I can’t believe it’s already been a month since my last summer festival participation. There was little time to recover and shift right into teaching mode! Fall, Winter, and Spring sessions I offer mixed media encaustic classes at the Evanston Art Center and North Shore Art League.
My one remaining exhibition scheduled for 2019 is the One of a Kind Holiday Show at the Chicago Merchandise Mart. This will be my first indoor, holiday season venue in Chicago and I have been working hard on what to bring… what would fall into the “gift” category, and what would make my display stand out.
The 10 foot back wall will have over 70 Buddhas, side walls with miniature paintings in 10″x10″ shadowbox frames and nature inspired impressionistic landscapes.
70 completed Buddha paintings to date, (with a few more in the works) can be previewed here – 70 Buddha Oct. 12
The miniature paintings are mostly landscapes and places I’ve visited that inspired me, with a few other miscellaneous subjects.
I am looking forward to participating at an indoor venue (weather as a non-issue) plus exhibiting during one of the best times of year!
It is always a physical and mental challenge when I participate in summer outdoor festivals, from the packing and loading of work to exhibit, the loading of tent and panels required in order to hang and display work, to the unpacking and setup at the actual festival, and then the re-packing and re-loading (and unloading back at home) on Sunday night after the festival weekend is over. The one thing I can never control is the weather, and I have many sleepless nights right before a festival weekend when the weather is not looking festival-friendly. What a huge relief to survive torrential downpours this past weekend!
I have always tried to stay physically fit in order to do what is required, and after having just completed another exhibition two days ago, I admit I am physically and mentally drained. Several factors that feed into sustaining required energy levels throughout a show weekend are a combination of art sales, meeting new patrons and potential students, with the added bonus of winning an award juried by the show promoter… I just won an “outstanding achievement” award at this last show from Amy Amdur.
I don’t exhibit again until weekend of September 14 and fortunately the Lakeview Festival of Arts is right in my neighborhood, no commuting makes everything a little easier. Lots of time to rest, organize new work, and gear up for my last festival of the outdoor summer season.
It rained and rained and it was cold, damp, and dreary… and I woke up July 1 and finally summer is here! Despite the horrendous weather of May and June, art festival season is upon us. Two festival exhibitions are behind me now with four more to go. My next exhibition will be filled with color, collage, and florals.
The back wall of my display is the Face of Buddha, an ongoing series, each painting is 10″x8″ and a small single painting becomes a larger installation depending on how many are purchased and hung together in a patron’s home. Below is a photo from ten days ago, Buddha installation is on the back wall.
Floral collages below are just some of the paintings that I plan to feature end of the month at the Glencoe Festival of Arts.
I’m still working through details on the next festival setup, the unknown factor is always the paintings that haven’t happened yet. I have several extra large frames waiting for two more 36″x26″ collages, just not sure if I’ll have time to finish both before the end of July.
It’s hard to believe that a month from today I’ll be exhibiting at the Wells Street Art Festival in Old Town, Chicago. The weather has felt more like Winter than Spring, it’s one of the biggest factors that contribute to the success or failure of a show.
My newest work is focused on organic patterns and brilliant color. Alcohol inks combined with encaustic medium have been an exciting addition. I have also been creating collages using alcohol ink on yupo or card stock, mounted on foam core then glued to the surface and sprayed with an assortment of Krylon products in order to best protect and preserve the work.
“Playful Garden” is the largest collage to date. I had to mount Yupo paper onto a cradled birch panel using heavy gel medium before I started the painting. After completion, I sprayed with Krylon Kamar, Krylon UV, and Krylon Crystal Clear. I am still going to have to watch out for inclement weather because this piece is delicate and quite large!
A bit smaller, “Black Leaf” is painted with encaustic medium layered with alcohol ink, then collaged with painted foil paper.
Other new mixed media works combine encaustic medium layered between alcohol inks on claybord, each panel is 6″x24″x2″ and can hang alone or combined horizontally.
At this point I am finishing up loose ends… wiring and painting cradled panel edges and soon I will have to narrow down what to bring to each show. I have PLENTY of choices!
Springtime is when I have to start planning my exhibition space for the upcoming summer festival season. It forces me to review art inventory, and re-assess what paintings are “show worthy”, and those that need to be re-worked. Ever since I started incorporating alcohol inks into encaustic medium, I have found a new way to create visual energy on a two dimensional surface.
I have taken a handful of older paintings and made them new again by fusing the inks into the wax base. The two mediums compliment each other and the translucent layering captures motion and depth.
I worked with an encaustic monotype as the base layer for the first time (seen below), then added layers of wax medium combined with alcohol inks. I love the way the inks loosen and free up the composition.
I am also working with cradled panels as a ground (rather than papers), adding the inks first, then combining wax medium with additional layers of ink to create greater depth, movement, and life on a flat surface. I’ll be anxious to share this new combination of encaustic and inks in person rather than on the internet and am looking forward to the summer art season.
This past weekend, I taught an encaustic “sampler” workshop at the Evanston Art Center. We used various mixed media materials that combine effortlessly with wax. In the demo painting below, mulberry paper creates a translucent linear wave pattern, I then added white shellac and oil pastel to highlight the setting sun over the ocean waves. There is something very beautiful in simplicity and I hope to continue exploring the “less is more” concept.
One of my older watercolors below, and most likely the subconscious inspiration for the above encaustic painting.
Another new direction: Pea Pods
I built an armature base, coated the wire with plaster, then shaped the plaster and added encaustic medium to the assemblage.
Wax is poured into the cradled panel in order to secure various parts. Building armature for encaustic is a new addition to the weekly techniques we cover in classes. I resume teaching after the new year at both the Evanston Art Center and the North Shore Art League.
I am in the midst of summer art festival season and now have a three week break before my next exhibition in Evanston. I already started work on new miniature paintings, (they were a big hit at my last show on Michigan Avenue). I also plan on painting more Buddhas in order to completely fill one wall in my tent. The Buddhas have become an installation wall and more often than not I sell multiple pieces, allowing patrons to create the same installation effect in their homes.
The most stressful part of participating in outdoor festivals, for me, is always the weather… it’s the one thing out of my control! Last weekend, it was humid and rainy for all three days, although I was grateful there was minimal attendance despite the dreary weather. My tent began leaking in several different areas, I’ve already replaced it and thanks to Amazon Prime it was delivered today. Now I need to practice setting it up in order to guarantee I’ll know what to do at the next show.
I’m convinced if I wasn’t passionate about meeting people, summer weather, and encaustic painting, I’d find an easier way to share my work with the world. Professional artists are always talking about the various ways to exhibit, from high end galleries, in local and national art shows, to walls in restaurants and coffee houses, and everything in between, but I choose to be my own gallery at these festivals. Galleries usually earn 50% commission (well worth it if they do a good job bringing in patrons you wouldn’t otherwise have access to), but if you are willing to do the work, it feels good to keep 100% of a sale.
May is the month when I finalize my plans for upcoming summer festival season. I confirm I have enough work to fill my 10″x10″ tent space, and I usually try to create new marketing materials to promote the shows. This year I created a poster featuring the Face of Buddha in addition to my usual postcard announcement. I know when I display this series on the walls in my booth space the small 10″x8″ paintings make a striking impact as a group installation rather than as individual paintings and that is the theme I used for this years PR materials.
I also had to re-design my announcement card after I received word I was taken off the waiting list and accepted into the Port Clinton show. I’m scheduled to exhibit in five festivals this summer and will need to make sure my Buddha installation doesn’t dwindle by August. I will happily welcome (and be prepared to create new work all summer) if I have the problem of running low inventory because of too many sales!
March is the month most summer festivals send notification of acceptances. It’s actually quite competitive and I usually apply to one or two shows as backups in case I don’t get into my first choices. I’m pleased to share that I have been accepted and will be participating in the shows that were at the top of my list!
During the course of the year I am always thinking about two distinct bodies of work… the paintings that challenge personal goals and force me to push boundaries, (these are often larger works) and the paintings that I know will make for a stronger presentation in my summer exhibition space (smaller works, competitively priced, and more salable); sometimes there is overlap but presenting a cohesive body of work is the priority.
These paintings are all 2.5″ x 3.5″, floated, signed, and mounted on watercolor paper, presented in 10″ x 10″ shadowbox frames. Most recent works share a common theme inspired by travels in Ireland.
Face of Buddha:
The Face of Buddha has been a series of encaustic paintings that I present as an installation in my exhibition space rather than as singular works. All of these paintings are 10″ x 8″, and most patrons prefer to purchase multiple pieces allowing for a stronger statement. Painting the Buddha is a form of meditation and a way that allows me to be uninhibited in my use of encaustic mixed media techniques. To date I have created over 130 Buddhas and the series continues to grow.
My first show is not until mid June but now is the time to be building, refining, and improving presentation. The only loose end to all of the summer festivals will be the weather, but that is out of my control.
I continue to be inspired by my visit to the Burren in County Clare, Ireland last September. A new body of work is slowly starting to emerge in my studio, and I am in the midst of it all.
One of the challenges for this series has been my desire to incorporate a variety of mediums. To date: encaustic, oils, mixed media, even encaustic collagraphs, all depicting the Irish landscape, have started to take form.
The newest additions to the series are posted above. Working with oil paints has been an education in itself! I used photos I had taken and after establishing the general composition reached a point where I stopped looking at the photos and focused on re-creating a feeling rather than being exact to the actual photo. Color mixing has been a challenge as the oils beg to be combined; using a limited palette has forced me to learn color theory at it’s core. Most important to these landscape paintings has been to create wide open space, big sky, along with a purple tinge in the rolling limestone hills and mountains reflected by sun (or lack of it).
My next painting will feature the incredible stone walls seen during a visit to the Aran Islands. How can I have a series inspired by the Irish landscape without incorporating a stone wall or two?