Back to painting. Will swing back and forth between plein air and etching over the next few months. A gorgeous, sunny day today. Finally back painting in Ladd’s Addition. Posting 3 latest paintings. First is a memory of all of the yellowness – especially the way I feel walking under a yellow tree, with yellow leaves coating the ground. Painted on an old painting from the spring. The next is a Sauvie Island painting. Intermittent sun meant that this one didn’t quite come together – I had planned to return, but there was no time/sun – so it stays. I did like the way I was beginning to capture some of the colors. And last, today’s painting from Ladd’s Addition. Mostly sunny, and the thick colors toward the end were quite fun to lay on.

I’ve continued working with the “Ostalgie” plates. Another Ostalgie print (the fourth). I’m also hoping to bring some of this color/multi-plate technique into my images. I experimented a bit with the “Family” plate I’ve shown here.

Incident at the Beach has joined the ranks of the editioned. Wahoo! Thinking a small edition of 10. I also pulled a monoprint from it – it may go into the “Creep Show” at the Night Light Lounge. Yes, I was asked to show some prints because they are rather creepy. And, I was able to bring this plate to a close thanks to my new best friend, ZAcryl hard ground and an airbrush. I’ve also attached a pic of the Family monoprint I’ve entered in the Family Show at Launchpad Gallery.

After printing Ostalgie 1, I thought I’d like to try something similar but without the chine colle. So I aquatinted similar shapes on a plate, and printed with that. That layer wasn’t dark enough, so I ran it through again, but messed up the registration (this was after about 9 previous layers of stripes, text, ovals, more stripes…). But, I liked the way the overlap looked, so I made a second oval plate that overlapped the ovals (are you still with me?). Anyway, I’ve continued playing with these – takes at least 2 hours to print each. And I’m not sure about the black ovals. Learning a heck of a lot about color and etching. Having a really, really good time. Also played with layering strips on the Family etching with oil paint (on sealed print).

For much of this year, I’ve been thinking about, sketching about, Nostalgia. Stripes, layers of thought, memory, obscuring and revealing shapes, the colors brown, pink, light blue and yellow – these are all elements of my personal looking back, nostalgia, memory thing. I’ve been investigating different printmaking methods to give body to these feelings/ideas.
I just came across the word Ostalgie – and I’ve chosen it for the title of the print I made today. I had extended studio time, and after I completed the steps I set out to, I wasn’t thrilled with the print. So, I kept working, continuing to add layers of color. This print involves 4 different plates, 3 of them used 2-3 times, and chine colle. Crazy! Maybe 3 hours? 4 hours? (Of course, this is just to print one). A few issues with the chine colle. I printed on top of it (after running it through the press) and the glue I’m using (wheat starch) comes undone when it is re-moistened. Thinking I’ll try a different one next time. Cool to begin to use layered color – works quite well with this style of etching.

Multi plate etching, Nostalgia series

I’m happy to report that I can now, easily, obtain a rich black aquatint in one go using ZAcryl airbrushed hardground! Yes! Previously, I was having a hell of a time with shaken rosin aquatints. They didn’t hold up well, and for whatever reason, they were highly inconsistent. We don’t have a rosin box at the studio, and honestly, I don’t want to be breathing in the inevitable dust, so I am thrilled to have a benign way to apply aquatints! I may do more with this plate – but this small edition (maybe 5?) represents my initial desire to make an inky ocean scene. Also posted, is the current state of Incident at the Beach. Its the closest thing I have to a political piece. It might be getting close.

I just realized I never got around to posting pics from the paint-out/exhibit. It was a great success and an overall good time. Great match for the event. However, this event did leave me more confused about just what direction I’m going in. Momentarily I envisioned myself organizing paint-out events all over the Northwest. Then, printmaking beckoned, and just as I felt myself re-entering the plein air world, whooosh, I’m back at Bite Studio printing a plate called “Bananahead”.

Beginning to get my feet wet – and opening my eyes wide to possibilities that beckon. New techniques are suddenly new possibilities – and what I had hoped would happen, just may be happening. I’ve begun using an air-brush technique to apply the aquatint resist which is working. Color and multiple plates seem to be needed with the images I’m working with. Its a challenge to watch for the next opening through the trees – and not count on being able to continue walking the same path (I think that might be the definition of madness?). As my kids return to school, I will soon find myself with a working schedule again, and time, time, time. Posted here are some of the things I’ve squeezed in lately. Been thinking a lot about nostalgia (stripes/text/layering), journeying, and families. Gonna let myself run with all of this, as I have a few shows coming up at Bite Studio.

Months ago I heard about the 100th birthday celebration of Mt Tabor Park. It is a large, mostly natural, park in Portland, OR. There is an extinct volcanoe in the park (cool!), large Douglas Firs, reservoirs, paths, Vine Maples, Big Leaf Maples, views, benches, and so many places to lose yourself. I had painted there before, and immediately realized this event needed a plein air component. Fortunately, the Mt Tabor organizers were fine with my idea. And now, more than 40 painters have signed up, probably 30-35 will have paintings to show – all painted ‘en plein air’ in the park over the last week. Also, demonstrating artists over the entire weekend! I am excited. My first time organizing such a large/many person shindig – but I have been working up to it.

So, what’s been really cool about the few days of intense painting (for me that means morning and night, about 3 hours each) is that I’m seeing things with a painter’s eye again. Not quite like riding a bicycle, maybe racing a bicycle – there is a curve – even for people who have painted a lot – to get back into a ‘zone’. Anyway, pretty f-in cool.

I grew up in Colorado, and spent most summers in the mountains. My grandmother drove out from New Jersey in the summer (she worked in education) to spend time with her daughters, and grandkids. She loved the mountains, and when the chance came along, she bought a log cabin with a great view. From then on, summers at the cabin became an annual thing for my little brother and me. It was really cool getting to know “Nana” and her aesthetic. Lavender, needlepoint, aqua-blue, happy-hour white wine, bridge, poofy hair, Life Cereal, waist-high slacks, and stories about her travels. Now her memories are growing faint – even her long-term memories are slipping away. Her cabin remains – and now I bring my kids there. But its not the same – and – is the same.