6x6 Series- Ammonite Architecture

Well I knew it was only a matter of time before these little studies got sculptural.  I always say I keep a toe in sculpture, and love low (and high) relief work, even way back in art history when we were studying friezes on buildings and tombs. Something so very tactile about it.  

So here is how this one evolved...

While heating the panel for its first layer of wax, once again the gorgeous grain of the wood showed up and so I kept the torch there a little longer to highlight them.  

I was in a collagey mood (yes, I know that’s not a word, and many of you are cringing right now, but it accurately describes the art mood I was in!) I let the wood tone and scorches set the color palette to start, and pulled out some other treasures from the pile that had starting growing on my table.  There was a very old brittle book on fossils I bought at the arboretum's library, some wood glue covered scorched paper, and tissue paper that I used to clean up my skillet after a day of work (calling it a monoprint doesn't feel right. It was not considered at all, besides recognizing that some cool color blending was happening amongst the pots on the griddle). There were images of slides of cross sections of different type of plant cells that I had been wanting to work in somewhere... also had bought some micro beads on a whim (and coupon) recently.  As usual- not all of these things made it into the piece, but the act of "foraging" help to inspire me and remind me of all the possibilities in my collection... 

I tore out a section of the fossil book that listed fossils found in the Mazon Creek area, not too far from where we live, and collaged it onto the right.  I finally found a place for the cross section images, then added some subtle color with powdered pigments and a sprinkling of a couple of beads. 

Here’s where I really felt like I wanted/needed to come off the surface.  Bark and twigs are always abundant in my studio, and think they could be worked in- but still wanted more.  Since reading the fossil pages, I started rummaging around my rock and fossil shelf, and found a great ammonite that would fit the scale and palette of the piece, but I was worried that the wax wouldn't be sufficient to hold the weight of the fossil.  Then I recalled reading about some casting processes in one of my books- so looked it up and thought I’d give it a shot.  (Glad I saved that 75 pound bucket of oil based clay- once again, hoarding being rewarded.)  

Coated the ammonite with mineral oil, nuked up some water in the microwave to warm up the clay, and pressed in the fossil to get an impression. Voila! Lovely. Next I poured wax into the impression, and let it cool.  I did not have the casting wax that they called for in the book- but thought -these are experiments. If it fails, ah well. (That is a lovely mind state to be in, and opens up many possibilities. You don't have that freedom with commissions....) 

Adhering it was a little tricky with the torch, and very close to the surface of the panel.  I did lose some detail- but overall was a successful cast I think! 

Now I needed to balance that high relief object out- so used a twig and some eucalyptus bark to do that.  Etched /inscribed some lines, and included a quote about how architecture mimics nature’s designs- very appropriate for that logarithmic spiral of the ammonite! Some staining to bring out the etching, and gonna call this puppy done!  
See it on my website 
http://www.cherylholz.com/art/detail.php?artid=106457

6x6 series continued…with a little bit of art and music therapy

Well I have started a bevy of 6x6 boxes...14 to be exact. 

My plan was to document/blog about each one, in chronological order. 

That would be a logical, linear way to do it-

                              .............but I don't work that way.  I am owning that! 

                                   Or at least attempting to…

I start several and then see who's yelling loudest for the next step.  The neediest and most exciting one wins! So I will continue in no particular order, starting with todays' favorite, because it was particularly satisfying- and not only because I started and finished it in one day, (very rare for me) but also because it was personally very cathartic for me.

I arrived at the studio later than I intended, dragged down not only by a persistent head cold, but family drama. Had to do about 2 hours of putting away work from last weekends fair, (DRAG CITY MAN) so played a fun music mix to help buoy my spirit. Soundtrack is very important to me, to put it mildly. But when I finally had cleared away a workspace and had wax melted and ready to go- the songs felt frivolous.   I kept switching, being a rather schizophrenic disc jockey for about a half an hour, trying on the atmosphere and mood of each song, until I happened upon Joan Osborne, a bluesy singer songwriter I've been fan of for a long time. Her music- AND her lyrics hit home, hearing them in a completely different context than I ever had before.  They were strangely fitting for our situation, so I included them in my piece. And that is what I love about art, be it a song or a book or a painting-if the maker is honest and true to herself and the work- there is a good probability that someone else in the world has been in a similar situation and can relate.  And THAT is what makes it universal.

 I think those who intentionally try to address the universal in a lofty academic way miss the boat.  But I digress…. back to the piece.

I had a rather neutral start with some ochre and cream, so added some gold- found in a lot of churches in one form or another.....

Then added some shellac and pigment, and set it afire. …Lighting a prayer candle?

  

...and wrote these lyrics into the piece:

Preacher was talkin' there's a sermon he gave

He said every man's conscience is vile and depraved

You cannot depend on it to be your guide

When it's you who must keep it satisfied

It ain't easy to swallow, it sticks in the throat

She gave her heart to the man in the long black coat

Then I etched in a crude Celtic cross…

And stained it.

A little dark?

Sure.

But perfect for today.

But by the end I was dancing as I torched and carved, 

andI left the studio feeling lighter and happier, unburdened-

 at least temporarily!

Yes, I believe in art therapy- and practice it.

Here's Joan Osborne's version of the song that inspired this piece.....

Addendum:

…and speaking of missing the boat- I may have as well, but found what I needed to anyway. While looking up a link to paste in here- I discovered that it's a Bob Dylan cover! I did not know that, and just makes me respect the song even more. But it was illuminating seeing all the comments on the song- none at first addressing the man in the long black coat as a priest telling us how vile and depraved we are, which was how I was hearing it this time. Again- everyone sees or hears what they want/need to....

Bear featured in Artist Blog! New Book-- Artists' Homes and Studios | Sharing my Painted Journey

So this kind of cracked me up... my studio was featured in a new book- Artists Homes and Studios- and one of the other artists in it wrote about several of the studios in her blog. Guess who made her blog? BEAR!
cracked me up.

New Book-- Artists' Homes and Studios | Sharing my Painted Journey

But seriously- can't wait to preview this book!! I haven't gotten my copies yet....
Get your signed copy at our book signing open studio at Nina Weiss's studio!
https://www.facebook.com/events/784357721648730

6x6 series- #2

So one of the materials I've had success with before and wanted to revisit were my pan pastels.  Absolutely LOVE the smooth blending you can get, and they adhere to the encaustic surface beautifully. I found that it does need to be fused and another layer added to protect it-but I  still love the material and how it reacts to the wax!  

I am liking where this is going, but wondering if its done or not.  My instincts are making me hesitate, recognizing that feeling that I may be going too far if I continue... So here is where it will stop for now, while my subconscious works on it when I’m doing other things.  But I’m putting it out there showing  how it evolved, step by step…for now! 

Started with loose ochre pastel layer...

...then added some heat and watched it move the pigments around! 

added a second color, and accidentally scraped some off- but loved the marks it left- so leaving that...

now for some fun with graphite!  fingers, end of brush, pattern making tool and stamps all leave wonderful but very delicate and tenuous marks on the surface,,,

some scraping back...

another detail...

....and here's where I stop.  Loving what is there- but wondering.... one more layer?? 

New year, new series

So I started out my creative year on the studio couch, I know sounds like is an inauspicious start to the new year, and makes me sound like a slacker - but I confess I really look forward to my “couch sessions.”  I rarely sit on the couch in the studio, partly because one of the dogs usually has already claimed it, but mostly because I am never sitting for long.  I wish I could work sitting, and for some small details, I can- but for the most part I need to be up and moving around, pouring from several feet above, building out a box, or fusing with a blowtorch that has to be looked at from many angles… but I digress.  The reason I look forward to my couch sessions is because that is the time I allow myself to take a look at all the plans I have drawn and listed in my sketchbook, look at all those artist postcards I’ve picked up, and really delve into that new art/nature book I’ve been dying to sit down with… and new this year, I allowed myself to be sucked into pintrest. Oh my god. I know, I know, I’m the last person on the planet to play with it- but it really IS addicting…and so artist friendly. 90% images, 10% words.  (not that we don't read..) .  SO much artwork out there….at any rate- I flood myself with images and ideas, coming from any number of sources.  Many are recurring themes or processes or “things that have been done before” (by me or others), but what I like to do is gauge my reactions to all of them again, and whatever makes me most excited wins and gets to be made!  What doesn’t excite me any longer either dies in the back room, or gets recycle/reworked into another piece.  An art survival of the fittest, in a weird way. 

So the result of the couch session is usually a list in my sketchbook- I am an avid list maker.  I compile all the images, processes, or formats I want to try or do again. …And some rough sketches of pieces I’d like to make.  Usually by that time I am oh-so-excited to get off the couch and get started!

This year, much of my list centered on encaustic, and learning more about it. The more I learn, the more I love. It is the most versatile medium ever!  Its molten fluidity lends itself well to abstract painterly patterns, mimicking patterns found in nature- but you could also sculpt with it! Crazy fun. 

SOOO- there are so many materials/processes/approaches I want to try! I admit I am addicted to new processes.  So how to do that without looking completely schizophrenic? (Not that I ever really cared about that.) I’m going to use the same format- 6x6x2 boxes-and run them through my “filter” -or my way of seeing things, my choices, my inclination and preferences. I’m shooting for 30.  It’s in an intimate scale that doesn't require a huge commitment (that being said, I’ve worked longer on some 6x6’s than 16x20’s- I want to throw the whole art by the square inch theory out the window) but at any rate it tis a good place to start. So- here goes.  Daily was my original goal- but trips are booked and workshops scheduled that wouldn’t allow me to start until March- and I couldn't wait that long! So I started this series the first week of January…

My goal was to post them as they happened in “real” time, but I confess I am blogger /procrastinator.  I love to make the work, but have to force myself to sit down and write about it.  I put off writing this introductory bit, but now that it’s done, hopefully form here on out it will be more pictures and less words- 

Here is the first one….

So I always want to jump right in and get started with the good part- and skip the grunt work -taping, priming, sanding, sealing.  Ok, I admit that type of work does have a place in the creative purpose- obviously physically necessary, but I also think it primes your mind for the upcoming piece. That being said- after priming 3 panels- my pump is primed and I’m ready to start!

So- while warming the wood to receive its first layer, I thought- why not draw with the blowtorch? It was highlighting some beautiful grains in the wood…so that's what dictated the direction and palette of this piece. I needed/wanted a strong diagonal, so tilted the panel as some burnt sienna ink ran down-Drizzled more inks, encaustic paints and then played with the torch to explode them and disperse… seeing warm brown fuzz of a bee’s back- and the golden warm honey colors lead me there too.  Off to find a bee….

 

Here’s where it’s at now.  Not sure if its completed yet- will need to stare at it for a while to see if it feels done. But it’s a start!