as creating large work makes me especially happy. It was a challenge as my studio in France was not yet set up for making large-scale silk installation pieces. Now it is! The larger work gave us the perfect scale to create a perfect announcement banner, which hangs in the front of the wonderful, historic building - welcoming all to come in and see my works of art.

La Montagne wrote an article about the exhibition and reviewed it quite complimentary. I find it a sweet synopsis for the people who have yet to attend, and an inspiration for those who still have time to stop by. Decouvrir: Felletin et ses villages runs through July 27th. (*article and translation below) You can see images from the exhibition, purchase work, and read more about it HERE.

Our Community Interpreted by René Shoemaker

By Robert Guinot

Just one year after having an exhibition here, René Shoemaker has retuned to the Felletin City Hall. The American artist, who lives in the commune of Saint Maixant, is this time sharing here the discovery of Felletin and its villages. She presents a selection of paintings on silk that represent a year’s work.*

Artistic Stroll around Felletin

René Shoemaker walked past Pont Roby to the Chatueau d’Arfeuille, then to the library. She went up Rue de Beaumont, climbed to the summit of the bell tower to experience a panoramic view of the town and the countryside. She studied the engraved inscriptions in stone buildings. Her journey is displayed in blue and green. She plays with the horizon line and sometimes departs, deliberately, from reality. Her exhibition delivers her perceptions of Felletin and its surroundings, from Arfeuille to Lavaud and to La Croix-Blanche. Her work has developed into a body of work that is dear to her, between poetry and naivety, with great attention to line and color choice, all with a very personal style. It is understood that the artist and her husband, who live here 1/2 the year in the Creuse, often leaves Saint-Maixant for Felletin where René is fascinated with the countryside and the monuments, where she observes the houses and architectural details. Her wandering journey inspires her paintings on silk, designs that are between figurative and abstraction, which is always elegant and personal. Her chromatic range is limited, contributing to the uniformity of the exhibition, that is, both understated and joyful.

(*) The ceremony of inauguration was held with the presence of Wilfried Celerien, deputy mayor, Gérard Chabert, the mayor of Saint-Maixant, Thierry Roger, who has framed the collection of work…

An exhibition, and all of the work that goes into them, can be really exhausting. In the next few weeks I plan to share some of my process with you!

I am also excited to share with you my next exhibit, opening  at AM’Carta Gallery (Atlier-Musée des Cartons de Tapisserie d'Aubusson) in Aubusson on August 17th. I have allowed myself time for new research, new paintings, and new large scale work — I can’t wait to discover what I create!

As always, I’m so happy to have you along on this adventure with me!

PHOTOGRAPHS FROM LE VERNISSAGE (OPENING RECEPTION)

Photo Credit - Yveline LeGrand

Q+A: RENÉ SHOEMAKER + HOPE HILTON DISCUSS FRANCE, BEING AN ARTIST, INSPIRATION, CHANGE, THE dÉRIVE, COMMUNITY, THE SITUATIONISTS, + MORE

I've been wanting to ask these questions of René for some time, and I was so very happy when our schedules allowed the time to make this happen. A little background: I knew René's work years before I knew René personally, and I quietly watched her work grow and evolve from the sidelines. As an artist and curator, a big part of what I do is pay attention to how creatives and thinkers are responding to the world. Watching the work happen is a beautiful thing to behold, and I draw from this collection when I put exhibitions together or pair artists up to collaborate. It's like being a composer, a poet, and a philosopher all at once! When I finally met René we were fast friends, and I always have her work in mind when I'm in the world and thinking about what the world needs - more slowing down, more curiosity, more dream following, more wandering, and more, well, hope. René offers this. Enjoy our Q+A! xoHope

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Hope Hilton: I've always wondered - at what point did you know you were an artist?

René Shoemaker: At a very young age I was always creating and seeking inspiration. One of my earliest creations - way before I was 5 years old - was a horse that I pieced together from the cloth of my Mom’s sewing discards. I cut out the pieces and sewed them onto another piece of cloth (some might call that ‘applique’).

HH: When did you decide to pursue your art full time?

RS: Oh, man, this has been inside of me for a long, long time. I had a “master plan” to retire from The University of Georgia absolutely the MOMENT that I could - not because I didn't like my job as Library Director/ Librarian / Gallery Director (I did like it, tremendously) - but so I could practice my art full time. I had been making art all along, always, but became more serious about it in 1998 when I returned from a summer working in Cortona, Italy. I was in a job there surrounded by artists and art-making people (not to mention the gorgeous Italian hillside architecture and use of the land!) and was completely inspired. Once I began making art more intently, I also discovered how time-consuming the business of art is. Retirement allowed me this time.

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HH: Ahhh, retirement... you are doing it right, in my opinion. Now that you have this freedom, you can go anywhere, do anything. I love that you've settled in France and cannot wait to visit! How has being an artist there differed from being an artist in the States? What is something that's easier to get accomplished in the States and vice versa?

RS: I have the feeling that the French have a different attitude toward artists here. It’s not different as much as it is in the States. Here it's just another job description, a part of life! I also discovered that being an artist, and having an exhibition scheduled and about to open so soon after my arrival, was a wonderful introduction to my new community. Who I was and what Harvey and I were doing there was open to the public. In our new place we seemed to be integrated into the community a lot quicker than if it were otherwise.

It’s easier to work here in France because there are less distractions. At home I have a schedule, I have friends, I have social obligations. Here, I have my studio, I have my house, I have Harvey, and the landscape that calls to me every day. Everything, everyday, is an inspiration.

HANDS DOWN it’s easier to find the art supplies I need in Athens, Georgia. I will never, ever, ever again take for granted the fabulous service that The Loft and KA Artist Shop offer to the artists and creatives of the region. I would not be where I am today without the support - and the supplies - from KA and The Loft.

Feeling spaces became something I noticed then,

and it has continued.

- René Shoemaker

HH: I think I take internet-ordering for granted, too, in terms of art supplies. And, yes, we have this amazing community here in Athens that supports artists through all levels of their work. I wanna talk about your new work, the work I respond to the most. Much of your new work is an investigation and commitment to a specific community, and because architecture has been a big part of your work (and life!) in the past, did this just happen naturally, or did you know that you wanted to encounter a whole city?

RS: I know I want to conquer the world, and what better way to do it than city by city? I’m not sure where my connection to place comes from... Well, now that I write that, I can imagine that it comes from exploring and the sense of place I created by living in the woods in a handmade house. Traveling in France, Spain, Italy, and the Netherlands gave me a sense that there are other ways of doing things, often the everyday things that we take for granted. (i.e.: architecture and living spaces and the differences abroad versus home). Christopher Alexander’s book “A Pattern Language” had a big impact on me and my viewpoint.

I also moved at age 17 from everything I knew (not so early in life, but a transformative experience for me) and this provoked new sensations, a kind of "feeling" of spaces. I was searching for the meaning of life then, and also tuning in to the details - loving the sound of the tires on the pavement as I traveled down the road - usually in a friend’s car or by hitchhiking. Later on, in my own car (an International Harvester pickup truck!), it was me and my Great Dane, Eric, having marvelous explorations. Feeling spaces became something I noticed then, and it has continued.

After having wandered for over 10 years, and landing in Athens... You know, it's a very small town - only 10 square blocks in the downtown area - but it feels good. The spaces are intriguing, the juxtaposition of new and old architecture inspirational. I love looking at the old Otasco building (now the Holmes-Hunter) as I cross Broad Street to North Campus at the University. Harvey and I had a small business downtown and I spent 30+ years on North Campus, so downtown Athens was like a home... I had an art studio there, and I felt very happy to be there.

HH: And now MY studio is on the exact floor where yours was, years later! I loved the day you told me about that. I looked at the space differently, I envisioned it as when you inhabited it. Not a lot has changed but someone put carpet in the halls and painted the stairs... it's a different space now. But the same place. What prompted you to explore places to begin with and how has this idea changed for you?

RS: For my first solo exhibition at Clayton Street Gallery in Athens in 2001, I offered two proposals - one of exploring the town of Athens and one an exploration of my house (handbuilt, octagon-shaped, in the woods). The Director chose the house proposal and we named it “Ethereal Spaces.” We also decided to pursue the other proposal the following year, and “From Here to There” was born from my explorations of Downtown Athens and the University of Georgia. Then and there, my career was born.

Also, I don't want to forget that when I first moved to the Florida Keys in 1969, way before University, I took a drawing class from a local artist. He took us around to the various locations in the Keys, and what I remember the most - what had the biggest impression on me -  were the old weather-beaten structures on Pigeon Key. There I discovered the beauty of lines that are not straight. I learned how to draw perspective from that artist, and I also learned how to veer away from true perspective with confidence.

HH: I love that, when teachers share with you all of the levels of things, and everything involved, and how to just approach it with enough lack of fear to evolve it into a confident mark or gesture. How cool that you were exploring the Keys as part of a class! Now that explorations of place are revered in the art world, especially in prominent museums and galleries, your work is part of a large canon of artists that focus on community, history, and exploring.  One of my favorite movements in art history were the Situationists (in France in the mid 20th century!), and one of their best projects, in my opinion, was setting the intention to wander. They called it a dérive: to wander without knowing why or where you'll end up. How do you feel about connecting to this great idea of the past to now?

RS: I‘m happy to hear that explorations of place are now revered in the art world -- can we schedule a show of my work at a major New York City museum now? :) I love your connection of my sense of exploration to the Situationists’ quest for an “unplanned journey”. There are so many things that point to the fact that I must have lived in France in a former life, as in my name: Re =again né = born... there is no French blood in my family to invite a French name be given to me, yet here I am. Wandering... being alive...

To wander! This is the perfect way to exist. No maps, no guidebooks, only discoveries.

And the past? The Situationists were not so long ago. The past is connected to the present. Always.

A wonderful consequence of the work that I do - exploring a place through its spaces - are the stories I receive in return. This was an unexpected result of putting my art out into the world. My visual stories encourage others to explore, and see, and remember, their own discoveries of a place.

HH: In my opinion, the stories and connections are the best thing to come out of creating and sharing art. Why do you think we are craving work like this again, work that connects us? 

RS: Are we? In this life of disconnectedness (especially in the States), I believe there is a strong urge to connect. Families are changing. Nondescript strip malls have taken over America. The concept of “belonging” constantly changes. People wander. Others ask questions. I, myself, was disconnected and rootless for over 10 years, from my late teens to late 20’s. I haven’t consciously made that connection before (of my work related to place and my disconnectedness in the past), but maybe this question will lead to the answer for me?

I believe in the beauty and simplicity of line and color. This quiet beauty is what I am trying to share with the world.

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HH: And sharing that with the world helps us rest, connect, recognize, wonder... And I want to understand, because you headed to France at such a tumultuous time politically (newly elected president here and there, immigration politics and terrorism, etc.), what are the conversations like about the States there, if there are any? How do you see us represented or generalized across the pond?

RS: I’m living in a very rural area, and am not completely fluent in the language, so I’m not sure I can say much about the mood of this country towards America. These days I don’t read the news, nor do I watch TV... Although people do shake their head in disbelief if the name of our current president comes up. Otherwise, I find that the USA is still well respected, and that there is still a memory that the United States helped France immensely in WWII. 

HH: That's really good to hear in so many ways, as I've received emails from friends across the globe offering help and support. I like focusing on the local, on my small town and my amazingly diverse state, and doing my best. I also haven't been the best at keeping up with the news. Perhaps this is showing up in our art? I have noticed changes in your work since you were in France! Being in new spaces often brings along a shift that's usually quite strong, and often quite brave. So you're in this new place, and it's yours so you can settle in, and just... do your work. It sounds like a dream! I've watched your work shift in the exploration in and around other new spaces - from working in pencil and pastel at your Penland Residency to working HUGE at the Columbus Museum… and I'm not the only one who is noticing! This question is from your dear reader Maureen:

Maureen: My question is about the use of threads sewn onto your work. What inspired you to add that touch?

RS: Moving to France gave me the freedom to release myself from any boxes I had placed myself in, even before the move actually happened. There was something about the fact - in my head - that the people here were not familiar with my work, and that I could be free to try any method, medium, idea - there were no expectations of who I was and what my work had been in the past. The only person who had any idea of my previous work was M Wilfried Celerien, the Adjoint au Mairie of Felletin, whom I had made the original proposal for my current exhibition to - and I am happy to say he was delighted to see my new direction(s).

Thank you, Maureen, for always asking such thoughtful questions! I have been considering adding stitching to my silk paintings for quite a while but was unsure of how I would approach it, and how I could make it “different” from other artists’ work. My framed silks always have an element of stitching, as I hand stitch the silk to the mat board - but often these stitches become invisible to the eye.

When I arrived in France and was faced with a deadline to create and complete a body of art for an exhibition in a short period of time, my resources were (very) limited and I was free to experiment with new materials. I located embroidery threads with the right colors at the local recycle store. There are two layered silk paintings in the Felletin exhibit, and as I didn’t have an embroidery hoop, I had no way of keeping the fabric taut while I worked on it. I stitched through the mat board to add texture to the flowers in one design, and to highlight the wooden shutters and metal door slats on the other. It seems crazy, because it was only a few stitches, but I really could go on for hours discussing the reasons behind my actions!

And as a side note - I have always had an element of working large with my art. From my senior BFA exhibit when I had weavings, embroideries, and monoprints at a 6’x6’ size, to motion drawings I created at Penland that were 4’ x 6’, to a silk painting installation at the Ramsey Center at UGA that was 4’ x 12’ (x3). I feel comfortable working large, so working small here was also a new experiment.

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The Short answer? 

I wanted to add texture and color to a simple design in a subdued way.

HH: So, are you afraid of anything?

RS: Rien. If I am afraid of something, I try hard to identify in and overcome it. Consciously.

HH: Any advice for young artists?

RS: Work hard. Never give up. Look inside and don’t forget who you are. Trust your instincts.

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HH: And what's next for you?

RS: Taking over the world. Exploring new media and pushing the boundaries of the work that I do. A museum exhibition in Mississippi in 2019. An art show in Bordeaux, France in 2017. I am always searching for opportunities, and I look forward to exhibiting again in Athens!

HH: What is your life’s force?

RS: 1. Perseverance furthers.   2. A sense of constant amazement at what I experience, and the fact that I am constantly amazed by the NEGATIVE SPACE shape of the sky against a building’s roofline.

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HH: Any questions for us?

RS: I love feedback and stories. I’d love people to respond to this interview by writing about their experiences with my art. This helps me more than they can ever know.

HH: It really is such a huge part of it all, that conversation and that community. Thank you so much for sharing with us. Dear readers, please feel invited to share below any stories or inspirations. Let René and I know where you wander, or what currently inspires you.

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RS: Thank you, Hope Hilton!

- René Shoemaker

July 17, 2017

La Creuse, France

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