FIRST FRIDAY*

Happy Friday, friends!

In addition to being Friday, today also happens to be the first Friday in June, so that means it is time for another First Friday post!  The first First Friday post (that's too many "firsts") was shared last month, in May. That particular post focused on crafters in the state of Indiana. This month, several artists are individuals I was introduced to while at a recent art fair. Below, you'll find watercolor paintings, greeting card shops, intricate sketches, and even some woodworking. A little bit everything, you might say.

If you haven't previously heard of First Friday, then know this: it's about artistry and networking. It's an open-your-eyes-to-culture opportunity, and an opportunity to visit places and studios you don't normally frequent. First Fridays are a monthly event, held--as you guessed it--on the first Friday of each month. Depending on the city, various community events are also held (Phoenix and Richmond, Virginia, have two of the largest Friday Fridays). Here in Indy, Fountain Square is bustling, as is Mass Ave. And, fortunately, there are additional galleries just across the street from me.

So, turn the volume up, dance in your chair, and admire what you will. Because it's Friday.

First Friday: June 7 by Dawn on Grooveshark


CARRIE WILD

Carrie Wild's "About Me" says it all: "A love of the outdoors inspires much of her artwork--paintings in which she depicts nature in both realistic and imaginary ways. Some of her favorite subjects are insects and small animals, creatures whose details are often overlooked but are nevertheless miraculous. She believes that natural surroundings are key to our well-being and hopes to inspire appreciation of them through her subjects." Personally, I enjoy Wild's work because it feels familiar, in a way. The bottom-left piece, for instance, reminds me of my own mother's flower garden. It reminds me of summer, of warm weather and sunshine. And Wild's artwork is so subtly crafted; you catch yourself closing your eyes and imagining the night breeze on your cheeks, or the sweet sound of birds chattering. Curious to know how she gets the soft, speckled details? Wild sketches out her drawings on watercolor paper, which is embellished with ink (the outlines and texture are created by using a stippling technique). Watercolor washes are added next, but some paintings also feature metallic pigments. Check out her shop; everything is so invitingly natural.



CITY OF BLACKBIRDS 

Éadaoin is the lovely lady behind this lens. Éadaoin grew up in the Irish countryside, but has been living in Dublin for the last ten years. She's a dedicated photographer and blogger at City of Blackbirds, and I fell in love with her images nearly a year ago. I was actually introduced to her site through a giveaway (which, surprisingly, I won). The prints Éadaoin sent me are of beautiful lavender--purple, light, pretty. I adore her use of light, and lust over the purple and pink hues that often appear in her images. Éadaoin herself says, "through a combination of photography and words, my desire is to reflect the beauty I see in this world of ours. I love to shoot plants and flowers, good food and inspiring places." Indeed, she manages to capture the smallest details in nature and make them shine. Just take a gander at the photo gallery and just see if you don't fall in love with one particular image. Or two. Or seven.



GRACIE SPARKLES BOOKS 


Grace Dobush, the owner and maker behind Gracie Sparkles Books, has been involved with printmaking and bookbinding for more than a decade. She learned both screen and block printing in high school, and added bookbinding to her list of talents while in college. She's a fan of typography as well, and a craft junkie. (Check out her book here!) It's not surprising, then, that Dobush's shop is full of objects that showcase block printing and the handmade/homemade touch. Furthermore, the cards, books, and posters she sells are often constructed using recycled or upcycled materials. Her work also has a personal feel to it, and can be humorous. Dobush pokes fun at crafts memes and trends, for instance, and even has a cheeky website that "predicts" craft trends. My favorite item in the shop? As a former English major, it is--hands down--the comma kit. (I actually sent one to a friend, as part of a "hipster starter kit.")



RICK LOUDERMILK 

Rick Loudermilk's work is bold, very bold. It immediately caught my eye at a recent art fair, and it must have done the same thing for others, as his booth was one of the busier ones. His paintings and mixed media are composed of intricate, geometric shapes. They are very layered pieces of art as well, with watercolor and pigment pens. Of his own work, Loudermilk says, "My abstract work looks more like what I was doing with finger paint as a four-year old, except now I can hold a brush and stay in the lines better!" Personally, as a fan of geometry and straight lines, I admire the clean look of the bottom-right image. (That particular work is one of Loudermilk's most recently finished products, to my understanding.) Loudermilk's professional career spans almost 30 years (he graduated from University of Southwest Louisiana, where he studied painting and printmaking). Though he doesn't currently sell original prints online, the Austin-based Loudermilk does attend a variety of art shows in Texas and the Midwest.



SAD SHOP



I stumbled upon this greeting card shop several months ago, back when I was searching for sarcastic holiday cards. Etsy had an abundance of fancy cards and elegant calligraphy, but I was searching for something more … me. Something blunt. Something snarky. Something that would make me laugh. And that’s when I found Sad Shop. Shop owner Katie Davis—who lists “paper, Helvetica, and naps” as her favorite materials—prints the cards in small batches and hand folds them. (She also provides wholesale orders, too, if anyone is interested.) The cards themselves are made from recycled paper and biodegradable sleeves. And, of course, the cards are bold and sad and silly and ironic and AMAZEBALLS. So AMAZEBALLS, in fact, that Davis’s cards have been featured on The Huffington Post, BuzzFeed, DailyCandy, HelloGiggles, and Design Milk. This card is probably my favorite in the shop, but there are several others that amuse me with their perfectly awkward sentiment.


JUSTIN SCHAFER 

Justin Schafer, a senior graphic designer at Mutual of Omaha, has a knack for hand-drawn type. I was drawn to the invitations for his wedding, as they were personal, informative, and smooth. As it were, Schafer fuels his creativity through screen-printing hand-drawn type. You can view some of his work in the Resolution series (which includes the "Make It Handmade" design above). His website is something remarkable, too. It's smooth as well, and you can easily scroll through his entire portfolio. No need to click or search; just browse through. And while you're browsing, pause to take a look at "Mission: Prague." It's a campaign project centered around Prague ... but created with a spy theme. There are mission maps, lists of objectives, and even information brochures all packaged together in a "confidential" file. But Schafer does more than express himself through graphic design; he also builds mid-century modern furniture.


SCHOOLHOUSE WOODCRAFTS 

Schoolhouse Woodcrafts makes birdhouses, birdfeeders, and, my favorite, fairy houses. While patrolling the Broad Ripple Art Fair last month, I stopped to admire the tiny little homes and their accompanying tiny little mushrooms. They’re whimsical and natural, two characteristics I’ve been drawn to most recently. Furthermore, the houses are miniature; who doesn’t adore a miniature playground full of imagination? As for the bird houses? They are eco-friendly, and are made from sustainably harvested wood (from storm-damaged trees, mostly). Furthermore, to accommodate for birds’ sensitivity to chemicals, the birdhouses are made with nontoxic finishes. The birdhouses, which are “bird ready,” typically attract wrens, finches, and tufted titmice. (No way was I going to turn down an opportunity to list that bird.)



LIAM STEVENS

It's not surprising that Stevens has been featured on numerous blogs and was named, in 2012 by How Design Magazine, as one of the top websites for designers; his work is remarkable. It's mesmerizing, actually. There are so many details in his sketches that, each time I return to them, I find something new. I pinpoint a new detail, a new pattern. It's true that he favors simple materials. However, the scalpel and Pentel 0.7mm mechanical pencil Stevens uses are more than enough. I dare you to gander at "The Witness" series; at first, you see a pond, a cabin, some trees. It's relaxing. It's intimate. It's peaceful and whimsical. But then, as you look closer, you see the strokes. The lines and dots and specks. Your eyes trace everything, and you are lost in the depth of the sketch. That's what it's like; those "simple" materials "[enable Stevens] to craft his work through expressive lines or graphic shapes." Not as interested in pencil sketches? Then check out his other work: there is a small collection of typography and digital designs, as well as a series called "Shapebook."



CARLA WRIGHT

For Carla Wright, it's all about texture. Her art is a topographical map of color and nature. It's so inviting, so friendly-looking, and happy, that you want to touch it. Indeed, there is almost a 3-D feel to her work.You want to explore each painting with your fingertips, feel the points of leaves and the roll of bark. Her work is truly unlike any other I have seen. The paintings--which are oil and acrylic--range in size from a square 24 inches to a larger 3x8-foot canvas. As for her style? Wright has taken traditional landscape art and transformed it to include impressionism, surrealism, and abstraction, among other genres. Interestingly, Wright was born in Madrid, but was raised in Aberdeen, Scotland. At age six, she began art training, and, at age fifteen, she was accepted into Gray's School of Art. However, Wright's father encouraged her to forgo formal education ... because her artwork was already selling.



*ALL IMAGES USED WITH PERMISSION

MENTALLY, I'M ANOREXIC

This is one of the hardest posts I have ever had to write. It is also one of the most honest, and one of the most personal. I actually wrote it several days ago. However, I've been sitting on it, debating whether or not I should confide in you. In the end, I concluded that I should--because this blog is my "online scrapbook," a culmination of experiences and thoughts, both good and bad. 

This post, which describes my severe, mental struggles with body image and self-esteem, is to be read as a journal entry. It is rambling. It is honest. It is sad. I just can't begin to describe the scrutiny I put toward my body each day; the anxiety I feel when choosing an outfit, the hatred I feel when I see my reflection. The best disclaimer I can add is this: "I'm sick."

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I think I'm mentally anorexic.

I mean, I eat. In fact, I love food. Sometimes, I love it a bit too much.

I have a sensational sweet tooth—always have—and have a penchant for Oreos and chocolate cake. My favorite junk foods are Goldfish crackers and Scotcheroos, and my favorite junk T.V. is the Food Network. “Chopped,” to be exact. “Chopped” when it is judged by Alex Guarnaschelli, to be exacter.

I know that mangoes are my favorite fruit. And I know that grape tomatoes are savory when roasted with salt, pepper, garlic, thyme, and olive oil. Some of my favorite textures are those of cottage cheese, shrimp, and mushrooms. And though I despise early mornings, breakfast is possibly my favorite meal. The sizzle of eggs, the frying of bacon.

During my last semester of college, I took an Italian foods class. We studied food. And looked at it. Drooled over it, even. Oh, the timballo. The frutta di mare. The fresh mozzarella. The different olive oils and wines and breads. It made me appreciate good food; it made me want good food.

I can’t quit eating now. Not before I learn how to use chopsticks. Not before I try poutine in Canada, exotic curries in India. Not before I eat true, fresh, and rich ingredients in Italy.

I can’t.

And, quite literally, I can’t.

I was diagnosed with hypoglycemia when I was nine years old. It was summer, and I had spent the entire day outside, as usual. My mom made supper, as usual. But sometime in the evening, I fell ill. An intense nausea. Clammy skin. A dizziness that left me flat on the couch, unable to fully communicate with my mom. She quickly phoned Helga, an acquaintance who was also the school nurse. Helga came over to the house and inspected me and, together, she and mom managed to feed me a hot dog. With protein, my blood glucose level (blood sugar) slowly returned to normal.

My memory is patchy when I think of that evening; I don’t remember trying to chew and swallow a hot dog, but I do remember the furniture arrangement of the living room. I don’t remember when I first told mom, “I don’t feel good,” or when Helga first arrived. But I do remember her voice. Her and mom’s, softly and cautiously, above me. It was quite late then, and dark—save for the light of the T.V. And as I drifted off to sleep—something I do to this day if I recover from a similar experience—I heard whispers and worries. “What if it’s diabetes? What if she has it just like her brother?”

Ultimately, my diagnosis was milder than that of my brother’s (three years earlier, he had been diagnosed with Type 1 diabetes, which is known commonly as juvenile diabetes). However, I still have to be careful. Exercise rapidly decreases my blood sugar, and I am often left hungry or dizzy. Even walking long distances—especially in the summer heat—drags me down. And things that affect diabetics—motion simulators, roller coasters, hot tubs—affect me as well. In fact, when I was nine or ten, I went to Hoo Doo Days (a small town's Labor Day celebration) with my aunt and cousins. Hoo Doo had, as always, a parade, a midway, and some carnival rides. My cousin Derek and I went on one particular ride; a ride that swung the cars in a wide circle, and one that allowed you to simultaneously spin your personal car even more, if you wished. Oh goodness, did I feel terrible.

Another low blood sugar, another hot dog. Only this time, I was flat on my back on a public sidewalk, rather than on a couch.

It’s well-known among family and friends that I sometimes need frequent breaks and extra snacks. Even at work, I bring with me several snacks. I’ll eat breakfast (either at home, on-the-go, or at my desk), nibble at something around 10:30, eat a small lunch around 1:00 or 1:30, and have another snack around 4:00, just before I head home. (When I was working late, I often brought with me two meals—lunch and dinner—and four or five snacks.)

I have to eat in order to feel well.

I have to eat in order to function. In order to think. In order to talk. 

But damn … sometimes I wish I didn’t have to. Because in my head, in my crazy, anxious, obsessive, depressed, perfectionist, manic brain, I’m ugly.

It’s a disease, this type of thinking. And, really, there is absolutely no benefit to it; all I’m left with is a hatred for myself. But I also can’t stop. I can’t stop looking in the mirror and critiquing everything. It’s the critical part of me. The anxious part of me. The part that wants control of something.

Several years ago, my friend Brent told me about his sister’s pregnancy. “She was so unhappy,” he said to me. “She would just stand in front of the mirror and cry and whine, ‘I’m sooooooo fat!’ And then just sob more.” Brent laughed at the memory, convinced his sister’s emotions had been riding the ups and downs of pregnancy hormones.

Recently, I realized I am her. I am Brent’s sister, minus the pregnancy. Minus the hormones. I’m just that sick. I will stand in front of the mirror in my underwear and bra, staring at all the bits and pieces that I want to shave off or change. All the parts of me that aren’t perfect. That aren’t flat enough or round enough or smooth enough, respectively. I stand there and cry into my hands, not wanting to accept the size of my feet, the width of my hips, the shortness of my torso. I’m so mentally flawed that I actually believe I’m unattractive.

I’m not sure when this mentality came into play. It certainly wasn’t in elementary school, even though I was one of the tallest girls (with a shoe size to match). I never minded being tall. (The only time I did was in sixth grade, when I had a solo in the operetta. To access the microphone, I had to be in the front row and, thus, I lankily towered over my classmates, a full head taller.) My hips started to appear freshman year; my pant size was in the double digits for the first time. And no one, ever, told me I was pretty. My mom would tell me, sure, and my brother, too, but I knew they were obligated to. I was her daughter, his sister. They were supposed to say those types of things.

It just wasn’t enough.

I wasn’t a toned athlete, and I wasn’t a popular girl, someone who shopped at Victoria’s Secret and made themselves up nearly every day. No, I was a dork. A total and utter dork with glasses and crooked teeth and wide hips and raw, bitten fingernails. That was me. I hated me.

I still hate me.

I hate me for hating how I look. I hate that I never feel beautiful. I hate that no matter how hard I work out, no matter how little I eat, I can’t change the width of my hips. Or the prominence of my veins in my feet. Or how my toes are shaped. Or how short my torso is. I just look at myself think, “I’m structurally flawed.”

I wish I were an inch taller, just once inch from six feet. I wish I could go into a vintage store and try on shoes. I wish my teeth weren’t crooked. I wish my eyes weren’t almond-shaped and squint-y. That I didn't have astigmatism. I wish my neck were longer, my hips were narrower, and my waist more defined. I wish my torso were longer. More specifically, I wish my torso were longer and my legs were shorter in order to accommodate all those ill-fitting dresses I keep returning. I wish my knees weren’t so knobby. That my hair wasn’t frizzy. I wish I didn’t have to tweeze my eyebrows. Or already pluck a few stray, awkward hairs. I wish my belly button were lower, my boobs were bigger, my butt smaller. I wish my eyes were greener. I wish my hair were darker, to make those “green” eyes “pop.” I wish I didn’t have to worry about acne. I wish my face were less round. I wish my skin didn’t have its greenish, olive tone. I wish my thighs weren’t so close together, that my upper arms were so loose. I wish I could wear short shorts and bikini bottoms. I wish I didn’t have growth marks and stretch marks on my hips and legs from the year I grew four inches. I wish I didn’t have a scar from an infection on my torso. I wish I could wear strapless dresses. I wish I could wear A-lines.

I wish. I wish. I wish.

Only, when I’m actually looking at myself in the mirror, tears in my eyes, I’m thinking I hate I hate I hate.

Anorexia isn’t an eating disorder. It’s a mental disorder.

The disorder starts with an emotional attachment to control. It starts when you begin to have doubts about yourself. It starts when that one person, that one person, says something about the way you look and you never forget it. It starts when other members of the color guard make fun of how you dress, and joke about the fact that you had to order a costume in XL … just because you’re taller. It grows when your anxiety worsens, when your depression fluctuates. It grows when you see everyone on Facebook receive compliments—real people you actually know and care about and talk to, real people, and not magazine models or Photoshopped advertisements. And you? If there’s a new photo of you, no one says anything. No one says you’re beautiful or stunning or remarkable.

No one bothers to turn their head.

You assume that everyone else sees what you see—an unattractive, plain, wide, flabby creature. You don’t believe your dad when he says, “You need meat on your bones.” You don’t believe your brother, who remarks how thin you look after he hugs you. You don’t believe your mother, who—within the first five minutes of seeing you—says, “You’re skinnier every time I see you.” And you don’t believe your fiancé, either. Because he’s obligated, too.

And so you’re left alone, with just your thoughts and your tears, standing in front of a mirror. In my head, that's normal. But I also know it's sickening. And terrible. ... And truthful. Because a lot of the time, I eat only because I have to. Because I’m not well.

STOLEN


My car was stolen last night. Or early this morning. Sometime, anyway. It doesn’t matter, really, because it’s gone. Missing. Lost. And oh, how I miss it. It was my car. My car. The one metal beast I’ve driven since I was fourteen. Ten years of driving with that creature; ten years of learning how to brake, accelerate, and check fluids. Replacing tires. Laughing as my tail pipe quite literally fell off right before my eyes.

It is rusty, old, and maroon-colored. Coated in rust, really. It’s an abstract piece of art, my antique car. It’s twenty years old, and has driven me to Iowa and back, to Indiana and back, nearly two dozen times. It’s an honest, dependable Oldsmobile with 166,000 miles. That’s a lot of miles we’ve shared. We’ve shared conversations, too; ones I carry with myself during those 11-hour drives across the prairies.

Oh, Car.

All I have of you are shards from your driver’s side window. All I have of you are pieces of glass, sharp and shining. They are so unlike the rest of you, Car, so unlike your dull and scratched body. I miss you. I hope you’re safe. I know you don’t look the best, Car. I know you haven’t had hubcaps for years, and are slowly falling apart on me. But I was going to drive you “until you exploded,” Car. Drive you for a few more thousand miles. Even a few more ten thousand, if you’d let me.

But now, your aged and dilapidated self most likely blends in to the neighborhood where you have been abandoned.

“Drugs,” the police officer told me. “Most likely, they just needed a vehicle for a delivery. They may have traded it for a rock of cocaine as well.”

Oh, Car. Come back. I’ll fix you; don’t worry. We just have to forget that someone violated you, and stole you. That someone took a personal and emotional item that was not theirs to take. That they abused you and used you for their amusement. Oh, Car. I’m so sorry.

I cried when I saw you were gone.

Strangely enough, while falling asleep last night, I thought about what would happen if you were to go missing. I thought about standing outside with two police officers, talking to them about how my car disappeared. And then, in my dream, you came back to me, returned, unscathed. In my dream, the criminal said, “Needed to take a friend to the airport! Thought I’d take it back to you, though! Thank you!”

In my dream, there was a happy ending. There was no broken glass behind the house. No, blue-tinted sharp edges. You weren’t just an easy target.

In real life, there was just one police officer, a man about my height. He politely asked questions, almost chatty. He told me they recover 98 percent of stolen vehicles in Indianapolis. He told me that it was most likely used to make a “delivery.”

“It might be up by 38th,” he said. “We’ll do our best to find it. It normally doesn’t take too long. The only thing that really hinders a quick recovery is when they hide the car in a garage of an abandoned house. But with Iowa license plates … we’ll see. Any other defining features?”

So I tell him about you, about your cuts and scrapes and scars. About the atlases I stow in you, about the vinyl Purdue University stickers I have plastered in both the front and back.

Oh, Car. I’m so sorry you were an easy target. You were mine. Mine. And every time I think about you, every time I remember that I didn’t drive you one last time, I am teary. I personified you, Car. Each morning, I’d park you in the garage at work, give you a pat on the “tail” and tell you to have a good day.

And while that may be childish, whoever took you from me will never show that same respect.

Be brave, Car.



By the way, when I swept up the brokenness? The sound, the sparkle—I could’ve been raking gems.
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