Online tools are great to keep you organized. Thank you AA! See new work posted here: https://www.artworkarchive.com/artwork/lisa-sisley-blinn.
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.
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.
8 a.m.-8 p.m.
8 a.m.-4 p.m.
10 a.m.-3 p.m.
Barbara MacRobie, Public Information Coordinator for the Missouri Arts Council, wrote a beautiful article about encaustic artists 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:
Mary Beth Shaw
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!
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.”