“You Don’t Just Cry When You’re Sad, Right?”

Edit: I am an avid reader of Mara Wilson’s blog. Not long ago, she wrote a touching story about her brother Joel on his birthday. I loved it and as things go, it inspired me to do the same.

It has sort of become an inside joke between my brother and I that I owe him a lot of birthday gifts. He’s pretty considerate and thinks a lot about the gifts he gives to people, and I do not. I have the best intentions but I’m a shitty person so I only do whatever is within my means. Sometimes that means nothing, last year it was a painting (given three months after his birthday) and this year its…shaping up to be a blog post. That may officially be a downgrade, but I’ll leave that up to Brother to decide.

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Every year for about twelve years, my mom and maternal grandma (“Yaya”) would pack up our Aerostar van and drive us kids to Myrtle Beach for two weeks, to celebrate both of our birthdays, which were five days apart. It was a twenty-hour trip of tupperware totes filled with crossword puzzles and colouring supplies, Sing-A-Long-Kids songs and, at least one time I screamed for 4 hours of the trip before my mom pulled over to discover a crayon stuck in my diaper (it was blue, and obviously melted). We loved the trip there almost as much as we loved the days we spent in the Cadillac Court, a budget hotel located on the south side of the beach overlooking the ocean. We always rented a suite and it was outfitted with an orange pull out couch with yellow and black striped cushions, yellow cupboards and orange carpeting, but it was big with plenty of beds and a balcony that we used to watch the dolphins swim by at five am.

We looked like this.

We looked like this.

We loved these trips. We were pulled out of school for ten days. Half way there we’d begin sticking our arms out the van-windows to feel the “beach air”, our way of assessing how close to the beach we were. Driving into the beach core was a slew of strip-malls, palm trees and beach shops, something we romanticized to no end. I don’t know what it was about the piles of dead starfish, baby sharks in formaldehyde filled jars, tacky shell mobiles, neon RayBan knockoffs and smelly hermit crabs under fluorescent lighting, but those things had long become a nostalgic treat for me by age 8. The second we stepped foot out into that place, we felt instantly happy. Once we pulled into the parking lot of the Cadillac Court, the adults would get out to register at the front desk, giving Adam and I a chance to run down to the beach. This was more than a tradition, it just happened. A combination of being cooped up in the van for days, and the fact that this was literally our favourite place on earth sent us into an ecstatic frenzy. We’d race down the familiar boardwalk, unchanged in the twelve months it’d been since we’d last seen it, past Bobsy’s bar, past the gazebo, past Eli the janitor who seemed to always be mopping the pool deck, past the fleeing anoles on the white sanded rot, finally onto the beach, dodging washed up jellies, into the ocean to our knees (we were afraid of sharks) screaming in delight. The first day of every trip was always the best, but we’d always pay for it later that evening when we realized we were sunburnt to shit. (THANKS ALOT, MOM!)

I can’t remember any one trip in full, but at some point I remember sitting on the bench next to the beach with Yaya, while she explained she had surgery a few months before to make her better when she was sick. I don’t remember anyone ever telling me she was sick until that day, even though I knew she was, and the only reason she was telling me then was because I’d asked her about the scar on her neck. She was totally nonchalant talking about her cancer and I never got the impression it would actually take her away from me, she wasn’t afraid at all, and people who were dying were afraid. Now that I’m older I realize she was just someone who wasn’t afraid, not like me. My brother appeared after a few moments and sat behind Yaya on the bench. Our mom eventually joined us and took our photo, all of us in red. When I look at that picture now, I think of all those trips at once. I’m sure the lizard-covered bench is still standing, despite not having seen it in ten years. I have visited the Cadillac since, after dropping Adam off at UF when he was in his second year and I was sixteen. I sat on the bench, void of my Yaya and of my brother, both of whom I was missing, and thought about how much had changed. Now that I’m an adult, it feels funny to say aloud all these warm feelings about such a touristy Disney Land like Myrtle Beach, kind of like learning that the “beach smell” we’d come to love was actually the smoke of Marlboro Reds.

That photo I was talking about

That photo 

There’s a very specific type of pain that I feel when I think about our Yaya, one that hasn’t waned remotely over the years even though I was merely 12 when she died. I don’t know if it’s because I was so young (but not SO young), because I felt it was sudden, or because I turned down the opportunity to say goodbye, but I do know that I am lucky to have someone in my life whom I know feels that same pain of specific loss, one that hasn’t waned, and while that is merely one example, it comforts me to know my brother will always make me feel understood in a way even if no one else does. I am grateful for when I feel like thinking of her, I can share that with him.

Years later when we were in Montreal for Adam’s third and final Olympic (swimming) trials, I played him a song. It was “Ode To LA” by The Raveonettes. Ronnie Spector of The Ronettes is featured on the track, in all her smokey-voice’d glory, and once her part came on Adam looked up at me with semi-glossed eyes and he didn’t have to say anything; I knew he was thinking it too.

While the Myrtle Beach chapter is certainly closed, we still take trips. After the Olympics, he and I went off to Thailand for five days of nonsense before jetting back to North America to start our real lives: him to move to NYC, me off to school. On the day we were supposed to head home, both our credit cards maxed, we were stuck on standby at the Koh Samui airport for ten straight hours. The entire time he kept a smile on his face to the point that it annoyed me, reassuring me that we’d get on “the next one”. We finally got on “the last one”, thoroughly exhausted, and with zero help from me. I remember thinking it was hilarious that he could be in a good mood, waiting ten hours to get on a plane that was built for passengers almost half his size (on the way there he had to move to the emergency exit, his legs wouldn’t fit in the seat). I don’t know if I ever told him this, but I was so, so grateful to have him there that day. I consider myself a great traveler, until it’s time to go home and my plane is delayed indefinitely. Then, I’m an impenetrable nightmare in need of a hand to hold.

Today, he’s 31. Former Olympian, current husband + swim coach, film blogger, father of cannonball Bulldog Swampy, impressive juggler and consumer of fine bourbon & gin.

Brother, Happy Birthday. I love you, thanks for always being my best friend.

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Read Adam’s blog
Follow Adam on twitter
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My week, in Instagram photos

I’ve been taking a much-needed break from the studio since my show the end of February, in large part due to the old post-show blues. I find no matter how successful or positive a show outcome is, I’m always left feeling incredibly low for days, sometimes weeks after the fact. It’s not uncommon for me to have a good sobby cry after all is said and done. It makes sense, though.   That said, I haven’t found myself to be any less busy. I haven’t been in the studio, but I have been on my couch, working away at custom pet portraits* and releasing a new series of necklaces.

Here’s my week in instagram photos:

From top to bottom:

  1. Trying out new ideas, animal paintings on totebags?!
  2. The giraffe version of that idea
  3. New stamp
  4. …Thus new tags
  5. What salt can do to watercolour
  6. A portrait of CHUCK!
  7. My sweet Gert
  8. New jewels

And to answer your question, no, I didn’t leave the house once. My god my life is boring.

Follow me on Instagram & Twitter: @nervrom

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*I recently decided to donate 25% of pet portrait sales to Toronto Animal Services South, check out their awesome blog here.

LE PAPILLON ON THE PARK

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Le Papillon On The Park is a delicious Quebecois restaurant in Leslieville, and lucky for me, conveniently located five minutes from my house. I’ve been there a number of times and the entire experience is definitely something to write home about. (Not to mention: they’re Toronto’s original creperie! They have their own rooftop garden! … That last one is particularly impressive if you ask me).  The food is spectacular, the service is genuine, and its not too fancy, so its my kind of spot.

Max MacDonald has been showing his work in the sprawling dining room at Le Papillon since they opened a few years ago, but recently they decided to mix things up and have invited me to share the walls with him. Max is an incredibly talented, multi-faceted artist and I’m so lucky to have met him, let alone be showing alongside his amazing work. Right now I have eight pieces scattered around the dining room, but in the coming weeks and months I’ll be switching things up and adding some more recent work as it gets freed up from other galleries and spaces. I am really, really excited about this opportunity, a public place to house my work. The Bigués are so unbelievably supportive of local artists, I could not find a better environment if I tried. If in the next little while you’re looking to see my stuff in person, this is the place to do that (and eat some gourmet poutine).

Here’s a peak at the restaurant after we got together this week to hang the work.

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my favourite of max's

my favourite of max’s

SONY DSC SONY DSC SONY DSC SONY DSC SONY DSCEDIT: For a price list of the work hanging at Le Papillon, please click here.

HOUSE OF MOMENTS

It still feels surreal.
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Thank you so much to everyone who made this show possible: Hamid & Sil for believing in my work, Adam for his encouragement, support & frame-making expertise, Fay Ninon, all the musical acts, and all friends, family & fans who made an appearance or sent a kind word, I cannot thank you enough. I am so, so lucky.

Because these works are so insanely large I am finding it increasingly difficult to take an accurate photograph of them. If you’d like to see them in person, they can be found in the corporate room at House of Moments, 386 Carlaw Avenue, Toronto (just north of Dundas) until March 21.

HOUSE OF MOMENTS / LOVE IS FREEDOM

I definitely intended on posting about this sooner than, say, the day before the opening, but I’ve been so insanely busy in preparation for it I didn’t change my clothes for four days.  So, here we are. House of Moments, tomorrow night!

I have nine (NINE!) new paintings to reveal, and I can’t even believe I am still alive, to say the least. Some of the work is nearly six feet tall, which is exciting in its own right  (for the first time I had to rent a truck to transport it all). I’ve never  really painted with such intensity before.

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I am really, really excited to be part of this show. House of Moments is an unbelievably gorgeous space, and I’m just feeling so lucky to have my work hanging there for ten days.  Come say hi if you make it!

P.S. I suck, the gallery is located at 386 Carlaw Avenue.

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Glory Hole Doughnuts

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Ashley of Glory Hole Doughnuts was nice enough to let me hang my small(er) work on her walls for the next couple months! This is super exciting for me because everything about this place is quite simply a work of art. They sold out of doughnuts like eighteen times yesterday, too! Definitely make it a point to try them out if you get a chance (I personally recommend the Bread & Butter)!*

I also decided late the night before to chop up a formerly 5' x 5' painting that hung un-stretched on my hallway wall. I think I was just tired enough to attempt it and I'm glad I did. I feel like it has a purpose now.

I also decided late the night before to chop up a formerly 5′ x 5′ painting that hung un-stretched on my hallway wall.  I think I was just tired enough to attempt it and I’m glad I did. I feel like it has a purpose now. They are grouped into pairs, 12″ x 12″,  but I think the whole set works together. I’ll post these separately a bit later.

SONY DSC SONY DSC*Glory Hole Doughnuts is located at 1596 Queen Street West, just past Sorauren.

A Big Thanks

Monday Evening (Ode to Big) (SOLD)

Monday Evening (Ode to Big)

Two years ago I sold my first painting to a stranger on the internet. It was that one up there, and the person who bought it is someone I now, most definitely consider a friend. In conversation, I could actually say we met because he found my painting on the internet and decided he wanted to have it.  That’s effing bonkers. Since then, I’ve sold around fifteen or so paintings on the internet, and each time it is an adventure. It still feels as amazing as it did two years ago, and I’ve even gained a few friendships out of it.  I’ve had the best time meeting people who have reached out due to my art. It’s unbelievably inspiring and for me, all I will ever need from it. In speaking with one such buyer-turned-friend (not to mention talented artist) the other night, it got me thinking about the relationship between client and artist, communication in its truest form brought on by a piece of work. Art is communication, and I truly think if for the rest of my life all I could do was show my work on the internet, have conversations about it, make someone feel something when looking at it even from far away (and maybe at least once in awhile sell one!), then I’ll always be happy with what I’m doing. I feel really, really lucky to have the experiences I have had in the last two years. I’ve learned so much. Today, I’m really grateful to anyone who has reached out to me in that time. Those of you who’ve supported me in small and large ways.  I’m also feeling pretty grateful for the Internet, and using it to communicate with these people, because without it I can honestly say I would not be writing this. I’d like to say I’d be making art no matter what, but it’s tough to say where I’d be if I didn’t constantly have the support I’ve been lucky enough to garner over the past two years.*

Art is considered a luxury to have, and I’m so eternally grateful that you’ve considered mine worth having (on your wall or on your computer screen).

Thank you, thank you, thank you. Happy New Year!

*Special thanks to: Aimé, Matthew, Laura, Scot, Heather, Joelene, Bob, Sil, Michelle & Jamie, Karen & Michael, Julia & Steffan, Veronique & Jamie, Jo, Shawn, Lid, Snikki, Faye & Mike, my lover Adam  and the rest of the Harnest & Sioui families. Thank you.

Happy New Year

I have been feeling so swamped. So overwhelmed with commitments, I don’t even know what to do with myself. I feel stretched thin. I haven’t been to the studio in three weeks, but I have a few incredibly exciting things that seem to be brewing (though they are still in the infancy stages so I have to wait before I can shout it from the rooftops). Adam has been building me frames, I’ve been restretching canvases, and getting some paintings ready to go to their new homes. I can’t wait until things calm down, til I know a little more, so I can just shift my focus back to the studio and start living more familiarly again.

I am excited to add a “2013″ tab to my Portfolio.

Sometimes I find myself wondering how much of myself I can give to get what I want. It’s true that nothing in life is free, and certainly nothing in this business is free of selling your soul even just a little bit.

SAYING GOODBYE TO OLD LOVERS, PART TWO

THE QUILT I STARTED AT TEN
(BUT ONLY GOT TO FIVE SQUARES)

The Quilt I Started At Ten (But Only Got To Five Squares) SOLD

This painting has been in three separate shows, hung in four different homes, and traveled from Toronto to Brighton to Stirling to Brighton to Toronto and back a mere five or six times. I’ve had offers from a handful of people, interest via email about once a month since its creation, and after one year, seven months and twenty-five days I have finally sold it.

Finally.

“You don’t care though, right? I mean, it’s just a painting. You’re probably glad it’s gone.” – Said someone to me who should probably know better.

(My favourite square)

Yes, I am glad it’s going to be gone. But not because I’m sick of looking at it. In Neil Young’s Waging Heavy Peace, he says [something-like, because I don't have the book in front of me] “Some of my songs are good, some of them are bad, some of them are just okay. These are all opinions of other people. To me, they are all children.” I’m of the (popular) belief that once you finish creating something, that is only the beginning. What happens to it, in front of it, despite of it, because of it, or just in the presence or thought of it are all things contributing to its lasting dialogue. I made this piece come to be but I don’t really feel like I created it, in a sense. It was already there, the only thing I did was move the mud around it, polished it a little bit, gave it a name. I can’t give it the value it’s worth, that’s up to someone who loves it a whole bunch. Or someone who hates it a whole bunch. Whatever it is, it’s not my job and I don’t want it to be. I do, however, miss it already.

I knew someone would eventually buy this painting, they had to, everyone seemed to be drawn to this piece even if they didn’t like any others. It offers something you can grasp onto, little paintings making up a whole, a quilt in its name, something tangible for the anti-abstract mind. I can tell you where I bought the original canvas I painted this on, how I got it to my studio, who was involved in helping me get it there, that I was lucky to have access to a car that day, how much it cost, how many times I’ve reinforced its frame, repainted its sides, pulled out a nuisance hair embedded in its smears. I can tell you its frame will be fully replaced before it sees its new home. I can tell you about that first smear of paint thrown on it from the floor, leaning it up against the heater next to Aime, in our old studio singing Sketches For My Sweetheart The Drunk and singing his praises, cursing over my stubbornness to commit to such an tedious plan*. I can tell you how I insisted on coming back the next day for seven hours to finish it after seven hours previous because leaving something unfinished makes my skin crawl. I can tell you how many times I’ve turned down a client for offering me less than I know its worth. And while I’m unbelievably astounded that anyone ever wants to buy anything, I can tell you that sometimes I wonder if I even want to sell my work, because it seems like no matter what I get in return for it, even if I’m begging you to take it off my hands, there is always a part of me that wonders if its all worth it. Art, in general, is really expensive. And as artists we’re only allowed to charge what “the public” has deemed us worth. I mean, we can charge whatever we want, I guess, but that certainly doesn’t mean anyone is going to buy it. Having sold a few pieces, and having been the only one responsible for naming the prices of those pieces, I’ve discovered that in this [awful!] process I’ve begun to take into consideration a number that is going to help fix the hurt. I have to.

The first time I showed this painting in a public forum it was through my first (and to this point, my only) experience with an art dealer. I think it was this piece that sparked their interest (between scolding me for selling my other work for “so cheap”, which I will admit felt good) and convinced them to ask me to sign. They raved about it, telling me it “needed its own wall”, that it would probably sell faster than anything else in the gallery (despite hanging in the same room as some ‘really good’ artists), that they couldn’t wait to hang it. They selected the Quilt and another one, and I promptly wired them, wrapped them, and delivered them to the gallery the next day, excited about what this opportunity would bring. To keep it short, this “deal” did not work out, but I now consider it a valuable lesson I learned for $500. After I told them I was done, that my paintings weren’t doing any good in a closet (yes – I essentially paid someone the equivalent to what I pay in rent to keep my painting in a closet for six months), I was told that this was all my fault, that it was my responsibility to track them down, to remind them of my work, to ask them to find me places to hang my paintings. I disagree with this, and I expressed that. Needless to say our “agreement” was promptly dissolved (and made official by his deleting me off Facebook, evidently). **

I think selling this piece, (along with the other one under his care/in the closet) is the final chapter in washing my hands of that experience. I love this piece, if I hadn’t I would have sold it for the pennies I was offered for it a year ago. As a result of that, it’s been around. Because of that I think I’ve considered it my strongest piece thus far, the one I’d always fall back on in the event of a spur-of-the-moment show. All this said, I could not be happier about saying goodbye to it. It’s time for it to really start it’s own dialogue, away from me. In selling this piece, finally, I’ve proven to myself that while it may take some time, I can do this on my own. And I am promising myself that I’m going to try really hard to not lose sight of that.

Thank you, Heather. Enjoy the painting. I am so happy it’s yours!

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*by my standards. I hate to plan (this applies to all areas of my life), and usually when I commit to something I don’t want to do it anymore (this also applies to all areas of my life), this is why I amazed myself that once I committed to the pattern-d essence of this painting I decided I would never do it again. Of course, I did, a few times, but this remains my favourite in that category.
**Please do your research before signing with an art dealer. I receive lots of email from emerging artists asking for information on my experience. It was not good. But I can’t say it will be the same for you. (This is a good article. So is this one.) It is very, very easy for someone like the person I dealt with to approach an emerging artist, (or someone who has never had experience with representation) promise them the world, then tell them they won’t find success over night as a means to cover their own tracks. No, you won’t find success over night, but if your rep is refusing to even look at your work, and unapologetically blaming you for your lack of success, get your work back, count it as a loss, and move the fuck on. I decided to take a chance, knowing no artist has ever been (really) successful without (adequate) representation. Luckily, on the grounds of our “agreement” the only thing I could possibly lose was the sign-on fee ($500). In my particular experience I was incredibly frustrated because I saw several artists finding (different levels of) success under this representation, but it was obvious he wasn’t doing anything for me.

SMALL PAINTING SERIES: #2-5 (MOAN MOUNTAIN, DISCOUNTABLE PINEWEED, PAINTING FOR GUS & THE HUMAN BEAT)

I had originally intended on announcing these one at a time, but what can I say? I had a productive weekend.  They are all  around $200 (Give or take $15, + shipping). Click through for purchasing information:

The little sister to Burden of Fleece:

Small Painting Series: ii Moan Mountain

MOAN MOUNTAIN - $185 SOLD

Small Painting Series: iv Discountable Pineweed

DISCOUNTABLE PINEWEED -$215


Small Painting Series: iv Painting For Gus (I'm Sorry)

PAINTING FOR GUS (I’M SORRY) - $215

 

And, yes. I am clearly obsessed with this next colour combination, but I can’t help it.  My friend Scott reassured me Picasso had his Blue Period and so I’m allowed to have my fluorescent/muted combo period.  This is good because I find it so delicious I just want to eat it:

Small Painting Series v:The Human Beat

THE HUMAN BEAT – $200

 

I think the instant gratification of painting on small canvases has been a quiet help with my mood as of late. Or, maybe it’s due to the monkey in a shearling coat. Whatever it is, I feel pretty good for a Monday.

OF NOTE: Since my jewelry has been selling better than I ever could have expected, I decided to extend the FREE SHIPPING on wearable art over at my shop until Wednesday.  I’ll do a run to the post office on Thursday to ensure delivery by Christmas.  While I fully expect sales to decline as we get closer to Christmas, prices of jewelry will remain super cheap until the New Year. I 100% intend on adding four more window pendants  as I’ve had quite a bit of interest in those since they have sold out.  There is a good chance I may even be adding some new things tonight. There is also a good chance I will drink too much wine and forget. OH THE SUSPENSE.

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