At The Art Institute of Chicago I saw two really well done exhibitions in December: Gates of the Lord and Kesa. I am particularly interested in the integration of gold with natural dyes, like indigo and oxides. Currently in the studio, I am working on several paintings with layers of natural indigo and metals, aiming to communicate an Environment that is both precious and vulnerable.
The Gates of the Lord
exhibition at the Art Institute of Chicago follows the artistic and religious traditions of the
Pushtimarg sect: a Hindu community centered in the town of Nathdwara (Gates of the Lord) in Rajasthan, western
India.
The Japanese term kesa derives from the
Sanskrit word kasaya (or turbulence, an allusion to the dyeing process)
and indicates the garment’s Indian origin. Although there are earlier examples,
particularly in Japanese temple collections, most surviving kesa date
from the Edo period (1615–1868) and the Meiji period (1868–1912).
Detail of painting in studio employing historic color (indigo- India, ochre-India, quartz- France and graphite-USA as shown) in water based animal and plant derived mediums. Pure silver and aluminum are both hidden and revealed. I am aiming for the marriage of an inner and outer surface: the lushness, fragility and vulnerability of nature.
Layers of Laguna 1, 2015, mineral pigments, indigo, shell white, copper, cement, sumi, pure silver on canvas, 60" x 56"
This painting was actually first conceived in October 2014 while I was in Southern California teaching. Being my first trip to this part of the country, I was struck by the the seamless integration of plant life, rugged terrain (canyons), architecture, ocean and sky. I have lived on the ocean, but never with hills or mountains. I have lived in the mountains, but never with oceans. I've lived landlocked and in very flat cities. The diversity here struck me as unusually beautiful. As mentioned in an earlier blogpost, I have since returned and will be going back again to teach in February.
Here is a shot of some intial studies that I was creating in the Laguna studio and a photo showing its integration in the Getting the Dirt on Paint class (abstract Nihonga for kids-using pigments from soils, oyster shells and organic dye colors) at Anneliese school.
Layers of Laguna first study in process, 2014, Laguna Canyon, CA, iron oxide, cochineal, oyster shell white, azurite, malachite, sumi ink on Arches paper
Teaching how we can abstract from nature and make work "about the land with the land"
using gestural, free expression while paying attention to negative space as well as positive space.
Layers of Laguna 2, 2015, mineral pigments, indigo, shell white, copper, cochineal, cement, sumi,
pure silver on canvas, 56" x 60"
Thank you to all who attended the opening yesterday of An Alchemic View at the Mattatuck Museum including my gallery talk. The exhibition runs through November 29. This video is playing in the exhibition space.
Another highlight of the exhibition (of course in addition to the artwork) is a display case featuring some of my materials. I asked my dental hygienist in Savannah (2010) what the gritty stuff was that she was using to polish my teeth and her answer was "Mt St Helen's lava". That was music to my ears and that's why it is featured here in a little blue dental bag. I received two and the first worked so well as a gritty chalk ground that I am now using a larger supply purchased from a dental supply website. This then sparked a chain reaction of researching even more pumice sources and I am now ordering different grits from jewelry fabrication suppliers. It acts similar (with varying results) to the quartz and calcite I import from Japan.
The little pink bag is Minnesota pipeline powder given to me by one of my workshop students. It is used in the test panel on the bottom left, along with South American cochineal.
Display case currently at Mattatuck Museum
Display case information label
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I am continuously asked whether the origin of my materials informs the meaning and message of my work. Most of the time, the answer is no-I choose my raw matter for its inherent properties: particle size, hue, ability to saturate, absorbency, viscosity, refractive index, etc... I do know that certain ochres of the same kind vary in different parts of the world. For example, Indian red ochre (bengara from India) has different attributes than Arizona red ochre. So, in my studio, I keep them in separate jars. This is the case for many of my resources- even binders (another subject for a future blog post).
Road to Jaisalmer, 2015, mineral pigments, spinach and turmeric powders, indigo, Taj Mahal
marble, pure silver on Kumohada paper on panel, 24” x 30”, signed verso
However, in the case of this work, Road to Jaisalmer, I made an exception. I wanted to "build" a painting that would reference encounters from several trips to India between 1995 and 2005, so I did actually include pigment from organic and inorganic substances that I had collected there. The Taj Mahal rock was found on site during renovation. I couldn't resist "borrowing" just a few pieces. The organic items are spinach and turmeric powder, purchased on the street in little yellow plastic boxes wrapped in gold thread. The saffron was used in cooking- so it never made it in the studio mortar.
This piece is a good example of my signature layering. Each layer hides and reveals, while trapping light, texture and pattern. My inner landscapes and figure ground shifts are really showcased here.
I will be writing more over the coming weeks about each work in the exhibition in between sacred new-creation time. In the meantime, enjoy the video and hope to see you at the Mattatuck.
Hard to believe it has been over two months since my last post. I've been hard at work in the studio and the fruits of my labor were just hung this week at the Mattatuck Museum for my upcoming solo show An Alchemic View.
Since I've been deep "in process", it felt fitting to show you just that.....process pix. Enjoy!
This was a day of rubbing pigment on to the surface of a painting and spraying it with natural
water-based binders.
Between layers of graphite and volcanic ash, I applied Japanese gold and some drawing.
Several of my new works embody this ground treatment of indigo, ground marble and carbon on prepared raw canvas. Some areas intentionally soak through and others sit on the surface.
Layers of carborundum, liquid copper (copper powder and hide glue), cochineal washes, some cement and not the kitchen sink...but almost! This piece is still in progress so it will not be in this show. I often work on 10 pieces at once and the work that isn't finished- just isn't finished and it will show up sooner or later.
This detail is from one of the Layers of Laguna works. The surfaces of these paintings are both delicate and gritty, pristine and weathered, near and far. I soaked, scraped, rubbed, painted, oxidized and scoured......
Silica, quartz, cement, azurite, indigo...a cellulose chalk ground... this is just a detail....
I am simply loving honing the unique craft of my new work. I feel more like a sculptor on some days than a painter...........and that's A-OK with me!
Here are some details of larger, more involved paintings shot today in the studio. I am currently building 14 alchemic paintings at once layer by layer. Some are on handmade paper stretched onto canvas and panels, some are directly on raw cotton canvas, which has been soaked with several layers of hide glue and others are on 300 lb watercolor paper. Using natural resources en lieu of commercial paint enables me to achieve abstract surfaces that mimic the visceral qualities of nature. My recipes play with altered viscosity and absorbency in order to trap light and pattern under and on the surfaces. I strive for variety, translucency and depth. Much of this work was created without brushes: pouring, puddling, spraying, rubbing. Tomorrow metallic color and patination will be added to some areas in a few of the pieces. Always dancing between mindfulness and mindlessness....Stay tuned.
Detail- mixed media shown here- sumi ink, inorganic and organic natural
pigments, clay, graphite on prepared raw, cotton canvas.
Detail- mixed media shown here- inorganic and organic natural pigments,
silica, chalk gesso on prepared hemp paper on panel.
It’s been an interesting month. At the end of June I was
a co-presenter at the AESS (Association of Environmental Science and Studies) conference at the University of California, San Diego. Our presentation aimed to instill the value of biophilic art and design as a way to bridge the boundary
between nature and the built environment. This practice connects people to nature and
improves human and ecological wellness. Participants were engaged and the feedback has been great.
Preparing iron oxide pigment pots in the Connecticut studio prior to trip.
Richard Piacentini (Phipps Conservatory, Pittsburgh) speaking about The Center for Sustainable Landscapes Project and meeting the Living Building Challenge.
Sonja Bochart (Biophilic by Design, Phoenix) leading participants in guided meditation. Sonja presented her Phipps CSL Beta Project showcasing the work of 20 selected artists addressing the core themes of biophilic design.
Judith Kruger (Judith Kruger Studio, Connecticut) leading educators in a mini natural pigment-making-painting workshop.
Having the opportunity to sit
in on several other conference presentations, enjoy an ecosystem tour of
Southern CA led by educator/author Mark Hineline (The Backyard Naturalist: Observing Climate Change through the Seasons to be published by University of Chicago Press, 2016), spend time with some fellow artists and students, work with a few
consulting clients, visit museums and galleries in La Jolla, San Diego and LA (most notably Gravity and Grace: Monumental Works by El Anatsui at MCASD and Mark Bradford: Scorched Earth at the Hammer), sneak in a quick visit to Hiromi paper store, visit some close friends and eat healthy food collectively added up to an awesome time.
El Anatsui at the Museum of Contemporary Art, San Diego
Mark Bradford at the Hammer Museum, LA
Shadows at the Getty on the last day........thinking about my paintings waiting at home in the studio
The best part of a sabbatical away from the studio is actually the act of re-entering with fresh eyes, abundant inspiration and calm energy. It's always so easy for me to advise others about the directions of their artwork, but often difficult to unfamiliarize myself from my own work enough to make easy decisions. Not only does the work look fresh and really great, it also tells me exactly what needs to be done to finish. This is such a clue that being away from the studio is often more important and productive than the time in the studio. Additionally, like the photo of the Shadows at the Getty here, it's what is not present, the white void, which often elicits the deepest response.
