Rocks and Water painting: choosing the composition.

The in-progresspainting in the studio, January, 2020.
Notice how the X shape in my photograph is similar to that of Leonardo’s Vitruvian Man. I chose my composition based on his famous drawing. By using the X format, the viewer connects the foreground and background of the rocks, which act as the anchors for this image-much like Leonardo’s hands and feet of his Vitruvian man act as the anchor for his drawing.  By visually connecting the rocks in this X fashion, the viewer senses the hardness of the rocks against the rush of the waves in an even more energetic fashion. 

Here is a short video of me applying overeaten abaca and flax to the surface of the painting. I do not plaint with traditional media, I use beaten abaca pulp, he same medium first used to create oil on canvas paintings.

In the 17th century, Venetian artists began using the canvases of shipping vessels as surfaces to apply their paints. These canvases were made from durable fibers such as linen, flax and abaca.  It is for this reason that these now famous works have survived to us through the ages. 

Using these same fibers, I have embellished on this idea and created an actual painting method that is just as durable and permanent, and pigmented with light-fast colors to match the rich hues of nature.

My process provides a textured, almost three-dimensional quality to the painting’s surface, thus mimicking nature in all its splendor . . . from its rocky crevices along the ocean shoreline, subtle shadows in a garden path, the fullness and detail of a treed landscape, and the smooth surface of a still lake.  

Natural fibers, beaten into thick coats of pigmented pulp, provides the perfect media with which to create these modern interpretations of representational art.  

I’ll share more about this painting in my net few blog posts.

Sale of River Road Prints meets 1000.00 goal for Tri-Town Council.

Writing a check for 1000.00 to the Tri-Town Council. Photo: Jonah Rehak
A group effort to make this moment happen. Photo: Jonah Rehak
Pulling the five winners of the paper making workshop out of a hat. If your name wasn’t called, it was returned back to the bag for next year. Photo: Jonah Rehak

It was a pleasure to present a check on January 6, 2020, to members of the Tri-Town Council for 1000.00 from sales of River Road prints.

The prints are reproductions of the painting in the Topsfield Town Hall that was commissioned in 2018 by the Panella family in memory of their mother, Joan Panella. Per request of the family, proceeds from print sales benefit the work the council does on behalf of the Tri-town community. A video I created of the commission tells this story in detail.

I want to take a moment to thank everyone who purchased a print from me and supported the council. I also want to thank council members who included information about the print sale on their web site and in social media posts in a herculean effort to promote the sale. Without this team effort, it would not have been as successful.

Best of all, five people who had purchased a print this year were entered to win a paper making workshop at my studio on Saturday, February 8, 2020. I’ll be sure to post photos of the workshop in future posts so we can celebrate the creative efforts of our community members. If you would like to purchase a print, support the council, and be entered to win a slot in a paper making workshop for 2021, please click on this link. Free shipping or in-person delivery to Boxford, Middleton, and Topsfield.

Thank you to all for supporting Meg Black Studios. What a great community we live in and call home.

Making the final edits to a commissioned wall relief.

This wall relief was commissioned for a private residence in Florida. The palette and composition is meant to emulate the seacoast of the south eastern United States. I am making the final edits to the work while the patron takes the video.

My visual interpretation of Henry David Thoreau: How paintings tell a story.

How Paintings tell a Story

My goal as an artist is to work with designers and architects on site specific projects; working with designers and architects presents an opportunity to interact with professionals with whom I can share my ideas and who can in turn share their visions for how they perceive the final building will engage the user.  Currently, I am working on the Care Dimensions commission for their new facility in Waltham, MA.

By creating site specific work, I can pre-determine the size, shape, palette and subject of the work.  As with all of my commissions, this one attempts to connect the mission of the patron, in this case a hospice center, with the local scenery and history, Waltham, MA., and given this location, the writings of Concord native author Henry David Thoreau whose book Walden recounts his experience of living for two years in Walden Woods near the Waltham/Concord town line.

The three paintings in this commission attempt to celebrate the beauty of Walden Woods as they simultaneously act as metaphors for the trajectory of life.

The painting on the left is meant to suggest sunrise seeping through the trees, breathing life into the foreground. The light source coming from behind and creating a shadow in the foreground mimics stage lighting, a common practice in Baroque art and one that gives the painting a theatrical quality. This sets the stage for a life to come, a promise of a future to be explored. The trees point to the right, guiding the viewer to the painting in the center.

The central painting includes a pathway in the composition. This suggests moving forward into unknown terrain, climbing up a path that is a bit crooked and uneven, but guided by the light that is now in the background.  The open space in this composition is on the right of the painting-the light blue of the sky which holds a sense of distance, a way forward, the bend of the trees guiding the wanderer up the path and into the near distance.

The painting on the right contains the body of water that one expects to find on Walden Pond: calm, cool, and a deep Prussian blue value that bespeaks a brisk New England autumn day.  In this composition, the trees shift to the left, allowing the viewer to return to the first painting and engage with all three paintings as one unit.

The trees are included in all three of the paintings to represent the rootedness of life, a visual symbol used in many cultures such as in Navajo Sand-paintings.  The water is symbolic of the ephemeral nature of life, another visual and spiritual symbol recognized in many cultures and throughout history.

As a naturalist, Thoreau understood that the path to a greater understanding of our life on earth is through an understanding of the natural world around us and of which we are part: “We can never have enough of nature”, he wrote. We must be refreshed by the sight of inexhaustible vigor, vast and Titanic features, the sea-coast with its wrecks, the wilderness with its living and its decaying trees, the thunder cloud, and the rain which lasts three weeks and produces freshets. We need to witness our own limits transgressed, and some life pasturing freely where we never wander.” (reprinted from walden.org/thoreau).

Working on this commission for Care Dimensions has provided me with the opportunity to share my ideas with architects and designers, with the CEO of this important Hospice facility, and to channel the writings of Henry David Thoreau.  Next: the mission of Care Dimensions and symbolic in the paintings.

 

If you are interested in finding out more about how my work, please contact me to discuss your ideas.

Care Dimensions Commission: What is a Blank Canvas?

The three 62 x 31 x 3 inch panels in the studio, September 2017.

A blank canvas is many things to an artist.  It’s a challenge and an opportunity. Having ordered the three panels from my friend “Ron the framer,” I secured the base sheet of pulp to the surfaces and am ready to begin the painting (left). This is both an intimidating moment and one of pure thrill. I love the challenge of working in multiples and on a large scale with imagery that needs to work harmoniously, as one unit, in tandem with its neighboring paintings. The subject of each painting needs to flow back and forth so that one compliments the others, all the while holding its own identity. This is a far more challenging task than when working on a single image that does not need to share space with other work.

Me taking photos of the wall for which the three panels will be installed. October, 2017.

Because I work with architects and designers, the blank canvas extends to the intended space where the work will be installed. Often, this space is the construction site-full of dust and debris.  I honestly love visiting the site, donning a hard hat and photographing the soon to be completed wall.  The busy workers, noisy power tools, and smell of production are reminders for why I enjoy making site specific work.  I love the companionship of working with people who see a vision, a future space where one does not currently exist. In many ways, this is what I see as an artist looking at a blank canvas: a future space where one does not currently exist.

Next post: the beginning stage of the paintings.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

“Painting is poetry that is seen rather than felt, and poetry is painting that is felt rather than seen.” Leonardo da Vinci

Rocks and Water as Self Portrait: Day five

End of day five: sides of painting are glued down to the armature and pulp is added to the surface.

Day Four: Applying the background colors.

Day four: Today I applied the background colors and reconfigured the palette. The sides of the painting are as of yet not glued to the back of the armature. That will happen sometime next week. My goal today is to shore up the details in the rock areas and add more motion to the waves.

Autumn Marsh Triptych, 15 x 7 inches. 85.00.

autumn-marsh-triptych-15-x-7-inch-framehttps://megblack.com/galleries/autumn-marsh-triptych-15-x-7-inch-frame-85-00/

Marblehead Harbor painting, installed, private residence.

marblehead-harbor-de                                                                                                                                                                              I love the way the colors of the room bring out the palette of the painting.

 

 

 

 

Painting 40 x 26 inches. Mixed media handmade paper.  Private collection.