WOMANIMALISTIC

Bitchin' download

2011-12-27T23:46:00.004-05:00

My old friend, Greg Harvester, has been doing a blog called REMOTE OUTPOSTS where he's been going through his collection of old demos, writing about them and then making them available for download. His love and dedication to music (particularly of DIY punk/Region Rock), is something that I've admired for a long time, so I felt honored when he decided to post the old Bitchin' demo. Maybe he could sense across the country that Todd, Alicia (old Bitchin' roadie) and I had just spent Christmas Eve together, laughing about all the crazy shit that used to happen on tour? It was a psychic punk call to Greg to tap back into the spirit of, "the night life, the tight style!"

In any case, the songs on this demo were released later in 2000 on two seven inches- one on No Idea (which doesn't seem to be listed on their site anymore), and the other on a German label (now defunct), called Scene Police. Crazy shit! This was nearly twelve years ago- a lifetime away. Lot's has happened in between- much travel, art making, living in different cities... living life! It makes me feel old thinking about it- but in the best way possible- particularly since so many folks that I've known for the past fifteen years only seem more awesome as time passes. Like a fine wine, these folks are aging well! Punk is not dead around here, by gawd!

Thanks to Greg for keeping it real- for digitizing all these tapes of days gone by (there are soooo many great bands posted) and making it all available to either folks who used to own these tapes before they broke, or for kids who have never even owned a cassette player before.

XOXOXO!

Bitchin'/OFR mini-tour breakdown!! Photo by Greg

Everything must go!

2011-12-21T01:42:00.000-05:00

I'm currently selling a bunch of old forgetters merch, in order to help raise money for Jakmel Ekspresyon in Haiti. If you're interested, please check out the benefit page in my blog (listed right above this post, just below the header), to see what's available.

New projects and photos posted soon...

C.P.

Magic Lantern Questions...

2011-11-03T02:20:00.000-04:00

Anyone ever try to make a Magic Lantern before? This taped together version (comprised of a giant coffee can, a coconut water can, bike tubing, an extra camera lens adapter, a piece of magnified glass, some scrap metal), is what I've cobbled together today after hours of experimenting. I'm definitely having problems figuring out the "optics" part of this endeavor- perhaps there shouldn't be TWO pieces of glass for the lens that are both of the magnifying type? Suggestions? Links? Books?

Animation inspiration

2011-10-30T02:48:00.000-04:00

A relatively unknown piece by Jan Svankmajer that I truly enjoy....

WOMANIMALISTIC #2: Coochie Party

2011-10-28T18:26:00.001-04:00


Cover of the super limited edition (only 32, not available for sale) of WOMANIMALISTIC #2: Coochie Party. I can't wait finish this work in progress and hope to release the final version this winter...

I'm back in Brooklyn after an amazing two weeks in Halifax, Nova Scotia. Again, many thanks to the Roberts Street Social Centre for granting me an artists residency to work on a new issue of WOMANIMALISTIC, as well as have the time to think about upcoming projects.

As usual, there is a lot on the plate these days- hopefully within the month I'll be able to report on all the news! Until then, take care and enjoy Fall...

Capp wandering the trail at Crystal Crescent Beach, Nova Scotia

Crystal Crescent Beach, Nova Scotia

Never too cold to swim! Nova Scotia, October 2011

Events in Halifax, Nova Scotia

2011-10-20T16:09:00.001-04:00

I've been up in Halifax, Nova Scotia doing an artists residency at The Roberts Street Social Centre/Anchor Achive Zine Library and needless to say, it's been a totally great experience. Everyone that I've encountered here at the space are some of the sweetest, most inspiring folk that I've met in a long time. It's been refreshing to see a larger group of people that have figured out the fine balance of being politically minded, community oriented, and FUN (all at the same time, yes- it is possible), while also maintaining a space where people can think big, connect with others and work on long-term projects. Roberts Street, you really have a lot of magic going on and thanks for inviting me to participate in some of it!

My time here is wrapping up, but not without a couple events this upcoming weekend. Listed below are the details, as well as a few photos from this amazing and beautiful city...

Join Caroline Paquita (Brooklyn, NY) at the Halifax Zine Fair this Saturday! She'll be tabling with Roberts Street and will be taking questions on everything from printing, Risograph duplicators, the "Occupy" movement, feminism, bee-keeping, raising chickens in urban environments and more. Ask anything and she will try to answer, as best as she can...
WOMANIMALISTIC #2: Coochie Party (a work in progress done during her residency) will be available for sale, as well as WOMANIMALISTIC #1, a 2012 calendar and FUTURE TENSE, a new comic compilation featuring 11 different artists from Germany and the U.S. Come and get it while you can!

first page in the new zine

The following night (Sunday, the 23rd), please join her at Roberts Street for a potluck and fire (weather permitting). All printing geeks (meaning anyone who loves printed matter) are encouraged to attend, in order to have an informal, larger discussion about the mediums and techniques that are used to get work out into the larger world. Think of it as a very relaxed skillshare and a nice way to spend your Sunday night, after a long weekend of music and zines. 7pm, onwards!

"Rustic Shack," aka, my little sleeping den.

View of my messy den


Favorite poster to stare at in bed

Local store (specializing in products from Newfoundland) that sells sauerkraut by the pound

View from a bunker in Point Park

2012 Calendar and a new comic compilation:

2011-10-03T01:27:00.001-04:00

Cover of the new Paquita calendar.


Cover by Edie Fake!

Just a little preview...

After months of work, both the 2012 Paquita Calendar and FUTURE TENSE, a comic compilation featuring eleven different artist, are DONE. Woo-woo! You can click on the links above, or can find them at my Etsy shop:

www.etsy.com/shop/carolinepaquita

FUTURE TENSE features the amazing work of:

Edie Fake, Jo Dery, Mike Taylor, Roby Newton, Sy Wagon, Anna Haifisch, James Turek, Al Burian, Josh Bayer, Kasey Henneman and uh, myself.

It's 48 pages of content (52 total), all printed here at the house on my trusty old Risograph- using burgundy, blue and red ink. Everyone in this compilation is super rad, talented and on point! I encourage you to seek out their other various projects if you're not already familiar with their bad-ass-ery.

Tired, disgusting and confused by the weather in Chicago. Photo courtesy of Jo Dery.

It's been crazy whirlwind lately, but a super huge thanks must be extended to everyone who came out to the events at Modern Times (Minneapolis), Quimby's (Chicago) and then the City Reliquary (BROOKLYN!) this past week. It was great to make new friends and reconnect with old pals as well.

To sound like a total granny, it's been warming my heart these days to know that there are still so many folks making comics/zines, drawing with pens (not on the computer), creating objects with their own hands, and who still find pleasure to real-life printed material. It seems as if there's a printing renaissance happening these days and it's nice to have a big stack of new things to read next to the bed. I'm hoping that this is a sign that either people don't care about the Internet as much anymore, or never did to begin with. Nonetheless, here's to new projects and 2012!

XOXOXO,

Caroline

Papa Ski and Ursula playing some records at Modern Times, Minneapolis, MN

Calliope, briefly perturbed, at Modern Times, Minneapolis, MN

Pegacorn Press Release Party at The City Reliquary

2011-09-26T01:27:00.001-04:00

Stop by the City Reliquary this Friday night (September 30th) and help celebrate the two new releases out on Pegacorn Press! The 2012 Paquita Calendar and Future Tense, a comic compilation featuring 11 different artists, will be available- as well as other shenanigans. Who knows what will happen, you know?

XOXO,
Caroline Paquita

P.S. The event is free, but donations to the City Reliquary are always greatly appreciated. Please no BYOB, but beers can be purchased from the C.R. bar in the backyard.

P.P.S. Awesome costumes, or other forms of "dressing up," are always welcomed and encouraged.

Friday, September 30th, 2011
7-10pm
The City Reliquary

370 Metropolitan Avenue
Brooklyn, NY 11211

Minneapolis + Chicago!

2011-09-14T21:25:00.003-04:00

"October," from the 2012 Paquita Calendar- coming out soon.

My tiny midwestern jaunt for Pegacorn Press begins next week in Minneapolis, Minnesota at Modern Times. Please join me on Friday, September 23rd (the Autumnal Equinox!!!) for a celebratory gathering. I'll have art up for the rest of the month there and during the event, the 2012 calendar, a new comic compilation and zines will be for sale...

A couple days later, you can find Pegacorn Press at Quimby's Bookstore on Monday, September 26th, with Jo Dery and Edie Fake. These fine folks have contributed to the comic compilation and will be showing their own art and animations as well.

Hooray!

See you soon-

XOXOXO,

Caroline

Times and locations:

Modern Times
3200 Chicago Ave S, Minneapolis, MN 55407
612-886-3882

Quimby's Bookstore
1854 W. North Ave · Chicago, IL 60622
773-342-0910

Oh, and before I forget, there will be a Brooklyn event at the City Reliquary on Friday, September 30th. More information on that coming soon...

Workshop canceled!

2011-08-26T04:03:00.000-04:00

UPDATE!!!!!!

The workshop scheduled for this weekend has been postponed due to the possibility that Hurricane Irene might wreak havoc on New York. It's looking like it will be re-scheduled sometime in September...
Be safe, my friends!

Workshop this weekend and other news

2011-08-23T21:52:00.001-04:00

I'm teaching a workshop this Saturday that I'm really excited about. The For The Birds Collective has put together a series of events (as part of the seventh annual BIG SHE-BANG) and this particular day of workshops will focus mainly on the written word. A full description of all the workshops can be found at the For The Birds website or on this little flier below.

Saturday, August 27th 2011
1PM – 6 PM
WORD Bookstore
126 Franklin Street
Brooklyn, NY 11222

2PM The Printed World: Self-publishing, promotion, and the many means in which to get your ideas out with Caroline Paquita of Pegacorn Press
A workshop addressing different methods to create printed works (zines, comics, chapbooks + more) that covers some of the most commonly used printing processes. A brief history of self-publishing will be discussed, as well as topics such as materials, layout, different printing options, binding, and distribution. While there will be a focus on producing works in a more “low-fi,” hands-on fashion that utilizes common or easy to find materials, people familiar with self-publishing may learn of new ways to address common issues that often come up in the production side of printing their own work.

Other big news? Well, I quit forgetters after we returned from our European tour in June. That's my "official statement" for now so please don't bother to contact me with questions concerning my decision, particularly if you write for internet music sites. A longer critique of my experience in this band (and the culture that has surrounded it) as a queer ally and feminist minded lady will come soon- but only after I get some of my own personal projects done.

XOXOXO,
Caroline

Booklet from an antique shop in Prague, Czech Republic

Interview with Pikaland

2011-08-11T14:57:00.001-04:00

After almost six months, I finally finished this interview with Melanie Maddison for Pikaland. I think that it sums up a lot of what I'm attempting to do with my art and is the underlying agenda behind Pegacorn Press.

I highly recommend checking out Pikaland, as they have a really great site. I've re-posted the interview on my blog, but you can also find it here:

http://pikaland.com/2011/08/11/artist-interview-caroline-paquita

XOXOXO,

Caroline

Brooklyn, New York–based artist, Caroline Paquita, is the DIY-spirited artist behind the zine, ‘Womanimalistic’ and the yearly Paquita Calendar (which Pikaland featured in our rundown of the best 2011 calendars).
Her accessible lo-fi visual work is regularly produced with her own Risograph printer, lending it a distinctive and characteristic appearance and impression.
Caroline’s work takes much inspiration from nature and our environment, and her daily life and lifestyle feature heavily in her artistic practice. Her work helps create visual reminders for keeping motivation and everyday actions afloat. It aims to foster an environment and a positive space where the imagination and one’s intuition are actively encouraged, and where people can feel empowered via real objects, such as zines, prints and other tangible art.
Caroline is currently raising funds for her latest venture, Pegacorn Press, via an Indie GoGo funding drive. More details of this art publishing house (alongside a really great video showing Caroline’s art and printing processes [plus her chickens!]), can be found here.

Website: www.carolinepaquita.com
Blog: carolinepaquita.blogspot.com
Etsy shop | Pegacorn Press

Hi Caroline, how are you? Could you tell Pikaland readers a little bit about yourself and your art work?
Hello Melanie! Hello Pikaland! I’m doing great because I love summer a ton and this one in particular has been pretty amazing!
In regards to myself and what I do? First and foremost, I’m an interdisciplinary artist, who has dabbles in music here and there when the spirit takes me. The two meld together when I’m in bands and do artwork for fliers, records and whatnot, but predominantly, I’m more inclined to say that visual art is where my heart and soul really reside. Though I’ve done everything from drawing, painting, printmaking, photo, video and sewing- my mainstays this past year have been working on drawings for my zine, sketching up new paintings to work on this winter and learning animation.

What are you currently working on?
A couple projects that are on the table right now are: working on the yearly calendar that I have drawn and printed myself for the past two years, developing new comics and also putting together Pegacorn Press. The Press has been a project long in the making and something that I’m extremely excited about and like a mother, feel very proud of. It’s a small, queer, feminist, total-art-freaker publishing house that will specialize in small-run art books, comics and zines. The calendar, as well as a comic compilation (that will feature roughly ten different artists), is scheduled to be released this fall. All that being said, there is a ton of work to do in the meantime!

What is your artistic history, have you always drawn from a young age, did you go to art school? How did you first become interested in art, get started in making and creating art/embracing your creativity, and realise that it was something you would like to pursue?
As long as I can remember, I’ve always created objects, drawn, and been engaged in some sort of artistic practice/process. It’s something that keeps me alive and refreshed as a person. My childhood in Miami was spent in special public school programs for “artistic” children and I feel fortunate that I was encouraged to develop my skills at such an early age. My mom, grandma, and great-grandma all were/are crafters/artists to some degree and to have a lot of supplies around the house, wear clothes that someone in your family actually made, and in general, have evidence of handmade things all around our house definitely instilled the DIY attitude in me by an early age.
I have a BFA in Creative Photography, with a minor in Art History. While I was in college, besides the photography, I worked on a lot of printmaking, comics, zines and played in a band that toured here and there. I travelled around the country fairly often and began to meet more and more folks who were artists/makers. It became more obvious to me that it was okay to live a more “unconventional” lifestyle (AKA, I could live however I wanted- I could create my own destiny!) and I’ve been working on setting that up for myself ever since.
I’ve always known that I’d be an artist (in my mind, I’ve always identified as one), but it’s most definitely, a difficult thing to try to make an income from. While the money from art comes in periodically, at some point soon, I’d like to attend a graduate program so that I’m qualified to teach on a college level. I’ve had so many truly amazing teachers in my life, that I honestly grew up thinking that all artists were teachers. Obviously, that isn’t the case, but hopefully it will be for me. I thrive off working with others, creating together and love to help problem solve. Without a doubt, I’d still work on my own practice!

How did you personally learn to access your creative and artistic talents, and gain the confidence to make, sell, and exhibit your art?
I’ve always felt a certain confidence in showing/sharing my work, so that hasn’t necessarily been something that I’ve had to learn as an adult. I do believe, however, that I could still “tighten up the ship” a little bit, and still strive to learn the best, and most proper, ways to create and exhibit my work. It’s an ongoing process, you know? It would seem stagnant if I supposedly just had everything figured out, with no room for growth in any way.
In regards to selling, that’s definitely still something that I’m working on. I have an Etsy store, sell to independently owned stores around the US, and also have the necessary tax identification number to legally sell art on the street in New York. I have gone through phases of trying to street sell, but usually my stuff is so specific that most people are either shocked or weirded out, that I’ve rarely made much in these adventures. It still can be fun to head out there though and I’m working on a new set-up, complete with a new bike cart that I’m welding myself!!!
I’ve gotten a lot better with getting my zines (and yearly calendar) in stores around the US, but find it difficult (and annoying) to keep track of my accounts with them and usually end up having to seemingly beg to get paid. I wish that there was an easier way to do this (particularly one where you don’t have to compromise your work too much), but I still feel better about managing all this myself, rather than working with some of the somewhat too-dominant distros here in the States.

What prompted your move from making and working predominantly within music, to your focus on your zine, illustration, printing and design work as well?
The reverse is more true in this case, as I would say that first and foremost, I’m a visual artist and always have been. As an adult, I’ve learned to play music and it’s one of my main focuses, but visual art always ends up being the core of what I do. Playing music often requires other people and is obviously a collaborative endeavour- which is a truly an amazing and unique process. It can be very cathartic experience not easily re-created alone, but it can also be a terribly public, which at times can be unnerving and distracting for me.
For myself, making my own work is a means for me to sit alone, process my emotions, think about the state of the world, time travel and meditate! I can do it whenever I want, and am not dependent on anyone else’s schedule. Trying to juggle the two, however, is a job in itself, but there are times when I’ve found a good balance and a way to bridge the two together, in the forms of fliers, posters and album art.

I’d like to ask about the sorts of stuff you like; what images/artefacts keep you company in your studio / place(s) of work, for inspiration?
My room is full of objects and I’m continually in a state of moving things around to keep things fresh. Specifically around my desk, currently there is a framed antique embroidery, a print from my deceased Granny, another print by an old friend, photocopies of old beekeeping etchings, and a shelf full of pens, markers and other most commonly used tools. While I’m working, I keep picture files and collect books of images and patterns as reference close by. The rest of my room is full of antique bottles I continually find at this old dump from the early 1900’s, bones, herbs I’ve collected and tinctured, plants, trinkets and friend’s art.
I’m about to move my studio into my partner’s bike frame-building shop and the plan is to construct a little shack within the shop. It will be the clubhouse that I’ve always wanted! It’s exciting to think about not working in my bedroom as much and to create an environment that is all about art, where I can’t get so easily distracted.

 Your art has regularly featured powerful work around themes of nature, herbalism, bee keeping and DIY health care, amongst other things.
What are your thoughts on the politics of sharing such information within art?
For example, do you see your art work as an opportunity for the creation of an insightful space for dialogue and communicating ideas: promoting accessibility of ideas and participation/engagement with them; or perhaps as a way of engaging viewers with inspirational politics; or simply creating a visual reminder of the power of human energy/creativity and what we are possible of doing and responding to within our everyday lives?
In every way possible, in my daily life and in my artistic practice, I’m all about trying to create a space where all of the above is possible. How else do we learn, create/develop relationships, change our lives and environment- unless dialog and information sharing is possible? I definitely believe in visual reminders to keep the positivity afloat, the message alive- to keep the “magic” circulating.
In regards to the recurring themes of herbalism and DIY health care? They both have basically saved my life. I was ill for a long time and have fought for years to get my health back. Repeatedly, doctors told me that the repetitive stress injuries in my arms were untreatable and that reoccurring battles with MRSA staph (that would land me in the hospital on an IV for a three-day cycle of antibiotics) was just something that I just had to deal with. That there was nothing to do! I just refused to buy that idea! My health was in a terrible place and honestly, when everything else doesn’t work, that’s when folks get into herbalism. That’s exactly what happened to me and it’s not like I wasn’t living a relatively healthy lifestyle before all these complications started occurring.
Since I don’t have health insurance (like most Americans), I’ve learned to depend more so on self-diagnosing and from self treatment for non-life threatening conditions. I’ve also heard a lot of really bad advice about self-treatment, which is what inspired the comic, “Punk Medical Myths.” Multiple people have told me that the comic helped push either themselves, or a friend to go seek professional medical health. Whew! This is where art can be helpful to the public and save lives, even in the humorous format of comics.

Your most recent zine, Womanimalistic is terrific. Are you planning a second issue?
What does the title ‘Womanimalistic’ mean to you? 
Womanimalistic #2, tenatively called The Coochie-Party Issue, is in the works already- I’m super excited to enter that creative space again. It may be easier to explain the concept of the WOMANIMAL, which is a larger body of work that I have been working on for the past four years now. The zine is an extension of this project and is an easy format for me to easily share with others.
“WOMANIMAL” is a platform for me to engage in critical thinking from a “queer, woman-centric point of view,” that investigates the current state of modern culture and that also helps foster an environment where the imagination and one’s intuition are actively encouraged. Through this process, my work seeks to inject more constructive criticism, absurdity, sassiness and fierce energy back into all things queer, feminine and deemed feral!”
I’m tired of the negativity that has surrounded my generation and the hopelessness that war, consumerism, and modern culture has helped promote. I’m not a luddite that lives in a cave (though I jokingly call myself an “urban primitivist,”), but I feel that so many people right now feel really distant from THEMSELVES. I often find myself wondering WHY? Is the cell phone, the Internet (or the combination of the two, the I-Phone) to blame? I don’t have the answers, but I do know that people are so distracted these days that it’s hard to know exactly what’s going on. Making art is one of the ways that I feel like I can contribute to creating a more positive space where people (particularly women, queers, and their allies) can feel empowered via real objects, such as zines, prints and other tangible art. This is the core of what WOMANIMALISTIC means to me!

Do you think comics/zines are a good way to share art, to display art, and to reach (new?) audiences or artistic communities?
Zines and comics are one of many ways to reach out to a larger audience, though it seems that people mainly under forty seem to be the one’s paying close attention. I’ve noticed a renewed interest in all things printed- particularly if it borders the line with artists books- that has extended into a whole different realm of makers and other folks that have tapped into that world through sites like Etsy. I think that some of what I’ve been working on does fall into all these different audiences/communities, particularly gauging on the response that I’ve gotten since putting Womanimalistic out. So long story short, yes!
 
What techniques of illustration do you most prefer to use; what are your tools and materials of choice? What stages, from start-to-finish does a typical piece of your work go through, and over what time frame? 
For my illustrations/comics, I’m pretty lo-fi in many ways, though I’ve recently started incorporating the computer in the final production stages. Pencil, a couple Rapidiographs/Microns, and some Bristol board are my main stays- though I sometimes delve into brushes and quill-pens. If the work is being sent to a printer, I might use some Chartpack grayscale pens to get some gradation, otherwise half-tone pattern is something that I often use.
A lot of my personal work these days has been one color, mainly due to the fact that until recently, I only had one working color drum for my Risograph duplicator. Like most people, I tend to work larger than the expected dimension, scan for resizing/layout and to also possibly add patterned backgrounds/halftones. It’s a pretty straight-forward in many ways, but always seemingly time consuming!

The majority of your work that I have seen has been printed/reproduced using your own Risograph duplicator. I love the printed effect that this creates. How useful is it to have your own means of printing and duplication available at your disposal? Has owning the Risograph affected your productivity and prolificacy, or perhaps affected the type of work that you now most regularly create? 
Getting my own duplicator has definitely changed things: I’ve never been in a position where I could afford to send things to the printer and now I can print things in my house whenever I need it. After the initial cost of the machine, I’ve basically just had to buy the ink and paper to keep it going. My Risograph is from the 1980’s and has made over 2.5 million prints before I got it, but it’s still working- I say this with fingers crossed!
There are some definite limitations though with the quality that you can achieve, but that’s the trade-off. If I know that a piece is Riso-bound, I may simplify some of the line work in my drawings and avoid having large filled in areas, since it will eat up ink and make printing harder. That challenge has made me work differently, but I’ve appreciated the fact that it’s made me have to think a lot more about my drawings, way before I even start them.

What are your thoughts on your ability to personally turn out your own prints, zines, exhibition materials yourself by hand, and the effects this has your sense of actual human participation within, and attachment to, every aspect of your work’s creation? 
My involvement with every part of the artistic creation of an object definitely makes things seem really “real” to me. For every page that I print, I’ve probably touched that single page about ten times (or more) before it’s made it’s way into someone else’s hands. I print in large stacks, use a hair drier to set the ink faster (and to prevent “ghosting” on the backsides), reload the stack to print the other side, blow-dry again, then collate and staple- all by hand.
Maybe people can feel that? I know that I can tell when I pick something up whether it’s just been pulled out of the box from the printer and sold, or made by the artist/printer itself. I know that it’s not an option for everyone (due to time, money, resources), but it’s been a conscious effort in the past couple of years to set myself up with my own printing equipment. It’s been worth every penny spent and has made it so much easier to distribute my work than ever before. 

Your work has featured in independent publications such as ‘Maximum Rocknroll’. To what extent does the punk and do-it-yourself spirit drive your artistic creation, production and expression? 
It’s the backbone of my work, but definitely not the whole, as my life is more varied than just being a punk who is very much DIY spirited. I’m still very much involved in that community and will do art for MRR at the drop of a hat, but as I’ve gotten older, my ideas of punk and the DIY have definitely changed and developed over time. Most of the world isn’t too fond of anything queer and/or feminist and unfortunately, the world of punk is no different in many ways. So while punk is an old-mainstay, I don’t feel limited to that identification.
These days I’m more inspired by people who are just straight-up DIY; the weirdos who just want to figure out how to make things themselves, who avidly learn how to live without all this technological nonsense. Folks who are retaining the spirit of creativity and want to dork out with other people about what they’ve learned. As a beekeeper, the doors to a netherworld have been opened to a lot of insanely great, but extremely weird folks, who also keep bees. For some reason, only true weirdos get into keeping these tiny insects and I’ve pulled a lot of inspiration from them, as well as from my other “special-interest friends,” the wild-crafters who gather herbs and wild-edibles. To eat wild rice, maple syrup, seaweed, or to drink herbs that you or your friend’s harvested, is inspiration in itself!

Community (artistic and otherwise) and support appears to be something that drives a lot of your work, its themes crop up a lot in both the subject and overall ‘feel’ of your work, as well as often in the medium of your work (fliers for local events, band art and posters, local signage) How important to you is working within and for a community of (creative) people? What does ‘community’ mean to you, as an artist? 
On a micro level, community is all we have. I don’t want to live in this world alone: not be close to anyone, not learning, loving or sharing with others. I’m definitely not scared to spend time alone (my work does keep me locked up at times), but what I mean to say that I want to engage with others and help work to have a larger, supportive community that people can depend on. I’m into sharing my skills and art to people who want or need it. I’m a part of a larger artistic community (that spans across the whole world!) and it means a lot to me to be able to share that with not only other artists, but with everyone who appreciates art.
I’m fortunate to live in a more collective-like home, owned by two of my roommates. We do a lot of urban homesteading (keep chickens, bees, we garden), run a CSA (Community Supported Agriculture- a farmshare) out of the house and several of my roommates are in Bread and Puppet, so there’s always theatre props around the house. Someone is always making something around here and there’s usually a group of people who’ve come over to help make it happen. That’s community! That’s our “chosen family,” being supportive and enabling each other to keep making great work. So, so, very important!

What are your top tips for others who wish to be creative but feel stuck, don’t know where to start, or feel like they aren’t ‘good enough’ to do so? What are your thoughts on the nature and exclusivity/inclusiveness of ‘art’ — Do you believe everyone can be creative in their own life? 
I do believe that everyone has the potential to be creative- it’s just a matter of harnessing that energy and going for it. Most people are naturally curious and if you practice anything enough, you have the potential to become a master at it. I’m a true believer in this, but it’s sometimes hard to help people understand that this process can take A VERY LONG TIME. It’s often not an over night endeavour at all, unless you are naturally inclined and can just automatically pick up new talents. Most people do not fall into this category (including myself), so don’t be discouraged and just keep plugging away!
A large, and often overlooked, part of making art is learning the craft. That process can take a long time and you just need to try, and to forge ahead with an open mind. The challenge is to push yourself and your boundaries- try new things! Check out every book in the library and read everything you can about whatever it is that you want to create. Practice using the tools, ask other people about their process and put aside a regular time every day, week, whenever, that you’re going to work on it. Just like they say, “Practice makes perfect!”

 
I once read you claim that it is important to you to make your art financially accessible to everyone. What is your personal motivation for this? 
It’s less of a claim and is an actual statement on my website: if people desire my work, but don’t have the financial means to pay for it, I’m totally open to trade/barter. My life is very much based in this world and when I’ve been super broke and needed things, I’ve often traded art/art services for everything from a computer, haircuts, medical services to help building a bike.
While it would be nice to live a life where, “I can be leisurely and just create art, la, la, la…” I’m a total realist and still work “real-life” jobs to pay the bills. I don’t want to compromise my art/vision by depending on big ticket spenders to be the only ones with the means to buy my art. I also don’t want to cater to that community. I work as an art handler and see on a daily basis how insane the “art world” is. It’s often been an alienating and disenchanting environment for me- and I’m someone who is very appreciative of other artist’s and their work. Over and over again, I’ve witnessed how an artist’s work can easily change when money becomes too entangled in their process and I can’t say that that is something that I’m necessarily attracted to. I do believe that people should be able to live off of their talent and skills, but sometimes things get a little too decadent/bourgeois for my personal tastes.
All that being said, when I’m selling in person, often my prices are sliding scale and everything is negotiable. This can be confusing for some, but it does open up a dialog and challenges why art often has quite a large price tag. Since most of my items are paper, I’ve printed them myself and I’ve often already covered my basic costs, I do have the option to be more flexible in this regard. With items where there aren’t multiples, yes, prices go up- but it’s still usually “affordable” for a one of a kind piece. I truly believe that everyone should be able to have art that they love around them, so if someone is really wanting something that I’ve made, there’s usually some way that they can have it!
 
I was looking on your website at the photographs from some of your past exhibitions. They look like the most fun exhibitions I’ve ever seen; so very far removed from the idea of a ‘stuffy art gallery exhibition’ and completely up my street! Totally jam packed with colour and texture, and often over-spilling from the walls. How much fun have you had exhibiting your work, and how important to you is showing and creating work in a way that is true to you? 
All the shows that I’ve done have taken a lot of energy from me, but have been totally fun to set up. It’s really important for me to be able to show the work in a less “formal” environment- meaning that the walls don’t have to be flat white, everything hung straight in a line and framed with mat board. I’m scrappy, the work can be spilling everywhere and also, it’s just not in my nature to hang only a few items. My shows often are comprised of a whole era of work and have a lot of things going on within them. They’re very much representative of my life and personally, so it’s really important for me to show in places that I care about in some way or another.
Looking back, it seems that I’ve shown more in non-profit art spaces, and very rarely in privately owned galleries. I feel like that says a lot about me, my work and the audience that I’m seeking to connect with. I’m a fairly “no-frills” kind of personality and it means more to me to show to people who really appreciate what I’m doing, rather than just to show at the best gallery to “be seen” at an opening, etc. There’s a lot of apathy that surrounds the art world and that turns many people off from wanting to learn more about art/artists. My main mission as an artist is to create environments that are inviting and that make people feel inspired, whether that be artistically, politically, etc.

How do you manage your time in order to devote as much time as you’d like to your art?
Time management had been hard for the past couple years because I was in a very time-consuming band that toured quite a bit, which made it difficult for me to do my own art as regularly as I wanted/or needed to. Since I recently quit the band, I’ve been able to immerse myself back into my personal art world and it’s a really positive and rewarding feeling. I work part-time during the week and try to come home after work and put in some hours, if I’m not too tired. Days off are usually spent drawing and flushing projects out. It kind of seems like I’m always working? It’s a form of entertainment, I guess, since I don’t watch TV, go to movies or hangout in bars that often.

What is your favourite part of artistic creativity? Why do you keep on going and doing what you do, and what gives you the incentive/confidence/push to continue making your art? 
I’m a maniac, like most people who make art. You get the FEVER sometimes and just can’t stop working. You’ll stay awake for hours on end, drawing, making- YOU HAVE TO DO IT! Says who? Why? I have no real idea where it comes from, but I can’t stop it (and don’t want to anyway), so why fight it? I can’t turn it off and it’s what comes naturally to me, so voila: Here I am! Here is my art! I have a feeling that this is what I’ll be doing my whole life and I wouldn’t change that for anything in the world.

Pegacorn Press on IndieGoGo

2011-07-15T19:44:00.002-04:00

I've recently posted a campaign on IndieGoGo to raise some funds for Pegacorn Press, which is a new publishing house that I've started. It's a small, queer, feminist, total-art-freaker cornucopia of delight! Please repost and help me share this with as many folks as possible.
Thanks for all your support!

With love,

Caroline Paquita

New WIZARD book

2011-06-27T21:39:00.002-04:00

Johnny picked this up for me the other day at Spoonbill and already, it's been blowing my mind. Total weirdo-herbal-zone (compared to my normal practices as a DIY herbalist), but what else could you expect from the title? Signed by the author, Richard Alan Miller, it comes complete with a personal dedication to the book's first owner.

Strangely enough, it was "published with the approval of the O.T.O.," otherwise known as the Ordo Templi Orientis. From a little bit of research, it seems like wildman occultist, Aleister Crowley, was involved with this group and that it's some kind of hybrid of Freemasonry and the Hermetic Order of the Golden Dawn. Crazy-ass book for crazy-ass people like myself! Bring it, Rick!

If I can make it through the end without joining some kind of secret society, perhaps I'll write a full book review and post it. Otherwise, if you see one in a second-hand store, make sure to pick it up for your collection. It's a definite "must have" for anyone interested in the "unconventional" side of herbalism.

Photo a day project and other goings on...

2011-06-27T15:03:00.100-04:00

Present from the cats. Port Quincy, Brooklyn, NY. 6/27/11, a photo by caroline paquita on Flickr.

I've started a new daily project, where I'm attempting to take a photo a day. Recently, I got my hands on a Canon G12 (one of the best point and shoot digital cameras ever!), after having many cameras handed down to me as folks upgraded and became totally cell-phone-camera-dependent. It's nice to finally have a camera that has lots of manual settings, but is still portable, "discrete," and takes superb photos- seriously, it really does make a difference!
I've already missed a few days, but with some dates, there may be more than one photo- it's kind of like flossing, this project. You ideally want to do it everyday, but it doesn't always happen and by the time you remember, it's too late and you just have to wait til the next day....

In the best of circumstances, I'd post a week's worth of photos at a time- but seeing how busy things get here, it may end up being quite sporadic. We'll see... I'll be moving into a new studio soon and hope to be working more regularly on my art. Things are always chaotic, but who knows? Maybe I really will get to take a photo a day and post it regularly? That's the plan, at least.
Oh, and while I'm on the topic of photos, pictures from my European jaunt are also up on flickr! 174 photos selected out of over 1,400 taken in roughly four and a half weeks- not an easy task to filter out which ones can be shared on the olde internet...

"Soft serve treat in Brighton Beach, England," a photo by caroline paquita on Flickr.

Meanwhile, here at Port Quincy, summertime has finally settled in. Precious- one of the six chickens- has been brooding, the bees are in full force, the Milk Not Jails campaign (run out of the house) won a dairy parade upstate, and now some of the roommates have left for Bread and Puppet.
I've been trying to work on the 2012 calendar, as well as the new issue of WOMANIMALISTIC, but real-world-work has suddenly taken over my life, leaving my sore and tired all the time, but at least not broke.
Another project worth noting is that I'm beginning to set up a small queer, feminist, art-freaker press. Tentatively named PEGACORN PRESS, the first publication should be out by the early Fall, before I head up to Nova Scotia for an artist's residency. More details on that will soon be available, but for now, it looks like there is about 5-6 awesome comic making bad-asses that will be contributing. It's going to be printed here at Port Quincy on the Risograph and should be pretty rad once it's out! The theme is about "2012" and/or "THE FUTURE." With the folks that are involved, it promises to be both funny as hell and a cornucopia of talent...
If you're setting up any group shows and would like to extend an invitation my way, I'm always down. In the meantime, I'm plugging away here in the heat, trying to make the magic happen while listening to some of my favorite mixes made by DeeJay Karo. I highly recommend that you download/purchase his tapes- I have about ten or more mixes of his and they all "totally rule."

XOXOXO

New poster! Artist's residency!

2011-03-22T14:43:00.000-04:00

Haven't been updating this blog at all lately, but that doesn't mean that there's not a lot going on. Hopefully this year I'll get more into the habit of posting things as they happen- but for now, here's a new poster I made for our upcoming tour in May:

In other news, I was recently awarded an artist's residency at the Roberts Street Social Center in Halifax, Nova Scotia! I'm very excited and happy to finally make my way up there to create new work in such a great place.

XOXOXO,

C.P.

Holiday deals!

2010-11-28T16:28:00.000-05:00

I'm about to post a bunch of new stuff soon on my Etsy. In the meantime, I'm clearing out a ton of prints, so there are some deals to be had! Come and get it while you can!

Whoa! Whoa! New stuff out!

2010-10-05T02:36:00.000-04:00

Heyyyyyyy! New stuff available on my site! The 2011 Paquita Calendar and a new comic zine, WOMANIMALISTIC! Get it while it's hot! All hand-drawn and printed at home on my Risograph!

Zines, calendars and weird pizzas!

2010-09-30T14:28:00.000-04:00

This Saturday, I'll be doing an event with Slice Harvester at The City Reliquary Museum in Brooklyn. The new 2011 Paquita Calendar will be out, as well as a new comic zine, WOMANIMALISTIC. Both will be available for sale at the event. For those interested folks who don't live in the NYC area, you'll be able to purchase them both through my website within the week or so.

Happy Fall!
Caroline Paquita

Party Time:

2010-08-10T16:06:00.001-04:00

Capped brood

Late night "bearding." This is what the bees do when it gets super hot. If you put your hand close enough, you can feel the breeze they create (by lining up by the hive entrance and fanning their wings) to keep the hive cool. Totally amazing everytime!

Big She-Bang poster!

2010-08-09T01:02:00.002-04:00

For more information about this great event:

www.forthebirdscollective.org

Summer treasures

2010-07-09T02:11:00.001-04:00

Coast at MAD

2010-06-23T00:48:00.003-04:00

The Future of Bikes: Bikes as Object

Thursday, June 24th at 7:00 PM

Free with Pay-What-You-Wish Admission

As part of the Future of Bikes series, this panel discussion brings together designers of hand-built, mass-produced and alternative material bicycles to discuss the varieties of process and practices found in contemporary bike design. Presentations will be given by Johnny Coast (Coast Cycles), the Bamboo Bike Studio, Peter Reich (Swift Folding Bikes), and Steve Baumann (Industrial Design Director of Trek Bicycles). A group discussion will follow with moderator Dave Perry, owner of Bike Works on Ridge St, NYC, and author of Bike Cult.

Please reserve your seat today via email: groups@madmuseum.org

Museum of Arts and Design

2 Columbus Circle, New York, NY

Interview on the BBC!

2010-05-24T14:27:00.000-04:00

A couple weeks ago, I met Matt Wells, a radio reporter for the BBC World Service, when I went to go pick up my bee package. Ozzie (my beekeeping pal) and I began an interview with him and five days later, he followed up with us when we checked on the status of my Queen. Here's the final story which aired this past weekend all over the world:

http://matthewwells.typepad.com/files/bees-legal-ny-wells-pack.wav

Do you keep bees?

2010-05-19T17:17:00.001-04:00

The QUEEN has been released!

2010-05-14T00:21:00.002-04:00

The comb built on the Queen cage, which had been hanging between two frames in the hive.

Second installation of bees:

2010-05-12T01:41:00.005-04:00

Hella bees in a box.

Homemade veil.

Spritzing the bees with sugar water before putting them in the hive.

Removing the screen...

In they go!

Brushing off some bees to check up on the Queen.

Attaching a card to the Queen cage so that it can hang between some frames more easily.

The Queen cage in the hive and the last frame about to be put in.

Done! Exhilarated!

All photos shown in this post were taken by Andrew Hinderaker, a very talented young photographer here in Brooklyn. You should check out more of his work at:
http://andrewhinderaker.com

Again, for a more detailed description on how to install a bee package, please take a look at:

http://basicbeekeeping.blogspot.com/2007/10/how-to-install-new-package-of-bees.html

http://www.youtube.com/watch?v=Ek7dDtZ0lK8

Bee package installation day:

2010-05-11T12:03:00.011-04:00

Many boxes of bees from Pennsylvania waiting to get picked up.

Bees in a car!

Roof-top beekeeping = climbing up ladders.

Cracking open the screen, getting ready to dump them into their new home...

Into the box they go!

Success! No stings!

For a more detailed description on how to install a bee package, you can check out:

http://basicbeekeeping.blogspot.com/2007/10/how-to-install-new-package-of-bees.html

http://www.youtube.com/watch?v=Ek7dDtZ0lK8

March & April 2010

2010-05-03T23:34:00.001-04:00

Apiarist fantasies...

2010-02-14T18:11:00.003-05:00

"On average, it takes about a dozen bees to gather enough nectar to make just one gloriously golden teaspoon of honey, and each of those bees must visit more than 2,600 flowers in the process. Crazier still, all those flights from the hive to the flowers and back again add up to 850 miles or so, just over distance from New York to Chicago." Plan/bee

Honeybees!

   For a few years now, I've fantasized about becoming a beekeeper and have sporadically studied in my spare time, trying to gather enough knowledge, experience and confidence to start my own hive. After missing two consecutive years of winter classes offered by the Rhode Island Beekeeper's Association, I knew that things were going to have to change in 2010. The classes offered by the NY association were too expensive for my budget, but I was able to find a group of beekeepers in the city that offer their own classes for free. So far, they've been taught by Jim Fischer, a seasoned beekeeper who honestly knows what he's talking about and is able to express that in a truly enthusiastic manner. He's funny, cusses and is kind of a wise-ass; all of which help to keep me up on those early Sunday mornings, when these classes tend to happen. Not normally my "power hours," but for the free knowledge and the opportunity to become a part of a larger group of urban beekeepers, I get up pretty easily.
   Beekeeping is still illegal in NYC since bees have unfortunately been classified as, "dangerous animals, naturally inclined to do harm or capable of inflicting harm." There has been quite a bit of action in the past year to legalize beekeeping and I've heard from several group members that it seems highly likely to change in the next couple months. That nice new beehive set up on the White House lawn, complete with an official beekeeper has probably helped sway some bureaucratic minds- as well as the fact that globally, large populations of both bees and bats have been mysteriously died in recent years. For bees, it's called colony collapse disorder and there's a ton of speculation as to why it's been occurring. Pesticides, GMO agricultural practices, migratory beekeeping and cell phone radiation are a few of the proposed causes that are brought up the most. Of course it's probably all this AND MORE, since we live in a toxic, crazy, sick society! Seriously...
   Anyway, all this has definitely grabbed the attention of government officials. These small creatures play an enormously important role in the production of food, due to the fact that they pollinate just about every major food crop. Without them, we'd be starving our asses off. It's that simple. A politician's worst nightmare is a mass of angry, panicky and hungry people- so it only makes sense for some policy to change, you know? Otherwise, there's going to be total chaos! If we want food, than we need bees! This is just the short of it...

Honey CSA

The plan in the next couple months is to actually start a hive. To offset the initial costs, I'm starting a honey CSA and am looking for 15 people to pay $20 for the year. The location of the hive is yet to be determined, but I've had several good leads so far. If you happen to know of a dependable person who has a stable location- where they might potentially like to host a hive on their roof, or in their yard- please let me know or have them contact me.

The deal would be that members would get raw honey, pollen and possibly beeswax- at least once. (If it's possible to do a second harvest, and still leave enough honey for the bees to live off to survive winter, of course members would get more.) There's no definite math, but a colony of bees (50,000-75,000 bees) can generate anywhere from 20-60 pounds- more or less- of honey in a season. $20 is roughly what one might pay for some locally grown honey and pollen at a farmer's market. Members also have the option to come tend to the hive with me and learn what I know. I'd really love to be able to share this with people who are interested in becoming more familiar with beekeeping practices, urban homesteading, or just want to check out the bees and see them in action.

It must be said though, there is no guarantee that members will get anything since environmental factors, potential colony collapse or seriously, even theft can happen. All I can guarantee on my end is that I'll do my best to maintain the hive as best as I can. Luckily, I can access people within the beekeeping group for help, if anything were to come up. While I don't foresee any issues coming up, it's reassuring to know that there is help available and people around to bounce ideas off of. Jim jokingly said in class one day something along the lines that, "only an idiot can fuck-up a hive." It's true in the sense that once you have a hive set-up, you just let the bees do their thing. You periodically check the hive for parasites and other issues, but otherwise a beekeeper is best described as a steward. I'm definitely in the camp of non-invasive and "as organic as possible," beekeeping practices. If I don't like to eat high fructose corn syrup myself, why would I feed them to the bees?

I'm trying to gather the money for the CSA as soon as possible since the beekeeping co-op is doing a bulk order of bee packages and equipment in the coming weeks. The bees are expected to be delivered in the beginning of April and it would be best to have everything set up beforehand. If you are interested in becoming a part of the CSA, please email me about how to arrange payment. I'm trying to keep the group to only 15 people, since I feel like that will be an easy number for me to maintain. If you have any questions, or would like to talk further about beekeeping, please feel free to contact me at carolinepaquita@gmail.com or just call if you have my number.

Expect in the coming months for more posts and art to come out of this adventure into beekeeping. In the meantime, stay warm and take care-

Much love,

Caroline Paquita

Links

There's a wealth of information on the internet and in books that describe the truly interesting, and seemingly mythical history of beekeeping. Reading a little on the evolution, biology, social structure and organization of the beehive will suck you in and leave you wanting to know more! I've read over and over again that after man, Apis mellifera, is the most studied creature on the planet. For me, it's easy to see why. If you're interested, here's a short list to get you started:

Bee basics:
http://www.thefarm.org/charities/i4at/lib2/bees.htm
The beekeeping group that I am involved in:
http://www.meetup.com/nyc-beekeeping-meetup/
Their sister organization, the Gotham City Honey Co-Op:
http://gothamcitybees.com/
Ross Conrad, author of Natural Beekeeping:
http://www.youtube.com/watch?v=fDYhnw_MMzA
Great book on the history of beekeeping throughout the ages:
http://books.google.com/books?id=lB8dZuvMyFoC&lpg=PP1&ots=AmIlF4xzAi&dq=sweetness%20and%20light%20hattie%20ellis&pg=PP1#v=onepage&q=&f=false
Colony collapse disorder:
http://en.wikipedia.org/wiki/Colony_collapse_disorder
Beekeeping for beginners videos. Definitely made by some guys that are more on the "survivalist tip," but still pretty good:
http://www.youtube.com/view_play_list?p=E5E9723B4CB35A9F&search_query=beekeeping+beginners
Nerdy science posts concerning pheromones and the mating of Queen bees:
http://www.sciencedaily.com/releases/2007/08/070830150008.htm

Richmond, Virginia

2010-02-08T03:26:00.003-05:00

LET GO
Prints, paintings, drawings and other hand-made works by Caroline Paquita.

At GallowLily- located on the second floor of Gallery5 in Richmond, Virginia.
Opening reception: Friday, February 5th, 7pm. (If it snows, the opening will be rescheduled to Saturday, February 13th). The show will be on display until Friday, February 26th, 2010.

TRASH!

2010-01-01T23:45:00.003-05:00

This new favorite illustration was recently completed for TRASH, a group show opening up this week in Providence, RI. At the AS220 Project Space, it features work by Lee Fearnside, Holly Hey, Scott Lapham, Jo Dery and myself (listed as Caroline Kern). I'm not able to make it up there for the opening, but you should definitely check it out if you find yourself in the area. Should be a great show!
In other art news, the details are still being worked out regarding other shows that I might do in the next couple months. When that information becomes available, I'll post it here.

Happy New Year! 20Femme!

2010-01-01T23:28:00.003-05:00

The best way to start a new decade: www.polarbearclub.org

Calendar and more available!

2009-12-02T02:51:00.002-05:00

Hot off the press- I've got some new items in my etsy story, including the 2010 calendar that I just completed! Boosh!

New band blog

2009-09-10T02:12:00.006-04:00

Myspace mysteriously erased our account, but there's a new blog up where shows and other information will be posted:
www.forgetters.blogspot.com

New print!

2009-09-04T15:17:00.003-04:00

My new printing machine is now up and running, which is truly exciting news for me. This first print is a little dedication to ROGUSZYS, the Lithuanian god of pickled food. Being someone who loves to ferment and pickle, it only made sense to make a little something to show my love towards this guardian spirit. If you have no idea of why fermented foods are the super jam, then you should check out the site of Sandor Katz. www.wildfermentation.com. Truly good stuff.
All that aside, I'm designing and printing a 2010 calender, which will hopefully be done by early November. I'll post more information as I figure it all out. In the meantime, enjoy the rest of the summer!

Sunday harvesting

2009-05-10T23:51:00.005-04:00

What else it there to say? I love the days when I can get out in the wilds to harvest my favorite plants. I've been hoping to find a bunch of Dandelion blossoms to make an aperitif and luckily found not only a good batch, but also stumbled across a gigantic area full of Violets in full bloom. The Nettles are growing like crazy and looking beautiful in their springtime glory- got a few stings in for fun and also by accident.
Was able to identify some new flowers today: Dwarf Cinquefoil for sure, and possibly Wild Indigo? Not definite at all on that one. With all the flowers emerging, sometimes it's hard to figure it all out without getting sucked into looking in field guides the whole time. They're useful and I'd be the first to recommend having a few around for reference, but sometimes you just want to be out and enjoying your time with your plant friends.
**********************************************************************

Backwards and weird looking photo of the Dandelion and Violet Aperitifs.

Cooking up a Nettle quesadilla!

Nettle tops to dry for tea.

If you feed them, they will come!

2009-05-08T16:24:00.002-04:00

Last year I got all excited about feeding birds and started making these super janky feeders out of old milk jugs. I had a couple hung around our house, but no birds would eat from them and a jerky squirrel even managed to rip one down. (Probably the same one that I catch in the trash all the time and who also snapped off all my sunflower heads right in front of me. It's an old, hardened beast whom I have a love/hate relationship with.)
Anyway, I was quite disheartened and gave up on the idea until this Spring when I managed to see a little bird eating the old seed left from last year! I scrambled to refill the feeder and now all the feathery friends are snacking on yummy sunflower seeds. Success! Since the feeder is conveniently located where cats can't pull a sneak attack, it seems like a safe place for avian dining.
I've heard that once you put a feeder in a spot, the birds will come back year after year, on their migration path. This is good to know for your first year when you might not find much feeder traffic. Depending where you live and what type of birds come through, it might be good to experiment with different seed to see what kinds of birds you attract. So far, I've been getting chickadees, which is nice because it reminds me of my sweet Granny who passed away last year. She had a special fondness for them and would talk to them as they fed outside her kitchen window every day. I can almost hear her voice as they chirp, chirp, chirp outside my house all day.

RIDICULOUSITIES

2009-04-06T22:38:00.005-04:00

The opening in Bloomington was totally amazing and thanks to everyone there for making Kasey and I feel so at home. Daun and Al hooked it up with some delicious treats and Vera Maleta (Daun) really belted out the tunes.
Ryan Woods, from Sweet Hickory, is a true gem and if you ever end up in Bloomington, make sure to check out and support the store/gallery.
xoxoxoxo,
Caroline
P.S. If you're interested, the new work is posted on my website (www.carolinepaquita.com) and the videos shown at the opening are posted on youtube (www.youtube.com/carolinepaquita).

Bloomington, Indiana!

2009-03-14T21:09:00.008-04:00

I finally got our show poster done and we're both hard at work getting ready to head over to Bloomington in a couple weeks. Daun, who writes the food blog: http://faerietart.blogspot.com/ will be making some sweet-savory snacks for the event and will also be performing musically as Vera Maleta. If you're in the area you should come by!

Here's what the tiny font on the poster says:
A collaborative installation featuring drawing, silkscreen, painting, sewing and video- with a focus on the absurd and ridiculous nature of our everyday lives. Craziness from Rhode Island and Ohio. Music will be provided by the lovely Vera Maleta.
*Sweet Hickory*
Open daily from 12-7pm. The show will be up until April 28th.
317 e 3rd St
sweethickory@gmail.com

Un-declared money for you

2009-03-13T23:30:00.005-04:00

I get a lot of spam mail- usually about how to make my "rod bigger" or that I've won the lottery somewhere in Africa. Recently, I've started to get them all in Chinese characters, but of course I can't understand what they mean- maybe that I've won a prize over there too?
I got this one tonight and it takes the proverbial cake for the "most ridiculous electronic bullshit that I've ever received."

Hello,
I hope my e-mail find you well. I need your assistance. My name is Sgt Joey Jones, I am an American soldier with the 3rd Armored Cavalry Regiment in IRAQ for the United States,we have $25,000,000.00, that is in our Possession and we are ready to move it out of the country.
The Money is part of the one we seized from late Saddam Hussein, but was not declared. My colleague and I need a good partner someone we can trust to actualize this Venture,but we are moving it through Diplomatic way to your house directly. Your share is 40% while 60% is for me and my colleague.
Sincerely,
Sgt Joey Jones.

I'll definitely take 40% of $25,000,000. Times are rough and my foodstamps are about to get cut at the end of the month. I'd even be willing to split it three ways with the two other guys, just to make it all fair.
Please give it to me all in two dollar bills, though.
Thanks dudes.

2000FINE

2009-02-15T23:03:00.014-05:00

Despite the cold and slowness of winter, there's been a lot going on, or at least in the works. The biggest thing is that I finally got it together and applied to graduate school in New York. Regardless of whether or not I get in, I'm moving there May 1st- so any leads on decent jobs or relatively cheap, non-moldy rooms would be appreciated, since I'm on the lookout for both. The feeling is that it's about time to finally move again and also to the "BIG CITY." The idea of living there has been around for over a decade and I'm just now thinking that I'd be able to pull it off. I wonder if all this economic turmoil is going to help or hinder me since I already live like such a scrub. It's hard to say what the hell is going to happen to me, let alone the rest of the world at this point! Shit!
That being said, and to go ahead and throw it out there: I'd like to meet other folks who know of safe places to harvest medicinal/edible plants from, in or outside the greater NYC area. There's plenty of places to buy herbs/food from, but it's just not the same as finding your own, you know? Half the fun is being outside and seeing where it all comes from. Living in Rhode Island and being able to easily get into the woods and out of the city, has really spoiled me. Keep me posted if you know any herbalists (or just plain old urban freaks) that would be into me accompanying them on gathering adventures. Fermented food enthusiasts are also encouraged to get in touch, particularly if you have extra koji or kefir grains.
A total longshot, but.... if you happen to be an experienced beekeeper in the NYC area with an active beehive, and want to train me as your apprentice- please, please, please, email immediately! carolinepaquita@gmail.com
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Before moving away, I'm gearing up to do a collaborative installation with my amazingly wonderful friend, Kasey Henneman. In late March, we'll be heading to Bloomington, Indiana to set it up at the DIY gallery/record store SWEET HICKORY. It's called RIDICULOUSITIES and I think that the work is going to be some of our best yet.
There should be some new work posted on the website soon, so be on the lookout. In the meantime, stay warm and healthy- Spring is almost here!
xoxoxoxo

animation

2008-12-25T22:26:00.001-05:00

My first attempt at animation. Drawn out on 82 cards, scanned and then dropped into i-movie.

WINTER SNOWSTORM

2008-12-19T18:10:00.003-05:00

Florida!

2008-11-26T14:45:00.007-05:00

Silkscreening is the jam-pony!

2008-11-09T16:20:00.005-05:00

I taught a silkscreening class at the AS220 Community Printshop the other day and it was pretty awesome to help people realize the potentials of this medium. You can read a ton of books or articles on the Internet on how to do it but sometimes all the information can be overwhelming. It tends to make you feel like you have to start out with a bunch of expensive materials and a lot of technical finesse. I wanted everyone to leave knowing that you can start out pretty cheaply and that you probably already have half of what you need to make a decent print. Here's the list of what I passed out to them as a quick primer on all the alternatives that I've gleaned from books and friends over the years. I've done almost all of these, minus making inks from wallpaper paste but I don't doubt that it works!
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Handmade photographic stencils:
You can use a variety of materials to make your own artwork on transparent film, translucent vellum or acetate. Dura-Lar is a good acetate alternative and you can buy it from art stores in books of 25 sheets or so, or in rolls, which is cheaper.
Drawback in buying it in rolls: you can’t run it through copy machines.
Advantage: you can make stencils that are larger than the normal printing sizes offered on most commercial copiers, which is usually 11x17 inches.
-Draw or paint directly on the film, vellum or acetate with an opaque medium, such as a permanent marker (any oil or water-based opaque paint marker- sold in art stores), India ink, china marker, tushe stick or tushe liquid. (Tushe is a waxy, greasy product used primarily in lithography).
Note: Dura-Lar is also useful to have around for registering your prints.

Using photographs:
Unless you are able to tweak your images into a half-tone pattern using software such as Photoshop, the key to success is making sure that the image you create is one of high black-and-white contrast, without the continuous range of gray-tones in between. You can mess with the contrast of your image on copy machines or in Photoshop to create images that will print easily. The advantage to this technique is that you can have a photo realistic image and can also draw in other objects or text to introduce your style, or “hand,” in the piece that you are working on to make it more personal. Print out your image, add some drawings and then copy the completed image on acetate at the copy shop.
In some cases, you need to double up your completed acetate if the toner doesn’t print out opaque enough- simply line them up and tape together using a clear tape. If you are burning screens at home in a more makeshift fashion, I recommend always doubling up your acetates to guarantee a successful exposure.

Paper stencils:
Surprisingly simple, this method can nevertheless yield quite sophisticated results without the need of burning any screens at all. Paper stencils allow you to print sold shapes of color (and relatively simple designs), one color per stencil. Working with your master drawing, trace the areas that you want to print and cut out using an exacto-blade. You can use any type of paper, but I’ve found wax paper works best since it doesn’t absorb any of the ink. The trick with wax paper is to use rubber cement to adhere it to the underside of the screen so that it won’t “float” while you are printing- this allows you to have more consistent registration. If you end up using regular paper, the ink will hold the stencil in place after the first squeegee swipe but you should loosely tape the edges to secure it to the back-side of the screen before you begin printing.
While I have read that you can use this technique for a run up to 500, I have found that it works best for 30 or less prints and where color registration isn’t such an issue.

Direct Stencil Techniques:
Direct stencils are created by applying a block-out medium directly to the screen in the areas that you don’t want to print. These products, such as commercial screen filler and masking tape, serve as the stencil because they block the ink from penetrating the screen.
The basic idea is that you trace out your design onto the screen and then paint in the screen filler (filling in what you don’t want printed), trying to make sure that you don’t leave any pinholes.
Instead of trying to block out the screen using screen filler, you can use drawing fluid in combination with screen filler to make a stencil. To break it down simply, you paint out your image using the drawing fluid, allow it to dry and then you pull screen filler over the image using a squeegee or piece of cardboard. (The drawing fluid resists the screen filler much like wax resists ink.) Follow the manufacturers directions on how to wash out the drawing fluid and the resulting open areas, where the drawing used to be, will now be ready for printing.
These techniques can be way more spontaneous and is a good way to do reductive printing, however the drawback is that it can be more time consuming and that it’s also harder to reclaim your screen unless you have access to a power-washer.

Inks:
With inks, it all comes down to what you plan to print on. Water-soluble inks remain water-soluble when dry, whereas acrylic inks will be water-proof. You can buys inks already pre-mixed or can mix your own. Adding transparent base extender will not only help make your colors more transparent but will make your inks last longer. I’ve used house paint (with base extender added to make it more the same consistency of silkscreen ink) for years and find it to be cheaper, easily found and it works great for printing on paper. The only problem is that it isn’t archival so I can’t attest that it will stand the test of time.
A weird thing that I read but haven’t tried is to use wallpaper paste as an ink base. You mix up a small quantity of wallpaper paste to the recommended paste/water proportions and add powder paint or fabric dyes. To tone down colors, add the opposite color on the spectrum- if you are good at mixing colors, this might be something worth trying because in the end, you may save a fortune on inks and can create any subtlety desired.
For fabrics, you really need to use textile ink, otherwise it will wash out! You also need to heat set the ink before it’s put in the wash or is exposed to water. This can easily be done by either using an iron (make sure to put a piece of fabric or paper in between the iron and the printed image, otherwise you can melt and smear it!), or by putting the final product in the dryer for 10 minutes or so. If you aren’t ever going to wash the fabric, acrylic ink will work fine.

BARE-BONES HOME EXPOSURE UNIT:
(Taken mainly from Simple Screenprinting- Basic Techniques and Creative Projects by Annie Stromquist with extra notes to simplify.)

-1 or 2 bath towels
-Black cloth
-Piece of clear glass just smaller than the inside dimensions of the screen
-Aluminum lampshade, 10 or 12 inch, or disposable aluminum foil pan
-Standard light socket
-250 watt household bulb
-Extension stand or arm from which to extend the light to the proper height and position in the center of the exposure area
-Tabletop on which to assemble the parts
-Timer

Note: In lieu of the lampshade and light socket listed above, you can also use a commercial work light with an aluminum shade, available from any home improvement center. Be sure it will accommodate a bulb in the appropriate wattage specified- you don’t want to start a fire. High wattage bulbs can get super hot and melt the socket!

It is really easy and inexpensive to set up your own exposure unit and the hardest part is to find an out-of-the-way, darkened spot for the procedure. A space in the closet, basement, bathroom or any other room that can be kept in the dark for the duration of the process will work. You can set up your table as needed and disassemble after you use it if you can’t set up a permanent location.
Your workspace doesn’t have to be in complete darkness and you can use ambient or a safelight to get to work. I’ve read of people using night-lights with a red Christmas tree bulb as a safelight!
-Fold the bath towel in half and lay it on your tabletop to serve as a cushion; if one folded towel is smaller than your screen, use two unfolded bath towels.
-Spread the black cloth over the towel. The black cloth will absorb light, preventing it from bouncing back up and interfering with the exposure of your screen.
-Lay the prepared screen, well side up, on top of the black cloth. Center the vellum or transparency with the prepared imagery on top of the screen, facing up. Place the glass on top, first making sure that it’s clean and free of streaks and scratches. The glass insures that the prepared imagery will make the proper contact with the screen.
-Measure the approximate outside dimensions of the image- this will determine how far away the light source should be. Refer to the chart provided by the manufacturer of the emulsion product for this information.
Note: You may have to make a test screen in order to figure this out if you don’t have access to that information. The main thing is that you want the light to evenly cover the whole image that you want burned. Some investigating on the internet will probably yield some good advice to follow- message boards are particularly useful in trouble-shooting and asking questions if you need extra help.
-When all the elements are in place, turn on the exposure unit and set a timer.
-Turn off the light at the end of the designated exposure time which could be anywhere from 10 to 90 minutes.
After the screen has been exposed, take it to your cleaning area and begin to rinse- wet both sides with a gentle spray and concentrate on the image areas. The image will wash away, leaving open mesh in these areas. You can assess your progress by holding the screen up to the light- once you are done, dry your screen and when it’s dry, you’re ready to print!

BURNING SCREENS IN THE SUN? FOR REAL!
You can burn screens using the sun but due to all the variables, you will never have a consistent time. Read more on the internet of how people have done it in your region. For example, in Florida, I knew of people with exposure times of less than a minute in full sun. You can prepare everything on a board (as you would for an indoor set-up), cover with layers of dark cloth or black garbage bags, run out to expose, cover and then rinse.

FINAL WORD:
This is only a super simplified list of materials and techniques that you can use to silkscreen; the possibilities are endless and there are many combinations of techniques and processes to achieve a myriad of results. Don’t be afraid to experiment, to ask others how they work and what kinds of materials they use. Some things that I’ve listed are the most primitive way to do it but if it works, it works! In general, that’s a good motto to have when you don’t have access to better equipment or a good set-up- but you want to still be able to make your art.

Tapioca!

2008-10-27T19:46:00.008-04:00

A short video tribute to my old dog Tapioca Ebola. She was an awesome mutt and will not be forgotten!

Time to make Nettle Beer!

2008-10-10T23:12:00.012-04:00

I got this recipe from a book I checked out from the library called Wild Food, by Roger Phillips. Guessing by the style, it was probably put out in the late 70’/early 80’s. The layout is a funny mix of recipes along with ridiculous photo spreads of prepared food set up in picturesque locations out in the wilderness. The pictures themselves are reason enough to track this book down, not to mention the bizarre recipes for plants that I've always heard were not so palatable, such as Milk Weed.

Throughout the book, Phillips adds little bits and pieces of his life story into the text and eventually it comes out that he grew up in England during WWII. If I’m remembering correctly, in the section about Stinging Nettles, he recalls being forced to eat them to survive while stuck in an orphanage during the war. Whoa! In any case, for obvious reasons, it took him awhile to want to eat or think about Nettles again. At the end of the day however, he only had love in his heart for the plant since it is so yummy (when cooked right) and nutritious that how could you not? He was all about this beer and recommended that you drink it chilled along with some mint, on a warm Summer's eve.
When I initially read the recipe, I liked how easy it was (that you didn’t need a ton of equipment), but that it still had some challenges: to make a “simple” beer, to question your conception of how beer should taste, and to make it good!

To clear up any confusion about the definition of beer, here it is straight from the dictionary, just so we're all on the same page:

beer (beer) n. 1. an alcoholic fermented beverage made from malt and hops. 2. a beverage made from various plants: ginger beer.

Most of us are more used to beer that is made using hops, but you can make beer out of pretty much whatever you want; it just may taste better, worse or just straight up more different than what you’re familiar with, that's all.

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Before we get started:
This recipe supposedly has been passed down through many generations, back when people regularly produced and drank their own booze. It's very similar to one that I saw in Susan Weed’s, Healing Wise, except that she uses slightly different measurements and calls for 2 lemons (everything but the white part of the rind), as well as live yeast. I’m sure you could find an assortment of recipes to compare and contrast what’s worked for others, but instead of getting bogged down by all the details, I recommend just picking one and trying it out. See what works and doesn’t work for you. Hell, this only takes about a week to be ready so no frets if it doesn't come out perfect the first time around.

Ingredients*:
100 Nettle Tops, 2 inches long (uh, I didn’t get particular about the size, I estimated what I thought would work)
3 gallons of water
6 cups of sugar
1/2 cup cream of tartar (look in the baking section of the grocery, this isn’t the same as tartar sauce for fish, etc!)
1 tbsp yeast (I used regular yeast but I am sure that higher quality beer/wine yeasts would make it much better)
*This recipe makes about 3 gallons but I only made a half batch cause I didn’t know how it would turn out. I always recommend starting out small so you can master your technique with each try, fine-tuning along the way.

What else you need:
A ceramic crock, glass carboy or food grade plastic bucket
Empty beer bottles
Beer capper and caps
If you can’t get a hold of bottling equipment, you can use a couple of 2 liter plastic soda bottles with screw tops. It’s a bit more jank to do it that way but hey, work with what you have, right?

Get to it!
Boil nettles in water for 15 minutes. Strain the plant material out and then add the sugar and cream of tartar. Heat and stir until both are dissolved. Then wait until the mixture has become tepid. Mix the yeast in a little bit of warm water and then add to the mixture, making sure to stir well. Cover and secure the top of the container with cloth and leave to ferment for 24 hours (the author noted that you should actually ferment for 4 days to reduce fizzing). Remove scum and decant without disturbing the sediment on the bottom. Bottle, cork and tie down. (I don’t know what that means, just bottle it up and then store in a cool, dark place). Wait a week or longer to drink.
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The results are in!
Hmmm. Strange. Tastes more like a vinegary mead than a beer, but still drinkable. Initially, when my roommate and I cracked open the first one, he worried about getting sick from it but so far, a couple days later and a few more bottles down the hatch, I’m okay. I think that next time I might try to upgrade to a better yeast and maybe add some ginger and lemon to the mix to help add a little zest. As per alcohol content, something that I'm not good at gauging, honestly, I have no clue. Just like any alcoholic beverage though, if you drank enough, you're bound to get saucy, so be careful- no binge drinking, alright?
Good luck with your attempts and let me know how your batches come out. Don't forget to experiment and as always, go with your intuition- that's where the magic happens!