Continuation of organic forms in nature.

I am back in my studio and when I am away I really miss working in that space. I have all of my tools and materials in one place and can make a mess if I want and leave it for a few days.  I also have a viewing wall where I can place paintings and sit back and analyze them.  

 As I said in my previous post, I am trying to become consistent with the process and theme for my works. My focus is still abstracting nature elements but I have decided to limit my colour palette, and working with gestural strokes and organic forms. Not doing geometrical tight works.  In the spring I find the popping of leaves next to the dark greens of the spruce and pine trees very seductive. The maple leaf buds are golden browns and oranges next to the birch leaves being a glorious lime green. I see such wealth of colors all around me. How does one capture these scenes in an abstract way? The following artworks are the results. The first white one represents the snow and coldness of the winter.  Little color and only whites and blacks with a touch of brown. The second one represents the fall with the reds and greens. The third one shows summer with the green leaves and light shining through the negative spaces. 

Each work is 12″ X 12″.  I sew the collaged torn and cut papers onto paper and gluing the finished sewn piece onto a canvas.  I add pigmented wax to the surface of the papers.  

 

P1050475 copy

P1050476 copy 2

P1050478 copy

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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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