hard at work

Brushes are out and wax is hot. Two paintings just completed, one on the easel, one at the waxing station, two ready to print and glue.

My gallery has requested large pieces for the June show. Next up: figuring out dimensions so I can get an order in to HoldStudios in enough time to finish those big babies!

Stephanie Hargrave, Proliferous

Stephanie Hargrave, detail

Missing opening night of a talented and popular local artist can have it's advantages. I love going to the openings to support the artist, and experience the excitement in the room. But often there is so much energy in the room, that I find myself missing some really beautiful details.

Stephanie Hargrave, detail

This was exactly the case for the January show at Patricia Rovzar Gallery featuring new work from encaustic artist Stephanie Hargrave.

Stephanie Hargrave, detail

Stephanie's newest body of work displays both the maturity of an established artist, and the joy in exploring the depth and breadth of a difficult medium. I found myself getting so close to the paintings that my nose almost grazed the surface. There are bumps and etchings, and layers upon layers of yummy wax to explore with your eyes. It is almost impossible to resist caressing the surfaces with my hands. Lovely.

Stephanie Hargrave, Proliferous

Patricia Rovzar Gallery

through January 31st, 2014

Catch Up!

I've been remiss in updates to my blog, so todays post is an attempt to summarize my work over the past few months.

I completed a large commission for the cafeteria of a Puget Sound Hospital,

flight, 30 x 132

painted four new pieces for the annual December show at Patricia  Rovzar Gallery

I'll not forget you, 32 x 24

morning dance, 36 x 32

the heart finds its morning, 30 x 52

touch softly, 44 x 14

experimented with several new figurative studies,

plunge, 18 x 36 

the grass was wet with dew, 36 x 24

and began work on a new body of work for my next solo show in June 2014 at Patricia Rovzar Gallery.

photo mounted and  ready for wax

Over the next few months I promise to post updates of my progress. Happy New Year!

Atlanta

If you happen to find yourself in Atlanta within the next few weeks, be sure to stop by Pryor Fine Art. This Friday is opening night for what looks to be a gorgeous show with new work from Atlanta artist, Dusty Griffith paired with one of my favorite Seattle artists, Michael Schultheis.

And, while you're at it, check out my six new paintings delivered to Pryor Fine Art this week. I've been fortunate to have great success with my work here in Seattle at the stellar Patricia Rovzar Gallery, so it has taken me over a year to get new art to Atlanta. I am pleased to have the great fortune of representation by the patient and professional people at Pryor Fine Art.

"mon ange", 36x42

"village beat", 36 x 34

"let go", 32 x 42.5

"honey pie", 36 x 34

"du jour", 36 x 34

"a delirious dance", 32 x 42.5

simple pleasures

Most of the time, studio organization takes a back burner. Until the burner starts really burning.

This is one of those projects that I should have completed years ago. When brushes are left to float in the molten wax they will slip to the bottom of the pan. When the bristles touch the metal of the pan, they burn, causing the entire tray of wax to alter color. I purchase pre-mixed medium in bulk from R&F Paints. Not cheap. So every time I discard a pan of tainted medium, a little bit of profit slips away.

I made this simple brush rack out of scraps from my studio and the workshop. The base is a piece of flat plywood. Attached are two metal brackets from one of my industrial shelving systems. I've screwed some scrap filler wood into the brackets, and attached long screws to hang over the tray of wax.

It's not very pretty, and it's incredibly basic. But I'm oddly proud of my modest handiwork.

Special thanks to Larry Calkins for reminding me how easily influenced wax is to foreign material.

A Back Breaking Labor of Love

I'm currently working on a large (50in x 66in) commission for the lobby of a hospital here in Washington State. I love commissions. And although challenging, I love working large.

The panel was expertly constructed by Matthew Olds of Hold Studios. And this time I also outsourced my large format printing from The Color Group. All of the pieces were beautifully produced, and everything is coming together just as planned. On schedule.

And then today. Instead of waiting to ask someone in the building to help me glue the large sheet onto its substrate, I decided I could handle it myself. I slopped the glue onto the panel and quickly squeegeed it across the board to a smooth, level finish.

I carefully picked up the large sheet, and was immediately engulfed by the mass. To avoid the sheet falling onto the sticky surface, I flopped the thing over my head and blindly lined up the edges into the correct position on the panel.

Stick. Remove. Kink. Crease. Tear.

Then finally, it rolled into place and I began frantically burnishing the surface. Dabs of glue spotted everywhere. This will require sanding and covering with some R+F Encaustic gesso in areas.

Whew. It will all work out in the end, but next big project, I'll be enlisting a helping hand. For now, I need a back rub and a martini.

A Peek in the Studio

I 've been busy this year preparing for my June show at Patricia Rovzar Gallery. Which is my current excuse for not posting more regularly.

Here are a few detail shots of work in the studio. 

bamboo,

atmosphere,

 texture,

 shadow,

 shades of green and gray and blue

 lots of mark making

three on the wall.

leftovers and a little olive oil

 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

The Great Poppy Takeover

"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

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

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

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

Master Encaustic Artist Betsy Eby

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.