Saturday, November 14, 2009

Rock Paper Scissors 1st Show
Loading Dock (Gallery Up) Rock Hill, SC
Opening 11/12 @ 6 pm
Show runs 11/12 - 12/7

Working steadily - actually like a crazed person - I finished (mostly) the diptych Panim el Panim (Hester Panim & Neirat Panim). I spent three hours on Thursday wiring each of the 18 panels and then another 2.5 hours hanging each panel......  I am happy with how it looks having polished each panel as I hung it.  I think some distance away from it for the next few weeks of the show will help me reevaluate what I need to do to finish it (in addition to completing the edges which I did not have time to do before the show).  I was pleasantly surprised by the commentary I overheard, particularly that viewers were connecting the work to their own memories and experience, though without understanding the label context - they certainly aren't connecting it to my generational memory experience.  It is the first of a long journey and I am not going to get there overnight.....picture of it actually hanging forthcoming (love that word)!

1st Encaustic Painting

1st Encaustic Painting
Gesso'd Birch Panels

Lacuna

This is the first beginning steps into encaustic painting.  While waiting for supplies, I set up the grad studio at Winthrop, and built my worktable (my husband was impressed).  It took a couple of weeks for the materials used in encaustic painting (refined beeswax, damar resin, carnuba wax AND controlled heating elements, etc).  While waiting I built my first concept for the painting, nine (9) approx 13x13" birch plywood panels with white pine 1x3"frames.  This picture shows the panels, six (6) of them gesso'd with encaustic gesso and three (3) left plain birch - all of them fused with a double layer of pure beeswax to set the foundation for the painting.

I actually drew the random graphite marks prior to fusing the first layers of beeswax - that's what it looked like below.

Lacuna

Lacuna
Random Marks

Next Step

Next Step
Adding Tone

Next Step

Next Step
Breaking Up the Tone

Cutting in a tone

At this stage, I painted on two coats of encaustic medium w/out pigment and fused them on to the surface of the panels.  I then cut in straight lines which I taped off on one side and then rubbed a blended oil hue (greyish blue-green) into the lines and wiped off, covered with another layer of encaustic medium and fused.

While fusing I began to break up the layers so that I could break up the oil lines and have them float between the layers of clear encaustic paint.  This "tone" gave me a platform to begin to work with the painting concept.

Hester Panim

Here is where I am two weeks later.  I am into the fifth or sixth layer and now I am working back into the surface of the piece. Part of my artistic journey from painterly oil paintings and collages has been obsession with working the surface of the art piece, constructing and deconstructing.  This medium has already given me great joy in its flexibility and versatility in working with the surface as a way to express my narrative.  In addition I am finding that I want to move the surface in and out of three dimensional space which works well with the concept of memory.  


I began to build boxes that I affixed to the panels of wax.  The panels are broken up like memory yet built from a stable shape (equal square panels).  The internal boxes are irregular attached/unattached to the wax memory. They provide me an opportunity to increase the ethereal effect.

Lacuna

Lacuna
Hester Panim