artist

New work on Artwork Archive

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Online tools are great to keep you organized. Thank you AA! See new work posted here: https://www.artworkarchive.com/artwork/lisa-sisley-blinn.

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New Studio at the The Foundry Art Centre, St. Charles, MO!

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Last Fall I was juried-in as a new studio artist at The Foundry Art Centre, St. Charles, MO.  A double-studio on the river side of the building came available at the end of June. Updates to the sprinkler system were done in early July, and 6 days of electrical updates were completed last Friday.

IMG_01I started moving in 2 weeks ago: moving boxes by car, painting walls, cleaning the floor, assembling shelving units, laying out table placements on the floor with tape for the new electrical drop-boxes (thank you Foundry and city of St. Charles!!!). I am about 50% moved in. Next week I hope to make and install tables, move my large flat files, press, and the rest of the studio stuff.

The new space will start with:

  • 4, 36″x80″ work tables with dedicated hot plates, heat guns and support materials and tools for encaustic. (Tables can me moved as needed for bigger projects.)
  • Up to 4 chairs per table, as needed for participants and projects
  • a 24″x48″ press bed etching press for printing encaustic-plexi plate monoprints/monotypes as well as traditional etchings and collagraphs.
  • a printmaking work bench for inking plates and rolling up Akua water-based inks
  • a Paula Roland Hot Box for encaustic monoprints/monotypes
  • a large drying rack for class/workshop projects.
  • a double-high flat file for storage demo/work station
  • storage shelves for the studio, as well as class projects in progress
  • some bulk materials that can be ordered at discount (beeswax, damar crystals, papers, …) and available for purchase by class/workshop participants.

RiverI will start offering open-studio access in October, and a combination of class/workshops and open-studio time in November and December. I will be working on scheduling my classes, as well as WaxCentric (https://waxcentric.wordpress.com/) workshops and meetings next week. Tentatively, studio hours will be Tues-Sat., 10am-4pm (working around calendar holidays, and local events).

I am working on moving in through September, and will be in and out between 10am and 4 pm Tuesdays – Friday. Come see me in studio #7-8.
Lisa

Solo Exhibit at St. Charles County Arts Council June 1-30, 2013

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Join me for a solo exhibit at the Lillian Yahn Gallery, St. Charles County Arts Council. Over 40 works of art. Easy to find in Winghaven, O’Fallon, MO. 7443 Village Center Drive, 636-561-0028.

show card

Sisley-Blinn/Mixed Works
Paintings, Drawings, Prints
Solo Show. June 1-30, 2013
St. Charles County Arts Council

I will be at the gallery from 1-8 pm on Saturday June 8 for the reception. There will be an encaustic painting demonstration at 3pm.

Artist Statement

I am drawn to the ideas of liminality, chaos and deeper order, and the subsequent  visual constructions of atmospheric environments overlaid with ordered structures.

In other words, in the process of decoding the bombardment of daily information, I try to focus on key concepts of visually fascinating instances.  To get to the essence, I strip away the social-cultural temporal interpretations, which leads me to a moment of defined introspection. A cusp between the representational and the knowable, and the less tangible properties of emotion and non-linear identification.

As an example, what may have started as the observation of a wintered field, becomes a recursive process of refining the visual planes, a study of the saturation and dispersion of coloration within the landscape space over time, and the reduction of extraneous noise, such as telephone wires and poles, cars and people, billboards and street signs. Eventually I come to a balance of the essential elements. The question of, “What is catching my attention about this scene?” is closer to being answered.

Often, a horizon line of trees that wind break one field from another may slide up or down the defining space of the painted rectangle. The decision of more sky or more field may result in the line of demarcation sliding off the edge entirely forcing a reevaluation of the newly created internal landscape dialog.  Maybe I didn’t actually need the trees, field or sky. Perhaps it is the references that are constructed by light and shadow, texture and pattern that are the subject reinforced by the cool or warmth of the day, energizing scents of the woods, sounds of the birds. The divining out of the essential  experience of the space pushes the composition across the cusp from realism to abstraction, from the knowable to the “less sure.”

This chaotic imagery of fluid color and implied movement can be disorienting. So superimposed systematic shapes,  grids and restraining lines, repeated patterns and textures are used to create stability: structure over chaos grounding the visual experience. Like looking through a rectangular window frame at the blowing garden leaves and petals on a blustery day. These spots and flows of moving colors, patterns of light and texture, reveal the path of the wind, and perhaps our thoughts.

Mixed Works: A Survey of Work in Various Mediums strives to cover several years of art creation that steps back and forth across the cusp of tangible and intangible interpretation. From minimal landscapes, abstracted bouquets, to distilled internal discussions dependant on color, texture, and pattern which create meanings and relationships. Over all, it is my hope that each piece offers a meditative space, a visual moment of contemplation.

Selected for Linda Womack’s 3rd Edition of Embracing Encaustic

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I am thrilled to be included in Linda Womack’s 3rd edition book, Embracing Encaustic. Thank you Linda!

Embracing Encaustic

Read about it on Linda Womack’s sites:

  • Embracing Encaustic: http://www.lindawomack.com/books//EE3-apply.html

    “Choosing the artists for the new edition of Embracing Encaustic was challenging job, but in the end I selected 70+ pieces from over 150 artists who submitted work.”

  • Linda Womack Blog: http://embracingencaustic.wordpress.com/2012/09/30/embracing-encaustic-as-an-ebook/#more-3100

    “Great news! I’ve decided to reissue my book, Embracing Encaustic: Learning to Paint with Beeswax, as an electronic book (eBook) for the third edition.  This will allow me to create a more comprehensive and less expensive book that will be available for immediate download by artists all over the world. It will be available through Amazon.com and readable on Kindle readers, iPads and other devices with Kindle software.  Publishing as an eBook will also allow me to greatly expand our Gallery section to include many more inspiring works by artists from several countries.

    Choosing the artists for the new edition of Embracing Encaustic was challenging job, but in the end I selected 70+ pieces from over 150 artists who submitted work.  … I plan to have the eBook out before the end of the year, but hopefully much sooner. Check the Embracing Encaustic web page for updates on the progress or join our mailing list on the same page for email updates and the official announcement when the book goes live.”

    “Iterations: #821.”
    Encaustic and Oil Stick on Cradled Panel.
    36″ x 36″ 2″ 2012

Studio Time: 2009 Materials and Tools

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Jumble Ice II

100 Thoughts Series: Jumble Ice II

I often wonder where other artists working with encaustics get their supplies. Some materials and tools are  easy to find, some hard, and some ingeniously come from unusual sources such as the kitchen, garage, or thrift stores. Looking over my acquisitions for 2009 revealed this  list of  frequently used sources.

Encaustic Painting Related:

Web:

Other:

Thank you everyone for your great tools, paints, materials, and caring support! (Disclaimer:  I do not get anything from these companies for listing them here. They have been excellent resources for me. Your mileage may vary.)

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