Boro-Horse – meant to be!

Boro Horse
Lyn Belisle 2018
24″ high with stand
Mixed media fiber, clay and paper

This magical horse insisted on being created while I was in the middle of getting another piece ready for the Fiber Artists juried show. I had some scraps of indigo linen on the table when I spied a beat-up papier-mache horse figure that had come from my old studio and was much the worse for wear, with one leg broken.

On impulse, I wrapped the strip of indigo linen around his broken leghe liked it! So I kept going, patching in the tradition of the Boro textiles of old Japan.

Example of patched indigo Boro cloth

Boro textiles are usually sewn from nineteenth and early twentieth century rags and patches of indigo dyed cotton.  The diversity of patches on any given piece is a veritable encyclopedia of hand loomed cotton indigo from historic Japan.

Once he was covered with indigo scraps, Boro-style, I began adding strips of sari ribbon. I sewed a saddle-blanket for him and added sticks and beads and fund objects.

Detail of saddle blanket on Boro-Hourse

This weekend, I decided that Boro-Horse needed a stand to elevate him to his proper status as a very cool animal.

I used more scraps from old indigo and rust projects to cover his platform, the sealed it all with acrylic matte medium.

Boro-Horse will have little Velcro dots on the bottom of his hooves and matching ones on the stand so he will be able to be secured but still be removable. With his stand, he’s about 24″ high.

He’ll be one of my entries in the San Antonio Fiber Arts Juried Show. I encourage all of you to enter as well. If you work in fiber of any kind (including paper, which is a fiber), you are eligible to enter your artwork in the upcoming 44th Annual Juried Fiber Art Exhibit!!

When and Where: Say Si Art Gallery, located at 1518 S. Alamo St., San Antonio, TX 78204. Art will hang December 7, 2018 to January 25, 2019.

You might just see Boro-Horse there!!

 

 

Wax and Words, Paper and Clay, Danielle and the Magic Bus

The Wax & Words Workshop interactive video eBook is live and available on my website! Since I’ve talked about it so much, that’s all ya need to know! Thanks to those of you who have reviewed and purchased it 🙂

Click on the image above to find out more – and thanks to Dani for her review:

“Hi Lyn, I really enjoyed your Artful Gathering workshops this summer and ordered the DVDs. I’m looking forward the Wax and Words workshop ebook next. Thank you for making these workshops available to those of us unable to attend your classes in San Antonio.”

And now, ONWARD! About paper clay — Leslie Newton (of the San Antonio Potters Guild) and I are teaching a workshop this Saturday at the San Antonio Art League on paper-infused clay. This is a new clay product for me. It’s not the same stuff as Creative Paper Clay. This is porcelain or earthenware clay body combined with paper fibers, and needs to be kiln-fired. Leslie mixes her own and fires it to about 2200F.

Graham Hay is one of the foremost potters currently working with paper clay

I used Leslie’s clay mixture to make some small ornamental examples for our workshop. I fired mine to 1900F and got some nice porcelain-like results.

Ornament assortment made by moi with paper-infused clay (and finished with walnut ink, of course)

Apparently, there are a lot of different formulas for paper-infused clay. Last week I went to Roadrunner Ceramics and bought a 25-pound bag of their “bone paper clay.” It’s weird stuff, more fiber-y than Leslie’s mix. It’s quite squishy and pulls apart in ragged layers.

Here are some pictures of the good and bad things I found out as I worked with the clay – because it has paper fibers, it can get stinky black mold in the clay body (which you can spray with Clorox to kill). However, because of those fibers, you can work with very thin slabs of clay!

And here’s my first experimental piece with that paper clay formula from Roadrunner:

Experimental piece made with bone paper clay

Some of the edges look as delicate as paper, but they are sharp because they’re fired clay! I believe the fiber burns away in the kiln leaving just the clay-coated texture.

In a SHARDS post last year called “Lotus and Clay”, I mention that Leslie and I love Roadrunner Ceramics as our go-to clay store now that Clay World has closed.

Even if you’re not a potter or ceramicist, they are super nice to their customers and encourage questions from everybody.

OK, I’ve saved the best for last. When I was looking around for materials about using paper-infused clay, I came across potter Danielle Bluestone of Magic Bus Studio – you gotta watch this – she is my new hero.

There is no way to follow Danielle’s act, so I’ll just say, “Bye for now.”

The hermit returns with an eBook

I can’t believe it’s been almost two weeks since I posted on this blog – that may be the longest dry spell ever. But I have an excuse, honest. I’ve been finishing up work on the Wax & Words eBook, and it’s done!!

It’s not quite ready to put up on my website shop page (I want a couple of people to look at it for me as reviewers) but it will be available by Sept 1st.

I’m so proud of this new eBook! It’s 70 pages of pictures, inspiration, and examples along with nine videos that add up to over an hour of close-up instruction. It will cost a mere $18 (same as my Talisman eBook) and it’s in an interactive PDF format, which anyone, Mac or PC person, can download. You can read it, watch the videos, take whatever time you need, and print out whatever you like. Here’s the Table of Contents:

It’s weird – when you do a project like this, you can’t do the Introduction until the whole thing is finished because you gotta have examples to show in the introduction. Anyway, here’s that introduction, just as a sample. Sneak preview? Whatever! The videos will be password protected once the book comes out, but for now, this one is available.

Introduction and Welcome to Wax & Words from Lyn Belisle on Vimeo.

Here’s a photo of just a few of the dozens of collage papers I had fun making for the Wax & Words eBook.

And here is a photo of some of the projects that are FINALLY finished!

I’ll send out a post in the next few days when the book is available on my website. Yay!!! Thanks for reading, thanks for following, thanks for creating!!

Metaphor and Nostalgia at the Carver

Congratulations to Michelle Belto and her seven fellow artists for a visually diverse, culturally rich exhibit called Exchange Project now showing at the Carver Community Cultural Center until September 14th. I strongly urge you to make time to see it.

The premise is fun – what was your childhood San Antonio telephone exchange name? Taylor? Pershing? You could tell where your friends lived by their phone number prefix. Exchanges defined both the geographic and demographic qualities of those San Antonio neighborhood.

Each artist in the exhibit expresses an authentic sense of childhood and local  neighborhood, and each one is different in both media and metaphor.

Some of my favorites:

Bernice Appelin-Williams addresses directly the advertising of the 50’s which often used African-American stereotypes in soap ads, wanting to “wash themselves white.” One of her most compelling pieces is titled “Seeds.” In her statement, she says, “Seeds are a sacred metaphor for life and renewal, it is the gift of life for those seeking/wanting; plant the seed of distrust, of sub-human, and one is denied the kind of life that is full of energy, full of hope.”

Laura Mijangos provides a visual contrast with her paintings, which are mysterious and misty, much like childhood memories. Again, the metaphor – an infinity sign floating like a jump-rope above the paint-veiled child.

Viewers could spend forever exploring Diane Mazur’s large mixed-media collage which is filled with symbols and memories of her childhood house at 400 Mandalay Drive. I loved its complexity and composition, its constructed levels.

And it’s no secret how much I love Michelle Belto’s work. She chose to construct a “neighborhood” of three-dimensional houses with wax and mixed media, each with its own clues about the inhabitants. Michelle is a marvelous artist and creative craftsman.

Other artists have equally compelling work in The Exchange Project – RitaMarie Contreras, Thelma Muraida, Patricia Ortiz, Sandy Whitby. This exhibition is delightful, thoughtful, and diverse.

Please go see it, especially if you grew up in a San Antonio in the 50’s and 60’s – but the work truly speaks to everyone on every level. There’s plenty of parking around the Carver, and it’s easy to get to.

EXCHANGE PROJECT

Now through Sept 14th

Carver Community Cultural Center
MAP Directions
226 N Hackberry
San Antonio, TX 78202. San Antonio

(210) 207-7211.

 

 

Quick Kitchen Counter Photo Trick

Sample pieces of paper-infused porcelain clay

I took that fairly impressive photo, above, on my kitchen counter this morning with my iPhone.

Want to see how you can get the same photo-studio effect? All you need is some Scotch tape and  large piece of drawing paper. It helps if you have a light under your kitchen cabinet that shines on the counter.

So here’s my lighted kitchen counter with the little clay pieces sitting on it. I taped an 18″ x 24″ piece of newsprint against the back wall of the counter and let it curve loosely down on the counter surface.

Then I arranged the three small pieces in the center of the paper so it looked as if they were “floating.” I snapped three or four photos with my iPhone and chose the best one.

Later, I needed a good photo of a project I just finished for my Wax & Words eBook. It’s a little standing screen made with encaustic panels covered with marks and letters. Waxed surfaces are hard to reproduce in photos. This is what it looked like when I took the photo on the table in my studio. Kinda blah.

So I brought the little project home and tried my kitchen counter photo studio technique. I added an interesting rock and arranged the everything on the taped-up sheet of drawing paper.  Check it out!

Here’s how the pros do it – no cheap drawing paper or scotch tape for them.

But isn’t it amazing what a seamless background can do for a photo, even an iPhone photo? And nobody has to know that you took it on your kitchen counter.

 

 

 

W&W2 Workshop report

Give a bunch of cool poets some hot beeswax and whaddya get? A very nice collection of encaustic collages!

I taught another Wax & Words workshop at my studio yesterday at the request of Pamela Ferguson, who wanted to share the beeswax collage techniques with some of her writer friends.

I was curious to see if their work emphasized words more than images and how well they would do with asemic writing – after all, they are in the creative vocabulary business. As usual, there was a eclectic mix based on each participant’s perception and focus.

The trick to doing best-practices encaustic college is to use adhesives that don’t block the absorption of the beeswax. Acrylic medium won’t let wax penetrate, so that’s out. I often use glue sticks to attach paper to the substrate before waxing, and asked the participants to try a relative new product called  Elmer’s Re-Stick Glue Sticks.

The results were just so-so. Edges kept peeling up before we applied the beeswax and needed more glue, but the glue stick did allow us to shift things around a bit before permanently attaching them. I think I’ll stick to my tried and true favorite, Scotch Permanent Glue Sticks.

We also made sure that all of the paper we used was absorbent so the beeswax would not just sit on the surface of the collage elements. All of this info will be in the video Wax & Words eBook, which should be available in a couple of weeks on my website..

When you watch the workshop video, below, you’ll see the richness the writers brought to their Wax & Words collages. And you’ll also see the completely individual approaches to the task. Always amazing – – –  !

Wax & Words Workshop, Take Two from Lyn Belisle on Vimeo.

 

 

 

Marfa – and wax on black exploration

In the 1970s, minimalist artist Donald Judd moved to Marfa, Texas, where he created giant works of art beneath vast desert skies

I’m back from a week in West Texas and the beautiful Davis Mountains. One of the best parts of the trip was visiting Marfa and connecting with minimalist artist Donald Judd’s vision. There’s a great NPR article about this – click here. I love the quote by sculptor Campbell Bosworth“You just come out here and you feel like, I want to make something; I want to do something!”

Maybe it’s the minimalist influence, but it must be true. The Marfa getaway ignited my creative curiosity, and as soon as I got back, I went into the studio and started working in black and white on an experiment with black substrates and beeswax.

I wondered what would happen to the translucent layers of beeswax when they were applied over a dark background.

I used an absorbent black paper and added some white markings with different kinds of media – crayon, stamps, paint:

I added a layer of beeswax – it made it kind of glossy, and did penetrate into the paper, which had been a concern. You don’t want it to just sit on the surface of the substrate:

More experiments – black and white (and a bit of walnut ink):

Like all experiments, some of the techniques worked well, and some were definitely “learning opportunities.” But there is a certain potential for interesting effects that are both chalk-like and smokey. I am going to push these ideas a little further and see what develops (like old black and white film).

Now that I’ve been “Marfa-ized” and infected with some new ideas, it looks like I may be spending more time at the studio, perhaps even developing a wax on black workshop!

 

SAY Si students shine at Art League’s Semmes Studio workshop

One of the joys of being part of the San Antonio Art League is planning community outreach programs that share our resources with young artists, and our recent youth workshop was a real joy. Our current exhibit is a collection of 27 paintings from the Edgar B. Davis Wildflower Competitions  in the 1920’s. We wanted to share this work and the historic story with creative kids, so we turned to our friends at SAY Si Youth Art Program.

Long story made short, Edgar Davis was an eccentric wildcatter who made a fortune in oil and offered huge cash prizes to artists to paint Texas wildflowers (supposedly, his first well was struck in a patch of bluebonnets). The San Antonio Art League, which was founded in 1912, agreed to host the competition, and many of the paintings ended up in our permanent collection. When these amazing paintings are exhibited, which is all too rarely, scholars of early Texas art flock to see them.

In a collaboration with SAY Si youth art program, seven eight-grade students visited us last Saturday to explore the collection. Each student chose a painting from the collection that resonated with them for aesthetic and personal reasons.

Then they joined my co-teacher, Stefani Job Spears and me in the Semmes Studio for a workshop called Contemporary Collage Inspirations from SAALM’s Edgar B. Davis Collection.

The young artists used their cell phones to take references photos of the pieces they had selected. Then they tore paper and used paint and pencils and markers to interpret the paintings in a personal, contemporary way.

They worked with absolute concentration and focus, each listening to her own music and thinking her own thoughts. At lunchtime, when they took a break to eat in the King William park across the street, Stefani and I could hear them laughing and chattering a block away, but when they were engaged in their artwork, there was a silence that was almost meditative.

When we discussed the finished work, there were lots of insightful comments about the subjects of the early Texas paintings and the old stories the girls had heard from their grandparents about how life had been for them.

The collages were totally original interpretations, filled with imaginative treatments of traditional subject matter.  I was in awe!

I hope you’ll take a minute to look at the video of the workshop (below) and watch the interaction between these young artists and the iconic Texas paintings in the Davis collection. I learned so many lessons from watching these creative girls. Many thanks to Stephen Guzman and Ashley Perez of SAY Si for bringing us together.

SAY Si Students visit the San Antonio Art League’s Semmes Studio for a workshop about the Davis Collection from Lyn Belisle on Vimeo.

Come see the exhibit that inspired these students’ work!

A WILDCATTER’S DREAM: ART, OIL AND WILDFLOWERS
Open to the public from June 10th, 2018 to July 27th, 2018 – EXTENDED UNTIL AUGUST 10! Free and open to the public.

 

 

 

Creative collaborations

Earlier this month I got several emails from mixed-medial artist and tarot maker Dawn Zichko, whose work I’ve known and liked for quite some time. I wrote another SHARDS post about her about five years ago.

Dawn has a great blog called Mental Mohair which often features a daily card from her Everyday Tarot deck, which you can find in her Etsy Shop.

Four cards from Dawn Zichko’s Everyday Tarot deck

In her first email, Dawn sent a photo with a short note that said,

“Lyn, I thought you might enjoy seeing progress on a collaborative piece.”

Here was the photo (below) – very intriguing – and some of my faces were part of the collaborative design. I asked her if I could share the photo, and she requested that I wait until they had worked a bit more on it.

I’m including that unfinished version so you can see the structure of the body.

The following week she sent photos of the completed collaborative piece along with this description of the process:

Lyn, we created the Earth Protectress in ritual space. In brainstorming at earlier gatherings, the creation of a goddess was included in the list. So we all thought of creating her. In the sacred space we chose the parts we wanted to work on by chakra.

Essie (not her real name as she would like to remain anonymous) created the head/Third Eye/Crown, Patricia created the torso/Heart/Solar Plexus, and I created the base/Root and neck/Throat (this is the part that needed reconstruction — oh, the analogies!).”

The other women let me take her home and run with the additions. The clay faces, hair, pouch, and skirt were all done by me, but the additions were discussed with Essie and Patricia before working on them. I am blessed they trusted my creative ramblings. It was truly a touching experience to create this being in togetherness and sacred space.”

I think it’s just glorious – the whole is greater than the sum of the parts, and yet each part is amazing.

Artist collaborations can be tricky – sometimes it’s obvious which person did what part, but in this case, there is a seamless sense of sacred purpose. Thanks, Dawn, for sharing this work!
_________________________________________________________________________

Have you ever gotten involved with a collaborative project? How’d it work for you?

I have to admit, it’s something I’ve rarely tried, certainly not recently. But a lot of my artist friends, particularly fiber artists, love the collaborative process.

Surprisingly, there’s not a whole lot written about collaborative visual artwork, but I did find this thoughtful post called Cloth, Creativity & Collaborating with fiber artists Cas Holmes and Anne Kelly.

And I also found an engaging article about a mother’s painting with her five-year-old daughter called Making a Masterpiece Together.  Here were their guidelines:

1. We would each add one color to the canvas everyday.

2. We would do our painting while the other one was out of the room, so they would be surprised.

3. We would try not to paint completely over the other persons art work.

Those are great rules! They would work for any kind of collaboration, whether the artwork is done for a sacred and serious purpose like Dawn’s was with her friends, or with an informal group and just for fun.

The trick is always going to be keeping an open mind. No fair thinking “You messed up the part I did!”  Instead, you gotta think “Look how you enhanced my work.” Right??

Photo by Ella Jardim on Unsplash