Marsh Studies

Here is the next shoreline study that has possibilities. It still needs a bit more work on the reeds because I think there is too much wax which makes that area too thick and dense. Some more burnt sienna, yellow and green around the middle. I love the way the light comes through the dark incised lines but I need to bring in more of those white lines to make the top section less dense. I don’t know if this is finished yet. I may have to work on it some more and will share the final results.

MARSH STUDY 1

As you can see below I scrapped away the top half of the painting and simplified the composition. I just did not like the thick application of those reeds. I felt that the previous painting had no life and it was too busy. I reworked the water and added water plants below the top reeds. I like the circle affect that I created. I think the water is too white and needs to be a lighter blue because the white suggests ice instead of water.

Marsh Study 3

Another marsh and shore line study. I think this idea has many possibilities so now I want to make a bigger 24” X 24” marshland painting and use this #2 painting as a starting point. I want to continue with creating a sense of distance and will also continue to add water lilies at the bottom of the next painting.

DSC_4852 copy

 

After viewing this painting for a while there was something in the painting that kept bothering me. I saw the straight line of the back weeds and the front weeds being too straight so I worked on this study again. I broke the top line and made it move in a wavy line. I also broke up the bottom line as well. I think the final composition is much better.

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Author: Anna

I am a painter and sculptor and have a studio beside a beautiful lake. For the past 40 years, I designed and built puppets, masks and sculptures and had solo exhibitions of these works. In 2013, I went back to painting and started working in encaustic. I am interested in issues of identity in terms of weavings as coverings to protect or to hide. The intersecting lines that I create over landscapes create an internal conversation versus the external between nature vs. nurture. Or how actual or psychological barriers erected in an environment can disrupt a cherished place. My engagement with woven structures speak to complex dialogues between identity and psychological barriers. My second passion is teaching. I try to encompass more than teaching my students art techniques. I encourage students to, not only learn the language of art, but to also engage in critiquing art. Additionally, we continually explore ways to enhance one's voice through art in relation to contemporary and historical issues. Encaustic adventures is a blog where not only processes and techniques are taught, but hopefully this sites will engage in a dialogue about the making of art, notions of voice, identity, themes, and ways to establish a body of work within an historical contexts.

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