Rings for People Who Don’t Want to Get Married

encaustic, draw through

encaustic, draw through

I took an encaustic workshop (again) from Larry Calkins and Kamla Kakaria. As usual, I prepared for the wrong class–brought the wrong materials, was oriented all backwards to what was going on. It took me until the last few hours on the last day to figure out what I most wanted to do–which, incidentally, circled back to the class I thought I was in, 2-D rather than 3-D.

And I found out that I love draw-through as a mark-making technique. I’ve seen Rickie Wolf demo this several times in workshops I’ve taken with her, and I’ve always found it intriguing. But this time was different–I feel like I met a new friend, and now we’re super tight. The day after class ended, I went out and bought 4H and 7H pencils. Because draw-through is even better with a fine line (in my perennially fine-line-obsessed opinion).

To do this, all you need is a board or plexi to ink up, black oil paint (which Larry prefers over ink because oil paint pigments are so finely ground), a brayer, and the cheapest tissue paper you can find. Ink the plate, roll it out, lay your tissue paper down, and draw on top of it. So simple. Then you can work it into your base layer of wax.

Here’s Larry prepping his draw-through demo. . .

Larry Calkins

And then here is Kamla demoing her painterly approach to encaustic artist’s books. . .

Kamla Kakaria

This workshop came on the heels of Morgan Brig’s master class the weekend before, which I’ve yet to write about. And it preceded this coming weekend’s wire workshop. At some point, I am going to need to stop for some sleep!

Hey, Why Not?: Found and Imagined Adornment at Pratt Fine Arts Center

For the past several years, I have been documenting ephemeral jewelry that I stumble across while out walking in the city. Sometimes, these pieces appear to me fully realized (Found Adornment), while other times, I see one or more elements in close proximity that suggest a relationship (given a little finessing) both to one another and to the body (Imagined Adornment).

I collect images of these pieces for my blog, and am particularly fascinated by the idea that each piece assumes a never-ending life online while its physical form is destined to deteriorate, sometimes moments after creation. How do we assign value to an object that doesn’t exist?

The moment the viewer sees and understands what each piece is, and visually places it on the human form, I consider it worn. In this way, this body of work is a triangular collaboration between maker, environment, and viewer–with each element necessary, and carrying equal weight.

Imagined Necklace 7, steel and string

We’ve got some extra space in our “hallway gallery” at Pratt, so I am filling it with images of Found and Imagined Adornment. On display some time this week through the end of the month.