Sunday, November 29, 2009
Sunday, November 22, 2009
N.E.W. provides opportunities
· to share technical information and aesthetic ideas
· to build friendships with other artists
· to educate the general public about this medium
· to increase interest in encaustic in the art world
Tuesday, November 17, 2009
So neat, so clean and so totally staged. (You can tell that this was taken a long time ago because my heat gun is still aqua and the rubber tree is still alive.)
In the foreground of this fairly neat looking table are some of the lovely wax balls that scraping paintings makes.
But tthis is more the reality - wax everywhere, heat gun turned grey from wax buildup and table barely visible.
And the floor is basically rising around the painting area.
Saturday, November 14, 2009
Wednesday, November 11, 2009
So much for the heavy explanatory lifting. You'll have to see it when it's done.
Here are some pix of my mother that I'm working with.
Here is Eleanor a few years back looking very calm and happy - on a cruise, I think.
This was a formal portrait by Purdy, a famous Boston commercial photographer, taken when she was in her teens.
And this, of course, is my favorite. The idea of my mother on a horse is so ridiculous and unexpected that I was astonished when I found this (cropped and de-colored by me and Photoshop). This strange event must have happened during one of her many trips in later years. I showed her the photo to see if she could tell me more about it, but all she could say is, "Who's that horse?"
Saturday, November 7, 2009
"Sticky Situation", 24"x24", oil, cold wax and oilstick on panel
"Glory Passed", 36"x36", oil, cold wax and oilstick on canvas
I did have fun playing around and obliterating the (failed) work underneath. It was a treat to see red and yellow again after all the somber browns and blacks I've been surrounded with. But it did make me appreciate all over again how easy cleanup is with encaustic.
Which one do you think they should pick?
Monday, November 2, 2009
The MassArt auction is now a Very Big Deal with expensive tickets required for admission to the auction, a festive buffet with wine, a well-known auctioneer and prime collectors attending. The auction is actually juried and requires that three images from each potential donor be submitted in advance so that one of the three may be selected if the artist is allowed to participate (i.e. donate). Both an online and a printed catalog are prepared, and images must be submitted in November for the early April event. I made three (reworked) oil paintings to submit for jurying but haven't photographed them yet. I'll show you when I do.
Home Sweet Home, encaustic with mixed media and found painting, 16 1/2"H x 6"W x 1"D. (In case you can't quite make them out, those are aligators or crocodiles swimming in the pool below the tranquil scene.) (And that's plastic lace so it shouldn't need laundering.)
But meanwhile, I sent off my piece above today for Icons+Altars. This event is not actually an auction because all the works are sold for one fixed price. (This year $250.) When you buy a ticket, you are entitled to draw a number which indicates the order in which you may select an artwork from the 107 pieces that have been donated. The work is supposed to represent either an icon or an altar and the size is to be kept fairly small, but after that, anything goes.
I usually spend an inordinate amount of time making the piece and get way too involved. This year wasn't too, too bad because I came across that saccharine painting in the cardboard pseudo-wood frame when I was clearing out my mother's apartment. It is actually 3D with dimensional mountains, birches and fence, and it looks just like our sweet little home (nestled close to the western Mass. Alps, on the shores of Lake Superior). It's truly an icon, representing both the idyllic vision of home we all have and the more realistic pool of aligators we find ourselves in after we own the damned thing.