All about my journey in encaustic art and cold wax and mixed media.
| 13 March, 2017 11:35
Landscapes are a evolving part of my work. Sometimes leaning to the realistic and then bordering on the abstract. What is so compelling about them? Maybe it's the same charm I see when I spend time gazing out the windows at these NC mountains and skies. They are everchanging, ever inspiring. Like a gift each day with spectacular sunrises of various colors and mists of intriguing depths. There are two streams on the property...one we didn't discover until winter cleared the green vegetation and revealed its winding path alongside the drive to the house. It was a sweet surprise and over the years I have had it cleared more and more so as to enjoy it year round. That is the call of nature and I wonder if the appeal of the landscape is to take home a memory of a place or even the wish of a place we love. And the abstract landscape is to express the feeling it gave us while we we there. Something to ponder on a misty day...
| 19 August, 2016 12:14
So the journey continues...after several workshops this summer, concluding with the Advanced Teaching Workshop at R&F in NY, I am ready to focus on "finding my voice". I started with a lot of online research into just what exactly that means. It seems that it is something you have that desires to be expressed based on your individual views of the world and your own personal interests relating to it. And the important takeaway is that ONLY YOU can do it in the way you do it. Interesting...the uniquenesss of the individual is what is important and why we see several artists painting the same thing and yet they all look so different! (Unless, of course, it's a study in copying and then I have seen some amazing duplication.) And as we take in all the teaching and practice in what others have given us and what has gone before, at some point our inner voice screams out, "Let me break free of all that and just do what I am all about!!!", and so, hopefully we do. Sometimes, we get lucky and it was there all along, and we just have to realize it. Mostimes, it is through process that it is discovered. I was told it takes at least 5 years of full-time process to get to this place of "finding yourself " artistically. I have read it also can be an evolving thing that never stops changing in order to satisfy the artists need for expression. This makes perfect sense as my last post related that all we can count on is things will change. I have enjoyed looking back on my work and realize that I speak on many levels - one is obviously nature oriented/inspired and seen in the landscapes and use of natural ephemera, one is obsessed with color palettes and choices and has to do with the emotions they elicit, and yet another is more difficult to define and I wonder what exactly I am trying to say in these pieces. The "watchers" or "souls" as I call them are very interpretive of inner dialogues I have have had, both past and present. I think it is time to reflect more on them and what they are telling me so that I can share this with others...
Incidentally, the piece below sold the first night of an exhibit to an opera singer that I noticed staring at it. I spoke to him about the fact that it was my favorite piece of the series and we both agreed. I so love to be there and meet the person who connects to the work and takes it home.
| 21 May, 2016 03:43
The selling of my gallery after two years of investment in time, sweat and money, and the moving of my studio out of the public eye and back to a private one has been a world of change. And while I truly loved the interaction with the public, and learned much from the experience of being on the other side of the table when it comes to to the art world, I am very happy to be back on this side. Now I can choose when to be public and interactive and when to hunker down and get focused on my creativity. I used to think I needed the energy of others to get truly inspired, but I see now that it is something I can get from all kinds of experiences and not just from people.This new series, called 'environs' is one that was born from a need to have some high resolution pictures of my cold wax work. Most of my pieces weres sold and I didn't have access to get better photos, so that meant I needed to create to some new work and get serious about the photography of the pieces as well. So I went into the studio with a purpose, but I needed a plan and some serious inspiration. Being back in the studio was a new/old experience, as I had returned to it after abandoning it for 2 years. I had felt alone and uninspired and longed for the comraderie and interaction I had seen the artists in Asheville River Arts District have. Coming back, I added lighting and windows and arranged the space to meet my new needs. It has a decidedly different feel now and I treasure the time I spend there, Friends come and paint there at least once a week so I get my people fix, but have plenty of time for solitude and reflection as well. Once in the zone, I am oblivious to time and not until I get the inevitable phone call from hubby do I even realize it's past dinner time. The new windows gave me a view of the white pines that line the drive and along with a new tube of Indian yellow I had the catalysts to create some abstract landscapes for a workshop I am going to teach in Texas this fall. Sometimes change is good and it just all falls into place ....
| 21 May, 2013 05:47
Naming art is part of the job of course. Saying a piece is "Untitled" tells me it didn't conjure anything to the creator or that they didn't want to influence thier audience or that they were not in the mood for playing the name game that day. All are viable reasons of course, but I prefer to title all my pieces giving them a proper place in the world. This can take a while for some of them, while others simply state it easily. This piece was named after a 60's folk song I liked that very aptly described the seedpods that were used in its creation. "the answer is blowing in the wind" )
| 20 March, 2013 10:05
The biggest decision I make in painting isn't what to paint - it is always what colors to use . There is a wealth of information out there about color palettes and schemes but when you are in the moment it seems that spontaneousness will win out. Sometimes it follows the general rules of complements and triads and such but often it surprises you with unusual values and mixes that you never read about, but love nonetheless. Red and turquoise, lime green and deep brown, soft blue, celadon green and off white to name a few of my fav combinations. I have to have all my colors heated up on the palette because I can't limit my choices as yet. Maybe one day I will be able to choose my palette in advance and heat just those chosen few but for now I must have 2 griddles and my anondized 16"x16" plate all full of lovely colors....
| 04 March, 2013 18:06
i always liked e.e. cummings habit of not capitalizing, so i hope you will excuse me as i use this quirky habit myself.
my love affair with wax shows no signs of the usual relationship woes...i am still enamored of this altogether wondrous medium with which to explore my creative energies. i spend hours daydreaming about colors and layers and letters and numbers and glass bits and fibers and writings and book excerpts and images and how they will all go together when i get back in the studio. so many options sometimes overwhelm me and i decide to just start with something...anything, and let the painting reveal itself to me. and yet, it is often the reworking of a set aside piece that makes for the best work in the end. so it was with both these pieces. they were "finished" encaustic works, but i just never cared much for them, and decided to add obscuring layers and colors and see where they would take me.
i now enjoy them even more knowing they have hidden depths and original meanings that have evolved into entirely different pieces.