Oil and Cold Wax – Page 11

Opportunities: To see art, buy art, take a class, tour studios

An opportunity to buy art

Emerald Pointe Christmas Bazaar

1125 McGee Court NE

Keizer, Oregon

Thursday, November 13, 2014

10:00 am-2:00 pm

I’ll have Funky Junkyard Birds, Curious Elements, cards, and plaster, oil, and cold wax paintings. I’ll also have a few sale items. (Note: This is where my mother lives. It is an independent senior living community and the Christmas Bazaar is open to the public.)

Artful Gift Show

Left Coast Artist Collective

Multnomah Art Center Gym

7688 S.W. Capitol Highway

Portland, Oregon

Friday, December 5, 2015: 10:00 am – 8:00 pm

Saturday, December 6, 2015: 9:00 am – 5:00 pm

I’ll have Funky Junkyard Birds, Curious Elements, cards, and plaster, oil, and cold wax paintings.

Little Things 14

Guardino Gallery

2939 N.E. Alberta

Portland, Oregon

Show opens Thursday, November 27, 2014 and runs through December

I’ll have a grid of 6×6 inch plaster, oil, and cold wax paintings

An opportunity to tour the Art Studios at Mission Mill

Our very first Open Studios, on the second floor, and the grand opening of Compass Gallery on the first floor. Come see the art fort that Tory and I created: Studio F.

Willamette Heritage Center

1313 Mill Street S.E.

Thursday, November 13, 2014

5:00 – 7:00 pm

I’ll have a selection of Funky Junkyard Birds, Curious Elements, cards, and new paintings.

An opportunity to take a class

Oil and Cold Wax: Abstracted Play With a Punch of Texture

Art Studios at Mission Mill

January 16-18, 2015

Friday 1:00-5:00 pm, Saturday and Sunday 10:00 am – 5:00 pm

Limited to six participants

$300

For more information or to register, contact me: dayna@daynajcollins.com/curele

Opportunity to see a show

"Fairy Tales & Poetry" — “Fairy Tales & Poetry”

Group Dynamics

Salem Art Group

The Art Department

254 Commercial Street S.E.

Salem, Oregon

Opening reception is Wednesday, November 5, 2014

5:00-7:00 pm

Art Retreat

Twice a year, the Portland Art Collective holds an art retreat at Menucha, a conference and retreat center, located about 45 minutes east of Portland. It begins on Friday afternoon and runs through Sunday. We each set up our space in the Greenhouse and make art. And visit. And walk. And sleep. We also horse around.

And eat gourmet-ish food prepared especially for us.

And wear silly noses on Friday night.

But primarily, we made art. I took 22 boards, varying in size from 6×6 inches to 10×10 inches. I didn’t get any of them finished, but I moved some along from meager beginnings and got some initial layers down on virgin boards.

And before I knew it, I was laying waxed paper between my boards and packing them up, ready to continue working on them in my studio.

In the meantime, here are some photos of the happy artists at work (and play).

i find

"The Journey Home: The Ease of Slumber" Venetian plaster, oil, cold wax — “The Journey Home: The Ease of Slumber”
Venetian plaster, oil, cold wax

As many of you know, I was first introduced to the use of plaster in my art by Patricia Wheeler, a Maine artist who teaches in Oregon every summer. I have taken Pat’s plaster class five times from her at Oregon College of Art and Craft and over the weeks we’ve spent together,we’ve become friends. Pat was aware that I was teaching my version of working with plaster, but recently I received a message from anartist I have never met, telling me I was “ripping” Pat off and I should be digging deeper to create my own work. I was rocked by her vitriolic words and I immediately contacted Pat to see if she was feeling the same way. Here is a portion of what Pat said:

1. Imitate.
Don’t be shy about it. Try to get as close as you can. You’ll never get all the way, and the separation might be truly remarkable. We have only to look to Richard Hamilton and his version of Marcel Duchamp’s large glass to see how rich, discredited, and underused imitation is as a technique. (from Bruce Mau’s An Incomplete Manifesto For Growth)

You are such a joyful and talented addition to any class and, of course, you have reached the place in your work to be teaching your version of the plaster technique. I learned from Fred, one of the best teachers there is, to GIVE IT ALL AWAY, all the secrets, don’t hold back. He has had many people take up and expand his work in found objects. Fred is NEVER INTIMIDATED OR OFFENDED. it expands the field. You will build your own followers. KEEP TEACHING, KEEP BEING THE EXUBERANT painter you are, just wildly creative. Portland is wildly creative and I hear that in your friends response to your teaching, and god there is NOTHING NEW. There is NOTHING, REPEAT NOTHING, about you teaching a class in plaster that offends. As a matter of fact, teach beginners PLEASE and prep them for one of my intensives…KEEP ON, BE STRONG.

Her words bolstered that what I’m doing matters. I teach my version of the plaster class at an introductory level. I teach in two days a portion of what Pat teaches in four or five days. I’ve also taken the plaster process to new levels by using it as an under layer for my oil and cold wax painting, in that case, the plaster is an initial layer of texture, one of a series of processes, techniques, and layers I incorporate into my art.

All of this got me to thinking about teaching art classes. I love Pat’s generosity of spirit with regards to teaching. Michael deMeng wrote about this topic several years ago and with his permission, I share a portion of it:

I have absolutely no fear that someone is going to “steal” my style and run with it. Let them, but it won’t be my art. They may use my techniques but it will never be mine and anything I do will not be their’s. It is probable that other artists using certain techniques of mine will grow in directions that I would have never thought of. In some cases perhaps better. So be it! That is a good thing. If nothing else it keeps me motivated to stay on top of my game.

For a more recent take on this topic by Michael, check out his blog post, The Key to Finding Your Artistic Style, and his use of the martini as a metaphor.

I was introduced to oil and cold wax by my friends Katy and Nancy, who had taken a class from Allan Cox at Sitka Center for Art and Ecology several years ago. I was smitten and signed up for Allan’s workshop at Sitka Center for Art and Ecology. I remember running out of prepped and gessoed boards during the four-day workshop (Allan’s process was to put three layers of gesso on our boards), so I found cut pieces of wood in the woodpile at the cabin where I was staying and prepped them using plaster. An idea was born: oil and cold wax on plaster; I’ve used this process ever since.

"i find" Plaster, oil, cold wax on reclaimed wood from the wood pile — “i find”
Plaster, oil, cold wax on reclaimed wood from the wood pile

I then took a class on oil and cold wax from Judi Wise, who introduced me to Rebecca Crowell. I remember lingering over Rebecca’s excellent website, Oil and Wax: Resources for Cold Wax Painting, as Rebecca generously shares every single bit of information on painting with oil and cold wax. I decided I would like to share my experience with oil and cold wax and was invited to teach at a Salem studio. Because the art world is small, I contacted Judi Wise and asked if she would mind if I taught my version of oil and cold wax. Her reply: Yes, of course that would be terrific. No problem on my end; after all, I learned it from somebody, too.

When I teach my classes, I fold in techniques I learned from others, as well as techniques I’ve learned through hours and hours of my own experimentation. My trademark is laying down plaster in a way I learned years ago, then adding layers of oil and cold wax, tearing it away, and adding more layers. This is my style, my brand, my way of using the same materials as someone else. When I teach these processes, I share all my secrets, I give it away. And even with that, what others create will be different than what I teach or create.

I’ve been painting with my friend Cynthia Herron over the past year in preparation for a show in January/February, 2015. Our show, Ricochet, is based on us getting together and painting once a month using a different theme each month. We’ve been working in plaster, oil, and cold wax: our work looks nothing alike, even though we are using the exact same materials and painting the same theme.

In the end, it is all a great big web of generosity, sharing, exploration, experimentation, and evolution. I’m on my journey using all the techniques, skills, and inspiration I can gather together to make it my own.

Abstracted Play: On the Road

I was invited by Kristina Trudell, a Washington artist I had met in a previous workshop, if I would be willing to teach my plaster/oil/cold wax class, Abstracted Play, either in Salem, Portland, or Washington. Since I have a daughter in Tacoma, I decided to make it a road trip. Of course, if I’m on an art road trip, it usually involves Tory Brokenshire. I invited Tory to join me, and she did the driving; we picked up two artists along the way and made the trip north last Friday afternoon.

Tory surprised each of us with a goody bag for the drive north.

The class was held at the home of Kathie Vezzani, who lives in Gig Harbor. Oh my. She prepared a wonderful space for the workshop and provided several gourmet meals. (Side note: Kathie arranges art trips around the world, so check out her blog and get on her mailing list for information on her upcoming trips.)

Friday night we prepared our boards with paint and plaster.

By morning, the plaster was dry and ready for sanding and more paint.

Before noon on Saturday, we were laying down layers of oil and cold wax.

The food Kathie prepared was delicious, and the weather was perfect.

Then back to it.

Saturday night we took a little road trip to the Key Peninsula for dinner at Leslie’s house. It was a magical and dream-like evening.

Sunday was our final day. A time to work on our pieces, resolve problems, start over, scrape back, scritch, scratch, and finally, lay out our pieces for show and tell.

What a great weekend. And this was our view on the drive home Sunday evening.

Studio Table

Seth Apter is back to his old tricks. He invited artists to take a photo of their studio table (untidied, of course) and share it today. After we post a photo of our studio table, we link to Seth’s blog, The Altered Page, where he lists all of the artists who have participated with links to each of their blogs. It’s a wondrous loop of art studios.

Of course, you know I can’t post just one photo. I won’t share more of my art studio, but I will share a few action shots of what I worked on this week.

Willamette Valley Open Studio Tour a Success

This past weekend was the Willamette Valley Open Studio Tour and it was a wonderful success. I blogged about my preparations for it in a post published last week, then this weekend was the event. I was ready.

Thank heavens my sister came to help both days! (So did my husband, but he was feeling camera shy.)

Then the visitors began to arrive. The first through the door were two friends from my Portland Art Collective group.

And then it was a steady stream of friends, acquaintances, and new friends. We captured a few in photos.

A huge hearty thank you to everyone who took the time to stop by, say hello, and buy some art!

To Teach or Not to Teach: I Say TEACH

To teach or not to teach. I used to teach quite a bit, then I took a year and half hiatus to focus on my art. The time away from teaching allowed me to dedicate more time to creating my own style of painting, and I’m glad I temporarily stepped away from teaching. But I’ve been feeling the urge to teach again. I’ll be teaching a plaster, oil and cold wax class later this month in Gig Harbor to a closed, private, group of artists. I’ll also be teaching my Layers of Memory plaster class next May in southern California (details on that will be shared later). And I’m ready to begin teaching regularly in Salem.

My good art friend Tory and I recently leased studio space with a group of artists at Mission Mill (Willamette Heritage Center) and there are two common areas that will be available for offering classes. I’m in. But what to teach? That’s where I’m seeking input. For those who know me or have taken classes from me in the past, what would you like to see offered? If you don’t know me and have never had a class from me, what would interest you? Here are some ideas that I’ve been thinking about.

Layers of Memory
Working with plaster to create texture and interest.

Oil and Cold Wax: Abstracted Play
Creating abstract pieces using oil and cold wax.

Oil and Cold Wax with a Punch of Plaster
A combination of both the plaster workshop and then the addition of oil and cold wax workshop (this is how most of my pieces of are created).

Visual Journals
Building a journal from scratch, then incorporating visual journal techniques on the pages.

Visual Journal in a Deck
A couple years ago I created a visual journal using oversized flash cards. This class would go from prep to art on the gessoed cards, incorporating a variety of techniques and prompts.

Prayer Flags
I’ve just finished a summer of creating and overseeing the creation of prayer flags through my Scattered By the Wind Prayer Flag Project. This class would be basically a time to create a personal strand of prayer flags.

Art Dolls
Why not be a kid again. Paint and embellish a tall, skinny muslin Bendi doll.

Please let me know what class or classes you would be interested in and I’ll put together a schedule of classes. Contact me with your thoughts: dayna@daynajcollins.com/curele.

Is there something else you would like to see me teach? Let me know that, too.

Willamette Valley Open Studio Tour Returns

After a year hiatus, the Willamette Valley Open Studio Tour has returned. This is a self-guided public tour of local artist studios in Marion and Polk Counties. The tour is Saturday and Sunday, September 13-14, from 10:00 am-4:00 pm. More information is available about the tour on the website. There are 19 artist studios on the tour and the cost is only $5 for both days and all the studios. Tickets can be purchased at the Art Department, Bush Barn, and from all tour artists.

I participated in this event in both 2011 and 2012, both times when I was in my previous studio. For this event, you’ll have the opportunity to see my upstairs painting studio, my basement assemblage studio, and you’ll have the opportunity to buy art. I’ll have old as well as new oil and cold wax paintings, Funky Junkyard Birds, greetings cards, prints, reproductions of Fearless Faces, and dozens of new Curious Elements.

Limited edition giclee prints of this original oil and cold wax painting, "Spotted With Crimson," will be available for the first time. — Limited edition giclee prints of this original oil and cold wax painting, “Spotted With Crimson,” will be available for the first time.

In addition to all this art goodness, there will be one final opportunity to support my Scattered By the Wind Prayer Flag Project and purchase prayer flags at half price: only $5 each, with proceeds from the sale of the flags going to art programming at Hillcrest Youth Correctional Facility.

During the studio tour, I’m also having a studio SALE. Everything will be reduced in some way, with some things being marked down as much as 50%.

16x20 canvas reproductions of Fearless Faces, regularly $80, will be on sale for half price. Only $40 each. — 16×20 canvas reproductions of Fearless Faces, regularly $80, will be on sale for half price. Only $40 each.

Oil and cold wax block sets were $45, will be on sale for half price at $22.

I hope you’ll stop by my artful home on Saturday and Sunday and experience three floors of art. My sister will be on hand to greet you, serve you a snack and cold drink, and assist you with purchases. My husband will be in the basement to show you my downstairs found object and assemblage studio (be sure and have him open cabinets and drawers for you), and I’ll be upstairs to share my oil and cold wax painting process.

Questions? Contact me via e-mail: dayna@daynajcollins.com/curele.

PS I’m hoping to have a “Square” in place to take debit and credit cards, but cash is always preferred and appreciated.

Blog Hop

My artist friend Ruth Armitage invited me to participate in a blog hop. I’ve never done one before so I decided it would be fun to accept. I met Ruth many years ago and our paths just keep crossing. Ruth has an amazing, active, colorful blog, a beautiful website, and writes an energetic newsletter. She is a master of keeping connected using technology. Ruth is truly the epitome of a working artist; she is always creating new work and is not afraid to experiment and push the envelope with color and new materials.

So, as I understand how this works, Ruth has written a post answering three questions and she has tagged three artists who, in turn, will write a post answering the same three questions, and then they tag three artists, and on it goes with the idea that we all get to meet new artists and create a new networks of artists. Here goes.

HOW DOES MY CREATING PROCESS WORK

I always have several projects in process and because I work in different mediums, it depends on which medium I’m working. I don’t jump back and forth too much; if I’m in a painting phase, I concentrate on painting. If I’m working on found object assemblages, I immerse myself in the process of laying out and auditioning vintage materials. So maybe a quick peek at the two areas would be fun.

PAINTING

When I’m painting, I first prep multiple boards. It is amazing how meditative the prep work can be. And there is something invigorating about the repetitive motions of not having to think “too” much during this initial phase: paint/plaster/sand/stain

After I have a nice stack of prepared boards, I’m ready to paint. I usually work in a series and on multiple boards at once. Last year I did a series about the loss of memory, so my focus was on building up surfaces, then tearing them away revealing portions of previous layers. Since I work in oil and cold wax, I have to allow for drying time, which is another reason I work on multiple pieces at once.

When I’m in my painting studio, I always have music playing. My friends tease me because I’m usually listening to the Flo Rida station on Pandora.

ASSEMBLAGE

I create assemblages using found objects, the fancy word for junk. I’m always on the lookout for cast off rusty or interesting bits, worn out wood, or old tins. Going to estate sales, antique stores, or vintage markets is an on-going, part-time job for me. My raw materials are all organized (more or less) and arranged in my basement studio. When I’m feeling the urge to create my Curious Elements or my Funky Junkyard Birds, or if I’ve been invited to participate in a show, I clear off the work tables and begin laying out possible compositions.

It is a trial and error process, a series of auditions – this bit here, that bit there. Once I determine I have a winner, then I begin the attachment process – glue to hold the pieces in place, then always some sort of cold connection for a more finished look.

HOW DOES MY WORK DIFFER FROM OTHERS OF ITS GENRE

Regarding my paintings, people consistently comment on two things when they see my work: my use of color and my depth and intricacy of layers.

My assemblage pieces differ because of the variety and uniqueness of the materials I use. Some components may be similar to something other artists are using, but the way I’ve designed my pieces makes them totally original. My Curious Elements differ in that it is about a 16-step process that is unique to me.

WHAT AM I WORKING ON

I have so many projects right now (and so many deadlines) that I have a big calendar in my studio to help keep me on track. Here’s a listing, but I’ll spare you the details.

Contribution for Serena Barton’s book on oil and cold wax
Prayer Flag Project
Day of the Dead show at Guardino
Day of the Dead show at Stone Buddha
Prototypes for pitching a possible 2015 show
November show with the Salem Art Group
Studio Tour pieces for sale
December Show and Sale
Ricochet Show with Cynthia Herron

And finally . . . . .

Proposals for teaching (yes, I hope to teach in 2015!)

Hey, this list makes me hyperventilate. I better wrap this up and get to work.

Before I do that, I have the privilege of introducing you to the three artists I’ve invited to participate in this blog hop.

Stephanie Brockway is a close, personal friend. We have traveled together, we have extensively junked together. She is one of my cheerleaders and a huge supporter of me as an artist; those kinds of friends are rare. Steph is an amazing artist. She is a painter (and it was in a painting class at Oregon College of Art and Craft where we met). Steph is also a prolific carver and she has had several feature shows. She just had a show at Guardino Gallery in Portland and has a new show opening at RiverSea Gallery in Astoria. Steph’s blogging is sporadic, but her intentions are there, especially with the pressure of accepting the invite for this blog hop!

Jennifer Campbell is a fellow scavenger of interesting metal and wood bits and we always run into each other at vintage junk fairs and markets, usually grabbing for the same thing. I met Jennifer when I joined the Portland Art Collective several years ago, and was introduced to her beautiful, fascinating found object jewelry and assemblages. I remember buying a metal flaming heart necklace as she passed it around during our monthly show and tell sessions. Jennifer’s jewelry has evolved and morphed over the years and she sells all over the Northwest.

Paula McNamee is a quiet woman who dabbles in many mediums and anything she does turns to gold. She is a painter, a jewelry maker, an art journaler, a textile artist, and a thing maker. She has a beautiful sense of color and is bold in her experimentation, which always makes for lovely and often unexpected results. One year she designed keys with stamped words, put them on a long chain, and added a bit of sari ribbon. I think I bought ten of them to give as gifts. I asked Paula to participate in this blog hop because I think more people need to be exposed to Paula’s art!

Walkabout: Paths, Journeys & Destinations: The Opening

Last Friday was the opening of the Salem Art Association Radius 25 show, a show for established and emerging artists living with a 25-mile radius of Salem. The theme for the show was Walkabout: Paths, Journeys & Destinations, with creative interpretations of this theme encouraged. I wrote about my pieces and how I chose to interpret the theme in a previous blog post. You can see it by clicking here.

I didn’t take many photos, but here are a couple.

Me with Cameron Kaseberg, the guest juror for the show.

With fellow artist and friend, Julie Jeanseau (and her adorable daughter).

The reception was so crowded and I did so much visiting, that I never got to see the entire show. I want to go back when I have time to enjoy all of the wonderful art. The exhibit, at Bush Barn in Salem, is up through Friday, August 29.