Joyce Gehl's Studio

Working With Art Consultants

2012-01-18T14:45:00.000-08:00

These tiny 10" x 10" tiles were painted for Art Source LA, a fine art consulting firm based in Los Angeles, with offices in Washington DC and China. The company primarily focuses on commission and reproduction work.

Art Source LA, (ASLA) contacted me in November to see if I would be interested in joining their roster of acclaimed artists. After a review of their astounding client list, some very favorable phone interviews with a few of their existing artists, and an in-person meeting at their offices in Santa Monica, I was excited to join the ranks.

They have a different approach to presenting work than a traditional gallery. Many of the projects are large, requiring the commission and purchase of multiple works of art. There is no showroom for the client to see and select work. Instead, the consultants at ASLA create a project proposal, including a slideshow of artwork that they feel would fit the specifications of the project. In addition to slides, they show small original samples that represent the finished painting surface.

My work has been presented for three projects, (that I know about) to date, including one enormous —17ft x 16ft — painting for a new high rise building in China.

Wish me luck!

leftovers and a little olive oil

2011-11-29T10:52:00.001-08:00

poppy leftovers on the easel

Thanks in part, to a severely overcooked bird, none of our guests returned for seconds, and we were rewarded with an enormous amount of Thanksgiving leftovers. The leftovers were turned into all sorts of turkey related concoctions. Some edible.

"a very large meal" 12 x 24

Same thing with poppies. After completing such a large body of poppy paintings, I found the studio filled with bits and pieces of cropped images and odd-sized boards.

detail from "a very large meal"

I don't usually like working with smaller sizes, but I also wasn't anxious to jump back on the computer to develop new large imagery. And the beauty of working small, is that it gives me a sense of freedom to work on new techniques.

detail from "a la folie"

The details above illustrate how I'm developing my mark making through scraping and rubbing. Keeping in the spirit of the season of cooking, I used olive oil to rub off excess paint. Reheating the area with a heat gun caused the paint to separate in areas, adding texture to the work.

"a la folie" 12 x 24

Inspiration From Architecture

2011-11-20T14:51:00.001-08:00

"and the leaf is singing still", 32.5" x 30"

This is the final painting ready to deliver to Patricia Rovzar Gallery for the annual group show this December.

I'm planning to explore bamboo in depth in the months leading to my June 2012 solo show. My husband is naturally the best architect in Seattle, but this particular inspiration came from a visit to my neighbor's house, designed by another talented local architect, Tyler Engle.

front entry with view of bamboo through window beyond

As you walk toward the entry, you are greeted by a soft glow of light filtered through the front door. Immediately opposite the front door is a frosted glass window, which looks out upon a contained area of densely planted bamboo. During the day, the bamboo is lit naturally, and the forms take on soft silhouetted forms. At night, the bamboo is lit, and the soft forms present different colors and patterns. These patterns are constantly changing throughout the day. The way some leaves press up against the glass and others fall softly into the background reminds me so much of how wax reveals and hides the image in photo encaustic painting. It was a struggle to join the conversation of the party, as I found myself wandering to the hallway for glances of that beautiful scene throughout the night. A magical box. I must find a way to intrude on my neighbor for more visits, and potential photographs.

If you find yourself downtown in December, please stop by the gallery and then let me know what you think of my new work.

above: details from "the leaf is singing still"

The Fall Palette

2011-11-08T12:29:00.000-08:00

"the constance of change", 32.5 x 30

It's fall in Seattle, and the colors outside are astounding. I just completed this painting of the changing seasons. It's amusing to me that the image I started with was taken in summer. As I painted, I found myself so influenced by my surroundings, that no matter how hard I tried to paint summer colors, my palette kept taking me into the golds and rusts of the moment.

detail

This year I've added a new technique to my toolbox, which I think enhances the depth and color of the finished painting. It's impossible to show the results online, so I hope you'll come visit the gallery artist group show this December at Patricia Rovzar Gallery where you can see the new surfaces in person.

detail

The Great Poppy Takeover

2011-10-31T12:02:00.000-07:00

"ratatouille", 36" x 54" at Patricia Rovzar Gallery in December

Poppies are addictive. Although the big bloom was early summer, they have taken over the studio for many months.

Earlier in the year, I opened up my photo archives to discover hundreds of images of the opiate flower snapped over the summer. Thinking this must be some kind of sign, I decided to give in. I have two more small poppy paintings to complete, and a large commission.

detail from ratatouille

In order to keep the topic fresh, I am deconstructing some of the forms to give more of an impression of the flower within its environment.

"wild rubies", 2 panels, 50" x 48" overall, soon to deliver to Pryor Fine Art, Atlanta

I'm also adding more exposed brushwork. Some of the branches and leaves take on a calligraphic quality.

details from "wild rubies"

"Some say that doing the same thing over and over is boring.

Others say that doing the same thing over and over can be a door to an experience that transcends boredom."

- Richard Stine, Pal Press Greeting Card.

October in Seattle

2011-10-09T14:21:00.000-07:00

Joseph Maruska, "Sea Cole" 72 x 36 oil on panel

It's definitely fall in Seattle, which means days are cooler, wetter and shorter, giving me more opportunity to visit the local galleries.

Joseph Maruska is the featured artist this month at Patricia Rovzar Gallery. Maruska is an expert at drawing the eye deep into the painting. The colors and textures and application of paint is luscious. To me each painting tells a mystical story, revealing atmosphere infused landscapes. Maruska's show will be up through the end of October. As an added bonus, I have three of my own pieces hanging in the alcove. I just love the way my work looks with the Maruskas.

Alan Fulle, "Video Tower: Wish", cut epoxy materials in epoxy resin, projected video

Traver Gallery never fails to surprise me. I am especially drawn to the work of Alan Fulle and his towers that combine epoxy resins with projected video. You must experience this work in person.

Upstairs from Traver Gallery lives the architecture firm SRG Partnership. They have designed a large open space in their entry to support a gallery highlighting local artists. This month elevate one floor up to see the beautiful landscapes of Anita Lehman. Fresh, simple and masterful. I want to drink them up. And. They are affordable.

Pryor Fine Art

2011-07-14T12:19:00.000-07:00

I am honored to be accepted for representation by the prestigious Pryor Fine Art in Atlanta, Georgia. I join a talented and mature group of artists including encaustic artists John Folsom, Jeff Cohen and Tom Brydelsky; mixed media artists Andre Petterson, Todd Alexander, Paula Landrem, Michael Barringer and Michael Moon; and painters Susie Pryor, Amy Cannady, Peter Bruega and more! If you find youself in Atlanta, be sure to stop in to see my work, and give my regards to gallery director, Tiffany Hay.

Stephanie Hargrave at Patricia Rovzar Gallery

2011-07-08T10:30:00.000-07:00

Stephanie Hargrave "imbricate 1", 40 x 60

Last night was opening night of the Hargrave exhibit at Patricia Rovzar Gallery in Seattle. In this new body of work, Stephanie has rediscovered her skill with transparency through layers of color, line, and organic shapes. The resulting compositions have both tranquility and energy. The line work is stronger than ever, and the addition of little dimensional spheres of wax drop like jewels onto the surface. They are perfectly placed. Like all encaustic, any form of reproduction is a woefully inadequate experience. Do yourself a favor, and skip the online show and go directly to the gallery to view the work in-person.

The show will be up until August 4th. Enjoy!

Patricia Rovzar Gallery. 1225 Second Ave, Seattle

Atlanta Bound

2011-06-11T12:45:00.001-07:00

"secret signals", 36" x 40"

Call me crazy. I'm absolutely thrilled to have my work shown by the prestigious Pryor Fine Art in Atlanta Georgia. But am I out of my mind sending encaustic to the hot south in June?

"my interesting neighbors", 48" x 40", diptych

I've decided to use the professional packaging and shipping services of Artech for this first batch. A small fortune, but I wanted to get my first national presence off the ground with confidence.

"a capricious little breeze", 36" x 40"

When I know the final cost for crating and shipping 5 panels (4 paintings) I'll be sure to post it.

"gaia's window", 36" x 40"

Willow Test

2011-05-26T18:20:00.000-07:00

I have an entire series of willow leaves that I'm beginning to pursue in wax. This little painting is a 10 x 10 test for a large 36 x 72 panel. I've utilized too many colors here, and I plan to work on making the leaves more mysterious by melting them further into the background. I'll keep you posted on the development over the next month.

bubble wrap, bubbled wax and heartbreak

2011-05-24T16:04:00.000-07:00

"twigs tangle in feathery tails" 18 x 48

This is a story about lessons learned. The triptych above is from my 2010 'dogs eye view' series. I had it up in my studio for a month. Rather than sending it to another gallery, I decided to put it on display in my home for a while.

I only live five miles from the studio, so rather than bothering with the usual glassine and panel insulation, I wrapped each panel in it's own bubble wrap and loaded them in the car. On my way home, I parked in the shade and stopped by the gym for a quick 1-hour workout. As soon as I got home, I unloaded the paintings, and left them in their bubble wrap until I had time to hang them.

Three days later, I removed the wrap to discover that the wax had melted in areas of the paintings, and the bubble wrap had made serious impressions into the surface.

After the initial shock, I brought the panels back to the studio. My plan was to heat them up in these areas, and scrape them down to the base photo. Then I would rebuild the wax and apply new paint.

But after the initial burn (carefully, with a heat gun), I decided that the wax had smoothed out enough without scraping. The surface is still uneven, but after the new oil glazes are applied, I will live with it for a while and see if I like the new texture.

details of reheated wax surface prior to new oil glazing

I actually feel lucky that this happened now, before I inadvertently pack up a big stack of work to store this way. From now on, rigid foam box with nothing touching the surface!

details of the completed "fix".

Master Encaustic Artist Betsy Eby

2011-05-19T13:56:00.000-07:00

I just returned from a trip to the Winston Wachter gallery to view the Betsy Eby show, "Arrangements". I am always inspired when I see Betsy's work in person, and this new body of work really knocked my socks off.

BradoSonata, 36 x 58

Her colors seem more muted than in past shows, allowing my eyes to revel in the beauty of her surfaces and textures. I just love the depth of the greys and whites.

detail from my personal show favorite: "Soledad"

It was an inspiring, humbling and rewarding visit. You can visit the work in-person until June 16th.

Apres Show Work in Progress

2011-05-15T16:21:00.000-07:00

The show is over, and I'm busier than ever. I have 10 new paintings in the works, with lots more concepts banging around in my head waiting to get out. The two above combine the poppies with the grass series. I'm incorporating more of the layers of colored shadows and deep layers of wax.

The photo above shows one of my grass images layered with some of the smokey colors and shapes from the willow paintings. The wax application is about 50% complete.

My plan is to have five paintings out the door by end of May!

Studio Visit with Alicia Tormey

2011-04-19T15:55:00.000-07:00

I just returned from a wonderful visit with the talented encaustic artist, Alicia Tormey. We met at Patricia Rovzar Gallery where my solo show is on view until May 2nd. We then trotted across the street to Taste Restaurant to enjoy a lovely lunch enhanced by Alicia's beautiful work on display until mid-June. We finished the afternoon at Alicia's working studio in the enormous Inscape artist building in the International District.

A great thing about visiting working studios is that you have the opportunity to see the little personal projects and new developments and experiments that you won't see in a gallery. One of her workbenches (above) had several small works in progress. They are sweet little paintings that she refers to as her "truffles". Yummy.

Everywhere I turned there was a new discovery. The photos above are a rather poor representation of one of these fascinating projects. Alicia first created a ceramic form and then applied her unique encaustic approach to the surface. The dimensionality of the form combined with the texture and depth of the encaustic is incredibly seductive. It's as if one of the forms has popped right out of the painting and set itself squarely in the middle of the table. I can't wait to see how she continues to develop this approach.

www.aliciatormey.com

The Final Four

2011-04-04T17:10:00.000-07:00

"and so it will ever be" 36 x 36

The final four panels for opening night on April 7th are completed and delivered to the gallery. In these paintings, I create a surreal landscape
, where reality and imagination live together. I find the many layers of transparent wax and oil glazes incredibly seductive. As I gaze at the paintings I begin to feel as if I am inside the paintings, looking back out at the world through layers of fog. I invite you to visit Patricia Rovzar Gallery Seattle, during the month of April and share your own impressions with me here.

"beyond the wild wood comes the wide world" 36 x 36

The Light of Morning Curls Forth

2011-03-18T10:19:00.000-07:00

Left: 'forest spirit'. Right: ' the light of morning curls forth'. Total size: 43.5 x 72

Two paintings recently completed from the series of birch trees enveloped in fog. Rather than a direct representation of what the camera sees, this series is an impression of my memories of the colors and atmosphere on my late summer barge trip through the canals of France. None of the actual photos captured the spirit of the experience. Through photo manipulation, wax and paint, I more accurately portray the view that I saw in my minds eye.

Although this was created as two individual paintings, I liked the way the two work together as a single diptych. I really love the blue tones, and I'm hoping Seattle has a heat wave during my show to encourage collectors to purchase more cooling images.

Detail from ''ight of morning curls forth'

Giggles of Delight

2011-03-07T10:05:00.001-08:00

"giggles of delight" 36 x 63

I'm stunned at how long it's been since I've posted to my blog site. My excuse is a good one, as I've been holed up in the studio finalizing the work for the April show at Patricia Rovzar Gallery. There are 17 paintings completed, and I'm working on four additional panels which may join the show if they look like a good fit.

"Giggles of Delight" is one of the larger pieces for the show next month. I love the movement in this piece. The wild grasses really seem to be dancing as little seeds twirl off the stems. The naming of this was a serendipitous moment. As I completed the painting, a friend posted a photo on her Facebook page of her daughter in absolute glee, the description included the words "giggles of delight". Makes me happy just to type those words here.

I'll share more sneak peeks during these final weeks of prep.

above: details from "giggles of delight"

Winter Blues

2011-01-25T13:02:00.000-08:00

The past few weeks we have been inundated with low clouds and fog, creating the most beautiful blue sky at sunset. It was impossible to capture the color with my digital camera, but I was determined to try to emulate that unbelievable blue.

I pulled some images of the birch groves along the canals of France from my barge trip last September, threw them into Photoshop and went to work. The final images are a composite of multiple photographs, spliced and layered with varying levels of blur and opacity. All the layers are adjusted with major amounts of color alterations from the original. This work took weeks of manipulation to produce.

Satisfied with the results on my computer screen, I printed the images digitally onto 100 % cotton watercolor paper with archival inks. The images are spliced together and mounted to hollow core doors.

I am using more base layers of wax than in my previous work. These panels have up to 15-layers of clear wax medium, interspersed with a few layers of transparent white. Then finished with glazes of oil paint burned into the surface.

I just love the results. Mysterious, soft and gentle. I have one complete, one on the table, and hopefully two more will be ready for the show in April.

The result is so close to my memory of that winter color over the Puget Sound.

Trying to Keep Pace

2011-01-13T10:37:00.000-08:00

the studio, January 2011

I'm always trying to catch up.

I have an abundance of imagery and words in my minds eye. I feel an overwhelming sense of urgency to get them all out of my head and onto the canvas quickly, before they disappear from memory. But there are too many visions, and I can't physically work that fast. So I have to make choices. And some ideas may never see light. Because by the time I've completed the first bunch, my mind has already moved beyond where I was before. Maybe if I didn't have such an abundance of pictures in my head, I would be able to produce more. But I don't think I'd like that trade-off.

So, I'd better just show up every day. Get as much out of my system that I can.

Commission Complete

2011-01-08T14:00:00.000-08:00

"One Sunlit Morning" photoencaustic and oil, triptych. 30" x 104" x 2"

The paintings are complete and will be delivered next week. I call the triptych "One Sunlit Morning". It will be hung in the waiting lobby of a beautiful new hospital here in Washington state.

The next two months will now be devoted to preparing for my solo show in April at Patricia Rovzar Gallery. I actually have enough work completed already, but I feel that I'm missing some variety in scale, subject and color. Send good thoughts for productive studio work!

Repairing a Scar

2010-12-15T11:02:00.000-08:00

It seems that some lessons I'm destined to learn over and over and over. In my excitement to begin work, I was not careful with blending the seams. The photo below shows a detail of an area where the seam is most apparent.

Because the painting consists primarily of transparent yellow, it is almost impossible to completely cover the offending scar with paint and clear wax alone. I painted a semi-opaque white wax, mixed with a tiny bit of yellow, over the seam. But I also had to add the wax over other areas of the painting, so that the resulting texture would be more unified.

I call this the ugly stage. It takes me a few days to actually build up the courage to attack the painting in this way. After applying the patch, I scraped it to a smoother consistency, and then started re-building the painting.

This detail of the area now has four or more layers of oil paint rubbed, painted and burned into the surface. You can see where the underlying wax was added, because the area is more textural, but I think it is richer and more complex than the original. It's a time-consuming approach which requires a lot of patience and trust. Check back later to see how the patch integrates with the rest of the painting.

Prep, Process and Problem Solving

2010-11-30T10:04:00.000-08:00

our garage workshop with all three cut panels glued, sanded and ready to go.

The doors arrived to my supplier the day before thanksgiving. A huge sigh of relief. Next step was to cut them down to size, and fill and sand the exposed ends (picture below).

this is what the doors look like when cut open.

the wood filler needed to be stripped to the correct thickness, and cut to size.

Now in the studio, my images are adhered to the panels. Although my canon printer can print up to 50 yards long, it maxes out at 17 inches wide, so I've had to splice the paper sheets together. I'm not sure if it's a result of the cold weather we're having here in Seattle, but the paper seems to be moving as the glue drys on the wood, leaving a small gap along the length of the splice. I've filled the gaps with R&F Encaustic gesso, and then tinted the gesso with guoache to get closer to the correct color.

detail showing the gap in the spliced image

It takes a bit more work to make the line disappear once I start painting, but with enough paint and wax and texture, it all comes together in the end.

The first board is on the waxing table. In this photo, I still need to trim the paper flush to the edges of the panel. And I'd better clean up the work area before I make an even larger mess of things. In the upper right corner of the photo, you can see a smaller scale photoencaustic painting I did as practice for getting the colors right before embarking on the finals.

Check back next week for the next progress report.

Daffodils and Snow in Seattle

2010-11-23T10:44:00.001-08:00

It's freezing here in the studio, so working on bright, sunny daffodils bring memories of warmer and more colorful days. The image above is the approved concept thumbnail for a triptych commissioned for a new hospital here in Washington state. The three panels will total 30" tall x 104" wide. Delivery is mid-January.

The client requested deeper panels than the standard 1.25 inch hollow core doors that I typically use for my work. As soon as I received written authorization to proceed with the project, I placed a special order for 1.75" hollow core birch slabs with my supplier, Millwork Supply, in Seattle. Estimated delivery is 4-weeks. The doors come from Canada (I think). It's been over 6-weeks out now, and still no doors. I'm keeping calm for now, but if I don't start waxing by December 1, it will be a struggle to complete these in time.

I'll try to keep you posted on how things progress. When the doors arrive, they will need to be sawed down to size, and edges filled. This process typically takes about 3-days, depending on availability of my husband to help with the manual labor.

Have a great thanksgiving.

Spring in November

2010-11-12T10:04:00.000-08:00

"Unleashed" 36 x 42 oil and photoencaustic

"Tewzday" 24 x 39 oil and photoencaustic

"in a dawn" 24 x 24, oil and photoencaustic

It may be cold and stormy outside, but it still feels like spring in the studio. My goal is to paint at least four new works a month until my April solo show at Patricia Rovzar Gallery. In addition, I have a large (30 x 100) commission to complete by mid-January. The activity will keep me warm!

Home At Last

2010-08-21T10:12:00.001-07:00

Upside Down Martini, 70" x 54" x 3"

Last week, I finally removed the painting from its shackles, filled the holes where the handles and eye bolts were screwed into the wood frame, stained and cleaned up the edges and sides. I decided to leave the painting flat on the work bench until delivery, to protect it from potential damage. The finished piece weighed in at about 60lbs.

Patricia Rovzar Gallery brought their van to transport the work to the customer. I covered the surface with glassine paper, and made some corners out of corrugated board for protection. We decided not to bubble wrap the piece, because the fit in the van was going to be tight. Two of us were able to lift and carry the work to the van. Thankfully, it wasnt that difficult.

"Upside Down Martini" now lives in its new home. The client loves it, and I'm a happy artist.

Tomorrow I'll add a post to explain the name, and talk about how completing this painting is taking me on a new conceptual journey with my work.

All Hung Up

2010-07-18T15:37:00.000-07:00

The wall structure for holding the large panel in a vertical position was complete a couple of weeks ago. I was so anxious to get started with the paint application that I neglected to post my final entry about the construction project until today.
The image above shows how the panel rests on the steel and wood brackets. These brackets are bolted to channels, which in turn are bolted to the wall. I can slide the brackets up or down the channel to adjust the height of the painting.

I've intentionally blacked-out the painting because I don't want anyone to peek at the work in progress before it's completed and presented to the client. But you can see in this picture the full wall unit. A great additional purchase was a rolling scaffold with locking wheels. I can use it both for standing on to reach the higher areas of the work, and as a work table for my wax palettes.

One of the characteristics of the wax medium is how the color and textures seem to change with the light. So I was excited to discover a bonus to this new block and tackle setup. I can move the painting from the wall to another part of the room, along the ceiling (as shown in the previous entries), allowing me to view the work from greater distances, and under different lighting conditions.

The painting is really moving along nicely. I have about two more weeks of painting, and then I'll be finalizing the surface and finishing the edges. It delivers in mid-August, so stay-tuned for the posting of the finished painting.

Block and Tackle

2010-06-27T13:08:00.001-07:00

The unistrut channels are now bolted into the ceiling and onto the walls, and the block and tackle is set up and ready to roll. It took a bit of work to figure out the best method to lift and move the panel, but luckily our friend Commodore David Anson of New Zealand was in town. Barry immediately put our navy boy to work. He set about designing a S.O.P. (Standard Operating Procedure). I'm very comfortable with lifting and moving the panel with very little effort.

The first photo above shows how the roller piece fits into the ceiling channel. Attached to the roller is the upper end of the block and tackle. The lower photo shows the second piece which is hooked onto a bolt screwed into the top of the panel. The blocks are called 'fiddlehead blocks'. One of the blocks would have a cam cleat. Typical brands would be Harken, Lewmar or Ronstan. You can find them at a Marine supply store.

This is me taking the panel for a walk across the studio. The commodore is enjoying a much-deserved beer. You can't see the hardware because the beam is in the way, but the line that I'm holding is attached to the block and tackle, and with a little bit of pressure, I am able to push the panel, allowing it to glide across the ceiling. We've attached handles to the sides of the panel so that when the wax and paint is applied I won't be touching the surface of the painting.

Commodore David demonstrates how to carefully lower the panel onto the horizontal work surface. The first few times we tried this, I was nervous and held my hand out to ensure the panel didn't fall too heavily. But now, I can raise and lower the panel without touching it. The locking mechanism and the cleat attached to the wall gives me the right leverage to ensure a safe and gentle landing.

I'm not sure if I'm raising or lowering the panel in this shot, but it's a good angle to see the lower mechanism attached to the door, and the upper in the ceiling channel. The line I'm holding wraps around a cleat attached to the beam above. This gives me better leverage for pulling the line to raise or lower the panel. My husband designed a special extension tool to make it easier for me to lock and unlock the line from the upper mechanism. (I'll post a photo of this in my next update). When unlocked, the panel can travel across the ceiling channel, and when locked, the panel is secure, allowing me to slowly let the line out to raise or lower the panel.

I still need to show you the wall unit that holds the panel vertically. We had to order some stronger brackets, so the vertical unit isn't functional yet. I'll post an update when its ready.

In the meantime, the panel is on the workbench, I've prepared the surface and am getting ready to apply my first layers of clear wax.

Heavy Lifting

2010-06-16T09:20:00.001-07:00

sketch of constructed panel by Matthew Olds.

I love painting large, so when I was contacted by Erik Bennion at Patricia Rovzar Gallery for a commission of a 54" x 70" encaustic work for a private collector, I jumped at the opportunity.

Encaustic requires a good firm substrate that won't twist, warp or split under the heavy weight of the applied layers of wax. I've been using hollow-core doors for my large pieces. They are strong, lightweight, and I can cut them down to just about any size. Unfortunately, the largest panel comes in just 48" width, and a custom order from my millwork supplier came to a whopping $2500.

So, I contacted the talented and able Matthew Olds from HOLD Studios. Matthew is an artist who supplements his income through canvas and panel construction for other artists in the Seattle area. He designed a panel that would fit my needs (see sketch above), my architect-husband Barry made a couple of tweaks to the structure, and within 2-weeks I had a good solid substrate delivered direct to the studio, ready to paint for just over $300.

panel under construction at Hold Studios on Vashon Island

We decided it would be best to use 3" deep bracing, and we added a panel to the back side to help prevent torsional warp. It's strong and sturdy. And HEAVY. Weight without wax comes in around 50 pounds.

For these large pieces, I need to work both horizontal and vertical, but I was afraid I'd destroy everything in the studio, including my back, trying to navigate the heavy panel around the studio. So, Barry has been enlisted yet again to design and install a block and tackle system with a pulley across the ceiling. If all goes according to plan, I'll be waxing and painting to my hearts content within the week.

I'll be sure to post updates of the system, so keep checking back to see how we progress. Wish us luck!

Three Small Encaustic Paintings

2010-06-04T17:01:00.000-07:00

These paintings begin as studies for larger paintings. Sometimes they just seem to want to stay small, sometimes I'll take them larger-scale, and sometimes I'll paint over them and come up with something entirely different.

"Path" (above) is currently on the boards to be scaled up into a large painting. The study seemed sweet, so I bolted it onto another textured wax background.

The image on this panel is only 4" x 4", mounted to a 9" x 12" panel that has an old study of intertwining branches beneath the surface. I enjoy the look and feel of these textured backgrounds, and am considering doing something a little more abstract, where the background becomes the object itself.

Anne Siems Animation

2010-06-03T11:02:00.000-07:00

... between the lines a dream is hiding ... from Robert Campbell on Vimeo.

Animation of paintings by Seattle artist Anne Siems. Voices: Eva Grace Siems Eggert, Ulrike Siems, Jacques Koekoek

Anne Siems is one of my favorite Northwest artists. She never appears afraid to adventure into new territory with her work. I love the way this animation by Robert Campbell takes her paintings, reinvents it, and presents it to me in an entirely new light. Makes me want one of her paintings even more.

Wet Feet

2010-05-10T09:41:00.000-07:00

"Padded Feet on Misty Meadows" 36" x 68"

Some paintings are more difficult to part with. I would have liked to have held this piece in my own collection for just a few weeks more, but it's destiny is elsewhere. It will be delivered to the Patricia Rovzar Gallery today, where someone will discover it and make it part of their permanent home.

May Shows Downtown Seattle

2010-05-07T10:38:00.000-07:00

Gallery Walk last night in downtown Seattle was bustling with lots of people out enjoying the change in weather. Highlights for me included the Tyson Grumm show at Patricia Rovzar Gallery. Imagery is as delightful and full of surprises as always, and check out those frames! Full disclosure -- I have three pieces up this month in the gallery too, and more new work in the back room (ask to see it if you stop by).

Also, don't miss Deloss Webber's show at Pucini Lubel . He has some new large pieces in wood that are every bit as graceful and well-crafted as the bound rocks that we've seen from him in the past.

Finally, Kamla Kakaria and Ricki Wolfe at Shift Collaborative - Ricki has developed her dimensional installations to even fuller depth, elegance and whimsy and Kamla's dimensional work is so scrumptious I can almost taste it. I'm going to try to get back to see the show now that the 1st Thursday crowds have died down.

Two More

2010-05-03T11:18:00.000-07:00

Breaking Through 32" x 31.5"

Last week I completed two more paintings from the Dogs Eye View series. I'm starting to get a little burned out with the color scheme, but I still have a few more images in my head that I want to get down on board before they disappear from my mind forever.

Roll and Roll and then Roll Some More 55" x 24"

Shawna Moore: Encaustic Painter

2010-04-19T11:17:00.000-07:00

I had a visit with an encaustic artist from Oregon this past weekend who introduced me to the work of Shawna Moore. This video provides wonderful insight into the creative process.

A Dogs Eye View

2010-04-10T11:36:00.000-07:00

"Ahhh, To Nap in the Tall Grass of Summer" 36 x 48

"Bound Through Uncut Meadows" 35.5 x 48

"Twigs Tangle in Feathery Tails" three panels, 6 x 48, overall 18 x 48

"Dive Into Scent-Covered Blades" 35.5 x 48

These are my current paintings from the Solstice Park series of work. My dog Rocky and I visit this park daily. He spends the morning in absolute bliss. The paintings are sighted in the low four-legged vantage point of a standard poodle. The titles are words from my talented friend Lisa Wogan's book Unleashed. I'm delivering all four pieces to the Patricia Rovzar Gallery today.

Studio Open House Tonight

2010-04-08T15:41:00.001-07:00

36" x 48", encaustic & mixed media on wood

I have four paintings ready to deliver to the gallery this weekend. Stop by the studio tonight, April 8th, from 6pm-8pm to share a glass of wine and view the work before they leave the workshop. Or, head to the Patricia Rovzar Gallery in May where you can see them along with the few remaining pieces from my February show.

April Shows

2010-04-06T09:42:00.001-07:00

April showers bring May flowers, and also a host of good shows to visit. This month at Patricia Rovzar Gallery features the intricate work of Isabelle du Toit. The images are beautiful, quiet and expertly rendered. I had the opportunity to meet the artist last week, and her intensity towards her subject drew me ever closer to the work. Patricia Rovzar Gallery.

Across the street at Friesen Gallery you can see the art from the book "Speak for the Trees", with work by an astounding number of exceptional artists including: Lynda Lowe (pictured above), Martin Blank, Kim Keever, Laura Sharp Wilson, JanisMiltenberger and more. Don't miss the exceptional piece by the Starn Brothers. Speak for the Trees.

Make your way down to the Alexis Hotel to see the new work of Alicia Tormey. Alicia's use of the wax medium is absolutely gorgeous in technique and her graceful compositions bring you into the dream state of the work. Alicia Tormey

Studio Tour

2010-03-18T10:58:00.000-07:00

Photographer Bradford Bohonus came by the Building last month to make these amazing 360° portraits of the artists in their studios. I had just delivered twenty of my paintings to the gallery for my February show, so the studio isnt as full as usual. Check it out:

Joyce Gehl's Studio in February.

Great Video, Inspiring Artists

2010-03-03T11:05:00.000-08:00

I was in Sun Valley last week and discovered the work by Hung Liu at the Gail Severn Gallery. The work featured layers of paint and resin, expertly painted, beautifully drafted. The imagery is both inspired and meaningful. When you get a moment, check out this video of Hung Liu at work.

KQED Spark: Hung Liu

About Inspiration

2010-02-09T18:30:00.000-08:00

"Birth of Venus" 10 x 36

Opening night challenged me to see things differently. I found myself unable to completely answer some of the questions asked. So now I'm trying to put it all into the bigger picture.

You asked me what my inspiration was for your painting. It may be the way the fog sat heavily on the hillside. Or the way the colors filtered through the light. Or the way the wild grass seemed to dance in the mist.

My first impression is very different from what was captured by my camera. And the thing that my hand creates from that image is even further removed from the original. I don't know exactly how the image will evolve when I begin. I may have an idea in my minds eye, but I allow the conditions of the day to guide my hand. If I am relaxed the work takes on a softness, if I am anxious, my nervous energy transfers through my hand to the canvas.

When the painting is complete, it rests. And then I see something entirely new. It is as if this thing I painted is a mirror which reflects my personal histories.

Now you see the work with different eyes. And you bring all your own memories and associations. Your impressions can be so different from my own. And that is what I love about art. That it is different and unique for every person.

I try to create something beautiful. But it is you who gives it life. And that is inspiration enough.

February 4th ArtWalk Downtown Seattle

2010-02-03T13:55:00.000-08:00

For those of you coming downtown for the first Thursday ArtWalk this week in Seattle, I have a few suggestions for your walking tour.

ArtWalk officially starts at 6pm, but come early and start your night at ChezShea. Chez Shea is a beautifully intimate restaurant and bar in the Pike Place Market. Buy yourself a glass of wine and enjoy one of their delicious appetizers while enjoying the art of Laura Marks.

It's 6pm, and you are now ready to begin the journey south to Patricia Rovzar Gallery. This month she features the work of yours truly. It's my first major solo show, and I can't wait to see how the work looks in her fabulous corner location on 2nd and University.

Next stop: Pioneer Square. Anne Siems is showing at GroverThurston Gallery in Occidental Square. The newest work looks phenomenal. Anne has been inspirational to my own development as an artist.

Finish off the night at the Collins Pub, base of Smith Tower on 2nd Ave. Enjoy your beer and pub grub while checking out the "fetish dolls" of Shaun Doll.

There is loads of art to visit this month, and I would love to post it all. Stop downtown another time during February and see what else is up.

Hope to see you on Thursday night!

New Book of Paintings from February Show

2010-01-31T14:11:00.000-08:00

I just completed a small book that highlights the paintings in my new show at Patricia Rovzar Gallery. It features twenty reproductions of my work and an introduction by art critic Daniel Kany. To preview and purchase a copy, visit my web site , or go directly to the publishers bookstore at Blurb.com

SHOW PREP

2010-01-21T10:49:00.000-08:00

Two-weeks before opening night of my exhibition of new work at Patricia Rovzar Gallery. The studio is full of finished paintings getting their final primping. I had no idea how much prep would go into my first major show. In addition to the painting, I've decided to redesign my Web site, and create a book to accompany the show. I'll let you know when the Web site goes live. The book will be available for purchase online.

Hope you can make it to opening night on February 4th, 6pm-8pm. The show will be up for viewing from February 4th - March 2nd. Patricia Rovzar Gallery, Seattle.

I'm anxious to get back on the easels!

December Freeze in the Studio

2009-12-10T13:00:00.001-08:00

It's been cold in the studio, but moving around large-scale art helps keep me warm. This encaustic piece is 24" tall x 80" wide, and will be ready for my February show at Patricia Rovzar Gallery.

About Photography

2009-10-15T15:27:00.000-07:00

“ An impression needs to be constantly refreshed by new impressions in order that it may persist at all.” TS Eliot, The Perfect Critic

I have spent a lifetime working on my drafting skills, capturing mood and spirit through line, shadow and texture. I have developed my own hand with brush, chisel and pencil. Oils, alkyds, graphite, pigment and charcoal all play important roles in developing my technique. I can render the graceful bend of a sunflower as it lifts its head toward the light, and I can also reflect its waning days through the strength or weakness of the weight of a single line.

For years, I was embarrassed to admit to even using a photograph as reference, let alone actually incorporating it into my medium. I suppose because there is so much work out there that relies on photography and appears to be more like a weekend hobby than serious art.

But some of my greatest influences are photographers. I have immersed myself in the works of Imogen Cunningham, Harry Callahan and Alfred Stieglitz; and modern masters, such as Andy Goldsworthy and Sally Mann. Through these artists, I realize that it doesn’t matter what medium I use, as long as I am committed to the quality and expression of the craft.

When I draw a subject from life, I am adept at rendering what my eye sees. The camera allows me to see beyond that. When I take a photograph, it represents a snapshot in time. The way the light falls on a living thing occurs in a single moment. The machine picks up and emphasizes aspects of my subject that my eyes overlook. I am lucky to have such an objective companion. But the photograph is only the beginning of the journey.

Just as the old master painters created beautiful underpaintings of watercolor, ink or gouache to guide their painting, the photograph guides not only my hand, but my mind. The original impression is buried deep below the surface—sometimes not even visible in the end—changed and influenced by my hand to create an entirely new impression. This idea of constantly changing and evolving impressions is critical to the purpose and method of my painting.

The Future of Arts Journalism

2009-10-01T10:06:00.001-07:00

Coverage of the arts in America is being transformed. Traditional news organizations have been dropping arts staff and reducing coverage. News organizations continuing to cover the arts are looking for new ways to do it. Artists and arts organizations are finding new ways to communicate without the traditional press. Something of a citizens’ army has risen up in the form of 300,000 arts blogs. At the same time, our culture itself is changing as people have more access to more culture than ever before. In the face of all this change, what is arts journalism?

To watch the video, paste this link in your browser window.
http://www.ustream.tv/recorded/2267397

Concept Sketches

2009-09-28T11:19:00.001-07:00

Another small study for the upcoming show at Patricia Rovzar Gallery in February 2010.

Invasive Beauty Begins

2009-08-25T14:29:00.000-07:00

This is a small (9" x 12") concept painting for the invasive beauty series. The dark background is a relatively new direction for me, and it's challenging. It takes more layers, scraping, waxing, painting, smearing and rebuilding. Plus, a lot more patience, and ample amounts of trust to create those dark areas while maintaining clarity of color. I went through multiple failures before coming up with a technique that I will pursue at a larger scale. On my workbench are four 48" x 64" panels ready to conquer. Wish me luck.

Tulip Takeover

2009-08-19T11:29:00.000-07:00

"Frenzied (working title)" 24" x 61"

This is one of five completed tulip paintings. I've just started the invasive beauty series, and will post some small studies soon.

Things That Keep You Awake

2009-07-16T14:29:00.000-07:00

Untitled. 24" x 32" Encaustic and oil on paper on wood.
Even though I swore I was done with alliums, I returned again to the familiar and recently completed this painting of chives. The working title is "Things that keep you awake at night." I may end up keeping the name...and perhaps I'll do a companion piece in a darker, moodier atmosphere.

Above is a detail from the painting.

Visit to Lynda Lowe's Studio

2009-07-06T11:56:00.000-07:00

Above: Lynda Lowe in her studio
I and two artist friends, Alison Lewis-Harlow and Robbi Firestone, had the good fortune to visit the studio of the artist Lynda Lowe. I was initially introduced to Lynda's work by gallery owner Patricia Rovzar, and was immediately drawn to the depth of color, the skilled craftsmanship, and the intensity of meaning as eye and mind are taken deep into the painting, and then brought back to the surface with finesse.

The studio is in a stunning location, up a beautifully landscaped path on the top of a small hillside, with a spectacular view of the water and wildlife of puget sound. Once inside, I felt immediately at home. Lynda is a gracious host, and she brings so much of herself into her work. The space is full of precious objects of inspiration -- rocks, shells, bones, books, brushes -- all things discovered on her many travels.

I hope you have the great pleasure of seeing her work in person. In the meantime, you can visit Lynda and her work on her Web site: www.lyndalowe.com

Patricia Rovzar Gallery

2009-07-03T10:13:00.001-07:00

In October, my work will be represented by Patricia Rovzar Gallery. This gallery is surely one of the best in downtown Seattle, and it's a privilege to be selected to join her group of important artists. Please visit the gallery at
1225 Second Avenue, Seattle, WA 98101.
www.rovzargallery.com

"Garlic Soup" selected for exhibit

2009-06-25T14:02:00.000-07:00

I am honored to have my work selected for inclusion in the Arterra showroom in Bellevue, Washington. Carol Anderson and her team of art consultants are among the best in the industry. The large showroom is full of work by the most sought-after artists in the region. Arterra sells only to designers and architects, with projects ranging from residential to hospitals, hotels and corporate collections.

Garlic Soup

2009-06-25T13:52:00.001-07:00

"Garlic Soup" (72" x 36") 2008 encaustic, mixed media on wood.

This is my first really large encaustic with deeply inscribed words. The text begins with the latin for the various species of allium. When it gets to the allium name for garlic, the text becomes a recipe for garlic soup. (you can actually make soup from the recipe carved into the panel). After the soup recipe is complete, the text turns into a quote from Georgia O'Keefe about how people will bring their own meanings with them when they view an image of a flower. And then it ends with some simple suggestions about the proper growing of allium. From a distance, the viewer may not even realize the text is there, as it just appears as texture. As you get closer, the marks start to form into recognizable letters. If you take the time to look at the painting longer, the letters become words. It's really interesting to watch people as they view the work and move towards a greater understanding of the entire panel. Its not necessary to read the painting to enjoy it, but it gives it another layer of depth.

Above is a detail from Garlic Soup.

the meaning of the paintings

2009-05-29T09:16:00.000-07:00

Each painting is a collaboration with a multitude of contributors. For example, my eye sees one thing, and my mind interprets what the eye sees in a completely different way. Then the hand takes over and constructs, or deconstructs, the thing in it's own way. And the result becomes something entirely unique and different from the original subject. All the different body parts work with each other and against each other to create the final product.

Then someone looks at the finished painting and changes its meaning once again. I thought I knew what the painting meant. But when I hear someone else put their own words and thoughts and meanings into it, I think to myself 'yes, thats what it means'. And its all so different from what I thought I intended.

The painting is allowed to continue to evolve without my hand or mind or eye coming in contact with it at all.

May at the studio

2009-05-23T15:30:00.000-07:00

" the earth laughs in flowers." - e.e. cummings

Life has been creatively chaotic here at the studio this Spring.

Lucky Bamboo is a large (65" tall x 36" wide) encaustic painting. There is deeply-carved text rising from the bottom edge of the painting, imitating young bamboo growing from the ground. Here's what it says:

"The normal habitat of dracaena sanderiana is the floor
of a tropical rain forest. It is used to getting very little light.
But it likes its feet wet.
Lucky bamboo actually grows straight
and does not grow curly or wavy at all.
Farmers have to lay them on a huge long slanted table
in the hot house, covering three sides in darkness,
one side exposed to bright light.
It takes an average of one to one and one-half years
to make a single 360-degree curl.
After many dark damp days of winter, the sun appears.
Spinning magnetically to the light, her face turns toward the warmth
taking the body with it.
When we change a thing, it in turn changes us."

Standing Tulip, (70" tall x 36" wide) is another large encaustic panel. This piece took about 4-weeks to complete, continually constructing, then deconstructing the form. There are at least 16 layers of wax...and multiple layers of oil paint glazes.

Tulip Canvas (70" tall x 63" wide) is a work-in-progress. This piece is oil and charcoal on canvas. The canvas is stapled directly to my studio wall. I don't plan to take the level of finish too much farther, and I'm currently experimenting with some mixes of cold wax to rub into the surface for added depth as well as protection.

I hope you enjoy our beautiful late-Spring.