When Mark and Helmi Came to Visit (12 in x 36 in)

(no longer in inventory)

Part I: I have loved Mark Tobey's white writing since I first saw a photograph of one if his paintings with this element. Before my friend, Margo, moved from Seattle, we went to SAM to see an exhibit of the Northwest Mystical Artists. I studied and studied his work, but left, appropriately, mystified. I so wanted to be able to create using white writing.

Part II: Last summer, when my friends Mary Jane and Grace came to visit, we went to an exhibit at the Lightcatcher of Helmi Juvonan's work. She had been completely in love with Mark Tobey, who she knew, to the point of creating a story about that love. She, too used a white mark-making technique in compositions surrounding in dark. I was still mystified as to technique.

Part III: Answer the question: which comes first, the dark or the light? How does the artist maintain the white marks while moving in the darkness? I did the only thing that, at the time, I could think to do--I called in Mark and Helmi. Then I started playing with a technique I remembered that I knew how to do--I could make the light marks rise above the dark. So I used a thick coat of gesso, mixed in the teeniest bit of perfect grey to grey the gesso down a bit. Then I used stamping tools. I had recently acquired the plastic button cover of a fax machine and loved the shapes it made. I used the spiral and serpentine arm band Christina had given me, and parts of parts to other equipment that had come my way. I am always intrigued by and, therefore, examining ancient texts and writing of other languages. I like it when letters from those languages appear in the painting--I do not want to copy them, however, mostly because I am interested in connecting with the human need to write, to communicate, and to connect to that need more intuitively. Once the foundation layer was dry, I floated in dark grey. a little violet, a little blue green. I did a little sand-paper scratching and then patina-ed it with azo gold quinacridone nickel. I look forward to many more visits from Mark and Helmi.

Note: This painting is one that hangs well in the horizontal or vertical orientation.

Garden Mythologies (each 8 in x 8 in)

(one of these no longer in inventory)

This was me playing with a heavy layer of gesso, mark-making tools, and a sanding to bring the light back in and for texturing. It was great fun to discover the effects that sanding the painted surface had on the painting--particularly for restoring the light around the edges--that area that threatened to get too dark for meaning-making. Always the challenge for me when working in a series of three is what color to have predominant and complimentary. I have quit being so thoughtful about it when I begin and have just started diving in and seeing what emerges. Both methods have their issues. So, of course, do I.

Working title "Burning Down the House" (actual titles forthcoming)

(no longer in inventory)

Where the previous series is rubbings, these are stampings. I used some of the same tools: knitting needles, remote control, silverware, silverware drawer organizer, knitted dish cloth, door jamb bits, and that bracelet my daughter was going to throw away. And I couldn't escape the idea of burning it all down and flowing in the water. One of the artists in the Waterfront Artist Studios building said it looked like something was blooming. Yes an opening up of the truth. A burning of what we don't need, a cleansing, a budding and flowering of the beauty that remains. More transcendence and transformation.