3D
« Previous EntriesSalish Whorl Chair finished
Saturday, December 20th, 2008
About the chairs: Art on Art on Art - A Tribute to Creativity
Each functional, comfortable 29 x 29 x 29 inch replica of ancient Art or artifact re-utilizes vintage plastic lawn chairs that were considered Art during the 1960’s. The original structures, damaged or unusable were refurbished by a process of weaving canvas strips along with white glue paper-mache style over the entire plastic top and bottom, and multiple layers of drywall compound sanded in between coats. Designs are drawn with graphite, painted with Acrylics and a few coats of varnish for durability, then waxed to finish and enrich the colors. Two more Solaire chairs and other styles of chairs are in various stages of completion yet to be embellished with historic Art themes from other cultures. Other styles of chairs are also in progress.
The skeletal structure of these chairs, called Solaire chairs, were manufactured during the 1960s and 1980s. Art in their own day, these particular ones were unusable; in poor condition they were bound for the landfill sight. Originals designed by Fabiano and Panzini, a French Canadian team, the Solaire chairs are now collectors items, some selling for $500 a piece.
The first chair given a facelift produced a large replica of a Mayan bowl. The Mayan culture (Mexico, Guatemala, Belize and parts of Honduras, 900 B.C. - 900 A.D. Common Era) developed a very complex written language using pictographs. Many of these were facial expressions and hand gestures. The bowl displays the birth of the Maize God, and along the top edge the name of the bowl’s owner is written, as well as possibly what it was used for.
Salish Carved Wood Whorl
Whorls are weights that stabilize spindles used for spinning yarn. The yarn in this case would have been wound just above the whorl. Spinning yarn and weaving fabric are some of humankind’s oldest technology. Left: example of a spindle with whorl, Eve Spinning Illuminated Manuscript c. 1170 A.D.
Historically everywhere wood has been used for tools, utensils and everyday items, 
they were often carved. This spindle whorl was used by a Salish Northwest Pacific coast community living south and east of Vancouver Island. Here a central human figure holds two otters. A Kwakiutl (also living in Vancouver Island territory) prayer to a Cedar tree prayer was very much a part of the inspiration for this chair. It reads: “Look at me friend! I come to ask you for your dress, since there is nothing you cannot be used for. I come to beg you for this, Long-life maker”.
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December 18th: Finishing details, further definition with Acrylics and two coats of varathane, waxed. Decided against the decoupage of the Kwakiutl (also living in Vancouver Island territory) prayer to a Cedar tree because it does not look as good as hoped. December 16th: Carved the plaster in areas then inlaying purple for contrast rather than black. Purple glazes also make yellows much richer. 
Right: back of chair, rubbed off areas give a carved effect. The undercoat of yellows shines through succeeding layers, and carved wood textures are created with varathane leaving raised brushstrokes..and trying whatever else I can think of! More modeling with plaster and light sanding, then redrawing with graphite, and the design is continually adjusted.
New chair started: Salish Wooden Whorl
Sunday, December 14th, 2008
This functional replica of a Salish Carved Wood Whorl re-utilizes a 1960’s plastic lawn chair, 29 x 29 x 29 inches that was considered Art in its own day. The refurbished chair has woven canvas strips and white glue applied paper-mache style over the entire plastic top and bottom. Multiple layers of wall plaster are sanded in between coats. The design is sketched with graphite then painted with acrylics, and drawing is continually adjusted as layering of materials continues.
This is the second chair of four in the historic Art-themed series. The other two chairs are in the earlier stages of progress.
Oxide Gallery
Sunday, November 30th, 2008
Four pieces will show December 2nd, 2008 through February 28th, 2009 alongside other Artists’ work at the Oxide Gallery, 501 West Hickory Street, Denton, TX . 1) Calgary In September 2) Gold In The Mountains #2 3) Mayan Bowl Chair 4) Zen Garden #8.
Join us at the Show Opening for music, refreshments, and 10% off purchases on December 2nd, 2008, 6 - 9 p.m.
Large Leaf Maple
Thursday, November 27th, 2008
Large Leaf Maple, 36 x 12 x 3 inches Muslin, glue, acrylics on wrapped canvas.
As seen here I imagined the leaves glowing in the moonlight. The piece hangs horizontally with push-lights placed in the back, outlining the sculptural sillhouette when the room is dark. Hung vertically it does not have the lights behind but is another way to switch it up when you’re looking for a change!
Large Leaf Maple
Monday, November 24th, 2008
Nov. 17th: 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 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. 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..or who knows what else. In these 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, I 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.
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.
I experimented with tinted primer and in other areas a very watery solution of acrylics then quickly realized that paint was smothering all the musliny goodness! The fabric went limp from the weight of the paint, meaning I pretty much had to start the creasing process all over again once it was dry. Duh, of course…it’s funny how you can know things like that, but when you are ten steps ahead with anticipation for a new project these basics are easily overlooked. Because of this I need to slow down and be more gentle with the painting process. There is going to be a lot of stopping and starting with this one, which is exactly how overlapping projects starts. It’s a good time to start on the other two 36 x 12 x 3 canvases in this series.
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.
(New viewer comment: Lynda’s website)
New Roots Garden Sculpture
Thursday, June 5th, 2008
…a new addition to the Roots Garden Sculptures, from a dead thyme plant.
Zen, Day and Night
Thursday, May 15th, 2008
Pebbles / Zen Garden #8 - Day interest and night drama! 24 x 24 x 1 inches Acrylics on woven canvas strips over a layer of wrapped canvas, hangs about 1″ from the wall surface. The wrapped sides are painted; frame unnecessary. The tiny openings between woven strips are brightly colored orange and reds, and to ensure they’d be noticeable a string of small clear lights are woven into more canvas strips behind the frame. It’s quite attractive in the dark and also hung diagonally, optionally hung as a square. There are numerous ways to hang and view this painting.
I still like the idea of enhancing and receding larger geometric patterns, as in the central square as seen in the May 13th post, but maybe this will be reserved for Zen Garden #9. View the piece from start to finish April 27th, May 12th and May 13th.
Zen Garden #8 - work in progress
Tuesday, May 13th, 2008
Crackle glaze was applied at one stage, but the humidity is too high so it didn’t take, may apply again later at some point. Today playing with the patterns, colors, refining the pebbles, splattering to give them more realistic texture.
Zen Garden #8
Monday, May 12th, 2008
The Emerald Tree Boas is out in one work-area, the recently started Maple Leaves in another, and in the afternoon when I feel less like thinking but still want to keep the hands busy, have started painting Zen Garden #8. See April 27 post where the 24 x 24 inch stretcher was woven with ironed canvas strips.
Woven canvas
Sunday, April 27th, 2008
I started covering the new stretcher-frames we built last week. Leftover canvas was cut and ironed into strips about 1″ wide, then woven across a 24 x 24 inch stretcher. I have a few ideas, and will start painting this one when Artini is finished.
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