Salem Reads 2023: Boundless Optimism

My January newsletter went out this week and in it I shared about my participation in the 2023 Salem Reads program. This community-wide reading event has been sponsored by the Salem Public Library Foundation since 2017. I was one of the original artists, and although I have been invited to participate each year since, I didn’t jump on the opportunity. . . .until this year. The chosen book is Trevor Noah’s Born a Crime: Stories from a South African Childhood.

Invited artists were instructed to read the book and then create a piece of art in response. I listened to the book on Audible, which was read by Trevor; I loved hearing Trevor’s accent and his inflections, making for an enjoyable and humorous experience. The book was presented as a series of short stories, focusing on different eras of his life as a child and young man. The book was heartwarming, funny, tragic, tender, and ultimately a story of redemption as Trevor rose above his tough circumstances.

I was aware of apartheid and knew a little about it, but Trevor’s stories brought it alive through his eyes of a child growing up during the extreme segregation of whites and blacks.

In my artist statement, I was able to share what led me to create what I did for this exhibit.

As I read ‘Born a Crime,’ so many images swirled in my mind. Trevor was born to a black mother and a white father during the extreme racial segregation of South African apartheid. Despite their circumstances, Trevor’s mother demonstrated feistiness, determination, and perseverance. As Trevor matured, he exhibited many of the characteristics of his mother, carving out a life filled with humor, music, inventiveness, and friendship. Before I began my painting in response to ‘Born a Crime,’ I wrote out the text from the Immorality Act of 1927 across the surface of my board, reminding me of the laws in place when Trevor was conceived and born. I painted this piece with the idea of a young man rising out of the darkness of apartheid, which I translated into colors. I filled the niche with objects representing Trevor’s creativity, spirit, and abundance despite his circumstances.

The piece I created is 16×16 inches square and three inches deep, with a 5×5 inch niche filled with charms and small trinkets. I attached these small items using string, which I tacked to the top of the niche using vintage, colorful thumb tacks.

The 2023 show runs from February 1-25, and will be held in the Art Hall at the Salem Public Library. At the end of February, the show will be packed up and transported to a series of regional libraries; my piece will return to Salem in June.

If you’re interested in learning more about the pieces of art created for the show, several of the participating artists (myself included), appeared on Joel Zak’s KMUZ radio show, Talking About Art, last Friday. A recording of the show can be found on the KMUZ website by going HERE. During my segment, I talked about my motivation behind the piece of art I created for the show.

 

Interested in signing up for my newsletter? I send it out once a month and I share what I am doing, something about my art practice, special projects, a book review and recommendation, and an art quote. Follow this link to sign up.

Salvage Collage: Cut and Paste

A rare glimpse of me in my basement lair*, where I store all of my scavenged paper, vintage scrapbooks, ephemera, photographs, book scraps, old books, and book boards, and where I work on my Salvage Collages.

Lately, I have been on a Salvage Collage toot, and I work on collages in three ways:

♦ In a vintage scrapbook/journal/notebook devoted to experimenting with collage ideas.

♦ In my 2021 journal, which is a combination of collage, paint, photos, etc. Anything goes.

♦ On discarded book boards to create official Salvage Collages, which are for sale.

So join me for a whirlwind tour of the lady in the basement.

Here are a few photos of my scrapbook journal where I experiment with ideas for collages and create just for me. The journal itself was used as a scrapbook/workbook for someone in the Department of Marine Engineering and Naval Construction (1905) and the pages are filled with notes, drawings, assignments (with corrections and grading), and mimeographed training papers. I pulled out most of the glued in papers, but bits of residue are still present.

Vintage Scrapbook/Journal/Notebook by Dayna J. Collins

Next up is my 2021 journal. It is usually a paint journal, but this year I decided to create a junk journal, a journal I made using found papers to create three signatures, which I then sewed into a book where I had pulled out all of the book pages. This is a work in progress and I just started adding collage and paint at the beginning of the new year.

2021 Journal
2021 Journal page
2021 Journal
2021 Journal

Finally, my ongoing Salvage Collages, always in some level of process, always spread out on the table; my washer and dryer are across from my work tables, making it convenient to throw in a load of laundry, then spin around and start puttering and auditioning scraps of papers, book pieces, or black and white photographs. During these work sessions, I usually find myself working on all three: Salvage Collages on book boards, my 2021 Journal, and my experimental vintage scrapbook/journal.

I am always trying to move my Salvage Collages in different directions, pushing what I have already done, finding new ways to use my materials. Recently, four friends gifted me lots of wonderful papers, ephemera, and photographs, and these new materials have been informing my latest work. (A special thank you to Sam, Bonnie, Jami, and Mavis for your generosity and interesting papers and photos.) Here is a selection from my most recent Salvage Collages.

“Bold Adventures,” Salvage Collage on book board by Dayna J. Collins
“Constant Equilibrium,” Salvage Collage on book board by Dayna J. Collins
“Silent Recognition,” Salvage Collage on book board by Dayna J. Collins
“Reciting Poetry by Heart,” Salvage Collage on book board by Dayna J. Collins
“Weighing Possibilities,” Salvage Collage on book board by Dayna J. Collins
“Mischief Makers,” Salvage Collage on book board by Dayna J. Collins
“Beverly,” Salvage Collage on book board by Dayna J. Collins
“A Series of Concurrent Events,” Salvage Collage on book board by Dayna J. Collins
“A Little Out of Place” Salvage Collage on book board by Dayna J. Collins
“Full of Sweet Nostalgia,” Salvage Collage on book board by Dayna J. Collins
“A Smoldering Promise,” Salvage Collage on book board by Dayna J. Collins
“A Sense of Purpose,” Salvage Collage on book board by Dayna J. Collins
“Void of Silence,” Salvage Collage on book board by Dayna J. Collins
“Spirit of Cooperation,” Salvage Collage on book board by Dayna J. Collins
“Seeking Forgiveness,” Salvage Collage on book board by Dayna J. Collins
“Interrupted Story,” Salvage Collage on book board by Dayna J. Collins
“The Echoes and Shouts of Memory,” Salvage Collage on book board by Dayna J. Collins

Several of these new pieces are available at Salem on the Edge and others are available directly through me.

 

*It is also where I store all of my metal, wood, found objects, crazy collections, and miscellaneous stuff that defies classification. But today’s focus is on collage materials.

Poor Little Discarded Orphans

In my last post, New Studio? Almost . . . ., I wrote about revamping my studio and the need to clear out a long shelf of my creepy, vintage, broken, disheveled dolls (and doll heads). I wasn’t ready to get rid of them, but it didn’t make sense to put them in bins and store them in the shed. The dolls are my thing, not Howard’s, so I decided to live with them a while longer and the best place to do that was in my office. I began the arduous task of going through all of the dolls that I had removed from the shelves (okay, maybe I played with them for a little bit). 

I found some low profile shelves and ordered two sets. Howard got them installed pretty quickly, and I began deciding which dolls would make the cut. My favorite dolls are the ones with movable eyes and little teeth, and I had collected plenty of those over the years.

 

If you are creeped out by cracked, crazy-eyed, and overly loved dolls, you might not want to continue, but if you are intrigued by such a motley cast of characters, here are some of my favorites.

 

 

 

Funky Junkyard Birds Are For Sale . . . Thanks for asking

I’ve had a few inquiries about whether my Funky Junkyard Birds are for sale and the answer is yes. Because I don’t usually sell direct or online, I needed to figure out the best way to make this happen. The first thing I’m doing is listing all of my birds on this blog post with a photo, name, and price. If you would like to buy a bird, please email me (dayna@alleyartstudio.com) and let me know which bird you have chosen and I’ll send you a Paypal invoice. If you live local, we can work out an in person exchange and no shipping will be necessary. If I am sending you your bird, the mailing charge will be $10.

Here is the whole gang, and in alphabetical order, no less!

Funky Junkyard Birds
Allie
by Dayna J. Collins
Salem on the Edge
Downtown Salem Gallery
Funky Junkyard Birds
Barnaby
by Dayna J. Collins
$65.
SOLD
Funky Junkyard Birds
Beatrice
by Dayna J. Collins
$75.
SOLD
Funky Junkyard Birds
Beckett
by Dayna J. Collins
Salem on the Edge
Downtown Salem Gallery
Funky Junkyard Birds
Cooper
by Dayna J. Collins
Salem on the Edge
Downtown Salem Gallery
Funky Junkyard Birds
Crawford
by Dayna J. Collins
$75.
SOLD
Funky Junkyard Birds
Daisy
by Dayna J. Collins
$65.
Guardino Gallery in Portland
Funky Junkyard Birds
Evangeline
by Dayna J. Collins
SOLD
Funky Junkyard Birds
Evelyn
by Dayna J. Collins
Salem on the Edge
Downtown Salem Gallery
Funky Junkyard Birds
Finn
by Dayna J. Collins
$75.
Guardino Gallery in Portland
Funky Junkyard Birds
Gilbert
by Dayna J. Collins
$75.
SOLD
Funky Junkyard Birds
Harvey
by Dayna J. Collins
Salem on the Edge
Downtown Salem Gallery
Funky Junkyard Birds
J. L. Munkres
by Dayna J. Collins
$75.
SOLD
Funky Junkyard Birds
Lila
by Dayna J. Collins
$75.
Guardino Gallery in Portland
Funky Junkyard Birds
Lucky
by Dayna J. Collins
$75.
SOLD
Funky Junkyard Birds
Margo
by Dayna J. Collins
$65
SOLD
Funky Junkyard Birds
Maverick
by Dayna J. Collins
Salem on the Edge
Downtown Salem Gallery
Funky Junkyard Birds
Oliver
by Dayna J. Collins
$65.
SOLD
Funky Junkyard Birds
Palmer
by Dayna J. Collins
Salem on the Edge
Downtown Salem Gallery
Funky Junkyard Birds
Patterson
by Dayna J. Collins
$75.
Guardino Gallery in Portland
Funky Junkyard Birds
Pearl
by Dayna J. Collins
$65.
SOLD
Funky Junkyard Birds
Poppy
by Dayna J. Collins
$65.
SOLD
Funky Junkyard Birds
Ruby Ann
by Dayna J. Collins
$75.
Guardino Gallery in Portland
Funky Junkyard Birds
Taylor
by Dayna J. Collins
$75.
SOLD
Funky Junkyard Birds
Whitfield
by Dayna J. Collins
Salem on the Edge
Downtown Salem Gallery

Funky Junkyard Birds: A New Flock Has Landed

It is no secret that I am a collector of worn out and tossed aside objects, the rustier, grittier, and grimier, the better. If those objects are scratched, dented, and beat up, my heart skips a beat. Every couple of years, I feel the tug to create a new batch of my Funky Junkyard Birds. I pull out vintage tins and pieces of metal that I’ve been squirreling away over the months, and begin selecting which pieces will be used for making my metal found object birds.

Although I’ve been a collector for years, the idea for creating metal birds came in 2010 when I took Leighanna Light’s Birds Gone Wild class. I was immediately smitten and Leighanna gave me her blessing to make my version of the birds, saying, “Yes, of course, sell away!”

I started my latest batch of birds in February, with an offer from my husband to cut out and flatten the vintage tins and cut out the bird parts: wings, heads, pants, shirts, and bodies. I selected which tins I wanted to use, drew shapes onto the metal, and then turned them over to Howard to cut and sand the razor sharp edges. After a couple of weeks, I had beautiful piles of bird body parts.

In March, the auditions began. This involved combing through my basement stockpiles, opening cupboards, pulling out drawers, digging through bins, and pawing through boxes. I pulled out various found objects that might serve as a body, then tried out different heads. Personas began to take shape; pants or legs were added; an array of wings posed;  balancing shape, color, and design. Unique bits and crazy finishing trinkets added to the emerging personalities of each bird.

Once the birds were Frankenstined together, a process that took several weeks, each bird was given a name, photographed, and are now making their debut.

Here are a smattering from the 25 I created over the past four months.

Funky Junkyard Birds
Ruby Ann
by Dayna J. Collins
Funky Junkyard Birds
Poppy
by Dayna J. Collins
Funky Junkyard Birds
Maverick
by Dayna J. Collins
Funky Junkyard Birds
Margo
by Dayna J. Collins
Funky Junkyard Birds
J. L. Munkres
by Dayna J. Collins
Funky Junkyard Birds
Evangeline
by Dayna J. Collins
Funky Junkyard Birds
Daisy
by Dayna J. Collins
Funky Junkyard Birds
Crawford
by Dayna J. Collins
Funky Junkyard Birds
Cooper
by Dayna J. Collins
Funky Junkyard Birds
Beckett
by Dayna J. Collins
Funky Junkyard Birds
Beatrice
by Dayna J. Collins
Funky Junkyard Birds
Barnaby
by Dayna J. Collins
Funky Junkyard Birds
Allie
by Dayna J. Collins
Funky Junkyard Birds
Whitfield
by Dayna J. Collins

 

Scrounged Beauty: The Opening

 

Stephanie Brockway and Dayna Collins

Here we are the day of our show opening, stopping by for a final sneak peek since we hadn’t yet seen our scrounged letters hanging above the word beauty. We loved it. We spent the day tromping all over Astoria, took a short rest, then returned at 5:00 to celebrate our opening for the rest of the evening.

Final formal photos of Stephanie and me.

Once the guests began to arrive, it was a riot of activity, laughter, fun, chatter, music, visiting, drinking, eating, and general merriment as people came and went, lingered, wandered, stopped back for another look and chat. Stephanie and I were blown away by how many of our friends drove from out of town: Seattle, Salem, Portland, and Albany.

After the last guest drifted away, a group of friends joined us for dinner across the street at Fulio’s and we lingered late into the evening, basking in the afterglow of a successful show and opening party.

 

 

 

 

Scrounged Beauty

Years of Collecting

After years of being junking partners, my friend Stephanie Brockway and I are doing a show together at RiverSea Gallery in Astoria. Both of us have shown our work at RiverSea for years, and Stephanie had a solo show there a couple of years ago. I show paintings, she shows a combination of paintings and outsider folk art. Scrounged Beauty is found object art, highlighting the best of our collections of found objects, and as some would say, junk.

Months of Auditioning

I spent months pulling things out of drawers, bins, bowls, and trays, choosing which pieces to try out on various pieces of reclaimed wood and prepared boards.

Weeks of Connecting, Titling, Signing, and Photographing

A Day of Hanging

Okay, Colin actually did the hanging, while Steph and I gallivanted around Astoria.

A Sampling of My Pieces (out of 42 I have in the show!)

“Delightful Daydreams,” by Dayna J. Collins
“Giddyup, Little One Trick Pony,” by Dayna J. Collins
“Obscured Thoughts,” by Dayna J. Collins
“A Whisper of Conspiracy,” by Dayna J. Collins
“Drawn Into Memory,” by Dayna J. Collins
“Daily Interactions,” by Dayna J. Collins
“The Tiniest Things Mean Something,” by Dayna J. Collins
“Most Expedient Route,” by Dayna J. Collins
“Painstaking Exactitude,” by Dayna J. Collins
“Traveling Side Show,” by Dayna J. Collins
“Seeing Through Shadows,” by Dayna J. Collins
“Little Time to Talk,” by Dayna J. Collins
“Untroubled By Disturbing Dreams,” by Dayna J. Collins
“Beckoning,” by Dayna J. Collins
“Staring Into the Distance,” by Dayna J. Collins

THE SHOW

Art After Dark: July Open Studios

 

I’m fortunate to be a member of a group of 11 artists who share the second floor of the Wool Warehouse at the Willamette Heritage Center. We call our space: Studios at the Mill. We have been together in various forms (in various studios) for the past four years. My space is always evolving depending on my latest project. What remains the same for now is this is my Special Projects Studio, where I house all of my ephemera, vintage books, and oodles of photographs.

Initially, we hosted Open Studios on a monthly basis, but after a few years, that got to be too much, so for the past couple of years we host Art After Dark Open Studios quarterly. Last night was our July event. On the second Thursday of our chosen month, we all fling open the doors to our studio, serve wine, sparkling water, and lots of food – savory and sweet. Our studio member Jim Hockenhull often has his wife, Jo, join him in providing us with music and last night they played and people danced. We also asked Steve, who owns a new restaurant at the Willamette Heritage Center, Krewe du Soul, if he would serve samples of his Cajun fare. He agreed and for two hours offered samples of jambalaya and gumbo; there were lots of people walking the halls with smiles on their faces. To best share our event, here are photos I took of people throughout the evening.

For our next Art After Dark Open Studios, we’re mixing it up a bit and it will be held a month later on: Thursday, November 8, 2018.

If anyone had ever told me I would get to the Pasadena Rose Bowl Flea Market . . . .

. . . . I would not have believed them. But it happened last Sunday.

 

We were on vacation in Los Angles last week to see an uncle, visit museums, art galleries, and just do some general tromping about. The sites we wanted to visit were divided by neighborhoods to minimize the time spent in the car. On a whim, right before we left for the airport, I googled “flea markets.” The Pasadena Rose Bowl Flea Market, of course, popped up. It is held one Sunday of the month. Guess which Sunday it was being held? (Insert gasping and hyperventilating.)

We arrived early (they have different entrance times and prices, we were there by 8:00 am), got our bearings, and set off for the Orange Area: Antiques and Collectibles. This was important because there are 2,500 booths, so we needed to narrow our focus.

My focus for the market was black and white photos, paper debris, and any sort of ephemera; I rounded up a smattering of everything.But the mother lode was a scrapbook I saw, walked away, then had to go back and purchase.

The scrapbook belonged to Virginia Anita Bugg, and chronicled her early 1930s high school experience on through getting engaged and married. The scrapbook was crammed and crumbly, so when I got home I carefully deconstructed each page into categories: letters, photos, gum wrappers, menus, ticket stubs, dance cards . . . . I even discovered a smashed celluloid doll toward the back. Take a look:

The deconstruction:

I’ve already integrated the pieces into my studio and I’m looking forward to creating new lives with the remnants of Virginia’s life.

Back to the Flea Market, some photos of roaming about.

And the rest of my bounty:

 

Quarterly Open Studios

The artists at the Art Studios at Mission Mill decided at the end of last year that they wanted to host quarterly Open Studios rather than monthly events. I personally liked having them monthly, but they did seem to roll around rather quickly. Our quarterly event, under the umbrella of Art After Dark, will be held this Thursday, April 13, from 6-8 pm (a change from our old time of 5-7 pm). Studio A, where I hang out, has been converted to my Special Project Studio, where I am working on a big mixed media and collage project titled: What’s Your Story, Real or Imagined: Telling Stories through Black and White PhotosI started this project last year, but it has been evolving and morphing into something bigger than I earlier anticipated. I still have my two walls of black and white photos, which have expanded and taken over more real estate. 

I recently had the opportunity to sort through a couple dozen boxes and three chests of family photos and ephemera and somehow I managed to find room in my compact corner space for piles and mounds of paper, 3-D bits, and photos.

 

I’ll be doing an Artist in Residence at the Salem Art Association Annex in the fall, so for now, my ideas are percolating as I spend time in this special studio. I’ll be sharing more about my fall project a bit later, but it includes a panel discussion, two weeks of working in a spacious light-filled studio, and will culminate in a one-day workshop I’ll be teaching. In the meantime, come see my newest acquisitions and hear more about my project on Thursday night.

 

ART AFTER DARK

The Art Studios at Mission Mill are located at the Willamette Heritage Center, across from Willamette University on 12th Street and across from the Amtrak Train Station on Mill Street. All of the second floor studios will be open, Carol Green will be demonstrating a Polaroid emulsion lift process (“The World Through Polaroid Imagining”), and Bonnie Hull is bringing her instant camera and will be taking curated photos ($1, please bring exact change). There will be new art on the communal walls and all of the artists will be serving refreshments. On the first floor, Max Marbles, the bookbinder, will be open, the Eco Hub is featuring student artwork honoring nature, and you can meet the newest tenants: award-winning photographer Frank Barnett and his wife, 3D artist and writer, Mart Soloman. It’s going to be a splendid night!