Tag Archives: painting

Painting for show in May

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Working hard on paintings for an upcoming 2-person show in May at Hang Art in San Francisco.  This series of paintings continues to move forward, and continues to inspire me with new veins of ideas and symbols.  The paintings always refer back to the experience of being outside, in nature, in the open air, in all seasons and weather.

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I’ll post more information about the show later… so stay tuned.

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Double Life, and a Studio Clean-Up

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January is just whizzing by me.  Surely, time moves faster as you chase it.  And I feel as if I have been chasing it, with so much to do, and trying to fit it all in.  Sometimes I have to remind myself to just stop, and breathe.  And slow down the moment.  And pay attention.

For months now, I’ve been simultaneously preparing for war and peace, so to speak. ( I think it’s an Einstein quote, and he actually said, ” You cannot simultaneously prevent and prepare for war.”)    For about a year, now, I’ve been going to school part time to complete a certificate in technical writing.  I’ve also been trying to increase my hours in the studio, ramping up my practice, trying to make a go of being a full-time artist.  The sensible fall back plan, and the big dream.  I feel like every day I get up and just throw myself at it all.  There is rarely a sense of completion, because there is always something more to do.  I just keep setting little goals, and moving forward.  Inch. By. Inch.

There are financial pressures.  I don’t know if the artwork can answer them. It seems to be gaining traction, but I have to wait and see how it all shakes out.  I really want to be able to jump in with both feet into… something.  But for now, I must simultaneously prevent and prepare.

Painting and technical writing might seem at odds with one another.  And it does feel like I’m living two lives, or preparing for two futures, or even two potential selves, sometimes. Each activity exploits different parts of my personality.  But the two things also compliment one another in remarkable ways.  When I was working my way through my foundation technical writing courses, I was struck with how the skills I was learning could be directly applied to all of the writing that I am required to do as an artist- statements, bios, website copy, etc.  Active voice, defining audience, elegance, efficiency, specific language, direct style.  My studio notebook has become my constant companion, and I’ve learned to just get it all down, and edit later.  My editing class sharpened my attention and further developed my appreciation for brevity and specificity in my painting practice.

Right now, I’m taking a course in Information Graphics, and I find myself asking different questions in the studio.  Questions like “What is the question that the work answers?” and “How do I shape the data to answer the question?”.  It’s all pretty interesting stuff.

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One of the things I always do in January is clean my studio, and this year was no exception.  I also tried to create a “clean” area, over to the right, for a drawing space.  I’m trying to have a corner that isn’t covered in wax and paint splatters! (I know–good luck!) I’ve also added the memory foam mat on the floor, because all the standing takes it’s toll.  If you don’t have one of these in the studio, get thee to thy computer, and order one.  They are heaven.

Well, then, back to work!  I have a data set to download, and some paper cutting to do!

More On Uncertainty

sketchesI came across a great quote by Henry Miller that alludes to uncertainty, though Miller uses different terms.  I knew I had to share it here.  The life preserver analogy is especially powerful to me; again, no risk, no art.

“I had to learn to think, feel, and see in a totally new fashion, in an uneducated way, in my own way, which is the hardest thing in the world.  I had to throw myself into the current, knowing that I would probably sink.  The great majority of artists are throwing themselves in with life-preservers around their necks, and more often than not it is the life-preserver which sinks them.  Nobody can drown in the ocean of reality who voluntarily gives himself up to the experience.  Whatever there be of progress in life comes not through adaptation but through daring, through obeying the blind urge.”
–Henry Miller

*Quote via Brain Pickings.

 

Studio Shots

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.

In The Studio

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!

Hunting the Unseen

A few days ago we had a low, low tide- the kind of low tide that only comes once in a blue moon (literally, this time…), and so we all bundled up and headed for Maverick’s beach by the harbor. The sky was dark, the clouds low and threatening. It was windy. But I was so glad we went out.

There is so much beauty in these gray and blustery days, and this particular day, we had the pleasure of seeing what is usually hidden by the sea. We walked on rocks usually submerged. We could see the kelp anchored to the rocks, starfish clinging, and crabs backed into the deep cracks, staring out at us, as if we had crashed their party, and they were utterly annoyed. The beach becomes unfamiliar, foreign, and all the more beautiful for it.

It occurred to me that this is often the work of the artist- hunting the unseen; making it seen. Finding unnoticed beauty, and bringing it to the light. And sometimes a low tide is just what we need…

Here’s to 2010, a new year, and a new decade. May it bring you all light, love, and prosperity!

Long time, no write

Well, that’s not entirely true. I’ve been writing a ton. But I certainly haven’t been writing here, have I?

It’s been a wonderful, yet incredibly busy fall season for us around here, meaning me and my family. I continue to struggle, as we all do, to fit it all into these 24 hour segments we call days… and have yet to find the formula that allows me to do it all and stay present enough to enjoy it.  Such a work in process… and I guess that’s where I’m at these days, trying my best to give myself to the priorities that I’ve set for myself and then seeing the beauty and accomplishment in the messy incoherence that ensues. I figure if I can do that, I’m in pretty good shape.

Well, this is my habit, to take stock toward the end of the year. Not a bad habit, but it can turn melancholy if I let it, so I won’t. A few of my favorite things that I did this year- that sounds more cheerful.

I attended the IEA retreat in Carmel Valley… What a fantastic group of artists. Such a beautiful place.

I developed a body of work that I am in love with… a rare thing for me; I am so critical of my own work. The slow down in sales has facilitated my spending more time on and with my work. So there is a silver lining.

I participated in NaNoWriMo in November… 50,000 words in thirty days, with only a few vague ideas in my pocket- it felt like jumping off a cliff, and I survived! I created my parachute on the way down. Challenging, invigorating, terrifying. I’ve never written that much in my life. My daughter did it too- I couldn’t have been prouder.

So what did I learn the most from? Definitely NaNoWriMo- hands down. I’ll be taking every skill I practiced back to my studio. For example: you don’t always need to know where you are going to get somewhere. Let surprises happen. Let the work take charge instead of bending it to my expectations. Spend time with the work every day. Sit down and work, even when it’s the last thing I feel like doing. Trust that I have something to say. I usually just have to get quiet enough to hear it myself.

I’d love to hear from you- what did you do that was new this year, and what did you learn from it?

Catching Up

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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.

Encaustic Technique #7: Smooth Surface Tips

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It seems that for many encaustic artists, the smooth surface is like the holy grail. Beeswax painting lends itself to almost instant surface texture. Wonderful, to be sure, and fun to exploit, but sometimes we want something glassy and smooth. Developing a smooth surface especially on any piece over, say, 12″ x 12″, takes patience and restraint. Although I cannot boast a perfectly smooth surface on my paintings, and in fact don’t aim for that, they do fall in the category of smooth rather than textured. I tend to use the smooth texture to contrast with the final touches of paint that I use to create a subtle relief (see above). Here are my tips for working toward a smooth surface in your paintings:

1. I use a heat gun to fuse, and am very careful to not over-fuse. The wax should not be blown around, or you will create a wavy surface. I’ve also read that torches can work well.

2. I use a wide (4″) hake brush to lay down layers of clear beeswax. The hake brushes are inexpensive, and have a fine texture that lays down smooth, thin layers of wax.

3. Scraping the surface from time to time with a razor blade will even out your surface and encourage subsequent layers to go on smoothly. If you use intarsia in your paintings, this will be a built-in texture regulator.

4. When I want to lay down a smooth layer, I turn the heat up on my wax slightly. Usually I keep it at 200 deg. F., but I’ll turn it up to 220 or so for brief periods. The hotter wax is more likely to smear color directly beneath it, so use this tip carefully.

5. If I am putting down more than one layer of smooth was, I alternate the direction of my strokes with each layer. I load my brush, keeping it nice and hot, then use one sweeping stroke to cover the entire width of the painting. Then I apply a stroke beneath that one, etc. When that layer is done I turn my painting a quarter turn, and put down another layer, etc. I fuse every two thin layers as I go.

6. Many artists use a “pour” method for their paintings. They tape the edges of their painting to create a lip that comes up to create a clean edge. Then pour the hot wax onto the surface. The drawback is that this can melt and/0r pit the surface of any painting beneath the pour. This is worth experimenting with, though, as I’ve seen some really beautiful work done this way.

6. Some artists use a solvent at the very end to smooth the surface. You can put a bit on a rag and rub the surface. What I’ve noticed about this technique it that it creates a matte finish. The painting must be buffed periodically to maintain a glossy finish.

7. Which brings us to buffing. You’ve created your smooth surface, and you want to make it look glassy? Clean, lint free rags work. I like to use white t-shirts that I get from the thrift store, wash and dry, and then cut up. Another option is to use chamois, which is completely lint-free, and can work up a high shine. You don’t need anything but your buffing rag and some patience. Work on small sections at a time, rubbing lightly in small circles. This is a great way to “polish” your finished piece.

What about you? do you have any smooth surface tips you’d like to add? Leave a comment, and add to the list.

Inspiration: walking and seeing

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“Sell your cleverness and buy bewilderment.”   -Rumi

One of the trickiest things, I’ve found, about making images is the simultaneous need for experience and innocence. On one hand, we want to bring our years of experience to bear in the studio. On the other, we want to be able to see as if for the first time; an adventurous and inventive eye must not be hobbled by what it thinks it knows and sees.

This summer, I’ve been walking the same route through the fields, almost daily, and like to practice seeing things with a fresh perspective. A few times, I’ve taken my camera, and it has been so fun to look through that magic window and see how limiting the view can sometimes expand how I see. 

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Artistic perception is this great elastic thing that must be exercised to stay limber and responsive. Ironically, doing something repetitive is sometimes just the thing to practice keeping things new.