Brown Paper Packages

I’ve never been to Moab, Utah, but Moab came to me in a brown paper package a couple of days ago! My long-time online friend Wilma Sliger who lives there sent me a big assortment of sticks and stones and sand and beads and cheesecloth and petrified wood – a Moab sampler! Who doesn’t love getting an unexpected package in the mail??

Even better, there were handwritten, funny notes attached to the objects.

There is a small container of red sand include in the stash – just the thought of that red sand and the monumental land that it comes from gives me shivers. Maybe some prehistoric artist used that sand as a colorant on some of Moab’s magnificent petroglyphs.

I learned that when the iron molecules in the sand come into contact with the oxygen in the air, they oxidize – basically, they rust – turning into iron oxide, which has a reddish color. And you could mix them in acrylic medium or beeswax for a faux rust finish, I’ll bet.

Obviously, Wilma feels the magic of the land in her own work – I did a post on her cat shamans a couple of years ago. This one has an glass evil-eye protection charm and looks pretty scary-clever to me.

Two things to take away from this – one, wherever you live and create, that area has its own resonance, quiet or dramatic, powerful or gentle. If you are ever in need of inspiration, go outside and look around you at the big things and the small ones.

And secondly, put some special treasures in a brown paper package and send it to a friend in another part of the country or world – it will make their day!!

PS . Here’s a little checklist of ways to connect with the land no mater where you live. Some you may be doing, some may be obvious, some may not work for you, but all are good practices:

Seeking inspiration and magic from nature in one’s local environment can be a deeply rewarding and sustainable source of creativity for artists. Here are five ways artists can connect with nature for inspiration:

  1. Daily Observations: Take time to regularly observe the natural world around you. Pay attention to the changing seasons, the behavior of wildlife, and the nuances of the landscape. Bring a notebook or sketchbook to jot down ideas, sketch, or make notes about what you observe. These small, daily observations can lead to significant creative insights.
  2. Nature Walks and Hikes: Explore your local parks, forests, trails, and green spaces. Spend time immersed in nature, and take long walks or hikes to connect with the environment. The sights, sounds, and smells of the natural world can trigger new ideas and emotions that can be channeled into your art.
  3. Natural Materials: Use natural materials as part of your creative process. This can include using leaves, flowers, twigs, stones, or other found objects in your artwork. Consider making natural dyes or pigments from plants for painting or using natural textures in your sculptures or installations.
  4. Photography and Sketching: Bring a camera or sketchbook with you on your outdoor adventures. Capture the beauty of nature through photography or create on-the-spot sketches. These visual records can serve as references for your artwork and help you better understand the details and patterns in the environment.
  5. Community Involvement: Join local environmental organizations, conservation groups, or community gardening projects. Volunteering or actively participating in these activities can provide a sense of purpose and connection with the environment. It can also expose you to like-minded individuals who share your passion for nature and creativity.

Remember that inspiration from nature can come from the smallest details, so stay open to the subtleties of your surroundings. The magic and inspiration are often found in the intricacies of the natural world, and by immersing yourself in your local environment, you can develop a deep and personal connection to your surroundings that will infuse your art with a unique sense of place and meaning.

Studio as Media Fusion Lab

My artwork typically deals with combining, curating, collecting, and composing different elements for collage and assemblage. To make all of that work together requires a bit of engineering trial and error .

I’ve been posting a few photographs of experimental transfer processes that I’m trying with various combinations of beeswax, solvent, paper, and fiber just to see what works, what sticks, what is worth further experimentation to get the look I am striving for. The idea is not to make pieces of finished art just yet. It’s to put in some time and thought on combinations that might eventually suggest a way to express a meaningful concept in a different way.

For the first series of experiments, I’ve used a toner print on plain paper with four different substrates as image transfer receivers. I used the same image on all of them – here she is!

The first step is to transform the image to black and white and print it on a laser (toner) printer – mine is a very old Brother L2320D B&W laser printer, cheap, about $100.

Here are the initial transfer results on four different surfaces – muslin, canvas, rice paper, and mulberry paper. Notice how the toner ink works differently on each surface.

I liked the one on the upper right – it’s smooth cotton muslin. Here it is, below, next to another version on rough canvas drop cloth that used to live on my studio floor.

Both have a coat of beeswax added, then the beeswax is fused into the fabric with a heat gun.

The beeswax acts as a bonding agent between the muslin and the rice paper backing that it’s fused to. The transfer solvent doesn’t seem to affect the beeswax. That was one of my questions and concerns, but it all seems to work together the way I had hoped.

After everything was fused, I wanted to see how it would stitch with waxed linen. This is another way of ensuring the layers are completely bonded together. It worked great.

The picture below looks strange, but it is actually the backside of the layered paper and muslin piece. It’s interesting to see how the image has come through the back because the beeswax has made it translucent. So much to discover!

So far, this effect below is what I have been working toward – an image transfer on fabric that is compatible with beeswax and remains supple without cracking. Most importantly, I wanted a mysterious translucency. The fine white wax spatters add another layer of illusion.

We shall see where all of this goes! Hands-on research is always fun.

What have you been doing in YOUR studio lab lately?? Do it safely!