Still working on this large piece… nearing the end, I think.
It’s been such a gray and rainy spring! But that hasn’t stopped the work in the studio… in fact, it’s been a wonderful year for the plants this year. Above, some mustard gone to seed.
The hummingbirds have been busy disguising their nests with this moss that grows on the old plum trees behind my studio.
This lovely thing fell to the ground during the last wind storm. I’m looking forward to drawing it.
This pile of embroidery thread is waiting to be woven into some paintings… paintings that are only in my head at the moment. I’m looking forward to the hours of summer, and seeing if some of my new ideas work.
I thought I’d share some current works in progress from my studio. This piece above will be put together in the end as one piece. I’ve been inspired by other artists who work large on multiple panels. Here, I had these small 10×10 inch panels lying around, and I thought I’d use them as a little test run… and that’s my medium setting up in the muffin tins. Working large uses so. much. medium!
This is a pretty crappy photo- taken late in the day with my lights on. But you get the idea. I’m really loving the metallic paints from R&F. So lovely when they are scraped down- this design is done in the german silver color, and it has a lot of variation, like a patina.
On to the next layers!
February 5 – 28, 2010
Opening reception: February 5, 5:30 – 9:00 p.m.
Felix Kulpa Gallery, 107 Elm Street, Santa Cruz, CA
Gallery hours: Thurs. – Sun. 12-5, or by appointment (tel: 408.373.2854)
I’ll be hanging this show this weekend, and I’m really looking forward to seeing my paintings alongside Norman Locks’ photographs. If you are in the area, I’d love to see you at the opening!
This should be a great show of encaustic work in Santa Rosa. I can’t wait to see it myself… and I’m so pleased to be included in this show! The show was curated by Thomas Morphis, and includes an impressive list of artists:
Oh, and me. I’ll have three of my larger “Winter” paintings hanging.
(I couldn’t find a link for Eleanor Wood for this list- if anyone knows, please send it to me…)
A small holiday gift for you all: a new tutorial. This one is a little different. It’s not about the wax, but what we put under the wax.
I’ve written here before about using paper or claybord as a base for painting. About a year or so ago, R&F came out with an encaustic gesso. It doesn’t smell and isn’t labor-intensive like rabbit skin gesso, and, unlike regular acrylic gesso, it is absorbent enough to be used under wax. Until recently, I’ve just used it as it comes: bright white.
Recently, though, I started experimenting with tinting it with powdered pigment before applying it. My aim was to create an aged looking, darker background for painting.
In the above example, I started off with a layer of white gesso. I let that dry completely. Then, I mixed a portion of gesso with my powdered pigment and applied it in large, sweeping strokes to most of the canvas.
After letting this dry slightly, I sprayed the panel randomly with water and scumbled the surface with rags, creating a textured looking surface. When the gesso was completely dry, I sanded portions of it where I wanted more light to come through.
The point here is how flexible this could be- try using different colors, layering colors, or painting into the dry gesso with water based paints, such as guache. The surface could also be stamped with homemade stamps before applying your first coat of wax.
My one critique of the gesso is that it pinholes like crazy (similar to claybord). I remedied this with a lot of fusing and additional layers of wax. I’m not sure what causes the pinholes- If any of you know why it does this, please leave a comment! I’d love to know how to control it.
We don’t get a whole lot of fall color here on the mid-California coast. But I am savoring fall, anyway. This is my favorite time of year.
After a long bout of illness this summer, I “came to” sometime in early October, and realized that my blog (among many other things) had been sorely neglected. So in the spirit of catching up a bit, here are some things I’ve been up to. I somehow managed to pull together my show here in town at Enso; we had a wonderful opening and I received loads of positive feedback. I’m now busy preparing for another show coming up in February. So, I’ve been working in my studio, if somewhat sporadically. Earlier this month, I attended the IEA retreat in Carmel, and got some wind in my sails. The retreat was wonderful, and I met many other artists from all over the country. The speakers were great- hearing Tony Scherman speak was definitely a high point for me- and members demonstrated techniques, which was also interesting. I came away inspired and full. On my drive home, I pulled over several times, because I had to write down everything I was thinking before it got away. Just download into my notebook. Somehow, talking with and listening to other painters helped me crystalize some of my own goals, which have been fuzzy for a while.
And now, after the buzz has worn off a bit, I realize that it is fine and well to think about painting, but a time comes when it is painfully obvious that I’m doing more thinking than painting. And that it is time to shoehorn painting back into my life, an hour at a time, and re-set some priorities. It’s never ending- the process of picking oneself back up, brushing off, and walking back into the studio.