color variation in wax medium

Left: new bag of RF Encaustic Medium     Right: original batch of same medium

I'm in the beginning of frenzy mode for my next solo show, so even the smallest of disruptions to my work plan can be irritating.

The current culprit for my diminished comfort is a new batch of R&F pellet medium that I recently received from the Dick Blick online store.

This is the first time I've noticed a significant shift in color quality. The bag on the left is the new batch. It may be difficult to see in the photo, but the pellets are remarkably yellower than the original bag on the right.

I called R&F to see if they changed their mix, or wax, or methods. They had not, and the nice customer service person I spoke with said that since the wax is an organic substance, there will be variation in pigmentation of the medium. She suggested that placing the wax pellets in sunlight will bleach them to my desired level.

This is surprising news to me, because I always thought that wax was impervious to UV. In the spirit of experimentation, I've proceeded with the test. After 5-days, still no perceptible change. I'll keep trying until I run out of wax and need to use the pellets to finish the show.

The yellow wax is especially confounding because I believe that the clearer the medium, the less it effects the color of my base image. My newest work has a lot of cool white background areas. The yellowing of the background caused by the medium will require more layering of transparent white to bring it up to a level I like.

It's simply a matter of more hours in the studio. Good thing I like my job.

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!

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

Openings, Mid-Show, and Final Days

Erik Zener,"Reaching In Reaching Out", 40 x 60, mixed media

June is a great month to view art in Seattle. I've been following Erik Zener since I viewed his work at Hespe Gallery in San Francisco about 5-years ago. And now you can see some of his remarkable pieces here at Foster White Gallery in Pioneer Square. Erik combines photography, paint or dyes, gold or silver leaf, and layers of resin to create these irresistible underwater images.

Betsy Eby, "Nocturne 2", 45 x 35", encaustic

I can never resist a Betsy Eby show. This weekend I'll be visiting Winston Wachter Gallery to view her newest work on display through July 3.

William Morris, "Drum", 24 x 15 x 12, blown and hot-sculpted glass

You'll have one more month to visit the William Morris show at Abmeyer+Wood Fine Art. DO NOT MISS THIS SHOW.  Many of the pieces in this collection have been exhibited in museums, archived by the artist and only now released for sale. This is a great opportunity to see a large group of sculpture from a Northwest Master.

Junya Watanabe, "Comme des Garcons", polyester organdy jacket and skirt. Photo by Takashi Hatakeyama

June 27th marks the opening day for "Future Beauty: 30 Years of Japanese Fashion" at the Seattle Art Museum downtown. I can't wait!

Joyce Gehl, "be still", 52 x 48, photo encaustic

Finally, one more shameless plug for my own show at Patricia Rovzar Gallery through June 30th. Just a few days remain to see my newest work. The gallery is conveniently located across the street from both Abmeyer+Wood and the Seattle Art Museum. Come next week and you'll get the trifecta: A museum opening, a William Morris show in full stride, and the final days of Forgotten Garden.

Opening Night, Thursday, June 6th 6pm-8pm

Tomorrow is opening night, forecast is sunshine and 70's. I'm loving it. Hope to see you there.

Click on the images below to view our featured work.

Countdown

"untamed", 48x64

I have been working hard in the studio and sadly neglecting my blog.  It's now just ten days until opening night on June 6th, and all of the work has been delivered to the gallery. I have a long list of subjects to write about, so hopefully you'll see more of me on these pages very soon.

But now I'm entirely focused on the upcoming show. In "Forgotten Garden" I have released the constraints on myself and my garden to create a sort of chaotic abundance. It is a collection of fifteen new works that compositionally explore the garden as metaphor to life. By freeing our lives from self-constraint, we become more like that forgotten garden: self-propagating, self-nurturing, and self-flourishing.

This year, my paintings will be shown in conjunction with new dimensional work from Morgan Brig. I have admired Morgan's work for years, and am excited to witness the synchronicity of our two very different approaches to life's personal reflections.

Morgan Brig "sitting here risking being more me", 28 x 39 x 5

The show will be up the entire month of June, and I hope you will join Morgan and myself for opening night on June 6th at Patricia Rovzar Gallery, 6pm-8pm.  

Winter Gatherings

Winter Gatherings, catalog of the exhibition at Selby Fleetwood Gallery, Santa Fe 

December 14 2012 - January 7 2013 Winter Gatherings Interactive Catalog

I am excited to have two paintings selected for inclusion in the Winter show at Selby Fleetwood Gallery in Santa Fe, New Mexico. Santa Fe is a mecca for artists and collectors alike. 

If you happen to be in Santa Fe over the holidays, stop in and give my regards to Selby, Sam, Eddie and Karinna. Opening night reception is December 21, 5pm- 7pm. Wish I could be there!

http://www.selbyfleetwoodgallery.com

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

Inspiration From Architecture

"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

 "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