Joy

Joy
oil and cold wax on canvas
30" x 24"

Inside, around, through, behind. Irrepressible.

Favorite time

Favorite Time
oil and cold wax on canvas
24" x 30"
in process??

Seattle is such a wonderful place because no matter how grey the day, chances are very likely that at dusk, you will witness an amazing transition between day and night. My favorite time.

Out there, In here.

remembering sky
oil and cold wax on canvas
18" x 24"

Float

Float
19" x 48"
oil and cold wax on paper

You can take the girl out of representation, but you can't take the...

Through the Trees -
Still experimenting with the varnish, sumi ink and more layering of oil and wax. Crazy compulsion has taken over. Can't stop. I like it stacked vertically right now, even though it becomes tall like a giant (tree?) and more literal.

Studio Experiment Outcome

Finally an experiment that I am thrilled with! This is a detail of my oh so happy discovery today that sumi ink will sit on top of acrylic water based varnish, which will sit on top of oil paint. (Archival? What?) Anyway, I am so excited about this! I do believe the entire reason I worked on the tree diptychs for so long, was to figure this out. Onward!
Oh and how funny that all of the Crit Theory readings of the moment are discussing Orientalism...!

Beauty and Loss; BFF

Critical Theory Paper 3, Spring 2010

http://docs.google.com/Doc?docid=0Acx_78ZgJoWXZGc4NDZnN2pfMGZydjgyNmRn&hl=en

Embrace the Process

Embrace
oil and cold wax on paper
48" x 19"
in process

Running through the woods this morning, thinking about process, feeling the warm embrace of air, trees, sky...

Breathe into each step - recognize and embrace the process.

Full

Moon
43" x 30"
oil and cold wax on canvas

Inside Outside

Cave (working title)
26"x29"
Oil, cold was, BC Pigment
in progress

It is so difficult to photograph a wet, textural painting - this is the best I can do. Real life is much more interesting! The depth and texture that I am excited about is not reading in this photo, but I want to recognize this happy place before I move on. I particularly like the glimmers of the red ochre pigment that sparkle through. I am thinking of a recent candle-lit cave experience, among other things.

F L I G H T

Through the Trees
Details

Carol and I met last week and she suggested that I create small collages from the large diptych as a way of furthering my dialogue with it. What came out of this process for me, which involved lots of staring at the diptych, was flight. No surprise to those of you that know me and my work, I know, but because one of these pieces began with collage elements, and the work is inspired by "flying" through trees, adding collage back into them seemed perfect. I have been experimenting today with two different ideas where this is concerned. The first is simply ripping apart my woodblock prints and adding them in to the composition. The second step I am trying is to coat the pieces with a heavy varnish that will isolate the image where it is now, so that I can freely work on top of a non-porous surface in a linear fashion. This idea came from an article I read recently in the New Yorker about Julie Mehretu where she describes her process. Interesting...