Still working on this large piece… nearing the end, I think.
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!
The other day I was working in my studio, and this was the scene… and I thought, “How strange this looks!” So I ran to get my camera to share it with you all. I’m so fascinated by other artist’s processes, and the unusual ways that we problem solve when we are trying to get an idea out of our heads and onto the image. Encaustic is such a “new” medium in it’s current usage, and as I meet more and more artists using wax in their work, I am struck with how we are inventing it as we go.
I also thought this was funny because I’m often told that my work is delicate or ethereal, and yet the process is so… scrappy. I knew here that I wanted a large, white circle on the painting, but I didn’t know what to use to guide the circle. none of my usual objects were large enough. And then the garbage lid called to me from across the studio… “Me! Me! Use me!”
So I did.
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.
Meet my new best friend in the studio. I can’t believe it’s taken me this long to get on board with a torch. I’ve procrastinated about it for months, and didn’t realize that underneath that procrastination was fear. Until I was in Carmel for the IEA retreat in October, and was faced with a bevy of torches, waiting to be tried. It was the last morning, and a wonderful demonstration had been given by Pamela Blum. We were invited down on the floor to try out some of the techniques she had demonstrated, and I found myself hesitating around the torches. I hadn’t even realized I was afraid of them until that moment. Linda Womack saw me, and must have sensed my trepidation; she rescued me with a two minute lesson that has cured me of my torch phobia!
I went out as soon as I could and purchased a basic torch, with a few necessary frills: an adjustable nozzle, and an automatic ignition trigger. It’s a Bernzomatic propane torch from Home Depot, and it cost about 35 dollars.
I don’t know how I got along without this thing before! It works so well for every application, that I haven’t pulled out my heat gun a single time. It is much more gentle than the heat gun, and doesn’t move the wax around nearly as much. I can even fuse lightly while a large piece is upright on my easel. I think it produces a glossier surface than my heat gun did, too.
And the best thing about it is- its fast.
Well, maybe the best thing about it is that I haven’t lit my hair on fire yet. So far, so good.