Dayna Collins – Page 4 – Dayna J Collins

The Collaborative Body

I was invited to participate in The Collaborative Body in October of 2020, a really cool, socially distanced group project at the Salem Art Association Art Annex. Kathy Dinges, the Community Arts Education Director at Salem Art Association, describes the project:

The Collaborative Body is a dynamic group project in which 17 artists collaborated to transform the Salem Art Association’s Annex! The project is loosely based on various ideas in the surrealist game Exquisite Corpse, in which players would take turns drawing a portion of a body (head, torso, legs) on paper. The previous artist’s contribution was folded over and hidden until the end, when the paper was unfolded to reveal the “exquisite corpse” – the unusual, unplanned, and eclectic interpretation of the body. The ever-changing nature of this project is unlike the corpse– more like a series of interactions. It creates an interwoven, living piece of art, infused with the creative minds and practices of a variety of artists. Participating artists are Eilish Gormley, Rich McCloud, Corrine Loomis Dietz, Bonnie Hull, Erik Brambila, Grace Lundblade, Heidi Preuss Grew, Jessica Amos, Jo Hockenhull, Jim Hockenhull, Jodie Garrison, Katy Vigeland, Leo Cuanas, Cassandra Deatherage, Dayna Collins, Nicole Servin, and Tim Knight.

This project came together during covid19 in response to artists wanting to interact with other artists in a safe way, and encouraged playfulness, experimentation and collaboration.

Over the past six months, I made five appearances. I focused on doing photo transfers directly on the wall, which I embellished on subsequent visits (and other artists also added their own changes to the portraits). It was great fun and I recorded my experience through a series of photos.

On my first visit in early November, work on the walls had already started.

My plan for this first visit was to glue black and white portraits of Australian convicts onto the walls.

On my second visit in mid November, I went around to the portraits and using a wet sponge, began the process of removing the paper backing from the photocopies, leaving the inked image on the wall.

By the time I returned in early December, several of the portraits had been modified, embellished, and given new identities.

In January, I did some embellishing myself, adding bits of gold, crowns, and quotes.

I also pulled out paint and created some stripes of color on a blank portion of wall.

On my final visit the first of February, lots had happened.

And in no particular order, some photos from the many walls over the past few months.

What a great project, and it was a treat to be included.

Salvage Collage: Cut and Paste

A rare glimpse of me in my basement lair*, where I store all of my scavenged paper, vintage scrapbooks, ephemera, photographs, book scraps, old books, and book boards, and where I work on my Salvage Collages.

Lately, I have been on a Salvage Collage toot, and I work on collages in three ways:

♦ In a vintage scrapbook/journal/notebook devoted to experimenting with collage ideas.

♦ In my 2021 journal, which is a combination of collage, paint, photos, etc. Anything goes.

♦ On discarded book boards to create official Salvage Collages, which are for sale.

So join me for a whirlwind tour of the lady in the basement.

Here are a few photos of my scrapbook journal where I experiment with ideas for collages and create just for me. The journal itself was used as a scrapbook/workbook for someone in the Department of Marine Engineering and Naval Construction (1905) and the pages are filled with notes, drawings, assignments (with corrections and grading), and mimeographed training papers. I pulled out most of the glued in papers, but bits of residue are still present.

Vintage Scrapbook/Journal/Notebook by Dayna J. Collins

Next up is my 2021 journal. It is usually a paint journal, but this year I decided to create a junk journal, a journal I made using found papers to create three signatures, which I then sewed into a book where I had pulled out all of the book pages. This is a work in progress and I just started adding collage and paint at the beginning of the new year.

Finally, my ongoing Salvage Collages, always in some level of process, always spread out on the table; my washer and dryer are across from my work tables, making it convenient to throw in a load of laundry, then spin around and start puttering and auditioning scraps of papers, book pieces, or black and white photographs. During these work sessions, I usually find myself working on all three: Salvage Collages on book boards, my 2021 Journal, and my experimental vintage scrapbook/journal.

I am always trying to move my Salvage Collages in different directions, pushing what I have already done, finding new ways to use my materials. Recently, four friends gifted me lots of wonderful papers, ephemera, and photographs, and these new materials have been informing my latest work. (A special thank you to Sam, Bonnie, Jami, and Mavis for your generosity and interesting papers and photos.) Here is a selection from my most recent Salvage Collages.

“Bold Adventures,” Salvage Collage on book board by Dayna J. Collins

“Constant Equilibrium,” Salvage Collage on book board by Dayna J. Collins

“Silent Recognition,” Salvage Collage on book board by Dayna J. Collins

“Reciting Poetry by Heart,” Salvage Collage on book board by Dayna J. Collins

“Weighing Possibilities,” Salvage Collage on book board by Dayna J. Collins

“Mischief Makers,” Salvage Collage on book board by Dayna J. Collins

“Beverly,” Salvage Collage on book board by Dayna J. Collins

“A Series of Concurrent Events,” Salvage Collage on book board by Dayna J. Collins

“A Little Out of Place” Salvage Collage on book board by Dayna J. Collins

“Full of Sweet Nostalgia,” Salvage Collage on book board by Dayna J. Collins

“A Smoldering Promise,” Salvage Collage on book board by Dayna J. Collins

“A Sense of Purpose,” Salvage Collage on book board by Dayna J. Collins

“Void of Silence,” Salvage Collage on book board by Dayna J. Collins

“Spirit of Cooperation,” Salvage Collage on book board by Dayna J. Collins

“Seeking Forgiveness,” Salvage Collage on book board by Dayna J. Collins

“Interrupted Story,” Salvage Collage on book board by Dayna J. Collins

“The Echoes and Shouts of Memory,” Salvage Collage on book board by Dayna J. Collins

Several of these new pieces are available at Salem on the Edge and others are available directly through me.

*It is also where I store all of my metal, wood, found objects, crazy collections, and miscellaneous stuff that defies classification. But today’s focus is on collage materials.

Emotional Alignments: On the Home Stretch

So many tasks to attend to once the art has been made. First up, is removing the tape from the backs of the cradled wood panels, sanding the backs of the boards to clean up painty messes (I got a little hand sander for an early Christmas gift!), titling and signing the pieces, getting them all wired, and then photographed and inventoried. Whew.

And in between all these tasks, I needed to write my Artist Statement, something I have been laboring over for the past few weeks.

In the midst of this frenzy of activity, I realized that all 20 boards wouldn’t fit in either of our small, economical cars, so on Saturday we loaded up Howard’s car with 16 of the boards (amazing we crammed in 16), and headed to Astoria, where I planned to apply the final coat of cold wax to seal the paintings.

We got the paintings unloaded and I took over the funky upstairs space at our Astoria Beach House. I covered the table and floors and got set up to give my right arm a workout: slathering on a thin layer of cold wax with a putty knife, setting up extra heaters to warm up the upstairs, and then letting the wax dry and set on the pieces in preparation for a final buff and polish the next day.

The paintings are now buffed and polished, nestled downstairs in the extra bedroom, and I even managed to finish my Artist’s Statement this morning while it stormed and rained outside.

The details for my upcoming show:

Emotional Alignments: an emotional response to 2020

RiverSea Gallery in Astoria, located on the northern Oregon coast

January 9-February 9, 2021

Opening Reception: Astoria Art Walk, Saturday January 9, from 12-8:00 pm (to allow social distancing all day); I’ll be there from 5:00-8:00 pm.

When a Deadline Looms

If you read my last post, I shared about my upcoming show at RiverSea Gallery in Astoria and how my initial idea was the theme of waterlines, but somewhere along the way I realized it was no longer a theme I wanted to explore. Instead, I started thinking in bands and swaths of color, a design element I have been smitten with for years. My thoughts went to how I have always been attracted to color field art, so as I painted and worked on my boards, the idea of working in fields of color filled my consciousness. The words Emotional Alignments became the title of my show, and propelled me forward. I knew where I was going and I was excited to get into my studio every day; I had an enthusiasm I hadn’t had in a long time.

After getting all of my boards prepped, I kicked into full time painting, spending several hours a day in my studio adding layers of oil and cold wax. In my last post, I shared the process of how I prepare my boards with acrylic paint, plaster, and more acrylic paint, and now I’m showing and sharing the process of adding layers of oil paint mixed with cold wax.

The first order of business is to mix up cold wax with Galkyd (which helps speed the drying time), then mix oil paints with the wax mixture, making it the consistency of whipped butter (or shortening if you are old enough to remember that cooking staple).

I use the early layers to just get color down so I have something to respond to. I’ve been working on 20 pieces simultaneously, so drying space is at a premium, necessitating spreading out into our bathroom and the upstairs hallway.

Once I have one or two initial layers of oil and cold wax, often alternating between warm and cool colors so when I’m scratching through the wet paint, the earlier layer is revealed, it is time to begin thinking about a composition. I knew I would be focusing on bands of color, so I just started painting swaths, giving some thought to color, but not too much advance planning at this stage.

Eventually, I had another layer on the boards and it was time to begin making more informed choices to add variety within the swaths: warm against cool, texture against smooth, bright against dull, light against dark, busy against calm. I had the idea of using paint chips (from the hardware store) to play with color combinations.

I also gave a great deal of attention to the intersections between the bands of color, the interstices. I have long been fascinated with intersections: drawing into the layers to reveal earlier layers, what colors show through, adding lines of color with the edge of a squeegee, how to create bold interest, how to create quiet interest that invites a viewer to step closer to see the details.

And so it goes. Back and forth, adding, subtracting, standing back, scraping, excavating, laying down more paint. Mental and physical gymnastics.

Between painting sessions, is the inbetween, the drying time. I set up a fan and a heater to blow warm, dry air around my studio, a time for the paintings to rest, a time for me to rest. It all seems to help.

Paintings are being completed and I’m excited about them. They reflect how I have moved through the pandemic, politics, wildfires, and personal traumas this past year. Titling the pieces has been as therapeutic as painting them. I think I might just be okay.

In my next post, I’ll share the completed pieces. The show, Emotional Alignments, opens Saturday, January 9, 2021, at RiverSea Gallery as part of the Astoria monthly Art Walk.

The Arduous Task of Preparing for a Show

For the past couple of months I have put my nose to the grindstone. Being in the middle of a pandemic, life outside my house has been meager, so in many ways this has been the ideal time to put myself into a self-imposed studio timeout. I had the opportunity for a show at RiverSea Gallery, a contemporary art gallery in Astoria on the Oregon Coast. I have had art there for several years, I’ve been in group shows, and two years ago I had a show with my friend Stephanie Brockway. I had been thinking about asking for a solo show, but had never approached the gallery owner, Jeannine. Until October. I met with Jeannine and because of the pandemic, she was juggling the rescheduling of shows from 2020 into 2021; then she said that an artist had just cancelled for January 2021 and I could have that slot. In the big gallery. Gulp. Yes, please. Let the madness begin.

I work in layers. Many layers. It goes ~~something~~ like this. Gathering boards and painting them with a layer of acrylic or house paint. Once dry, I slather on a layer of plaster, which needs to dry overnight. The plastered boards are then schlepped outside to be lightly sanded, brought back into the studio, and sealed with a layer of acrylic stain. I like to baptize my boards with words, so I usually scribble a quote or something about how I’m feeling. Then I’m ready to begin actually painting. Because words don’t quite capture the physicality of this process, here is my photo essay depicting the first round of layers.

Now the boards are ready for painting.

When I originally pitched my show to Jeannine, my idea was for a show about waterlines, something I have been passionate about exploring for years. But as I began applying the initial layers of oil and cold wax, I realized the show was no longer about waterlines. When I needed to send an image to Jeannine for her November newsletter, I sent her this message:

I have been consistently working since we met in October, moving forward with the theme of Waterlines. I prepped 15 boards (20×20 inches up to 40×40 inches) with acrylic, plaster, acrylic, and then one to two layers of oil paint mixed with cold wax. As I began the process of reconciling the under layers with a finished composition, it became apparent that my heart wasn’t in a strict interpretation of waterlines. My original vision for the show was bold swaths of color representing waterlines, but as I began applying paint in bright bands of color, I realized what I was experiencing was more than waterlines; it was an emotional response to 2020: the pandemic, politics, and wildfires (as well as a series of personal family hardships). Waterlines always find their way into my pieces as inspiration, but this show isn’t about waterlines, but my emotional response to 2020. So things have changed a bit. I have titled the show: EMOTIONAL ALIGNMENTS. Once I started making this shift last week, my painting took off. I start my days enthusiastic and excited to get into the studio.

In my next post, I’ll share about the evolution of my paintings (now at 20 works in various stages of completion) using oil paint mixed with cold wax medium . . . . and the many hours I spend in my studio.

Day of the Dead + Urban Scavenger: A Bit of Backstory

I have two pieces in the current Day of the Dead show at RiverSea Gallery in Astoria (on the Oregon Coast) and I want to share a bit about how the pieces were created. But first, the show. Tabor Porter is the curator and he invited his friends to participate. It is a small and intimate show in the Alcove of the gallery. Here is how Tabor describes the show:

The Day of the Dead reminds us to live our lives to the fullest; because death is always an integral, ever-present part of life. The present day Pandemic poignantly reminds us of that. So as we commemorate the death of our loved ones in celebration, we remind ourselves and others how important their lives were. In doing so we remind ourselves how important ours can be. This group of artists that I consider my friends endeavor to show us their relationship with this day of mourning and celebration.

The two pieces I created for the show are 4 inches wide and 48 inches tall, making them difficult to photograph. But here goes:

If you are interested in seeing the Day of the Dead show at RiverSea Gallery, the show will be up through November 10, 2020.

Now for the back story. I’ve been collecting random papers and ephemera for years and in more recent years, I have become an urban scavenger, pulling posters and fliers from telephone phones and buildings. As I was thinking ahead to Day of the Dead, I knew I wanted to incorporate some graffiti posters into my pieces, so as the pandemic put the state in lock down, Howard and I masked up and ventured to Portland in search of old, weathered, beat up, out-of-date fliers. The streets were empty and we were able to scavenge lots of fodder.

Let me tell you this about being an urban scavenger: you need gloves, tools to pull the bunched up posters from the telephone pole, and even if there isn’t a pandemic, you might want to wear a mask. The material is sometimes wet (don’t pull the posters from the bottom of the pole because sometimes it is a bit yellow, if you know what I mean), stinky with creosote, and buggy. So when we got all of the papers home, I aired them out in the garage and outside for several weeks.

Then once the paper was dryish and aired out, I had to handle every single piece to pull out all of the staples and nails. Again, gloves are a must.

Once the processing was complete, I sorted and loosely organized the materials into bins and boxes.

I used the pieces and scraps to create my two pieces for the DOTD show at RiverSea Gallery.

“Thoughts Reaching Into the Past”
Dayna J. Collins

I have also used the scavenged posters and fliers in other ways; both for under layers in mixed media pieces as well as on book boards for my Salvage Collages.

Salvage Collage: Latest Book Board Collages . . . .

. . . . or what I did during The Great Pause Pandemic of 2020.

“The Poetry of Silence,” Salvage Collage by Dayna Collins

” With a Theatrical Flourish,” Salvage Collage by Dayna Collins

“Time of Roses,” Salvage Collage by Dayna Collins

“Wistful Amazement,” Salvage Collage by Dayna Collins

“The Bits and Bones of a Life,” Salvage Collage by Dayna Collins

“Paris in a Week,” Salvage Collage by Dayna Collins

“Rebellious Tendencies 1,” Salvage Collage by Dayna Collins

“Strands of Thought,” Salvage Collage by Dayna Collins

“Poetic Effect,” Salvage Collage by Dayna Collins

“Exquisite Fragments,” Salvage Collage by Dayna Collins

“Are You Going Skating After School,” Salvage Collage by Dayna Collins

“A Delightful Surprise,” Salvage Collage by Dayna Collins

“A Matter of Celestial Balance,” Salvage Collage by Dayna Collins

“A Reckless Act,” Salvage Collage by Dayna Collins

“A Distant Calamity,” Salvage Collage by Dayna Collins

“Dream of Escape,” Salvage Collage by Dayna Collins

“Easy to Read,” Salvage Collage by Dayna Collins

“Without a Doubt,” Salvage Collage by Dayna Collins

“A New State of Wonder,” Salvage Collage by Dayna Collins

“A Secret Obsession,” Salvage Collage by Dayna Collins

“Rebellious Tendencies 2,” Salvage Collage by Dayna Collins

Stitching With Book Linen Scraps

My latest obsession has been exploring using little bits of book linen tabs, collected from when I rip books apart. I have quite a stockpile of these colorful little remnants.

I’ve been fascinated with the small size, the jewel-toned colors, and the raggedy edges since I began ripping books apart. In 2019 when I had my Salvage Collage show at Guardino Gallery, I first experimented with using the colorful little bits:

This was one of my favorite pieces from the show and when it sold, the design idea flew out the door along with the art. Until recently, when those little linen tabs started to make themselves known to me once again. Over the past week I’ve been playing and experimenting with them every time I walked into my studio; I started thinking of the little linen remnants as stitches used to hold pieces of paper together.

Stitched collage in scrapbook journal by Dayna J. Collins

And then I added some stitches in my Great Pause Covid 19 journal.

Stitched page in “The Great Pause” Covid 19 book collage journal by Dayna J. Collins

Of course, I couldn’t resist making a series of stitched collages on book boards.

Book board Salvage Collage by Dayna J. Collins

Book board Salvage Collage with “long stitches,” by Dayna J. Collins

Time to go rifle through my bin of scraps.

In the Zone

It has been a long time since I painted with oil and cold wax. I’ve kept up with my daily acrylic painting in my visual journal and I have been steadfast in working on my Salvage Collages, but my oil paints and cold wax medium sat quietly on the shelves, waiting for my return. Deadlines are great motivators.

Guardino Gallery is hosting their 19th annual Little Things show and work is due this month. Earlier, I completed seven small abstract paintings, but I had hoped to have at least 12 for the show. Everything in the Little Things show needs to be 7×7 inches or smaller, so my pieces are all 5×5 inches, a fun size to paint and a size that keeps the price affordable.

Sunday turned out to be a quiet day and I had the house to myself, so I headed to my painting studio, quickly painted in my daily visual journal, then pulled out my gallon of cold wax and began choosing oil paint colors I wanted to work with. I lined up nine 5×5 boards; six of them had the beginnings of paintings and three I had deemed completed. All nine got a makeover. It felt great to work primarily in a limited palette of warm colors: pinks, magentas, reds, oranges . . . . with dabs, lines, and swaths of other colors to add contrast and variety.

“The Strange Dance of Movement Over Time,” oil and cold wax by Dayna J. Collins

“A Cloud of Tenderness,” oil and cold wax by Dayna J. Collins

“Secret Yearnings,” oil and cold wax by Dayna J. Collins

“The Memory of That Night,” oil and cold wax by Dayna J. Collins

“A Field of Feverish Energy,” oil and cold wax by Dayna J. Collins

“A Hot and Windless Summer Day,” oil and cold wax by Dayna J. Collins

“Words Have No Sound,” oil and cold wax by Dayna J. Collins

“Too Many Surprises,” oil and cold wax by Dayna J. Collins

“Hushed By the Wind,” oil and cold wax by Dayna J. Collins

These were three of the initial seven that made the cut:

“Whispered Words,” oil and cold wax by Dayna J. Collins

“State of Disorientation,” oil and cold wax by Dayna J. Collins

“The Pink Light of Dawn,” oil and cold wax by Dayna J. Collins

Little Things 19 opens Friday, November 29, 6-9 pm, at Guardino Gallery in Portland on NE 30th and Alberta.

Daily Art Practice: Visual Painting Journal – Recent Pages

Time for an update of my year long project of painting in a visual journal every day. Here’s a selection of pages from late summer through early fall. Favorites:

Themes continue to emerge: Play, experimentation, circles, layers, mark-making, revealing, excavation, color, lines . . . . and I’m in the final three months of my project.