Alley Art Studio – Page 15

Beyond Words: RiverSea Gallery

I have long been a fan of RiverSea Gallery in Astoria, Oregon. Every time I visited Astoria I made sure to stop into this beautiful gallery. When I started painting several years ago, I barely allowed myself to dream that I might one day have my art hanging in RiverSea. Well, my dream came true. My paintings are now in RiverSea Gallery.

At the end of April, my friend Cynthia and I took a road trip to Astoria to drop off my art. I got to meet the gallery director, Jeannine, and she got to see my art in person.

Gallery director Jeannine gets acquainted with my art.

Jeannine selected twelve pieces to display in the gallery. Here’s a sampling of the pieces now at RiverSea.

"A Dark and Dreamless Oblivion" Plaster, oil, and cold wax on cradled panel 8x8 inches — “A Dark and Dreamless Oblivion”
Plaster, oil, and cold wax on cradled panel
8×8 inches

"Traveling Sideshow" Plaster, oil, and cold wax on cradled panel 20x20 inches — “Traveling Sideshow”
Plaster, oil, and cold wax on cradled panel
20×20 inches

"Tantalizing Threads of Gossip" Plaster, oil, and cold wax on cradled panel with niche 24x24 inches — “Tantalizing Threads of Gossip”
Plaster, oil, and cold wax on cradled panel with niche
24×24 inches

"A Smattering of Clues" Plaster, oil, and cold wax on cradled panel 8x8 inches — “A Smattering of Clues”
Plaster, oil, and cold wax on cradled panel
8×8 inches

"It Sounded Exotic" Plaster, oil, and cold wax on cradled panel 8x8 inches — “It Sounded Exotic”
Plaster, oil, and cold wax on cradled panel
8×8 inches

It was so nice to have my artist friend Cynthia along for the day, especially since we got to spend a beautiful, sunny day at the coast.

Studio Revamp

I have two studios. The upstairs one is my painting studio, the basement one is my assemblage studio (aka junk shop). We moved into our new house (it’s an old house, 1926 era, but new to us) about 16 months ago, which allowed me to close down my one-bedroom house studio and bring everything home. Even with two studios in our new house, it wasn’t easy to consolidate everything from an entire house and put it into two spaces.

In December of 2012 I packed, sorted, boxed, donated, and sold all sorts of studio items. The former studio was filled to the brim – every room was mine to fill as I pleased: kitchen, living room, bedroom, bathroom, laundry room, and a tacked on shed (and the back yard, too). It was a herculean task and I couldn’t have done it without the help of friends.

Then what was boxed, needed to be put away.

It was overwhelming, but two friends came to the rescue. Sam helped moved all the boxes and Tory helped put it away.

I’m a pretty organized person, so I put most of the assemblage bits in the basement, but I also put a lot of it upstairs in my painting studio. Over the past year I’ve worked on my Curious Elements and Funky Junkyard Birds in the basement, but I was constantly running upstairs to my painting studio to comb through the bits I had put up there. And then when I was painting in the upstairs studio, I was beginning to feel claustrophobic with all the junk surrounding me.Two weeks ago I realized it was time to reorganize and move the last of the little bits to the basement and clear out some of the clutter (but not the shelves that Tory lovingly filled with my fun treasures).

After a full day of moving stuff out of my painting studio, this is how it looked:

But, I had made a huge mess in the basement that had to wait until this week to remedy.

It took two days to get the basement space reorganized and tidied up. But it was worth it.

I love studio shots, so here are a few close-ups from the basement.

Now I need to go get to work.

It Takes Courage

It takes courage to cover up a completed painting, but it’s something I have learned to do. The question is why do I do it. In one instance, it was because of a technical problem: the black paint wasn’t drying and when I went to put on the final coat of cold wax, it began lifting the paint and the painting was ruined. That board was put into the pile of available boards for use in the future.

"Searching For His Lost Life," formerly a painting. — “Searching For His Lost Life,” formerly a painting.

Searching For His Lost Life became Where the Road Ends.

"Where the Road Ends, 24x24 plaster, oil, and cold wax on cradled panel. — “Where the Road Ends, 24×24 plaster, oil, and cold wax on cradled panel.

This piece made it into my Slightly Off Kilter show last year, but when the show came down, I realized I wasn’t in love with the painting, so once again, it went into the available boards pile. I recently completed yet another painting, Something More Was Required. Yes, something more was required and I think that painting has come full circle. With the initial layer of plaster and multiple layers of oil and cold wax, this 24×24 piece is getting pretty heavy. From Searching For His Lost Life, to Where the Road Ends, it is now Something More Was Required.

"Something More Was Required," 24x24 inches, plaster, oil, and cold wax on cradled panel. — “Something More Was Required,” 24×24 inches, plaster, oil, and cold wax on cradled panel.

Another recent transformation came when I took an 8×8-inch piece, To the Center of Silence, and transformed it into A Dark Curtain Against the Sky. I liked the original well enough, but it was a bit too yellow and wasn’t dynamic enough.

"To the Center of Silence," 8x8 inches, plaster, oil, and cold wax on cradled panel. — “To the Center of Silence,” 8×8 inches, plaster, oil, and cold wax on cradled panel.

"A Dark Curtain Against the Sky," 8x8 inches, plaster, oil, and cold wax on cradled panel. — “A Dark Curtain Against the Sky,” 8×8 inches, plaster, oil, and cold wax on cradled panel.

Then there was Beachcombing. I loved the little niche filled with treasures, but it read a bit too precious. And the colors were a bit jarring.

"Beachcombing," 24x24, plaster, oil, and cold wax on cradled board with niche. — “Beachcombing,” 24×24, plaster, oil, and cold wax on cradled board with niche.

So, I scrapped and dug out the found objects and sea shells, sanded the board, and transformed it into Things Still Remembered.I haven’t filled the niche yet as that takes a whole different level of creativity. What is tucked into a niche is very powerful.

"Things Still Remembered," 24x24, plaster, oil, and cold wax on cradled panel (with niche). — “Things Still Remembered,” 24×24, plaster, oil, and cold wax on cradled panel (with niche).

Finally, one more example. I did a couple of pages in my art journal, which I liked and thought would translate nicely into a painting.

So I loosely painted it onto a 30×30-inch cradled panel (after painting over another painting I had been working on for awhile – look at the big panel behind me in the first photo of this post – that’s what was on the board before I took the journal page and painted it onto the panel). It sat for a long time and I thought I liked it. In fact, it was ready to go to the gallery.

On the easel, thinking it was about complete.

But something was niggling at me, so I took it back into my studio and began revamping it. It became something entirely different.

And then I kept going.

And going.

Detail from a "Stoking a Small Steady Flame." — Detail from a “Stoking a Small Steady Flame.”

And going.

"Stoking a Small Steady Flame, 30x30 inches, plaster, oil, and cold wax on cradled panel. — “Stoking a Small Steady Flame, 30×30 inches, plaster, oil, and cold wax on cradled panel.

Stoking A Small Steady Flame was born and now hangs at Guardino Gallery in Portland.

Art at the State Capitol

"Hideout" Oil and cold wax 16x20 — “Hideout”
Oil and cold wax
16×20

Just a nice leisurely walk from my house is the Oregon State Capitol. Today I leisurely walked to the capitol to see a piece of my art that is on display. I’m a member of Artists in Action, who put out a call for art to be on display the week of March 3rd – one week only. My art was accepted and is now hanging in the lobby of the capitol.

Tuna Can Reuse Challenge

I created a special Curious Element in response to a challenge put out by Salem’s DIY Creative Reuse Studio. Here’s the challenge:

Each month DIY Studio hosts a Reuse Challenge to encourage creatives to rethink and reimagine. February’s challenge must include a tuna can. Post your photos of your recreation by midnight Feb, 22 on our timeline. The participant who earned the most likes by midnight, Friday the 28th will win a bulk bag of reuse supplies at DIY! Game on!

Turns out, my little tuna can creation received the most likes!

The Heart of the Matter

The Heart of the Matter: A group show about the heart is an annual Guardino Gallery show. I’ve participated the past several years and I was invited to submit art again this year. I created ten Curious Elements with a heart theme. My Curious Elements are found object pieces of art created in a multi-step process. In a nutshell, I cut up pieces of board, apply paint, plaster, sand, stain, and wax. To add depth and interest, I cut up yard sticks, apply vintage paper and a layer of stain. Then I rummage through my bins and boxes of bits, auditioning pieces of metal and sometimes scraps of fabric. When I’m satisfied with the layout and the underlying story, I begin the process of attaching. And that’s how a Curious Element is born – I once counted about 22 steps in the process from beginning to end!

Enough yammering. Here are the ten Curious Elements I created for the show.

"Small Bits of Perfection" — “Small Bits of Perfection”

"Unorthodox Methods" — “Unorthodox Methods”

"Personal Correspondence" — “Personal Correspondence”

"Familiarity With Chaos" — “Familiarity With Chaos”

"Interlude of Silence" — “Interlude of Silence”

"A Matter of Moments" — “A Matter of Moments”

The show opens at Guardino Gallery on January 30 and runs through February 23. The opening reception is Thursday, January 30, 6-9 pm.

New Year, New Intentions

I love the symbolism of beginning a new year. I know it is just a turn of the calendar page, but it is filled with so much hope and promise for the new year. I had a good 2013, so it isn’t that I’m anxious to be done with last year, I just love the idea of a fresh beginning. January is always a time for me to ponder and consider what I want in the new year. I like goals/resolutions/intentions, whatever one wants to call them. For me, I choose the word intentions because it is somewhat fluid. Also, the idea of an intention means I’m aware and awake to what I am choosing to do – whatever the activity.

I’ve chosen my word for the year, a practice I’ve done for several years and one that I enjoy as it reminds me to pay attention to that particular wish. My word for 2014 is intention. I’ll be paying attention to my intentions. I’ve made a list of intentions and I’ll share them here. I don’t have anything that requires a daily activity or any particular time frame because for me, that sets me up for failure right from the start. But whatever I choose to do in a particular day, I hope to have awareness of my intention for doing it. Here goes.

Continued dedication to good health, from what I eat to how I move. I know my weaknesses, so I’ll pay attention to when those urges occur and how I handle them. Sometimes I’ll give in and have that piece of dark chocolate, but just not the whole bag of chocolately goodness (I can’t even have that kind of stuff in the house). Pure and simple foods, walks, and targeted supplements are all part of my routine and have been for a long time. This intention is just a recommitment to what I’m already doing.

Since discovering art (okay, and Facebook), my appetite for reading has diminished. I read art magazines and look at art books, but my reading of memoirs and fiction has declined. When we were on vacation recently, I read three or four books and I was reminded how much I enjoy this activity. But to do this, I need to give up something else or at least make reading a priority.

Which leads to screens. Oh, how I love screen time, whether it is a movie, TV, or catching up with my friends on Facebook. I don’t plan to give any of these up, but I have begun to pay attention to how much time I spend sitting in front of a screen and with attention, comes awareness; I’ve begun to make little shifts in how much time I spend sitting at my computer or watching TV. At night instead of opening my iPad to catch up on Facebook, I open my book and at least read a section – then I look at Facebook. A small shift, but it’s amazing how much I’ve read in just a few days time.

I have an idea for a new show. I’m excited about the theme and I’ve been doing research, jotting down ideas, taking notes, and gathering images. I cancelled a July show in order to focus completely on this NEXT BIG IDEA. I don’t want to divulge more than this right now, but you know I will when the time is right.

Another area where I hope to direct some intention is with big, experimental paintings. My painting studio space is limited, but if a downtown studio space comes to fruition (my deposit has been placed), I’ll have the opportunity to play with this dream. If not, I’ll have to figure out how to work big in a small space. It can be done.

I’ve been called back to my Visual Journal. I haven’t done much playing/painting/experimenting/writing in it for over a year. I am almost at the end of a journal I made so I had to decide whether to start a brand new blank journal for 2014, or complete the old one. I decided to pick up where I left off and just continue. I don’t have plans to journal every day, but I do have plans to leave my journal out and when I’m in my studio or passing through or when I get the urge to make a mark, it will be easy to add a dab of paint, glue in an image, write a quote.

“Just what is meant by ‘your word?’ It means
your conscious intention, your conscious
direction, your conscious faith and acceptance
that, because of what you are doing, the
Power of Spirit will flow through your word
in the direction you give It.” Ernest Holmes

“A good intention is like the seed of
a tree whose fruit we do not know.” Lloyd Strom

“Choose your intention carefully and then
practice holding your consciousness to it,
so it becomes the guiding light in your life.” John Roger

“Life is not a journey to the grave with intentions of arriving safely in a pretty well-preserved body, but rather to skid in broadside, thoroughly used up, totally worn out and loudly proclaiming … WOW! What a ride!” Unknown

Making Way

I’ve spent the past couple of days preparing. Preparing my studio space to begin a new series. Preparing mentally and emotionally what direction I want to go. Preparation involves cleaning and organizing to make physical space. It also means taking an inventory of the boards I have on hand, determining what I need to order. It means writing, lots of writing. Jotting down ideas, looking back at notes in my journal. It means figuring out what resonates with me. I usually begin with the title, and that informs where I go. Of course, where I go brings surprises and unexpected discoveries, but it is my road map of where to begin. No GPS in this process. My show is in July, so I have six months before I give birth.

P.S. I have a tentative title and theme, which I’m very excited about.

Dynamic Composition – Week Five

I’ve done my homework for lesson five of the Jane Davies class I’m taking, Dynamic Composition. Our lesson for this past week dealt with lines and shapes, with the addition of working in grids with lines, and of course, with collage. I lined up my papers along the floor to choose from.

I’ve been on vacation for the past week, so I’ve worked on this lesson from a hotel and from a condo. Here is where I worked on the first phase of the lesson, on a little desk in a hotel room.

Here are the underpaintings I did in preparation for the next phase.

One of our exercises was to experiment with an open grid using only collage papers, no paint, and to add a line.

We moved to a condo for the balance of our vacation — and where I had a much bigger workspace.

The next portion of the project was to add a line to a collage painting. I worked on two.

Only one more week to go!

Fire in the Belly

I’m home from a five-day intensive workshop with Robert Burridge. The workshop, Abstract Acrylic Painting and Collage, was held in Bend and as Bob so aptly said: We will be covering five years of art school in five days. We sort of did, at least the Cliff’s Notes version.

Over the course of the five days, I took 22 pages of notes and Bob gave us multiple handouts. During the first two days of class when Bob was delivering oodles and oodles of general information, I felt conflicted with wanting to get going with painting. We painted a bit on the first day, but I figured we would be painting more on the second day. Well, we did paint more, but still not all that much. I was torn between wanting to sit at the feet of Bob and absorb all that he was so generously sharing about his 22 years of daily painting, and wanting to get my hands dirty. I finally came to the conclusion that what Bob was giving us was invaluable information and I would have plenty of time to paint when I got home. Of course, we did paint during the week and more as the week went on, but the information I collected is priceless. I’ve already gone over my notes twice, circling, marking them up, and making notes for artists to investigate, books to read, and changes I want to make in my studio. Did I mention that Bob is funny? Hilarious. I was continually writing down Bobisms –pithy little sayings. No topic was off limits, making it an entertaining and rich week. For sure you’ll want to check out his website: Robert Burridge Studio

I won’t share the details of what we learned because that’s Bob’s information to share. But I will skim the surface with a listing of some of the many topics he covered just to give you an idea of the magnitude of this class. The following list is in order and then again, in no particular order, because sometimes he circled back.

Risk-taking/working in series/learning to paint our own stuff/painting materials-traditional and irreverent/gessoes/paints/glues/varnishes/Citra-Solv/rubbing alcohol/paper/substrates/panels-mats-frames/copyright/color theory/developing concepts/structure-composition/warm-ups/texture/contrast/production/gray scales/value/drawing/figures/negative space painting/inspiration/artists & writers/landscape styles/naming and signing paintings/marketing/creating a body of work/galleries and festivals/themes/concepts/shape-size-color/pros & cons of making prints/commissions/photographing art work/inventory/resume-bios-artist statements/drip trees/pricing/shadows/travelling with art supplies.

We did paint and I’ll share photos from my week. In order and not in order. Bob gave us warm-up exercises and assignments during the first few days, then left us to do whatever we wanted while he circulated or worked on paintings himself. We could paint, we could watch him paint. It was all pretty great. One of my best painting classes ever – and I’ve had some great teachers.

We started with black and white then graduated to color.