My Chronicle as an Artist

We shall not cease from exploration, and the end of all our exploring will be to arrive where we started and know the place for the first time.

T.S. Eliot

19: Building Trees

I was fortunate that I had begun the 3-dimensional figures at the end of my time in Chicago.  It was the body of work that was the most creatively stable, that could weather this big disruption of being uprooted. I was excited about developing them further.

Neptune    ©1984 LSAuth

Neptune ©1984 LSAuth

In Princeton, these figures became my largest body of work. Drawing and painting, although always important, were not my main focus in those 3 years. I am not sure why this was so, because my canvases  were so vital in Chicago. But now, in such a different nature-filled landscape, I found it more difficult to paint inventively, and the mixed-media assemblages seemed to come more easily. Creative blocks are inevitable, but always so difficult & frustrating to go through.  When they occur, I have always been able to rescue myself with another medium. My canvases had to wait until I was ready to reconcile them again.  Works in various stages of completion were set aside for what seemed like an interminably long time.

PrincetonSketchbook: In the Corn    ©1984 LSAuth.

PrincetonSketchbook: In the Corn ©1984 LSAuth.

Into the Woods    ©1984-5 LSAuth.

Into the Woods ©1984-5 LSAuth.

Tree branches filled every view from every window dormer in our attic apartment. There was a very large window in our bathroom that dropped down to a roof overhang that looked out to the treetops. In the afterglow of twilight, Michael and I would step out onto this landing and lie back to watch the little brown bats, not that high above us, in a beautiful display of flight & feeding. It was like being caught up in this arabesque of movement between bats & insects against a backdrop of intertwining branches and leaves. To experience this frenzied dance was pure joy. Such moments were my most profound source of creative inspiration.

NightWindow    ©1985 LSAuth.

NightWindow ©1985 LSAuth.

I decided to create my figures in the spirit of all the folklore that I loved and remembered from my youth, from mythology to fairy tales. As I mentioned earlier, our apartment was like a treehouse, and the the woods were part of my daily walk.

It therefore seemed totally natural to build more trees.

Here are some of the first ones from left to right: WellWisher, Giver, and CrownBearer.



15: Leaving Chicago

The time remaining, 1982 until May of 1984, was productive for me.  I exhibited in several shows and was creating some of my best work, free from the constraints of art school.    I was happy to sell many of my 3-D figures and some paintings as well.  I had even found a terrific buyer for 4 of my very large canvases — an entrepreneur who wanted them for his new restaurant that he was about to open in Chicago.

And then tragedy hit hard.  AIDS.  It became the plague of my generation.  So many colleagues, especially those in the arts, were affected—either by developing the disease themselves, or having loved ones who did.  I lost a beloved cousin and many childhood schoolmates.

The restaurant that was to be home to my large works never opened.  They were rolled up and put in storage.  To this day I think of them as shrouds for those who did not survive to celebrate their business adventure.

I left Chicago with the memory of an image that I had created when I had first arrived there 7 years before as a youth with goals and desires.  My Nocturne in Black & White was now a visual elegy for those who had died —  hope had gone full circle to meet up with sorrow. 

Nocturne in Black & White    ©LSAuth 1978.

Nocturne in Black & White ©LSAuth 1978.


1: My beginnings,,,,,

I always loved coloring and drawing from the time I was a child, so it is no wonder I continued that love into art school and beyond.  Childhood drawings of trees, animals, houses, and people developed into more "realistic" versions of the same imagery as I honed my skills.