Dear Carl Adamshick,

I love your poetry.  Specifically Pacific.  I am writing you this letter on my blog for everyone to see because in searching for you on Google, I can’t find out how to contact you, so here it is.  Perhaps you, when Googling your own name, or when a friend Googles you, will discover this letter and the compliments it contains.

For all of the non- Carl Adamshicks out there, which would be most of you, sadly, you can read only an excerpt of this fine poem here.  Why write a letter to a poet on a blog about (predominately) visual art?  This particular poem, addresses Amelia Earhart and her place in history, specifically in the year 1935.

The poem opens thus with a quote:

“After midnight the moon set and I was alone with the stars.
I have often said that the lure of flying is the lure of beauty.”

Amelia Earhart

So,  Mr. Adamshick and I are caught up in the roughly the same subject.  If anyone is interested in reading the whole thing, get a copy of The Missouri Review Volume 31, Number 3, Fall 2008.  Thanks Joe, for calling my attention to this poem.  Mr. Adamshick, I apologize for turning this letter into a blog post addressed not only to you, but everyone else out there, but it is, after all, a blog post.

Speaking of Amelia Earhart, I have finished the fourth little panel in a set of four with Howland Island and Gardner Island as their subjects.  These little panels are artifacts.  They are wooden photographs.

Here is #4:

and here they are together:

So, please feel free to peruse the rest of this blog, as images of AE-influenced work abound.  Thank you for your time and patience with my cyberpermient.

Sincerly,

Amy Sacksteder

the fourth yet probably not final one of these:

I have been making these strange map-like drawings.

Michael and I have been talking about the nature of this seeming pseudo scientific “study” I am undertaking.  It’s somehow anthropological and, of course, contrived.  I really am sort of finding out what I am doing as I go and am enjoying the process of exploration.  They remind me a bit of a Russian artist who was very well-represented at the Venice Biennale this year, Pavel Pepperstein:

an image I took of one of his pieces in the Russian Pavilion

and also the drawings of  Nedko Solakov, to whom Mark and I were introduced (his work, not him unfortunately) at documenta 11 in 2007:

I admire the work of both artists very much, and though I am not consciously trying to emulate their invented documentary-like drawings, I do see the connection.  This is my favorite one so far though my little point-and-shoot camera doesn’t capture it very well:

There’s no sun on this particular Sunday.  We tried to go out to Szentendre, which is an artist community, but our day trip was rained out.  It’s too bad, but we’ll get there on a nicer day soon.  We did get a chance to see some Roman ruins before the rain started falling.  I like the way they contrast with the contemporary architecture.

Michael, Beata, and Maxie Honey Bunny checking out the ruins

We are meeting some really great people here, and have been checking out the local nightlife.  Last night I got dinner with a friend and met Michael and some other people at Corvinteto.  It’s a really amazing hang-out spot on the roof of a grocery store.  Someone told me it used to be a Socialist department store, but I’m not sure about that… I don’t have any photos, but on the beautiful breezy evening with an amazing view of the Budapest skyline with really nice people, drinking fröccs (a mix of wine and soda water- basically spritz), it was the perfect way to spend a Saturday night.  We ended the evening by getting some lángos (traditional Hungarian fried dough served with garlic, cheese, sour cream, etc.)  I had the garlicy version and it was perfect.

Here are a couple of drawings I have been working on…

...having something to do with Virginia Woolf

two Amelia Earhart drawings

Where are these weird little guys coming from?  Tomorrow I am meeting a friend to go art supply shopping.  The main art shop is closed until Friday, so that is a bit of an impediment, but we will prevail!  I want to get some oil paint to translate some of the little island images into larger paintings.  Right now Michael is cooking up some pasta with sauteed garlic and Hungarian spicy sauce.  It smells amazing, so I am going to go eat!

Can you tell that I was listening to Belle and Sebastian yesterday?

I am settling into my studio space nicely:

Here are some pieces I have made so far.  I am pretty interested in the image of the skull, and am exploring it in my work.  This interest was sparked by an addiction I have of looking at the selby, photographer Todd Selby’s website.  He goes into creative people’s spaces and photographs them and their stuff.  I am captivated by people’s sort of universal shrine, or still life arrangements that they create just for themselves.  Todd Selby does a fantastic job of capturing that.  I am struck by the number of skulls on the site–as though these artists, musicians, etc., want to keep a reminder of mortality close at hand.  So I set out to make portraits of the skulls on his site.  I have done two so far:

a crystal skull

a skull with gold leaf

So recently, as demonstrated by the skulls, I have been interested in engaging and embracing mortality in my work.  I have been reading biographies of and memoirs by Virginia Woolf, Amelia Earhart and Emily Dickinson.  I chose three iconic, passionate women who died by different means: suicide, possibly a plane crash or related death, and illness respectively.  So I am making weird little pieces involving these women, their lives, last words and deaths.

I found an image online of Amelia Earhart's palm print, so I decided to make a piece about her lifeline

two small panels--images of Howland Island, Amelia Earheart's destination on her final flight, which she never reached

Also here is a piece that traces pattern of patina on a statue from Buda Castle:

These are just snapshots of what I am working on.  The photos are certainly not documentation-quality.  Here is another image that relays a sense of scale of some of the work.  The paintings are on birch panels mostly in gouache.

I think the smaller panels are about four inches wide, maybe five.