Rebecca Crowell's oil & cold wax workshop, Davenport, Iowa

I had been wanting to take a workshop from Rebecca Crowell as soon as I had discovered her work on the web. Then I saw that she had created a website, oilandwax.ning.com, which I joined even though I was working in encaustic and had no work to post. I had discovered how much I love wax and oil through teaching myself encaustic (although the only similarity between encaustic and cold wax is oil paint, and that wax is used in both, different mixtures, different techniques, cold v.s. hot, but that's another story), and this was another way for me to combine oil paint with a medium other than liquin, to get more depth, texture, and layers. Below are four of Rebecca's paintings . .

Rebecca Crowell

Rebecca Crowell

Rebecca Crowell

Rebecca Crowell

The ones I have posted here range from higher-keyed neutral to more saturated color, cool blue to warm rust, all with subtle layering, marks, scratches, and rich, and those wonderful subtle nuances that draw me in to these paintings. 

I live in southeast Michigan, and Davenport, Iowa (when I looked at a map) was just past the west border of Illinois, and so not that far from  me (as I'm used to driving to Rhode Island to visit my son and his family). The workshop was held in a wonderfully renovated old building, The Bucktown Center for the Arts (ac . . it was hot and humid), an elevator, outside ramp, brick walls, with many large windows. Pictures below  . . 

. . the front

. . and the back.

Our group, left to right: Jacki, Laura, me, Helen, Carolyn, Rebecca, Dianne, Jennifer

Such a nice group of women! . . that wonderful, midwest friendliness I so love. Jacki (far right) & Helen (4th from left) were wonderful hosts. They also have studios in the Center. Some workshop pics of Rebecca teaching and us working. 

While we worked . . Rebecca also worked!

 . . . watching Rebecca demonstrating

Dianne from Chicago

L to R . . Rebecca, Dianne, Laura, Jacki

Carolyn from Massachusetts

Jacki, Jennifer, Dianne, Rebecca

Dianne and Helen

As you can see from these pictures, the building and set-up were great!! The room was very large (wood floors, brick walls, tall ceilings) with lots and lots of very large windows . . and . . it was air-conditioned (that was when the midwest and east were experienceing very hot, unseasonalble weather). We each had a large table to spread out our panels and materials.

And Rebecca . . she was everything I had heard about her . . kind (she brought tools for us to purchase [silicon bowl scraper, brayers], samples of Gamblin coldwax & paint to use), engaging, warm, willing to answer any question . . any time; an experienced professional artist with a wealth of information (powerpoint presentation on visual thinking, her residency in Spain; her generous sharing of all her techniques), and, for those who wished to participate, a session on marketing work. The very large room we were in made it easy to accomodate all this. And, at the end of the last day, as we all went from table to table, I was impressed by her respect for the individuality of each artist's personal, unique vision, palettes, tastes, techniques, ideas.

I love talking process, concept, technique, philosophy, etc. with other artists. I wish it had gone on for a week!!

And below . . something I haven't done on this blog . . is sharing some unfinished work, that I started in class. I know I'll go back to encaustic AND combine the two, but for now, I have eight panels I started in the workshop and have been working on since I came home and three larger panels. So it may be a while before I post finished pics of these. 

Detail of panel below

I have a strong feeling that this one will end up completely different than this pic, but I like the fact that it has some intense cad orange "peeking" out from below the surface (I almost never use saturated color, so a change for me, although I love burnt sienna and rust.).

The only regret I have about this workshop is that it didn't last longer!! I look forward to taking Rebecca's advanced oil and wax workshop. Also check out Rebecca's blogspot, Contemporary Abstractions. . . scrolling through the posts, I've found posts that address issues I struggle with . . like patience! . . a reminder to me to cultivate patience.

Anticipated mail deliveries from Crystal Neubauer and Yves Leterme . . . and thoughts about "wabi-sabi"

I was delighted to get Crystal Neubauer's collage in the mail Friday.  

This is my purchase, it is an untitled, 6x6 collage on wood with frame

 And I must say (as I've heard others mention this), the real thing

is much better than the photo!

I'm just starting to purchase other artists' work . . small pieces, and I'm enjoying that so much. Wonderful to have an in-person piece of work I admire. Some of the mediums she uses with collage elements (vintage ephemera and salvaged wood) are encaustic (beeswax and resin) and acrylic on salvaged wood and assemblages. Below are more examples of her work, and clicking on the image will take you to her website. 

Untitled, 6 x 6, framed collage

"In Mountain Pastures"

from Utterings: A Wordless Prayer Series

(authentic ephemera: packaging materials, book spine ... )

"A Long Time Coming"

Collage encaustic assemblage

"Moonlit Serenade"

12 x 30 Collage and acrylic

Encaustic collage framed from salvaged antique materials

I have spent a lot of web time looking at art and what is it that draws me in to some art. About 6 mos ago, I learned about the term, wabi-sabi. When I looked at Crystal's collage, in real life, I was really drawn into it, and I didn't understand what that was, until I was reading Yves Leterme's book, "Thoughtful Gestures" (which was my other anticipated mail deliviery). This, what I call, "drawing in", is something that happens when I view a piece of artwork that resonates with me. It feels intuitive and without words, and I feel that when I see Yves Leterme's paintings. His words  . . . "quiet authority from subtle details, small doses, a limited palette, and simplicity" just popped out at me, and I realized that is what I respond to.

And so . . about "Wabi-Sabi" . . . 

Having seen Yves Leterme's work blogged on Tumblr, I had checked out his website and wordpress blog. I am not a calligrapher, but I am drawn to a certain types of script. He has different names for different styles of his script. He uses it in his paintings, and what I was drawn to was, at times, legible, and other times not. But it had something else. What that something was intrigued me. It appeared lyrical to me, and although it appeared to be random and spontaneous, there seemed to be a kind of order or structure. THAT was the thing that was different for me. When I saw that he had just finished a book and was taking orders, I decided to purchase it.

I had taken a calligraphic class years ago. I didn't do well at the time with the process of spending hours in repetitive practice, something that is necessary to develop a natural, sure, rhythmic flow. So I didn't pursue it. 

As I was reading Leterme's book, Thoughtful Gestures, I came upon his description of wabi-sabi, and I realized that what he was describing, was the very thing I was experiencing with Crystal's work, what I experience with other art that draws me in, and what I would like to bring, in some measure, to mine. I believe it will take me a while to get past "art school" direction, which at the time, I took fairly literally. I believe now that there is a way to bring spontaneity, intuition, and flow without sacrificing formal elements. To me it can be very subtle, but it is what I strive for and hope to bring to my work. So . . . acceptance of the fact that that will be an ongoing process, connected to lots of hard work, is my intention. Acceptance that what I want in my work will not be as instantaneous and automatic as I found realism to be in art school. I've learned a LOT on Tumblr. To me it's like having the world's galleries at my fingertips. I found I like many styles of art, and wabi-sabi is not the only kind. Although feeling "drawn into" other styles and palettes does bring some confusion to what I want to bring to my work right now, I will keep looking and learning. Ah . . . . life has so many rich lessons to learn!

"It's the art of finding beauty in imperfection, of accepting the natural cycle of growth, decay and death. It reveres authenticity above all and it celebrates cracks and crevices, and all the other marks that time, weather and loving use leave behind. Things Wabi Sabi are unpretentious and unstudied.". . . "In my latest work I have often tried to capture that spirit of Wabi-Sabi. It may look easy and simple, but" . . . "A true Wabi Sabi piece derives it's quiet authority from subtle details, small doses, a limited palette and simplicity.

----- from Thoughtful Gestures, Yves Leterme

Celebrating learning and "letting you in" a little

This image on Tumblr "popped" out at me. When I say, "popped", I mean to say, that when I read it, the combination of the man who quoted (a creative master) and his age (although I really don't know if either is true), struck a chord . . or should I say, "popped" a chord in me.

I'm so much wiser than I was when I was young, and as I become more mature and more than a little surprised with the physical changes, reading this quote from a Master at 87 yrs of age (from what I've read, 87 was especially old then) led me to reflect that all of life is really about learning, even down to the moment-to-moment, in a myriad of ways, and it will never end. It's not unusual to be frustrated at life's trials and challenges. I certainly have. (I hurt my hip when I was moving and climbing a tall ladder with a paint tray in one hand and a paint roller with an extension in the other; climbing up and down the ladder to remove items from high shelving around the studio. I've hired someone to paint the ceiling.) But I'm surrendering to my limits and learning that, while maturity brings physical challenges, there are many other compensations; like not taking things so personally or so seriously (with "a grain of salt"), the old adage, "this too shall pass"; looking at what I've accomplished and how I've grown in wisdom from my mistakes rather than fearing "the next step forward" or judging those mistakes; becoming more aware others make mistakes and don't have to meet my standards, my opinions, or my goals . . even the ones I love most . . all have their own learning.

This quote somehow ignited some self-reflection that turned into gratitude for my past life struggles/challenges, and how I have more piece of mind and a deeper appreciation for myself; how really wonderful and exciting it is to learn; that I can look forward to more . . moment by moment, day by day, and on and on. Frustrations, challenges, and stuggles for me will continue, but perhaps I will step back sooner, look at "the bigger picture", put things in perspective, put one foot in front of the other, lighten the experience, move on . . and continue to learn, experience, grow, and create . . and truly celebrate and appreciate the wisdom about I have acquired about myself and the world around me.

Here are some more pics of things I've collected through the years (what my son, when he was young, used to call my "weird stuff"). They're in my studio, as they've outgrown my living area.

Old chimney caps (I think) They may be made of zinc, as the rust color is worn paint . . maybe aluminum? 

A metal star (each faceted cone is welded at its base to the other) hanging from an old bird cage support.

A large spring, probably from a train, given to me by the same artist who gave me the gear . . my "treasures"!

I also collect balls (spheres) of different materials, metal, glass, wood, mercury glass, a nail ball (this one is some kind of metal)

An old wood wheel form, painted, about 24" in diameter, 3 1/2" thick

When I found it in a junk store, years ago, the owner said it was used to make wheels.

Some wood balls and a hanging light sphere from the 50's or 60's

(my radiator will also be painted white when I'm done)

I've moved a lot in the last 15 yrs and the expressions on the mover's faces and "tilt of the head" to a co-worker (I especially remember this in regard to my wood wheel and chimney caps), as they were preparing to pack them, were funny. To them they were junk . . ha-ha . . and another (wo)man's treasure!

On with the ladders, paint cans, and rollers. Before I hurt the muscle in my back, that was felt in my hip, I just wanted to get-this-done-and-out-of-the-way . . FAST!! Another lesson learned. Go slower. For a few years I have looked up at the ceiling and speculated about what techniques I might use to paint that ceiling, piece by piece (10 ft tall! and painted, pressed tin). Now it will be done by a professional and I won't chance that I might experience another injury.

Just to let you know, I'm fine. But . . I've got to go slower. Thank you so much for following, your visits here and your comments and support.