Booklets of Gold Leaf
I have always loved working with gold, whether it was couching Japanese gold thread on silk embroideries, going wild with artificial gold thread on machine embroidery, or laying 24K gold on egg tempera paintings.
Gold catches the eye and accentuates whatever it touches. Gold makes the message it enhances even more precious.
Not only is gold itself costly, so is the learning and time to acquire the necessary skill to lay it properly.
If I put gold on a painting or icon, it makes me the artist sit up and take notice. I have to plan more meticulously, work more carefully, and, above all, finish and hang the piece.
By reflecting the faces of those who stand before it, highly burnished gold even brings the viewer into the icon itself.
Finally, so much gold is just flat cool.
So, 2017 is “My Golden Year.” I promise you will be seeing a lot more gold in my work.
Maybe by the end of the year I will have The Midas Touch.
St. John Series Boards
Here I am setting off on this adventure of creating a single body of work for exhibition all together – one subject, one theme. At this point, I am planning seven icons.
An artist friend suggested that when she planned a series, she hung all her canvasses for the series on her studio wall. It made the enormity of what she planned real. That clicked with me. So I came home and followed suit.
The photo above shows the seven boards and a few weeks’ progress on the first two. I feel good about coming into the studio and seeing the progress. The wall is also a place where I can tape notes and ideas near the various boards.
The boards themselves are each different from the others, largely because that is what I had on hand. But, I shall use those differences to explore how the very support on which you paint affects the work.
This will be fun.