Chunky masses bury curvy precious materials and remains.Hot spot on the globe radiates with the purest current Sent straight up through the earth sphere And down again from the bluest sky. Who sits in the center receiving messages from the divine? Do you sometimes? Do I? One time I was locked tight in levitation Praying to guides and gods Then a human walked in the room And asked a question.Read More
I am ready for direct current / Rip through me / Blast past my boundaries / Leap over the blurry edge / Pull me over the well-defined / Edge of the abyssRead More
I am not sure what I am supposed to do in this world other than make things with things. Seriously.Read More
I amall the way awake each day. So aware of how the system-structure-it’s-just-what-you-do “reality” Does not fit. Not me Not my childrenRead More
there is always an opening in the blues, if you will be brave enough to search.Read More
I am honored and stoked that my wood assemblage project is featured on ARTSERVED, a site that curates work from "leading creatives on Behance."
Here's a little linky:
Alyson Khan exhibits new wood assemblage pieces at BANG restaurant in Denver July 10 thru the end of August.Read More
Photos of new wood assemblage pieces by Alyson KhanRead More
Artist Alyson Khan writes about her new routine of climbing into roll-offs to hunt for wood scraps for her assemblage pieces.Read More
Here are some early photos of work in progress. I am working on "wood collages" made from lumber off-cuts salvaged from builder sites around the city. It's the next step. Getting more dimensional and larger in scale. [slideshow]
[slideshow]Here is a photo of the commission piece I created for a client's office. It will hang above a beautiful couch that is a deep brown with purplish undertones. There are two green-gold accent chairs in the space as well. This piece was based off a mini collage in the previous post. I am really happy with it and now feel confident to continue working larger scale with collage elements.
These patterns make me think of mantra- the repetition of the simple, succinct and meaningful. Because they originate from my art, which is distilled down to the most essential shapes necessary to deliver the message, these patterns are like the most most essential element repeated over and over. I do think they would make nice textiles. I can imagine them on a wall, a couch, a bedspread, a rug, or paper or table cloth or place mats or stationery...
I have just finished a commission piece--a diptych on two old windows! I haven't worked on the windows for over 2 years, but here I go again. I am totally inspired and getting ready to paint a whole series for a show in the Fall at a location TBA. I have painted and sold about 200 windows and my style and technique has evolved through this medium over several years. It feels like home. Funny. I had issues with the glass off and on--mainly that it is breakable--but people own glass things and buy stained glass and glass vases and glass birds and whatever--you just have to be careful and cautious when handling glass. The windows I work on are usually very old--50 to 100 years old and they survived weather and wear and living on a home for years and even extraction and transportation to my studio and beyond (Hawaii, DC, Cali...). So it takes a little caution and mindfulness. So what? Anyway, I will post photos of the newest work soon. Here is a flik of a work from a couple years back...
The title of my next show is Gather Assemble Nest Depart. While I was looking at the body of work included, I realized that the earlier works were a gathering of shapes, the next were assemblages--towers and machines, then nests were introduced with little birds, and finally, the birds were flying or departing. This process unfolds with my art--the gathering of images or shapes, the assembling of the pieces, the building of the works and then it gets to a point where I am ready to depart. Where will it go next? I only know in an abstract way that the work is unfolding and comes in inspiration.
The space between bodies of work is uncomfortable sometimes in its emptiness. But in the vastness is unlimited potential. The important thing to keep in mind during this phase of the creative process, it to be open to inspiration and still step into the studio regularly. Otherwise it becomes scary.
This is one of my newest pieces. I love it. This is the departure from the stillness...there is much more movement going on. I finally stuck to the nearly monochrome colors over the complimentary background. This piece will be in the show I have coming up next month at VAIN Salon. I did some commission pieces for Tina, the owner, three years ago. The salon is so beautiful and inspiring. I am siked to be doing another show there.
I am starting to work bigger and bigger with the collage. The smaller dimensions are feeling too confining. There needs to be more expansiveness. Who knows what is next? I only know it will be larger and incorporate some new materials--maybe contact paper or wallpaper and maybe even a return to glass and light...we will see...
Here is a photo of two of the pieces I created for VAIN Salon in the reception area. They are painted on two big salvaged windows.
This is a photo taken in my studio. It's at home. It's a home to my little creations. It's small. But I do love it. I have had several studios in Denver. My first studio was in the basement right outside the door of our little apartment in the Hylands neighborhood in North Denver. In 2001, I moved into my first real studio at The Coop space down by the old Flour Mill that used to be called The Inferno. Grant Williams, Cat Redfern, Eric Pruett were some of my studio mates. A month after I moved into my studio, I found out I was pregnant with my son Dondi. I stayed my whole pregnancy in this studio and moved out about 2 weeks before I gave birth.
My next studio was at the Logan Street Studiosat 19th & Logan, run by Phil Bender. This building used to be an old Catholic High School and the studio spaces were the old classrooms. I had a huge old classroom on the second floor. Lots of windows and light. This building was torn down in 2003.
In 2004, I moved back into the Coop space. I stayed for another year. Then in 2005 I moved my studio to my home which is where these photos come from.
Having a studio in my home is convenient since I have 2 small children and can sneak in there when I get a chance. It is amazing what I can pull off in 20 minutes. If you know what you want to do, and the steps to take, you can accomplish a lot in a little bit of time.