If you’re not familiar with the art of Dave Palumbo, you’re missing out, but not for long. I hope this beautiful time-lapse demo inspires you!
We have a few EBSQ Artists I’d love to see create a time lapse video like this one by Jed Leiknes. Enjoy or run away! I promise, the entire month of October will not be this dark!
1. Flame-0 – not just a fire-breathing penguin but also the cause of Global Warming. I love the artistic mind of Vicky Knowles.
2. 10 Things about Painting in Oils – Because everyone should read these posts by Greg Manchess. This one is from a year ago, but the tips never expire.
3. Submission deadline for the 2014 TwitterArtExhibit is February 21st, this means you art must be in their hands by this date. This year’s exhibit benefits the Center for Contemporary Dance, Special Needs Class in Orlando, FL.
4. In the News: Kid Crawls On Million-Dollar Artwork, Internet Lets Out Collective WTF? – Wow. My own thoughts? While living in London I took my young daughter to the Tate Modern on numerous occasions and she NEVER would have done this in my presence or otherwise.
5. 5 Ways to Earn Money as an Artist (Without Selling at a Gallery) – Another gem from EmptyEasel.com.
Who and where are you?
I’m Caroline Baker. Sometimes I include my maiden name, Lassovszky because it’s unique – only my parents and brother share this name in the U.S., though sometimes I realize it might be too long a string of letters for anyone to remember. I grew up in the suburbs outside of Washington, D.C., both on the Maryland and Virginia sides of the beltway, though at this point I have spent more of my years in far Southwestern Virginia, which is a very different environment. I started my undergraduate art degree in Radford, Virginia, also started a family and then moved even farther southwest to just outside the town of Pound, Virginia. I was able to complete my degree at the University of Virginia’s College at Wise in 2000. The visual art major had just become available there, so it contrasted in many ways with what I experienced in the more established art department at Radford. After working several graphic design jobs and doing drafting with a small local civil engineering business, I got a Master’s degree in education and taught art in public schools grades K-12 for several years. I have come full circle as I am currently teaching visual arts courses at U.V.A. Wise.
Can you tell us how you combined textile arts with your oil painting?
I have enjoyed working with paint for as long as I can remember. I suppose I was in high school when I started playing around with dyes. I was really just experimenting with the drugstore Rit dyes, making t-shirts for friends and so forth. I was introduced to the fiber reactive MX dyes through a surface design class at Radford and continued to just play with them as a side project separated from painting. When I started stretching my own canvases, the idea that canvas did not necessarily have to remain a two-dimensional object throughout my process interested me, and I liked the aspects akin to watercolor involved in simply staining the canvas with the dyes as a sort of underpainting before stretching the canvas and working with it as an oil painting.
I also find the idea of the support/ground matrix intriguing as this object that changes character so drastically once it is prepared to become a painting, the fact that paintings on canvas began their existence as a textile object, something more associated with craft than the idea of “Art” tied to the description of a painting as “oil on canvas”. There is an element of a cycle of deconstruction/reconstruction involved in processing the canvas to remove sizing and folding it into a three-dimensional object or sewing it only to take it apart and flatten it later. All of the things I do in the beginning of my process are tied to the object as a textile, where as the later stages – stretching, priming, sometimes sanding and going through adding passages in paint involve characteristics of the object as support/ground, which feels very different to me, as though I am enabling and directing this metamorphosis. Recently I began to see parallels in this process with what I observe in the management of the land around me through coal extraction and worked through a series of landscape paintings based on those observations. For instance, the winery and a local site used a a flea market interested me because of the reuse of the land in the continuing cycle heavily influenced and accelerated for good or bad by human intervention. As of late I have found myself moving back in the direction of lyrical abstraction and linking this to my feelings regarding a specific sense of place.
How long does it take you from start to finish to complete one of your canvas dyed paintings?
A lot of times it depends on how much work I need to put into the beginning part of the process and what techniques I decide to use as well as the results with the dyes. If I bind the canvas using a lot of sewing, it takes quite a bit longer. At this point I am relatively sure of the results I will get from the dye stage, but sometimes the results are not what I need and I set it aside for another idea that aligns with the resulting “underpainting” better and start over with a new piece of canvas. Sometimes I continue working with the same canvas by folding or binding again and over dyeing, or using discharge techniques to remove some dye. The minimum amount of time I have spent on a piece like this is three days including time for the wet, dyed canvas to dry, heat setting if I choose to, rinsing, stretching and priming. Many times it depends on how much I want to meld the results of the dye techniques with the painting. I like the idea that both processes become so integrated in the final product that the viewer would need to look for where one is more prominent than the other or the two dovetail. I tend to spend a lot of time working with layering glazes when I paint so that there are areas where both processes work well together and coexist easily on the canvas, though sometimes a piece will call for bringing attention to the contrasting natures of the processes and media as well.
What’s coming next from your studio?
Some of the surface design techniques involved with the dyes lend themselves to repetition and symmetry, and I want to use those qualities in conjunction with the idea that seems to be becoming prevalent in our information-saturated culture that if you repeat something enough times and in the right places, they necessarily become the truth whether they began that way or not, and how subtle shifts in the way things are repeated reinforce or change that perception of something as fact. I want to work with minimization and regulation in the way I work with potentially repeating shapes and forms that result from my process without losing the expressive qualities I think are also important in dealing with cultural content. I plan to return to square format at a larger scale, but I have some ideas for series of things at a small or miniature scale as well.
Thank you Caroline for sharing your process and your art with us today!
Want more? Follow Caroline and her art here:
Who and where are you?
My name is Lee, and I am an experienced oil painter and sculptor living in Boston, MA. I migrated with my wife and two cats from Texas this last year to escape the oppressive heat and enjoy the history of Boston.
How were you introduced to Facebook?
I was repeatedly asked by an old friend until I caved in and reluctantly joined. I resisted for a long time, trying to minimize my pc time to paint…right! I’m doomed now.
Any tips for other artists starting a Facebook Page?
The most important thing that comes to mind is one’s expectations. Facebook takes the same dedication as a blog in that the best results are seen over an extended time and very frequent attention. It’s wise wise to look at artists who one knows are selling well, and see how they engage their readers in their posts. I enjoy those who start actual discussions, so the readers feel more included and stick around for the commercials. One may or may not actually generate many sales from Facebook, but no matter what it’s an opportunity to see how one’s art affects the public. I mainly look to my page as an information tool over a sales tool at this time. Those who respond help me understand more about what subjects are strongest, and that does go into deciding my future work in some ways.
What’s your favorite Facebook Page feature?
This one is difficult, because I’m one of many who wish Facebook would just find good function and stay put. I like core features over the added cosmetics. My favorite feature For my purposes I definitely would say the thumbnail links. This seems basic, but what hits the reader’s eye means everything in whether or not they link will be clicked. That one feature defines the very purpose of having a promotional page. The visual contact is made, and the customer explores because it’s something he or she enjoys. I am also liking Insights, which offers a graph of page performance.
What’s coming next from your studio?
I am still putting the second to last nit-picky touches on The Gift, a 34″x55″ oil on birch board. It is a water nymph painting showing the nymphs gifting a magic key to a beautiful elf girl. The key is meant to protect her from a curse incurred from eating human food. I am also drawing for my next round of paintings but will have to show them on my Facebook page as they emerge.
1. Bear Garden – This beautiful painting by EBSQ artist, Diane Whitehead, is a reminder that May and its flowers are right around the corner. How is your garden growing?
2. Ethics for Artists – I’ve had this post by Cheri Homaee open in my browser all week so I would forget to share it this Friday. Excellent post, and reminder, for all artists on acceptable behavior and remembering the little things.
3. Focus or Fail, the life of an Artist – Delilah Smith shares about her difficulties staying focused on one medium/style of painting. Do you an artist must have one style to be successful?
4. Torrie Smiley Etsy Sale – Torrie Smiley is having her first ever coupon sale. No, she’s not selling coupons. It’s a coupon for free US shipping in her Etsy shop. For a limited time!!
5. Toulouse Lautrec– Michele Naquaiya shares her latest artwork and a new route for her creative talents!
Have a great weekend everyone!
She will probably smack me when she sees this headline, but I did want to focus your attention on the following online event. EBSQ’s own Harlan will be teaching not one but TWO new online classes on oils via CraftEdu.com starting tomorrow. From their website:
Tomorrow we will offer 2 classes by Jeanne Harlan-Marriott. Her 3 part
Introduction to Oil Painting is a foundation class that will get you
started on your voyage to understanding the nature of the medium, the
tools and materials you should have and how oil paint works! Her 4 part
Trillium class will take you further as you complete your own painting.
Learn about light, color, shadow, composition and mixing your own
palette. These two classes are a must for anyone who has wanted to
paint like the Old Masters.
So, sign up between the hours of 12 Noon MT tomorrow and 12 Noon MT Thursday and take advantage of special
(25% reduced) introductory pricing.
Visit CraftEdu Community at: http://community.craftedu.com/
So–if you’re hankering to bone up your oil skills, here’s your chance! For further inspiration, please be sure to visit Harlan’s portfolio at EBSQ. There’s a lot of pieces that look like photos. Don’t let the hyper-realism fool you; those are paintings, my friend!