About lynbelisle

Lyn Belisle Artist’s Statement: Shards and Veils As an artist, my personal obligations and passions are pulling individual connections from the circular nature of time, fashioning shards of recognition from the well of collective unconscious, exploring the idea of the “secret handshake” in symbol and archetype, celebrating the frozen moment between what was and what is to come. I work in four main media to explore these ideas: • In collage, often using beeswax and altered papers to celebrate anonymous faces and otherworldly places • In unglazed earthenware clay and found objects, often to create spiritual and symbolic “neo-santo” assemblage • In fiber and paper, often to create wall pieces with natural colors, wax, felt, cheesecloth and digital photo images • In acrylic paint, often as pure, non-referenced exploration of form and veiling I take inspiration and comfort from the knowledge that we are all connected on a deep cross-cultural level with shared collective memories that each of us can glimpse through art without the need for words.

20-minute tune-up kit for busy artists

Have you ever felt guilty about not doing any art for a while? Do you buy cool art materials and never seen to have time to actually open and use them? Do you get all sorts of ideas from Pinterest, then think about all the stuff it would take, so you just forget it?

Auntie Lyn has a solution!  Put together a little creativity tune-up kit with simple materials and pre-cut 5×7″ substrates for mixed-media collages to kick-start your ideas and quell the non-productive guilt – you’ll have some finished artwork in 20 minutes.

There’s something magic about a 5×7″ blank surface – not too big to be intimidating, not too small to be insignificant. And you can do so much with work this size (see the journal cover video, below). Plus, you can put together a pretty cool collage in about 20 minutes, including getting out the stuff out and putting it back.

Here’s what’s in your 20- Minute Tune-up kit (and it fits in one box):

IMPORTANT – SET A TIMER FOR 20 MINUTES

You don’t have to limit yourself to 20 minutes (or force yourself to work for 20 minutes if you want to stop before that), but you’ll be surprised at what you can accomplish if you set  a 20-minute deadline and go for it.

My process:

I keep a stack of 5×7″ archival mat board handy for my own personal kick-start “meditations.”  I grab one, find a central image from a magazine that I like, tear or cut it out, see what it tells me to add, then just build quickly and intuitively using glue stick to adhere.

I sometimes add white paint to veil and coalesce the images, and sometimes add matte medium to seal the surface. I scribble with graphite, make lines with Sharpie, and often add a bit of color with the water-soluble oil pastels. DING!! (that’s the timer going off).

Example of 20-minute 5×7″ collage

So now I’ll share a personal story about how I know this works. When I started teaching in the Computer Science Department at Trinity University fifteen years ago, it was an impossibly steep learning curve for me and I had no time for anything, much less art. After three or four years, I started making “therapeutic” 5×7″ collages in a very limited time just to save my sanity.

These morphed into journal covers, which morphed into my first Etsy shop. I sold over 200 hand-made journals in that shop, some with rather weird custom requests! Making those small collages turned things around for me as an artist and gave me a much-needed tune-up and kick start.

Here is a video of 200 of those 5×7″ covers from that first Etsy shop. From that small-format beginning, I learned about composition, about marketing, and about how much you can get done in 20-minute segments, even if you have a challenging life. Click on the image below to see the video.

Now gather your 20-Minute Tune Up kit together and get busy – a cold front is coming and you can certainly find 20 minutes to hunker down and create!

Thanks, as always, for reading SHARDS.

 

Nine Antlers

“Nine Antlers” (detail)
Lyn Belisle 2018
Clay, plaster, gauze, fiber, found objects
14×28″

This mixed media work on canvas, titled “Nine Antlers” is my second entry for the Fiber Artists juried show. It has a compelling back story…….

In 1988, a team of archaeologists from the University of Texas in San Antonio excavated a burial site less than half a mile from where I live now. This is from the abstract of the study:

“The burials, identified as a Late Archaic component, were associated with two radiocarbon dates of 1920 B.P. and 2200 B.P. The burial practices of this time period as documented at this site include flexed burials of adults and children interred with a variety of grave offerings, including deer antlers, deer skull fragments, marine and freshwater shell ornaments, worked bone, ocher, a ground stone slab, and unaltered cobbles.”

One of the bodies was a young woman – here is her description:

It’s impossible not to wonder what kind of life this young woman had in prehistoric Texas, just north of the Olmos Dam. I wanted to honor her by putting together clay shards with pieces of fiber and found objects that represented both her burial and her discovery. I named her “Nine Antlers” because of this description:

“Nine antler racks (18 bases and associated deer skull fragments) were covering Burial 10. All are identified as from white-tailed deer. These were carefully placed atop one another with the base or cap of the skull placed towards or near the chest area.”

Someone must have loved her a great deal to adorn her body with these ritually placed antlers.

I stared by looking through my clay components for a good match – not too pretty or defined. And actual antlers would be out-of-scale, so I did not choose them.

These terra cotta pieces, below, almost worked, but they were not “deconstructed” enough to fit the concept.

I settled on white clay for the head and body and added bone-white branches. I wrapped them together with plaster and gauze, rather like a bindings of a mummy.

This is the first stage, below, with wire, wax and walnut ink added to the mix.

I covered a stretched canvas with linen drop-cloth strips, laid the figure on it, then partially covered the side with the fabric.

I kept adding linen strips and gauze, wire and plaster, wanting to both conceal and reveal the figure. The mixture of clay and sticks and fiber worked well.

Here is the finished piece:

“Nine Antlers” Lyn Belisle 2018 Clay, plaster, gauze, fiber, found objects 14×28″

“Nine Antlers” may be finished, but I want to continue working with this scientific narrative and perhaps do a series honoring the thirteen people who were buried and discovered here so close to my home. The materials I love – clay, fiber, bone, wax and pigment – lend themselves to this exploration.

I invite you to read this archaeological study, especially the details about adornments, traces of ochre pigments, and all of the other small gestures that connect us as humans across time. You can read the entire 1988 report about Nine Antlers and her people here.

 

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!