Layer After Layer

Magic

 A few weeks ago, molding paste took the centre stage as I discussed the beginnings of my neomosaic process. This foundation dries overnight. Proceeding to the next step we prepare containers of gel/gesso mixtures in the hopes that this layer will act as a binding agent to keep the various additional colours working together. (I wonder if dark matter is doing the same thing for the universe…)

Essential Ingredients

As I have mentioned before, I do enjoy creating accidents. Although there are satin gel mixtures on the market, I prefer mixing my base using a fifty-fifty mix of regular gel gloss and liquid gel matt. My intention aims for a fluidity somewhere between regular and liquid gel and a sheen somewhere between gloss and matt. Each mix holds its own surprises and forms the basis for subsequent layer work.

 

Three ready for gesso mix

Into another airtight container I add a second fifty-fifty mix of gesso and my gel mix. Now comes the fun part! Complimentary colours. I will go into the art of colour mixing in another blog when I widen the gray range. For now, let it suffice to say that my favorite combination is blue and orange. Putting too much pigment into the gesso mix creates a dark gray. At this stage of the game the layer should be light. So, I use three containers: dark, light and lightest which come in handy for refining the image at a much later time.

 

Magic mix

Once the layer of gesso mix dries, again over night, we begin applying thin layers of each complementary colour and a metallic.  Thin is good. Separate applications create lovely accidents. I fill some more airtight containers combining gel mix with some iridescence and a small amount of one pigment.  I repeat the process for the second colour. Each layer allows the other to show through eventually blending into a glowing surface.

 

Keeping my hands clean

In addition to the basic two hues, I begin with a layer of metallic, either gold or silver. A particularly beautiful combination is Phthalo Blue green shade with Quinacridone Burnt Orange and gold. Awesome! This layer ties in with the three circles I use at the end and determines whether I use gold or silver leaf.

Two very different panels

Since mixing the colours together to form grays kills the magic, I prefer to keep them pure and separate. I consider the photo inspiration to determine which of the two colours will dominate, cool or warm. The last layer applied reigns supreme. The highly textured surface catches the colours in various quantities and produces an exciting debut for the forthcoming masterpiece. 

 

Yes, well, perhaps. Life is full of surprises.

Molding Paste

Tools for creating neomosaic texture

Foundations mark the integrity of all work. Molding paste provides the underlying structure of my mixed media neomosaic. It forms the first layer on gessoed canvas. Following the Creator’s method, this layer begins with chaos. Although largely random, it also supports a lot of symbolism which I will explain as we move along.

Paste fling

Taking a good scoop out of the bucket of molding paste (four litre containers are my size of choice) I throw the gob onto the canvas. Two or three flings later I begin to cover the surface roughly using semi-circular movements to avoid symmetry in the patterns. The thickness of the layer of paste varies from very thin or non-existent to thicker, enough to hold some scrapes and impressions. Much like life, hills and valleys abound.

 

Random thickness

Carefully moving across the panel, I include the edges paying particular attention to the corners. The canvas folds disappear under the layer of paste becoming one with the rest of the prepared surface.

Special corners

Once the entire canvas is covered, I use the scraper to smooth out the higher lumps and bumps before I move in with the rest of my tools.

Smoothed and ready

Random is key. With the spatula I press the different patterned plastic onion bags into the molding paste. As I do, I think about how we try so hard to control our world. Onion bags contain their contents. Yet even the most perfect pattern has broken pieces. Once finished, I drop them into a container of water along with the spatula so they will not dry while I continue the mark making.

Dries overnight

Beginning again with long swirling strokes of a fine-tooth comb I destroy the previous attempts at control. Life’s unexpected happenings. Movement flows in between and through the existing patterns. Last, but not least, I use three different lids to create the circle marks, a bottle lid, a tube from an adding machine paper dispenser and a watercolour brush container. The size grows smaller with each passing. It is important to do the circles last as they tend to get lost in the other random marks. These form the symbols of hope in the chaos. The Holy Spirit permeates all, sustaining and healing all.

Looking good

No longer shiny, the molding paste has dried with the impressions of each tool evident on the canvas surface. Ready for the next step, we will add a gesso mix and thin layers of colour. The next topic in my neomosaic process.

 

Plan

 

"Presence/présence" 60x40in Neomosaic/mixedmedia on gallery wrap canvas

$4560

Welcome to 2025! Wishing everyone a very good year. I can still do that; it is only halfway through January. And to begin this year I have a plan for my blog. True, the best laid plans may turn to dust, but I have a plan anyway.

"Lazy Loops/passages paresseux" 36x30in Neomosaic/mixedmedia on gallery wrap canvas

$2052

Sometime last year the Redwater Art Society approached me to present a workshop: Techniques of Neomosaic. My style. As I looked over my notes I discovered a flaw. I embedded in the handout links to my blogs describing each stage of the process. Well, the blogs no longer exit. They died with my last website. So, my plan is to resurrect them.

 

"Source" 40x30in Neomosaic/mixedmedia on gallery wrap canvas

   $2280

Now the plan may need tweaking. After all, will my present website die too? I cannot foresee it. However, Blogger, the format with which I started in ancient days, is still around. Perhaps the best solution is to reinstate on both. I have time. I think. Until October.

   

Welcome to Redwater, Alberta

 

Indeed, the workshop happens at the end of October this year. Another plan keeps everyone informed as the date approaches. A lovely drive awaits if you join me there. In the meantime I have some writing to do. Enjoy the rest of Janurary.

Past

 Recently my husband asked me if I remembered when I first had a studio. He could not place when I really began this creative journey and neither could I. Delving into the past we stumbled around in the dark for a while.

 

Celebrating the past 39 years

Considering we just celebrated thirty-nine years of marriage, the stumbling is not especially surprising. In spite of the effort, a look at the past is valuable in that it can give us a new perspective. I tend to be quite negative about my accomplishments and what I feel I have yet to do. It has been quite a ride.

Constructing an easel

In the beginning I was very determined to be what I was told was a waste of time. I remember constructing an easel for myself shortly after I left my family of origin. I found giving myself permission to paint was an entirely different and more difficult task. The past can be a prison.

Painting the past

Once I met and married the love of my life, he encouraged me to re-enter the creative world. So I stepped into a few workshops and was told I ought to be teaching them rather than taking them. Gaining more confidence, I allowed a small corner table in a bedroom where I was more concerned about soiling the linens and the floor than about painting. Here I produced a vignette of my husband’s past and gave it to him as a present.

 

Photo (Empty Dreams/le vainqueur)

More teaching than painting

We moved to a different community in which I allowed myself a day off per week from running a household and taking care of our four children. In this place I took on a space, an old classroom in which I could paint and teach. I entered a few competitions with some of my past paintings and won some prizes. My creative space, however, remained more of a teaching venue than a studio.

 

Overwhelming past issues

Past issues overwhelmed me in our next town. Only another small corner in a rented room gave me the space where I could paint a little. I took on a small watercolour commission and taught a few community classes.

 

Moving past limitations

Ten years into our marriage and in a new province, I moved into the garage. Another ten years brought a rented space where I could paint murals. My own work began to grow from small studies to large canvases as I had discovered big! The past had less of a hold on me and I paid for everything with teaching and commissions. My personal production rate remained one or two paintings per year.

 

Mastermind

What kicked me into gear was my mastermind whom I met in 2010. They challenged me to move past my wounds and step into professionalism. Seven paintings in seven weeks. Thankfully, I had just stared planning my first series. Seven paintings in six weeks proved not to be impossible. Most of them were large pieces, 40x60”, 56x40”, 30x60” for example. I was flabbergasted. Although my desire had been to be a professional artist, I had never given myself permission to be.

 

Happy in a garage

I am still in a garage. As a result, I do not pay rent. I have regular hours with a display space and a workspace. My dream come true. Unlike past years, I do give myself permission to be and it is a wonderful place to begin a new year. Happy New Year everyone!

Attitude

Our state of mind often determines whether we receive challenges with ease or with trepidation. Fortunately, our attitude lies within our control.

To begin with, it seems as if reactions are uncontrollable. first of all, I must recognize the consequences within me of the thoughts and ideas around me. I get to choose which wolf to feed. My attitude depends on whether or not I feed the wolf of fear. 

While I recognize the long period of time it has taken to change my attitude from fear to confidence, I celebrate the peace I enjoy today. I welcome this period of isolation as it gives me time to reflect on the most important issues of the day. I get to choose where to put my energy. 

A global pandemic awakens the world to new possibility. We could build a new world instead of rebuilding the old one. Obviously, the old one is not working anymore anyway. Yet in order to rebuild we need an attitude of adventure embracing possibility.

Certainly, in the art world things are changing rapidly. There is little doubt it will never be the same. It could be better. Amidst the closing museum, galleries and festivals new venues are opening. For an interesting discussion on these topics listen to the Art Angle Podcast.

The attitude of solidarity grows as we reach out to connect in new ways. People have power in solidarity. The solution lies in the ground swell of those demanding a more equitable distribution of wealth. Protecting our planet and its resources also comes to the fore. Creating a circular economy becomes priority.

We live in exciting times. Let us embrace the new and the miracle of possibility. A positive attitude will lead us to new ideas and new solutions. In the meantime, rest. Reconnect. Open to the possible. Celebrate. All is well.

Naming Work

There is some discussion about whether or not one should name a painting or a drawing or an installation. Abstracts are often numbered. I like choosing a name. Often, I am told, it allows the viewer to get in the door. Sometimes is closes it. This image came to me while I was meditating one morning. Having a sketchbook beside my bed I leaned over to record the inspiration before continuing contemplation. It stayed in my sketchbook for some time, incubating. This week I decided to develop it as a linocut. I printed around forty images. They are all different. I am in the process of editing (ripping up the less desirable ones). My intention is to enter a certain competition, an ongoing occupation. And the name? To begin with I chose “Never Alone”. Having sat with that for a while I became increasingly aware of the negative energy around ‘never’. Although the image can be challenging my intention is to share the hope. Sometimes I feel all alone, even in a crowd. I am sure everyone experiences this at various times while living life. I have come to know, however, the feeling is fleeting and false. I am not alone. I am “Beloved”. Life is good. 

P.S.

Don't miss the JazzArt event at Bonnie Doon Community League (9240 93 St Edmonton) this Saturday at 7pm. Should be fun.   

Final Touches

Adding code number for each painting

Checking for unwanteds under the glass

Securing the image and adding the wire

My husband is my biggest fan. He is also an analytical mathematician who loves working with numbers. When I announced I had finished my eleven paintings for CAVA he celebrated with me and thought I was done… Last Friday he asked me what framing all involves… Indeed. Watercolours need protection. The framing does not take long if one has all the ingredients at hand. I had checked some time ago and ordered ten new frames as I already had a few on my shelves. Most of them were silver and I wanted to show them in black. It looks far more professional if all the frames are the same style and the same colour in a show. The glass was abundant. There is a case on another shelf waiting to be emptied. I had forgotten about the matting until last week so I cut some scraps and had them belevel cut at my frame shop. Should be everything… Luckily I did have the other needed supplies such as acid free tape, window cleaner and bandaids. Glass is sharp on the edges and I usually get at least one nick. So everything is ready to deliver on Wednesday and I can turn my attention to other things… like mixed media! Life is good.

Just a reminder:
Two concurrent upcoming shows this week!