Online tools are great to keep you organized. Thank you AA! See new work posted here: https://www.artworkarchive.com/artwork/lisa-sisley-blinn.
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.
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.
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.
I am thrilled to be included in Linda Womack’s 3rd edition book, Embracing Encaustic. Thank you Linda!
Read about it on Linda Womack’s sites:
“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.”
“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.”
Sign up early! Classes fill quickly.
This class will focus on exploring current encaustic methods and materials. After a brief history and survey of artists currently working in this medium, we will explore studio safety, tools and materials, supports, heat sources, encaustic paints and medium, mark making, transfers, direct and indirect drawing, embedding, collage, and mixed media techniques. This class is well suited for both beginner and intermediate level students.
Instructor: Lisa Sisley-Blinn
$120 for SLAG members, $150 for non-members
Learn about studio safety, materials, tools and techniques. Receive
handouts on safety, contemporary artists using the medium, professional groups, resources, recipes for encaustic medium and more. Some of the topics covered include: working safely, preparing a substrate (paper, panel, braced panel), making paint and mixing colors, hot/cool techniques, digital image transfer, collage and embedding, incising, and use of a heat gun and torch. Many materials included: encaustic medium, beeswax, encaustic paint, and oil stick.
One-day class is 6 hours, 10am-4pm with a break for lunch. Two-day class is 4 hours each day, 10am-2pm. Come take a class: laugh, learn and take completed work home with you! Limit 4. 18 years+
One Day Session, Six hours
$150.00 for one person
$125.00 for each person, up to 4 students
20% off class price for WaxCentric members. Learn more about WaxCentric. Membership is free. Sign up on our MeetUp: http://www.meetup.com/WaxCentric/
Email: firstname.lastname@example.org for more information.
Sometimes it is hard to either think clearly about a new color scheme, how to complete or extend an existing one, or troubleshoot a problem color. A tool that I love is Adobe’s Kuler. It is a free online color-chip style generator, and there are thousands of color groupings, called themes, that have been made by others that you can search by keyword. There is a short AdobeTV overview video.
I made too much of a semi-translucent green that reminded me of Lava Soap. Kind of a medium-minty color. Well, a little is fine, but I have way too much. So, turning to Kuler, I searched for “mint” as the tag and found many color options to work with my new treasure. Out of 650 results returned, some of my favorite combinations were: “watermelon mint,” “coral mint,” and “a passing feeling.” “Watermelon mint” is shown here.
You can create color groupings called themes based on analogous, monochromatic, triad, complementary, compound, shades, and custom. It is possible to make themes from pictures found online or uploaded from your computer, or variations on existing themes made by others. Save your favorites, and import colors into some current software tools.
In a short time, I came up with three combinations that could help me work with my Lava Soap encaustic color supply: “Iris I Detail II,” “Theme 3,” and “Theme 4.” Combinations are limited only by your imagination and time. (Possibly snacks and a beverage.)
(No Lava soap green here!)
[Studio YouTube music-a 70’s Flashback: Harry Chapin: Cats in the Cradle; Cat Stevens: Father and Son, Moonshadow, Peace Train, Oh Very Young, Sad Lisa; Jim Croce: I Got a Name, These Dreams; Gordon Lightfoot – If You Could Read My Mind, Dave Loggins: Please Come to Boston.]