I returned Sunday night from teaching my four-day Abstracted Landscapes in Oil and Cold Wax atSitka Center for Art and Ecology, on the Oregon Coast. It was a mountain top experience. I arrived on Wednesday afternoon to get settled into my cabin and to get the studio set up for class the following day.
Class started on Thursday morning and for four days we hardly came up for air. The days were a blur of demonstrations, techniques, inspirational readings, laying down paint, scraping it off, laying down more layers, breaking for lunch, more demos and more paint. There was a constant chatter in the room, students getting feedback from each other and from me.
On Friday afternoon, I presented my Art Talk.
On the third day, we talked about composition, color, and design elements, and everyone started to refine their pieces and move them toward resolution. Students were introduced to R and F Pigment Sticks, and enjoyed vying for their favorite colors.
Some glimpses of moments throughout the days:
Some of my demos during the week:
On Sunday afternoon, we did a casual Show and Tell Walkabout, where everyone talked about the process and shared a couple of their favorite pieces. Here are the Walkabout photos:
The following is a stream of photos illustrating some the beautiful work created by these energetic, fun, and talented artists. Feast your eyes on all this color:
We took a group photo on Sunday morning, no easy task, but we pulled it off after a few tries!
My mom died suddenly on March 13 after a brief illness. She passed on her own terms, peacefully and after saying goodbye to family and friends. I felt lost and sad. I found myself in my studio a few days after her passing, mixing oil paint with cold wax, and beginning to find my way back to myself.
About a week ago, a friend contacted me and said she was unable to attend a workshop in Portland and wanted to gift me her place in the class as she felt it would be a healing place for me to be. I met Kathleen two years ago on a cruise to South America and we hit it off. We were both artists, so we had endless conversations about creativity and various mediums, and in one South American port (neither of us remember where we were), we spent the day walking, talking, and taking photographs. We stayed in contact and became even better friends.
At first I felt mixed about taking the three-day class, then I realized it was exactly what I needed. Kathleen knew.
The class was taught by Serena Barton, an artist I have known for several years and always loved her work. I told Kathleen I would be honored to take her place and I packed my bags for the three-day class in Portland. I’ve worked in oil and cold wax for several years and have taught it myself, but I put on my student hat and just showed up, ready to immerse myself into the process.
Serena is an excellent teacher, and her methods are wild and free. I love this photo of her demo space.
I started slowly, just laying down paint, with the idea of working looser and wilder than my usual careful self. I painted so many things, all of which got covered over and transformed by the third and final day. These are all starts, none of which remain.
I learned some new things, like applying India ink as the first layer, which I transformed so much, none of the India ink even shows, but I know that initial bold mark making is in there somewhere.
Studio views of the class.
Studio views of the space.
Here are the pieces I completed (or are in process).
Parting shot.
Thank you Serena, for three great days of art-making, and thank you, Kathleen, for your generosity and friendship.
The 15th annual Something Red Show and Art Walk, sponsored by our local art group, Artists in Action, kicked off on Wednesday night. Artists were invited to submit two pieces of art featuring the color red, which were then juried and placed in locations around downtown Salem. Maps were provided so people were able to take a self-guided art walk to see the 100 entries. The jurors for this year’s show were: David Wilson (Gallery Director at the Bush Barn Art Center, Salem Art Association), Mary Lou Zeek (Gallery Owner and Art Consultant), and Thomas Rudd (Professional Artist/Sculptor and Gallery Curator). One of my pieces was chosen by the owner of Wild Pear Restaurant and the other piece was placed at Elsinore Framing and Fine Art Gallery.
Wednesday night was chilly, but clear and dry, so we bundled up and did the art walk. We found Filaments of Memory in the window of Wild Pear Restaurant, and slipped inside for a photo.
We continued on the walk, ending up at the Elsinore Gallery and Frame Shop, where my other piece, A Seasonal Echo, was hanging with other entries in the special exhibits gallery.
The awards ceremony took place at 7:30 and the room was packed with members and guests. Awards were given for several Bests: Use of Red, Digital, Photography, 3D, 2D, Youth, as well as two Honorable Mentions and two Juror’s Choice. I didn’t know how many awards were to be given out, or what the categories were, so as the awards ceremony was coming to an end, it was announced they would give out the final award, Best in Show. When my name was called, I was so shocked, I didn’t comprehend that I had won. In additional to a big, beautiful ribbon, I received an award of $100! I had no idea there was money involved.
When Howard I left for the evening, we walked back over to Wild Pear Restaurant, so I could stand in front of the window with my Best in Show ribbon.
“Filaments of Memory,” 24×24, plaster, oil, and cold wax, from my Evoke Series, by Dayna J. Collins.
First thing Monday morning, I drove out to Silverton and met up with Nancy Eng to hang our new show, Pathways and Passages. Hanging days are like piecing together a giant jigsaw puzzle. We both brought a lot of art, too much to hang everything, so we auditioned the pieces we had, moved things around until we found a place for most everything, and put the remaining pieces in storage. When something sells, the purchaser can take it with them if they are from out of town, and we can replace the piece on the wall with something from inventory. Here’s how our morning went.
A blank canvas at Silverton Arts Association Borland Gallery.
Dayna spread out her art in advance of hanging.
Dayna hangs her pieces. All of her paintings are plaster, oil, and cold wax on wood substrates.
Tapes measures are a necessity.
Merging the art of Dayna J. Collins and Nancy Eng.
The art of Dayna J. Collins on the left and Nancy Eng on the right.
“Dangerous Waters 1, 2, 3,” plaster, oil, and cold wax by Dayna J. Collins.
Little oil and cold wax pieces by Dayna J. Collins.
New series by Dayna J. Collins. Plaster, oil, and cold wax.
And then before we knew it, the show was up and we were finished.
Artists: Dayna J. Collins and Nancy Eng.
The opening reception is Friday, August 4, from 6-9 pm. Borland Gallery is part of the Silverton Arts Association and is located on the banks of Silver Creek in historic Coolidge-McClaine Park in Silverton.
About a year ago, I was invited to have a show along with my artist friend Nancy Eng, at Borland Gallery in Silverton. The gallery is part of the Silverton Arts Association, a long time artist organization in the quaint community of Silverton, which is located about 20 minutes east of Salem. Nancy had the idea for the theme of our show, Pathways & Passages, which was easy to translate into abstract landscapes and non-representational work.
Last week I stopped by the gallery for one last look before we hang next week.
I finished my pieces last week, and this week I have been doing the tedious, but necessary, work of assigning inventory numbers, giving them all titles, signing and pricing them, taking photos, and then packaging everything for transport.
Here’s a preview of some of the pieces that will be in the show. They range in size from 6×6 inches up to 30×60 inches, with lots of pieces in between.
“History Racing Past,” plaster, oil, and cold wax by Dayna J. Collins.“A Glimmer of Understanding Took Hold,” plaster, oil, and cold wax, by Dayna J. Collins.“The Thrill of Discovery,” plaster, oil, and cold wax, by Dayna J. Collins.“Memory Had Vanished,” plaster, oil, and cold wax, by Dayna J. Collins.“A Moment of Stillness,” plaster, oil, and cold wax, by Dayna J. Collins.“The Garden Seemed Enchanted,” plaster, oil, and cold wax by Dayna J. Collins.“Along the Shore,” plaster, oil, and cold wax, by Dayna J. Collins.“Symbiotic Relationship,” plaster, oil, and cold wax, by Dayna J. Collins.“Looking Backward in Time,” plaster, oil, and cold wax, by Dayna J. Collins.
The opening reception is Friday, August 4th, from 6-9 pm. If you can’t make it then, a great weekend to visit would be the weekend of August 19 and 20, when the Silverton Fine Arts Festival is going on. The gallery will be open, and the festival will be taking place at the same location, nestled in the woods of the historic Coolidge-McClaine Park on the banks of Silver Creek.
Happy are the painters, for they shall not be lonely. Light and colour, peace and hope, will keep them company to the end, or almost to the end, of the day. Winston S. Churchill
A dream came true last week when I taught a four-day class at Sitka Center for Art and Ecology, located on the Oregon Coast at Cascade Head. I have taken many classes at Sitka over the years and many of those classes helped shape me as an abstract artist, so it felt satisfying and exhilarating to be standing on the other side of the table.
I arrived at the forested campus on Sunday evening and got settled into my private cabin, located just a few steps from Boyden Studio, where my class was to be held.
A couple of people offered to help me get the studio set up, but this was something I wanted to do by myself. I was feeling emotional and sentimental about teaching at Sitka, and I just wanted to fully experience it in solitude.
Monday morning I arrived early, ready for the day to begin and feeling just a tiny bit anxious.
Students began to arrive and get settled in. . . . . and then the next four days were a glorious blur of demos, activating boards, spreading paint, discussing how to let go, experimenting with new techniques, and making brave, bold marks.
Throughout the week, some artists arrived early in the morning, some stayed a little late into the evening, but there were three hearty souls who arrived early and stayed very late into the evening.
One night several of us went out to dinner in Pacific City and stopped to visit Lynne’s studio.
Boyden Studio was a blur of camaraderie and activity with artists working independently at times, other times soliciting feedback and ideas from each other.
The weather was good for three of the four days and we were able to take advantage of the outdoors to eat lunch, lay out our boards, and occasionally relax.
I had fun doing demos every day (even when they didn’t turn out exactly as I had planned!).
At times everyone worked hard, other times they kicked back.
I went into the studio early every morning to prepare for the day and enjoy the remnants of the previous day’s energy.
For the majority of time, everyone got into a zone, the flow state of letting go and laying down layers for the pure pleasure of experiencing the paint.
On Thursday afternoon we did a show ‘n tell and walkabout.
Here’s a sampling of what was created over the four days.
Pam’s work in progress.
Casey’s work in progress.
Kelly’s work in progress.
Louise’s work in progress.
BJ’s work in progress.
Louise’s work in progress.
Jan’s work in progress.
Cindy’s work in progress.
Phil’s work in progress.
Terri’s work in progress.
Lynne’s work in progress.
Pam’s work in progress.
Terri’s work in progress.
Cindy’s work in progress.
Terri’s work in progress.
BJ’s work in progress.
Phil’s work in progress.
Kelly’s work in progress.
It was an amazing experience and the perfect mix of students.
Go and make interesting mistakes, make amazing mistakes, make glorious and fantastic mistakes. Break rules. Leave the world more interesting for your being here. Make. Good. Art. Neil Gaiman
Last night was the opening reception for my Waterlinesshow at Guardino Gallery. It was a magical evening with a steady flow of people stopping by to see my show in the Feature Gallery and Mar’s show in the Main Gallery. Words? Not so much. But photos? Yes, please.
Guardino Gallery is located at 2939 NE Alberta and the show runs through May 21.
My upcoming show, Waterlines, opens on Thursday, April 27th, with a reception from 6-9 pm. Yesterday was hanging day and it all went very smoothly thanks to Donna Guardino’s savvy eye and her assistant Gail’s infectious energy. My husband helped wherever needed, while I sort of stood around and watched everyone work. It’s exciting to watch a show come together after months of painting in solitude. From a blank gallery space . . .
. . . to watching Donna triage my art . . . .
. . . to auditioning different possibilities.
In no time at all, the hanging frenzy began.
Meanwhile, I schlepped painted driftwood from the car to the gallery for use in the front display window.
And within the span of two hours, the show was hung and the pieces numbered and ready for title cards to be hung. In the end, the show features 39 pieces of art, from 5×5 inches to 36×48 inches.
Here’s all the info on the show. Hope to see you tomorrow night.
“Where the Blue is Deep and Soft and Silent,” 24×24 inches, plaster, oil, and cold wax.
I am happy to share the news that I’m having a show at Guardino Gallery in NE Portland. My show is titled Waterlines and I’ve been painting and preparing for almost a year, although I’ve been experimenting and painting waterlines for the past three years. My fascination with waterlines began as a child. Growing up as the daughter of a river rat on the Columbia River, plus time spent at my grandparent’s beach cabin on the Oregon Coast, I learned to love waterlines at an early age. In the summer of 2014, as I was floating in the Columbia River, I noticed the waterline on a boat. I was captivated by the beautiful colors and imagined it as an abstract painting.
“The Wind Stilled Itself,” 10x10x2 inches, plaster, oil, and cold wax.
I like to describe waterlines as: Where water meets an edge. A shoreline. The hull of a ship. The sand. Riverbanks. Sky. In exploring various forms of waterlines, I am especially interested in experimenting with the intersections, where water meets the land. I ask myself, “What’s happening at the horizon line?Turbulence or ripples. Calmness or agitation. What’s above, or, what’s below.
“The Turmoil of Raging Tides,” 12×12 inches, plaster, oil, and cold wax.
Drawing upon the flexibility of working with oil paint mixed with cold wax medium and sometimes R and F Pigment Sticks, I am able to create layers of color using palette and putty knives to apply, push, pull, and scrape the layers of paint to reveal and explore the rick complexity of water, land, and sky.
“Sweet Blue Rhythm,” 8×8 inches, plaster, oil, and cold wax.
The show opens Thursday, April 27 and runs through May 21st. The opening reception is Thursday, April 27th from 6-9 pm.
“Heat Waves Buckling the Air,” 11×14 inches, plaster, oil, and cold wax.
My fascination with waterlines started the summer of 2014 when I was floating in the Columbia River and I saw the waterline of our boat, Rapture. I was captivated by the beautiful colors and thought it looked like an abstract painting.
I continued to love the idea of waterlines, at first the hulls of ships, then shifting to more natural waterlines, defining waterlines as “Where water meets an edge. A shoreline. The hull of a ship. The sea meets the sand. A passage of water.”
A few months ago it was decided that our July show at Compass Gallery would be titled Waterlines. I started painting with that theme in mind. The paint flowed easily because I was excited about the topic and the vast possibilities.
At the last minute we decided to spend two weeks on board Rapture at the Portland Waterfront. Our show would be hung two days after we returned, so I had no choice but to pack up my substrates, oil paints, cold wax, pigment sticks, and the tools associated with laying down and scraping off paint. I set up an impromptu studio in the galley of our boat and painted whenever I could.
I spread out plastic table cloths in the helm, on the coffee table, and on the back deck. Things dried quickly because it was warm, windy, and bright – all three things that encourage oil and cold wax to dry.
I’m sure the gentle rocking of the boat influenced my work, as did the view out of every window and porthole. I created a couple dozen pieces, ranging in size from 6×6 inches to 12×24. Fortunately they were dry by the time we made the cruise from the Willamette River back to the Columbia where we moor our boat.
Here’s a look at some of the pieces I created during our two weeks living on board Rapture.
“Caught Up in Waterweeds”“A Thrilling Release of Earth and Air”“A Small Current of Power”“The Air Was Perfumed”“Mist Rose From the Water”“Memory Floating Up”
The show at Compass Gallery, Waterlines, runs July 8 through August 3, 2016. The opening reception is Thursday, July 14, 5-7 pm.
In addition to my work, the current show features the work of Bonnie Hull and her interpretation of waterlines.
