I am so pleased to tell you that this painting, along with several others, is in Miami with Hang Art, where the Aqua Art Miami Fair begins this evening.
I created large pieces for the fair- the above painting is 36 x 48 inches- and while I was painting and building up the layers I was thinking a lot about the balance between simplicity and complexity. My goal was to find an efficiency in the complexity. These paintings have a bit less layering and more breathing room.
I found that stripping away some of the busyness made every mark count more. Then I made sure I went over the top with one element, whether it was glitz or scale or luminescence. I’ve also been falling in love with what’s been happening in the background with the graphite, and I didn’t want that to be lost. As a result, the atmospheric stripes are more prominent in these paintings, and I’m really liking it.
If you, or anyone you know, are in Miami this week looking at art, stop by the Hang Gallery room at Aqua! They’re showing work of gallery artists who’s work deals with light and reflection, and I think it will be a fabulous showing.
I am so pleased to be included in this upcoming group show. Thomas Morphis has done an excellent job of curating this; each artist is distinct, and the show promises to have great variety and texture! I’m looking forward to seeing it myself Saturday night 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!”
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.