"nest of dreams"
For anyone who hasn't yet come across it, I highly recommend the "moveable feast" which has been making the rounds lately. It started the other day with Terri Windling's post about artistic inspiration.
It's been fascinating to read about other people's experience of the muse, sharing thoughts on how to court her; commiserating about those times when she seems to have abandoned us; wondering at our dangerous dance with her which occasionally leads folk into realms beyond, into what some call madness.
It's been getting my thoughts about inspiration fired up, and one theme which I'll be exploring in an upcoming post is the nature of landscape and the muse, and how for some artists (of all stripes: writers, musicians, painters...) a connection to landscape - often to a very specific landscape - is vital to their creativity.
In the mean time, I wanted to share a "process" post.
A while ago, I believe it was Jan who asked to know more about my process of using oils with cold wax. As I was making this piece last week, I thought this would be an opportunity to discuss it a bit.
I've been playing with smaller format paintings (20 x 20 cm and 15 x 15 cm wood panels). This one is a gift for a neighbour upstairs (who recently wrote the final exams of her grueling years-long process of jumping through the hoops for the German equivalent of legal bar exams.)
Her favourite colour is green, and as I don't often paint with green, it was a good challenge. (Not to sound lame here, but the photo doesn't really capture the depth of the cold wax surface. Need better photography and editing skills for that than I possess!)
Cold wax medium is sort of a modern spin on encaustic painting. It doesn't require heating up of the wax as it's mixed with solvents which keep it firm, yet soft. It's got a rather "buttery" consistency which allows it to be easily mixed with oil paints from the tube, or with powdered pigments. What cold wax lends to a painting, is a slight translucence - depending upon how much wax to paint you use - and it speeds up the drying time of the oils, and once dry, it allows you to really attack the surface - scraping, gouging, scoring to add texture and depth.
Above are some of my favourite tools when painting with oil and cold wax: printmaking brayer/roller, metal paint spatulas, old flooring nails from the nineteenth century house we lived in in Toronto, a bone folder, an old chop stick.
Usually I don't use aluminum foil to line my cardboard pallets, but I was out of the slightly waxed baking-paper which I normally use. I start by mixing the cold wax medium with the oils and put the colours fairly randomly onto the panel. Wood supports are essential. If the ratio of wax to paint is too high (which in my case it most certainly would be) then a canvas support would pose the danger of the surface cracking down the road. Plus, I wouldn't be able to really go at the paint in the way I like to, for risk of ripping or denting the canvas.
As well as oils from the tube, I use oil sticks. These are fabulous, and allow for more gestural markings.
As I worked, it got messier and messier. Decisions were made. The horizon became a...what...a verizon when I decided to tilt the painting a quarter turn. There were layers of paint put on with pallet knife, partly scratched off, rolled over again with the brayer, each step adding texture and a subtle interplay of colours in the various layers. (Again, I'm afraid that my photography doesn't quite capture it.)
One of my favourite contemporary artists, who happens to work in oil and cold wax medium, is Rebecca Crowell. She is a Meister at creating subtle, glowing, earthy paintings very much inspired by nature. If you're interested in this medium, or if you just want to see some gorgeous abstract paintings, her site is well worth a visit. She has also set up a dedicated web site to exploring cold wax painting techniques where artists share advice and examples of their work.
Once the nest was there, I added a square of gold leaf. This is tricky to work with, as the leaf is so thin it's almost like powder.
I was still not completely happy with it, and mixed a tiny bit of white paint with a mound of cold wax, and rolled it over most of the painting, including the nest, but not the gold. This seemed to unify the entire piece.
In some of my collages, I mix words with images. This is something I'm starting to do in some of my paintings. For this one, I wrote "nest of dreams" on Chinese paper, tea-dyed it, then sealed it with acrylic medium, so that it could be imbedded into the painting with a layer of cold wax beneath and above it.
The muse was with me last week - in spite of my being down with a kidney infection and a double dose of anti-biotics. I relocated my *studio* to the coffee table next to the sofa on which I spent my time in and out of sleep.
When the muse has her cattle prod at your backside, what can you do?
Thanks for sharing all your techniques tips and pointers about cold wax and oils... I sent your blog post on to two friends who are planning to switch to oils... I myself have tried both oils and cold wax.. and always come back to acrylics... maybe I will try them again.ReplyDelete
this is fantastic, thanks.ReplyDelete
Thanks, Donna. One of the things which had put me off oils at the beginning was the idea that I needed to use solvents to clean the brushes - but cheap cooking oil and dish soap works, maybe not as quickly, but less toxically. The long drying time can be both a pro and a con - which cold wax helps to speed up, but then you're getting more solvents in the air...Acrylics really are good, these days. The colours are much better than before. I keep meaning to experiment with them more!ReplyDelete
Thanks, Velma. Sounds like your travels and teaching are going really well!
Really enjoyed the opportunity to get a glimpse into your process ~ your use of color and texture never fails to impress me!ReplyDelete
Another great post Lynn! Yours are always worth waiting for.Delete
And even though I understand about the photographs not showing depth/texture/color as would accurately reflect the subtleties, in the process and what have you, I do think that you pulled it off.
I love seeing all of your supplies, including your coffee mug (or do you drink tea?) Sorry to hear that you were unwell, and hopefully you are on the way to a full recovery. Make sure to include lots and lots of TLC for you and your inner child and your muse.
Thanks for an informative post Lynn.It's interesting that when we are inspired we can work almost anywhere.ReplyDelete
Hi Jan! Yes, I find it so difficult photographing paintings.ReplyDelete
(There was tea in the mug, but just as often it's filled with coffee. Anything with caffeine!)
I'm feeling much better now - thanks!
Thanks, Ruby. Yes, we can certainly be adaptable when needs must!
Hello there, Lynn recently found your blog and have been reading lots of your older posts. Thanks for sharing the process, it is so fascinating to see. Love viewing all your tools and supplies !!ReplyDelete
Thanks for visiting, Carole. Glad you enjoyed the posts.ReplyDelete
I've popped over to your blog - it's lovely! I look forward to reading more of it.
Very interesting process. I relate to the possibility of layers in paintings. Hope you are feeling better! Thanks for visiting my blog, too.ReplyDelete
Thanks for your kind words over at The Indigo Vat, Lynn. Your Nest of Dreams has me completely captivated here. I love to read about the process of oil painting and wax and whatnot-- so foreign to me, so much like magic.ReplyDelete
Thank you, Sylvia.ReplyDelete
Your blog is just gorgeous - a quiet and profound inspiration!