Solo Exhibit: Generative Conversations: Selected Works From Four Series. Encaustic

 

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January 26 – February 23, 2018
Artist Lecture: Friday, January 26, 12 PM
Room 108, Robert W. Plaster Free Enterprise Center
Three Rivers College 2080 Three Rivers Boulevard Poplar Bluff, MO 63901

Artist Statement:
The solo exhibit, Generative Conversations: Selected Works From Four Series,  employs both an analog and algorithm generation of imagery that spans several years. The intent of the exhibit is to show how an artist’s work both grows and remains united over time.  These works reference each other, pull forward working methodologies and visual language, as well as leapfrog over each other from intuitive mark making to analytical generative constructs. 100 Thoughts and Instances reflect intuitive, introspective marks, colors and textures. Iterations and Arc Constructs are, by contrast, analytical and prescriptive.

The conversations of methodology, materials, and rationale are synthesized from each series and carried forward with new goals. Universal to all series is the specific use of the “mark.” The unique representation of velocity and intention as materials interact with thought. The energy of the mark, as created by the fingers, wrist, arm, and body captures dynamism, direction, texture, and intent.

100 Thoughts, a 2009-2010 series originally conceived and executed as 100 small images,

Berries I

Berries I   

was concerned  with the internal emotional landscape. Thoughts and emotions were pared down to a single essential idea and set of painterly marks that focused on a specific feeling or intention. Encaustic paintings with oil stick, imagery are about 4″ x 4″  on 5.5” x 6 Fabriano Artistico, framed 20″x10.5″x1″. Blog post. https://sisleyblinn.wordpress.com/2009/05/12/new-work-100-thoughts/
The 2012-2013 Iterations series explores emergent forms evolving in shape, texture and spatial distribution: transformations of line, color, space, and formal interrelationships. The imagery transmutes and reconstructs associations,

iterations821

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

straddles the states of structure and chaos, decorative and gritty, and digital mechanical replication and the authentic unique mark of the artist’s hand. The resulting imagery evokes an energized, meditative experience.

From one encaustic painting with dry point and oil stick figuration, Rondo Weaver: Lavender Blue, 2009, almost 6000 digital derivations were generated. These digital renderings served as references to create a new series of hand worked paintings.  Imagery was created in a fluid color space using under-paintings of glowing washes, grunge-surfaced tattoo-like digital layers, incised drypoint line work with Intaglio-like inking with subtle surface modulations and gestural marks.

Where 100 Thoughts was concerned with internal influences, Instances, a 2016 series,

Silence-Lost_1000k

Silence Lost

pulls forward this minimalist approach of essential visual language to reveal visceral reactions to external, daily encounters. Encounters may selectively hit a nerve, or work in combination to provoke a response: verbal, physical, visual moments translated into painterly mass, velocity, color and texture. Instances reaches back and pulls forward imagery formulation from 100 Thoughts, a 2009 series. Encaustic paintings with oil stick on handmade paper, imagery 18″x18″ on 22″x30 Fabriano Artistico, framed 28″x28″x2″.

Quotes from the blog post (https://sisleyblinn.wordpress.com/2016/06/08/instances-a-new-2016-series/):

  • “These pieces are color and texture explosions-energy captured in
    containers of rectilinear form.”
  • “I’m intentionally not trying for the perfect calligraphic mark.
    Instead, blunt, ungracious blasts of paint off rough bristle brushes
    move over the surface on their own trajectories, for their own purposes.”

In both cases of 100 Thoughts and Instances, the reductive, primal expressions represent the essence of what is left from an encounter once the superficial and knowable  is stripped away. By removing recognizable elements, what remains are responsive, experiential marks. The enigmatic feeling of an encounter made visual.

The ongoing series,  Arc Constructs, started in 2017, shares the spontaneous mark making and reductive imagery of  100 Thoughts and Instances,  and further explores the generative imagery

ArcConstruct_Dance

Arc Constructs: Dan

development cycle of Iterations. Taking one further step, the imagery of the calligraphic mark has been liberated from the picture plane into low relief sculptural space. The marks of previous series have been enlarged and codified, given specific modular forms while retaining an energetic surface. There are four distinct size shapes currently in the series that are assembled modularly into related constructs. These modular units will be used to generate an extended series. Related imagery is under development for prints, monoprints and paintings. 

WordPress:https://sisleyblinn.wordpress.com/
Instagram: @sisleyblinn

New work on Artwork Archive

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!

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

Exhibit: Excerpt: #821 Selected for Invitational: Fantastical: Art of the Imagination

Excerpt: #821 was selected for the invitational Fantastical: Art of the Imagination. The exhibit will run from August 25-September 19, 2014, with a reception on Wednesday, September 3, 6-8pm. The exhibit is located in the Donald D. Shook Fine Arts Building, on the beautiful grounds of St. Charles Community College, 4601 Mid Rivers Mall Drive, Cottleville, MO 63376.

Excerpt: #821 Encaustic with Oil Stick on Cradled Board 36"x48"x2.5" 2014

Excerpt: #821
Encaustic with Oil Stick on Cradled Board
36 “x 48″ x 2.5”
2014

This painting is part of a larger series that explores the idea of excerpts or sections of a larger whole, slices of experience that carry meaning: planes of color-space, textural grunge layers, and energetic calligraphic marks convey feelings and clues to an ambiguous location.

Gallery Hours

8 a.m.-8 p.m.
Monday-Thursday

8 a.m.-4 p.m.
Friday

10 a.m.-3 p.m.
Saturday

Missouri Encaustic Artists Highlighted in MAC Article

Barbara MacRobie, Public Information Coordinator for the Missouri Arts Council, wrote a beautiful article about encaustic arti1sts in Missouri for the July 2014 online newsletter: Bees, Sticky Trees, and Blowtorches: Encaustic Painting Enthralls Missouri Artists (pdf).

The 15 page article showcases many of my WaxCentric members, as well as introduces us to new artists across the state. The following WC members who were interviewed by phone for the article include:

Sheri Goldsmith
Keith Kavanaugh
Mary Beth Shaw
Lisa Sisley-Blinn
Laura Skroska
Stella Spalt
Julie Snidle
Linda Wein

The article touches on each artists connection to the medium, as well as statements about inspiration, intent and process. A well written, up-beat overview of encaustic in general, and artists wielding torches and hot paint!