Autumn in Full Circle
Today I woke up to a cooler, wet morning after a most beautiful streak of nearly a week of amazing, sun-soaked autumnal weather. Suffice to say that it is a good time to get back to 'working in wax' again. I also took some time to sit 'in reverie' last week; including a look back on the past summer months. I find that I have been productive with making art; though not as consistent as I'd like to be. Nonetheless, I'm grateful to have created several works of varying sizes, shapes and subject matter (between work as a landscape architect). The object of my affection of late has been our unique Puget Sound landscape. I strive to capture it in a way that is both abstract, yet 'flavorful'. I enjoy and feel comfortable painting landscapes; though I tend to get bored with them (to be honest). So I've discovered a more engaging process that involves using intuition and contemplation over trying to replicate a photo.
These three round pieces were painted on circular cradled wood panels purchased from the local Artist & Craftman Supply store. I've been drawn to this shape for painting on since it reminds me of a porthole window on a ship; plus "most things look better when you put them in a circle"... as they say.
The leftmost upper piece 'Salish Sea Morning Light Study' was completed during a summer 'in studio intensive' session with talented artist and wonderful instructor, Mitch Marder at his studio on Whidbey Island. It began with random strokes of blue on an all white background, then I referenced (loosely) a photo I took from hiking at Craft Island (one of my favorite beach hikes). The goal of this piece was to 'capture the light' or rather, reveal where it is coming from (and going). This is something I find challenging; and yet when it is done well, makes a piece lively and convincing. Following the fusion of random stokes of pigmented wax to the white background-- I built up the sky and water in various layers and hues of blue, then scribed a line for the horizon. Then after much pigment glazing and scaping; it revealed a beautiful 'island' scene. However, I wasn't quite satisfied; so I chose to add the embedded scraps of encaustic monotype prints (made by Mitch) that were cut into narrow strips; to create more intrigue.
The second painting's concept (with the Madrone tree) sprang from a recent bike camping trip to Obstruction Pass on Orcas Island. Here, I followed the same process; except instead of the strips of paper I drew the Madrone in charcoal. I then transferred it onto to wax and added more pigmented wax to build up texture and present the tree in the foreground.
Finally, the largest of the rounds 'Finding Safe Passage' was also created with the same process; except I instead chose to let the wax and pigment layers (most oil stick pigment) become a play of light and color/ sky and sea; resembling both earthen and aquatic elements, with a nod to the hues of fall.
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