Fini!

'midsummer eve'  50" x 66"

Today marked the successful delivery of this large (50 x 66) commissioned photo-encaustic painting. It travelled across two bridges and three highways, balanced in the bed of a borrowed pick-up truck.

I made a secure shipping box out of pink foam plank insulation, the kind you would use in your walls at home. But once the entire box was completed, the size was one inch too wide to fit within the covered bed of the truck. In Seattle, with a constant threat of rain, road debris and stop-and-go traffic, I was concerned about damage to my precious cargo.

But, sometimes you just have to give in to circumstance. My husband and father-in-law secured our load and we drove, carefully, to our final destination. Happily, the stars were in alignment and the painting now rests safely in the consultant's showroom where it awaits installation onto the reception area walls of St Clair Hospital in Lakewood Washington. 

Thankfully, its final delivery and installation is now in the very capable hands of licensed professionals.

midsummer eve, photographed at an angle to show hi-gloss surface

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.

Working With Art Consultants

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

 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

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

Atlanta Bound

"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"