Suddenly, the signs of spring I have been looking for. Yes, the snow is melting and the days are longer but more importantly, Im feeling the energy that flows when my email starts filling up with show invitations. Today I had my first meeting with the president of the Artists’ Cooperative Gallery of Westerly which I was recently juried into. Their next scheduled show is themed “Views from the Street” so my landscapes will work there.
Meanwhile my daughter, Shelley who is a talented photographer with a studio at a nearby converted velvet mill, has invited me to join her for a pop up show at her studio in two weeks. She has chosen some of my abstract botanials for that.
Finally, I plan to introduce a new series of abstract paintings featuring various sizes of metal washers (no plants) and want to produce enough pieces for a meaningful launch of the series at the spring shows.
That means multi-tasking. This week, these are three of five pieces that are in the middle of the process of soaking up their resin baths. By the time they are cured and ready to show, I hope to have many more of all three series waiting for their resin treatments as well. Somehow I’ll have to make time to produce more plants, but with a good foot or more of snow still on the ground, I’m guessing I have some leeway there.
This little interpretation of a Florida salt marsh is 4th in line for its first coat of shiny resin. Temperatures in New England have been at record lows so I’m holding back on the finishing steps of my collage series until Mother Nature gets with the program. Resin likes a nice warm room in which to cure. Meanwhile I just got my first aookication for a spring show out in the mail so will keep plenty of work in the pipeline.
This piece measures just 4″ x 6″ Making small pieces is one way of keeping my work affordable but I’m always open to making a bigger version of any miniature.
I just finished a small custom piece that included a “palm tree” made from simple ferns and sensitive ferns so took the opportunity to take inventory. Fresh out of Mexican Feathergrass but off to Florida in a few weeks where I will hunt and gather them. For ferns I may have to resort to an off-season visit to my favorite nursery. I see Japanese painted ferns in my future.
Meanwhile I received a shiny new photography tent which makes it possible for me to end my long battle with glare when photographing my resin peices. Hopefully this means I’ll be putting more of them into my Etsy shop.
Until now I’ve mastered my resin-pouring skills on little wood panels ranging in size from 4″x4″ to 8″x8″ and I’ve learned a lot. Enough to brave a large 16″16 piece. Not exactly a piece of cake, but in the end it worked. For future pieces this size I may make life easier by using a larger squeegee tool than the playing cards I set out when I resin groups of smaller pieces. Maybe a deck of kid-sized Go Fish cards from the toy department will do the trick. Inexpensive sponge paintbrushes work well for smoothing out the drips on the sides of the panels in the first hour of drying. By then the resin has set enough to stay put during the rest of the cure time.
I made this background wash by dropping well-diluted acrylic paints into a thick wash of water. I allowed most of it to dry at it’s own rate but created some interest at the corners by blowing stronger colors toward the center with a drinking straw. I tried out a burst of dramatic papyrus but, in the end, settled on the smooth curves on nasturtium leaves which nestled naturally into pools of color. These washes are a test for my patience as I have learned that only slow unaided drying of pooled water yields the thin filaments of deep color that I love against the transparencies.
The holiday art and craft show season is upon us and I am getting ready for four of them. On December 7 and 8 I’ll be at Briggs Nursery in North Attleboro Massachusetts. If you haven’t been to this fabulous venue you should make a day of it. It’s that good!
After that, on Sunday, December 14, I’ll be at the indoor Providence Flea whose founders have just been recognized among he best entrepeneurs of the year!
Meanwhile, I’m working on pieces for two season-long shows in Rhode Island. One is at Chapel View, Rhode Islands’s newest high-end gallery. The Chapel View complex is adjacent to Garden City in Cranston.
The second, Peckham’s Greenhouse Local Handmade Holiday Show, begins November 18 and runs through Christmas at Peckhams’s Greenhouse in Little Cranston, Rhode Island. features the work of some 20 Rhode Island and New England artists and artisans.
Once the season is over, I’ll be free turn my attention to new work for May. Meanwhile, hope to keep in touch through this blog and through my Etsy shop. Happy Holidays everyone!!
With Labor Day behind us, we’re heading into the final stretch of the art festival season here in New England. One day I’ll be free to summer in Florida or other places where the festivals go on all year but for now I’m busying myself getting ready for my last outdoor shows and, after that some great indoor shows at the lovely Briggs Nursery in Attleboro Massachusetts. What a perfect place to show botanical art!
While I seldom use flowers in my pieces, when I do, my favorites are roses and carnations. Here, the tips of the little carnation petals seem to melt into the yellow background while the magenta edged white petals assert their presence. This little piece is only 4″ x 4″ I’m thinking a pair of these might work well as corners of a door frame. Hmm…
Next stop, Fall Festival at Slater Park in Pawtucket, Rhode Island on September 13 and 14.
This 12″ x 6″ resin-coated piece features several plants I’ve used before and one I haven’t — bald cedar. The long cedar leaf spans all three of the rectangles in the painting and ties the whole thing together, I think. Compositionally, it serves almost the same purpose as the garden asparagus I’ve used in some of my works on paper, but is sturdier and easier to deal with at the stage of adhering the plant to the support. Once the resin is poured, any leaf or part of a leaf that is not firmly attached to the wood panel tends to float to and through the surface–a problem that no amount of poking with a toothpick is likely to fix — so proper attachment is critically important.
When using white backgrounds, I don’t always leave the cradle sides white as well, but it works well in this case.
This week I’m feeling confident in my resining techniques and comfortable with my full-sized propane torch, so I’m trying my hand at some larger pieces. This one measures 6″ x 12″. If that doesn’t sound large, try a few steps of the resin dance yourself and you’ll see it my way. The working window is only about 20 minutes from the first pour to removal of the last bubble and I work with up to six pieces at a time. Still, I’m on the march and have larger panels waiting in the wings.
For the real plants in the foreground, I chose a mix of weeds and garden plants — wild grass seed heads, a piece of Japanese maple, and a little leaf of curly coleus.
This is typical of scenes I pass by every day in and around my home town of Stonington, Connecticut. As summer goes into its third act, I wanted to spend some time celebrating the sea and the shore. This little piece is just 4″ x 6″. My next piece will be a night scene looking across the Caribbean at the lights of villas and boats on a tiny island.
I’ve been busy perfecting my technique applying resin, graduating to a full-sized propane torch for bursting the tiny bubbles that form in the mixed resin and need a little help rising to the surface. I started out using my husband’s little kitchen torch meant only for crisping creme brulee, but sadly, too much handling with sticky resin-covered gloves quickly rendered it kaput. The good news is that I have become sufficiently adept at applying resin that I can work on up to six pieces in a session. Considering all the prep for any given session, this is a real time-saver.
Foam flowers or Heuchera, are fuzzy little white stems that don’t make themselves particularly useful for purposes of floral composition. The leaves of this hardy plant, on the other hand, still look three-dimensional even when pressed flat. I love the depth of color around the veining and I especially love the asymmetrical and somewhat tattered look of the outer edges. I added some abstract ‘framing’ to this one with touches of sap green, cobalt blue and gold and I popped on a couple of dew drops for fun. The edges are painted in the same colors and style and the whole 5×5 piece is coated in three layers of glossy resin.