acrylic painting
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Thursday, October 1st, 2009
Breakthrough, left side detail of 2 vertical pieces, each 48 x 11 x 3 inches, canvas strips over a gallery wrapped stretcher frame. A number of things have been tried over the 4″ pieces of canvas woven across the frame; colors upon colors: scarlet, yellow, purple, blues, black… crackle glaze, burnt umber wash, sanding, peeling the paint, and an overall coat of white.
There are so many competitions and exhibitions to look forward to in the new year, and I’d much rather be painting all day, but there are deadlines to meet. I’m anxious to post something though, because it’s been a while. I have been working, but in a non-linear habit, even more than usual. The results of about 5 projects are still unresolved, but I’ve learned to trust that plugging away at work continually, eventually it all comes together. Just try and aniticipate when! With only a few minutes to spare now and then off the computer, this two-part piece is the ideal thing to work on. Sometimes an idea goes off in a direction of its own and it’s not always agreeable to the initial plan, but I’m not as concerned about when it comes together. I only trust that it will.
What Bigleaf Maples Do At Night
Monday, May 25th, 2009
What Bigleaf Maples Do At Night, 57H x 20W x 4D inches muslin, glue, acrylics on canvas wrapped over custom-built stretcher frame. LED light system in back.
Alain, my husband, signed his name on this also, because he spent the entire week designing, soldering and wiring a system of 30 LED lights for the back. He was not impressed with the eight inadequate push-lights I was initially going to use to create this Day- Night Art. The electric source is a rechargeable 12 volt battery placed neatly in the back, with an easily accessible on-off switch in the lower left corner. He’s not thrilled to ever create another, so it looks like I’ll be learning a little about soldering and electronics, because there are plans to transform the other two canvases exactly the same size as this one. Originally l hoped it could hang in any of four orientations, but that was revised due the battery pack in the back. Thank you Alain for making this piece what it is!
______________________The original blog posts; process:___________________
Nov. 17th, 2008: While finishing the final stages of Sun Shower #4, at this point more study than stroke, I’ve started on the next piece… a bit of mystery thrown into this one just for fun. Hint: Step 1 – Unbleached muslin is painted with glue; place over top parchment paper and turn or lift frequently so it doesn’t stick. Nov. 18th: Step 2– When dry the muslin becomes stiff and can be crumpled, pinched and maneuvered to create 3D textures.
Nov 18th, aft. Step 3 – OK, enough guessing. I have three beautiful sturdy 36 x 12 x 3 inch canvases, hung vertically or horizontally. Each one will have a 3D design of life-sized leaves created with the stiff muslin. This one is of Large Leaf Maples seen on salt Spring Island, B.C. when we were there last summer. They are really this big – about 15 inches across! On these canvases, all dimensional surfaces will be considered; the front, the sides, and possibly some sticking out from the back. Everything will be primed before painting and I love Virginia’s idea to use glue as a resist for the leaf veins. In the above three images the design is still in planning stages.
Nov. 19th – A few thoughts before continuing work: this could be as simple as a sillhouette or painted realistically, still haven’t decided..maybe a compromise of the two, on the abstract side of things. Putting lights in the back could be interesting too, as in the recent Zen Garden #8 but would like to come up with something that does not have a distracting cord.
Nov.21st – Seen here, the leaves have a splotchy base coat of Hansa Yellow Deep, a color chosen because when it is so vibrant when it peeks through built up layers of other colors. Now that the entire piece has color though, I think I prefer the sculptural purity of the unpainted sillhouettes better – something to remember for similar work in the future.
The weight of tinted primer and each application of acrylics makes the fabric limp from of the paint, meaning the creasing process needs to be done all over again once it dries, even on successive layers. Because of this I need to slow down and be more gentle with the painting process also. It’s funny how you can overlook things like that when you are ten steps ahead with anticipation for a new project; things always take much longer than you imagine. There is going to be a lot of stopping and starting with this one, which is exactly how overlapping projects occurs.
Also: looking forward to a day-long workshop tomorrow, learning about Encaustic painting with Deanna Wood. Encaustics is an ancient process of painting with beeswax and natural resins. Not usually a “workshop” kind of Artist because I’m too greedy with my work-time, but this is one of those things that’s best learned from an expert. Am bringing a fabric leaf to the class to see how it could be incorporated and if this entire. Large Leaf Maples piece could benefit.
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All posts and comments for this piece are now combined.
Submitted on 2008/11/18 at 11:48am
If you don’t want to see the seed bits in the muslin, you can get unbleached muslin without the seeds.
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Submitted on 2008/11/18 at 1:03pm
OK Lynda, thanks for offering this valuable tip. With regard to what’s in mind for this project, the rawness of the fabric will provide extra texture, but others may want to know that finer quality muslin is available.
Nikki
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Submitted on 2008/11/18 at 1:53pm
Hmmm…looks like a resist process to me. Is it a mask? You are a very adventurous soul!
Virginia Wieringa
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Submitted on 2008/11/18 at 2:06pm
Nope, not a mask or resist…at least the glue wasn’t initially going to be used as a resist, but once again I owe thanks for the tip via a viewer’s comment – thanks Virginia! It’s true, glue can be used on anything as a paint resist, usually on wood it works similar to crackle glaze (ask me how if anyone is interested). I haven’t tried that technique on raw fabric yet though and for what I have in mind, painting extra glue in strategic places could produce some interesting effects. Let’s see…
Nikki
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Submitted on 2008/11/19 at 1:16am
This is great Nikki. I’ll be back tomorrow to see how this project is coming along.
Jim Drury
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Submitted on 2008/11/19 at 4:12pm
Hi Nikki
This is getting really interesting, can’t wait to see the finish project
Elizabeth
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Submitted on 2008/11/19 at 7:07pm
Thanks for staying tuned Dad and Elizabeth, I also can’t wait to see the finished project – it’s always a mystery even if I think I know what I’m doing.
Nikki
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Nov.27: What Large Leaf Maples Do At Night, detail images of 12 x 36 x 3 inches Muslin, glue, acrylics on wrapped canvas. As seen here I imagined the leaves glowing in the moonlight, which took me to the idea of turning it into a piece that can be viewed differently in a dark corner or at night so the sculptural sillhouette shows best.
Since Saturday’s Encaustics workshop I’d like to try another sculptural piece doing the whole thing with 
Encaustics tecniques, see right sample. Beeswax doesn’t adhere to acrylics though, so another will need to be planned with that medium in mind right from the start.
Kookaburrahs
Saturday, May 23rd, 2009
Kookaburras, 11H x 11W x 3D inches acrylics on canvas, wrapped sides painted. Frame unnecessary. Hang on the wall or display on a flat surface. Most of the Magic Square series are signed on the side so as not to impose on the composition. Seen here, the signature is added digitally on the front.
March 13th, 2009 work progress blog post: This painting could have been left at phase 3, but the decision to give the birds more definition and sense of realism created a whole new set of problems. For example, the composition, which was unbalanced from the start, is now exaggerated and more noticeable, so a third element needs to be added in the upper left corner. Not necessarily another object but color or shape that would shift the weight and attention away from the lower left areas.
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There is a work phase where, once details are added or changes made to one area, every other thing in the picture needs to be brought to the same level of quality: quality meaning style and feeling of the features. I don’t regret proceeding, but it does mean extra effort to solve all the new challenges, and usually while attempting to solve those new ones arise. Other professionals would say this is overworking, but it really depends on what your intentions are as an Artist, and what motivates the work. If risks are not taken sometimes, a painting may never be all that it could be. Phrases we tend to cling to like “less is more” are not written in stone; sometimes more is more…learning is a good thing!
In landscapes details are best left for the imagination, whereas painting animals, birds or other creatures, a purpose needs to be clearer. Is the intention to portray character through shape and silhouette? other traits? specific markings? Is it the main focus or only a part of the whole? Computer tools are also useful in playing with colors and other possibilities.
Zen Garden 02
Saturday, May 9th, 2009
Zen Garden 02, 48W x 24H x 1D inches mixed media: texture medium, sand, white glue, modeling paste, kitty litter (new of course!), plaster. Wrapped sides painted, frame unnecessary. Sold but can be recreated, not exactly, but in the same spirit as the original.
This painting won the Visual Art Society of Texas title of Artist of the Year (2009) for me at Thursday night’s meeting. This piece hangs vertically, horizontally or can be flipped upside down 2 ways; four different orientation hanging options.
Most of the Zen Garden series are experimental, seeking various ways to obtain the raked sand look without having to pay high prices for the ready-made texture mediums that don’t cover much surface. Zen Garden #2 uses kitty litter bought at the dollar store mixed in varying portions with the above fillers, scooped into a large ziploc bag that was cut in the corner and squeezed out like cake icing onto the canvas. I still had to maneuver the medium into place with fingers because it was so thick coming out of the bag, due to the new absorption factors of new brands of kitty litter. I’ll experiment with aquarium sand and pebbles, or any number of other pet products that are far less expensive than art supplies.
While titles and awards can help refuel encouragement, finding our own source of motivation keeps us working and growing continually, regardless. Robert Genn in The Painter’s Keys has some interesting words about the subject of jurying and acceptance or non-acceptance, quoting Jung, Your vision will become clear only when you look into your heart. Who looks outside, dreams. Who looks inside, awakens.
Sumac Bushes Chair finished
Tuesday, May 5th, 2009
Sumac Bushes, 47H x 22W x 16D inches refurbished Director’s Chair, acrylics on canvas.
Four cropped pieces of the 1999 painting that inspired this chair hang above it, updated and framed with red narrow plastic w/glass frames. The chair and small paintings are a set.
Interactive
Saturday, April 25th, 2009
At the end of each month Oxide Gallery and Carino’s Italian Restaurant in Denton present an evening of Art, Dinner and Wine Tasting. Offering a new menu each month, an amazing four course dinner is complete with wine pairings for only $29.95. The room is separate from the rest of the restaurant, so offers an intimate setting where, at some point during the evening, the artist discusses and answers questions about their work. A new artist’s work is featured each month, and on Tuesday it’s my turn. Although this is a new idea it has been well received. Reservations are required, but April 28th is now booked solid, so the Dinner and Show is extended to take place on April 29th as well.
The Interaction with Flowering Shavingbrush Tree
I reapplied masking fluid to the painting in order to continue working on it but still preserve all the great marks revealed after removing the first application. At Carino’s on Tuesday others will participate and be a part of helping this painting come to life by removing the dried rubberized medium from the painting, and help unveil the finished piece.
Update, May 1st: Pulling off the rubberized medium was a hit! A few people kept going back to pull more off. If gallery owners are open to it, I’d like to continue doing this at future opening receptions too. Here are some photos of the fun.
“One last peel before I go…”
The perfect place for masking fluid
Monday, April 13th, 2009
Flowering Shavingbrush Tree, April 11th above: details of 85H x 45W x 3D inches acrylics on canvas,wrapped sides painted, trim frame. Still in progress, but the rubberized mask was removed in order to see exactly what stage things are at before continuing. The painting overall still has a few areas to open up; very little work tomorrow should finish it. Shortly after starting the painting I turned it upside down and applied the masking fluid with a toothpick and let it drip. Gravity can be used as a tool!
April 13th, Left: The top third will still leave as much of the primed canvas as possible; a gradation of unfinished space toward more finished at the bottom. I was hoping to leave it as seen here giving an airy illusion, but it does need to develop along with the rest of it…still not as much, but enough to show the main flower better. This means I’ll be once again dripping masking fluid on the piece upside down to preserve the interesting marks that occurred from the 1st application, and also create some new ones with any further work. For previous posts on earliest progress of this painting click here.
Merging Visions
Saturday, April 11th, 2009
White Pine Bows, 18H x 30W x 2D inches acrylics on canvas, 2008. Sold.
Now on exhibition at Merging Visions, Creating a Unique Experience with Art and Poetry, April 1st – 30th at Emily Fowler Library and North Branch Library, Denton TX. Poems are written by members of the Denton Poets Assembly for existing Art works by members of the Visual Arts Society of Texas.
White Pine Bows by Debby Davis, October, 2008
Fragile notes fracture light into rainbow,
Bouncing branch to bough within stiff white pines,
finding my eyes uplifted; what a show!
Violinist gently pulls; taut bow whines.
Bouncing branch to bough within stiff white pines,
like the beat of an orchestra playing.
Violinist gently pulls; taut bow whines
raining harmonies; colors displaying.
Like the beat of an orchestra playing,
my thumping heart strings tug me into now!
raining harmonies; colors displaying,
I am an audience of one somehow.
My thumping heart strings tug me into now!
It is the secret that only I shall know.
I am an audience of one somehow.
Fragile notes fracture light into rainbow.
Eastern Redbuds
Saturday, April 11th, 2009
Eastern Redbuds – Spring in Dallas, TX – finished April 11, 2009, took off all remaining masking fluid. 11H x 11W x 3D inches, acrylics on canvas, wrapped sides painted. Signature is on the side, so one is superimposed here on the front. Hang on a wall or display on a flat surface.
Eastern Redbuds is the first of sixteen 11H x 11W x 3D inches acrylics on canvas paintings of various aspects of trees, to hang together as a group or flanking other paintings. This one uses masking medium to block out areas of white. The first layer of dried medium was removed in the above thumbnails. Afternoon post, left: Adding another layer of masking fluid, seen as yellow.
Feb. 25th: below left, looks better turned on its side but it could be hung either direction, mask was removed then the painting was overworked unintentionally – all the marks that were the whole point of using masking fluid are hardly visible.
So on Feb. 26th: below right, more mask was applied, then white painted between branches, tore away a few select areas of the dried mask and left the rest on as texture.
$350.00 
The Shavingbrush Tree
Thursday, April 9th, 2009
The Shavingbrush Tree in front of a flowering Jacaranda tree seen in Chapala, Mexico, 85H x 45W x 3D inches acrylics on canvas, wrapped sides painted, work in progress. Thumbnail, left: started March 31st
The last painting helped me more aware of how powerful contrasts of light and dark can be. Here, areas of primer will be purposely be left unpainted. I was going to just carefully avoid the white areas and paint around them, but during the second phase I dripped some of the masking fluid to block out a few details in the main flowers. Already it is a very different painting process-wise; right from the start it has felt like a complicated puzzle; that stage doesn’t usually appear until near finishing. The first stages of painting are usually the most liberating but since I never pencil in an outline before painting, I fought a lazy brain right from the start that did not want to map out the placement… which doesn’t make sense because I really really want to paint this one! These are not typically the colors I use either, so there are a few intimidating factors. I hope to maintain fresh, bright Easter colors — partly because this is when they bloom in Mexico. Painting is much like a runner hitting “the wall” but persevering and breaking through it…however in painting there are many walls to conquer.
Oxide Gallery
There are a few pieces hanging at Oxide Gallery, Denton, TX for the next three months: Rocky Mountain Vista, Zen Garden #6, and all four recent encaustic works.
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