“Miniatures” Series works
(Work Beneath)
Small artwork is so under-appreciated. Or maybe I should say unappreciated. But I love to work that size. And by size I mean petite to miniature. It’s a challenge—one that I absolutely love.
So much more goes into it than is immediately seen.
Working small is emotionally charged for so many reasons. Your relationship with the work is intimate—delicate, fragile and, for me, personal. I find myself treating it like a child; with extra care and attention. You can’t afford to be distracted. There’s practically no room for error; and even when a tiny section pulls off, or a mark over-dominates, it’s the danger zone. Depending on the severity, it may or may not be salvageable.
Many works I sew into, some also include medical gauze. The artwork’s fragility is “mended”, by the equally delicate and vulnerable stitches and patches. I have to be cautious, steady, patient and move very slowly. Every mark and tool prick and pull, mark, touch or drop, is a disaster waiting to happen. Each individual mark easily smudges, pulling paper fibers loose. My paper, which is thin and “fluffy”, resists. It wants to tear. And it all happens often.
The smallest I’ve worked is a series the size of an infant’s bellybutton.
When complete, I break my intimacy with my work. By doing so, I am allowing the viewer to step in and burst that privacy bubble.
If you happen to view a small artwork, make sure you take extra time to truly see it. Whether you enjoy the artwork or not, please respect it. They are always a large piece of the artist’s heart.
