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!

En plein air

The French language uses far less capital letters than English. What does the title mean? One translation is: out in the open air. That is where I have been spending a lot of my time lately, capturing the lovely fall colours around Edmonton. We live in a very beautiful city, the weather magnificent. That being said, what does one do with rain when using watercolours for en plein air? Watercolours are my favorite medium for outdoors at present… Eventually I decided one of the essential ingredients for the exercise is my camera. Once I have located what I consider to be an interesting spot (usually having to do with negative spaces!) I take a photo. I never know if I will be able to finish the painting while on site or not. Usually it takes me about two hours for a quarter sheet of paper (11”x15”). I have been rained out, timed out and chilled out (yes, I am a wimp!). In the rain, the first thing I do is protect what I have already painted. I carry an empty plastic bag for the occasion. My equipment is simple and therefore very easily packed up for the trip home. Takes about five minutes plus the walk from wherever I might have wandered… In my studio I load the picture I took onto my computer and install full screen. This is much better than a print. Now if only I could glue the shadows in place so they would not move… Life is good. 

P.S. The en plein air paintings are the ingredients for my upcoming show at CAVA, opening November 6th. Yah, I know... last minute.

After Frame

Some artists wonder what to do with a drawing or painting after it has been taken out of the frame. With watercolours and mark making it is a frequent occurrence. I am in the midst of preparing my own work for exposition without a frame. The local hardware store is questioning my sanity as I purchase quantities of shrink wrap (used for insulating leaky windows). Perhaps it would be better to get new windows…. The pieces I am enclosing in plastic are quite large so I purchase the largest roll which happens to be just the correct width for the length of the matted work. Once cut I remove the artwork and open the folded plastic then replace the art face down so that the messy taping is done on the back. Using clear packaging tape I draw the plastic as tight as possible without creating too many wrinkles then I begin to blow dry it. The heat from the hair dryer causes the plastic to shrink. This takes quite a while as I begin at the edges under the tape where most of the sheet is gathered. After it has been tightened to my satisfaction on the back I turn it over and again work from the edges into the centre. I now have a substantial inventory to display in a rack rather than on the walls. Things are coming together. Life is good.   

Restoration

Once I had the canvas repairs in place, the indentations on the front of the painting needed attention. The first step was to remove the varnish. At this point I am fortunate to have a good memory. Having done several murals around the same time as this series I assumed the varnish would be of the MSA UVL sort. This means it is oil based… to remove the varnish one uses mineral spirits or turpentine. Applying some high quality paint thinner on the surface it became evident my assumption had been correct. I have since switched to Polymer based varnish for work destined to hang in interior settings. Carefully removing the softened varnish with some rags I noticed some residue on the edges. Upon closer inspection I wished I had chosen a rag which had not been part of a red sweatshirt. Applying more mineral spirits I removed the telltale red fluff and some more varnish then let it dry overnight. Using a very thin coat of molding paste I reconstructed a similar irregular surface to the painting, filling in the indentation and let it dry overnight too.  Matching the paint is the final chore. This could pose a problem for some. It depends on the style and the degree of finish in the painting. For me it should be a easy fix as grass is varied in colour, tone and texture. A quick re-varnish and all will be done. Life is good.