Showing posts with label painting. Show all posts

See how it goes...


New painting in progress-- I thought I'd photograph it at the end of each session because I'm always fascinated with the layers and evolution of a painting. This is an oil on linen and is 50x60" which is a very large piece for me. In the beginning of a painting, I usually have no idea where it's going; no plans, nothing. I just get out the paint and see what happens. When I talk to people about a finished piece I usually tell a story of all the phases it's gone through..."You should have seen the painting underneath this one-- it was so frustrating and I couldn't figure out where to go next so I just covered it with a new painting!"

Well, I'll try to document all phases of this one. The good, the bad, and the ugly. I can already see myself painting over this.

Current phase after the 3rd sitting:


New Oil Paintings

Departure, Oil and Graphite on panel, 18" x 18", July 2013

Don't Make Me Repeat Myself, Oil on cradled panel, 20" x 20", April 2013

Sometimes, All That is Left is the Anvil, Oil on cradled panel, 20" x 20", June 2013

Transpose, Oil on canvas, 20" x 20", June 2013

Domes and angles

I went back to the farm on the 4th to see the progress of the clay pizza oven...it's coming right along!! Fully modeled and the opening has been carved out with some wooden supports to keep the shape while it completely dries.  It looks as though they've lit a few small fires in it to dry the inside at the same rate as the outside.  I can almost taste the pizza!!

Pizza Oven I, Acrylic & Ink on Instant Film, 3x3"
I've found myself becoming very fond of the architecture on the farm and this new structure was no exception.  Already finding its way into my work and a way to document this exciting new addition to the farm which will tie them even closer into their community (Pizza Party!!).  

Apex, Acrylic & Ink on Instant Film, 3x3"

Continued with another painted instant film image of the barn.  After a great artist's meeting at the Harlow tonight, I've been inspired to attempt some larger versions of these pieces.  I love the intimate size of these current ones but think it would be nice to work in a slightly larger size, as well.


Kabobs
Also wanted to share these images of some of the meat I've been enjoying from Wholesome Holmstead.  I picked up a package of kabob meat and we had more than enough for 4 people.  SO tasty!!  We put onions and red peppers on for 3 of us and, for mine, I put granny smith apples and broccoli.  YUM!!

We've been barbecueing every night with meat and chicken from the farm (and the bacon...OH THE BACON!!)

Re-imagined

Kim's painting of the WH sign
Kim and I had planned on going back to the farm on June 23rd to help them build their pizza oven...but nature had other plans! Heavy rain was in the forecast so the farm rescheduled for the following week.  But we figured we would get a few hours in before the droplets started so we packed the car and headed to a shady spot in the grass.   It turned out to be very hot before the rain started but we stuck it out for a couple hours to paint.

Kim wanted to paint the Wholesome Holmstead sign that sits at the opening to the driveway at the farm stand.  This is the first piece she made- mixed media on paper, 9x12"

Just Like Home, 
Acrylic & Casein, 10" x 10"
I'm still fascinated with all the structures on the land.  This time I focused on the silhouette of the house.  The structure and layout of this building is really similar to my house, which used to be a farm back in the day.  I think that's why I'm so drawn to it.  This is a smaller painting (10x10") that I had started in the studio for a different purpose but it just wasn't jiving.  So I decided to take it along and paint on top of it.  This piece ties in my painting with the monotype imagery I've been working on.
 

To take a break from the paint and explore the farm some more, I walked towards the area where the pizza oven was going to be.  Behind it, I found one of the red barns that I love so much and leaning up against it was a beautiful wooden apple ladder.  It appears to be old and I imagine it's been used on the farm for decades...maybe just my imagination but I like to think that!  I had some old Polaroid cameras with me but the experimental film inside of them just wasn't capturing what I was seeing through the lens.  TTV was the next best thing so I made an intricate set up of a milk crate and cameras stacked on top of each other to steady the image.

 
When I got back to the studio I monkeyed around with the instant film images that were not developed correctly.  Some were too light to be anything or had thick blue lines through them or patches of undeveloped film.  (I've been using Impossible Film and some are breathtaking in the experimentation yet others are frustrating.)  Taking some ink and acrylic to the film, I recaptured the images and, in some cases, re-imagined what was there.


Where do you start?

"Talked Into It" casein & wax pastel on arches watercolor paper mounted on cradled board 6 x 6", available here
The other day, my friend, who has known my paintings for a few years, asked me about my process, "Where do you start?" An interesting question that I never had asked of me before! 

Right now in my current paintings I start with a ground color, since I know I'll typically scrape away parts of the painting to reveal it. Then I think about a general color palette, knowing full well that it'll change as I paint. And I just go from there, drawing, painting, scribbling, scraping, layering, until I'm happy with where it lands. Sometimes I draw shapes, sometimes words usually from things I'm thinking or a conversation with myself, or what I'm watching on tv or something my husband says. Sometimes it turns into an inside joke with myself and I name the piece after that.

Anyway-- I'm thinking of all of this as I continue to post my new small paintings in my Etsy shop.

So tell me, where do you start?

New work


I really have had a great time loosening up and working on this newest grouping of paintings on paper. They helped me work through the larger paintings on board that I've been doing while being completed paintings of their own.

Throughout my years of painting, I've almost always done representational paintings. It's how I learned to paint. It's pretty much all I've known. But I've been so drawn to mark making, movement, and color. And I've also been very moved by non-representational art. I've been wanting to make the move to creating pieces that took the familiar representational aspects out of the composition and just focus on the movement and the color. I'm happy with what's developing and anxious to see where it takes me next.

I've always been a very deliberate painter. I'm happy to let that go and to let the paint and the moment tell me where to go next.

After completing the works on paper I'm holding in the images here, I created this casein painting on cradled wood. It's called "Haywire" and is 16" square.


I'm really excited about this painting -- the layers of casein paint mixed with graphite, litho crayon, and water soluble wax crayons really were fun to work with. There are subtle colors popping through the marks and I'm hoping to explore that more in future paintings.

Never know what will develop at the next studio session!

New encaustic painting


The Tree Is the Real Thing
Encaustic & Mixed Media on wood
24" x 24"
April 2010

title from the quote: "Character is like a tree and reputation like a shadow. The shadow is what we think of it; the tree is the real thing."
-Abraham Lincoln

I started this large encaustic painting in June of last year and I finally finished it today! What a great feeling to get this monkey off of my back :) Seriously though, I've had a good time trying out some new techniques and color schemes and trying to make it all meld.

I had known that I wanted to use this image but I wasn't sure where I wanted to go with it. It went through many lives, as I posted in an animated gif last year, and I finally pared it down to the elements that I thought it really needed. This was supposed to be another in the series of "Ghost of the Past" but it definitely has a different story than the others so I'm letting it into the world on its own.


Passage - small Encaustic Painting

Passage
Encaustic on cradled wood
6" x 6"
February 2010

Exploring more ghosts, the afterworld, and communication with the beyond!

This is a small painting-- sort of a study for some larger pieces I've been stewing about for a while. I'm thinking about pattern, carving, and multiple figures. Trying to work out these visions in my head that are a bit foggy. Will hopefully have something started on them soon.


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Studio Clearance Sale!

I'm cleaning out my studio for the New Year! Below are some paintings & drawings that I'm looking to find a happy home for way under price :) I'm also up for trades so just contact me if you're interested! jamieribisi{at}gmail.com

Prices below include shipping within the USA


Self-study, 11x14" Oil on canvas $40

Only You #2, 10x10", oil on canvas, $40

Blood & Smoke, 6x6", oil on canvas, $20

Nesting, watercolor on paper, 5.5x8.5", $20

Warmth, watercolor on paper, 5.5x8.5", $20

Jesse, Charcoal pencil & conte crayon on brown recycled paper, 24x18", $55

Table, Oil & charcoal on canvas, 11x14", $55


Reclining male #1, Sum-i ink on sketch paper, 8x9.5", $20

Arched male #1, Sum-i ink on sketch paper, 8x9.5", $20


Small reclining male #1, Sum-i ink on watercolor paper, 4x6", $10


Reclining female #1, Sum-i ink on sketch paper, 8x9.5", $20

If interested in purchasing/trading please comment here or email me at jamieribisi{at}gmail.com

First come, first served! :)

New year, new work

I'm hoping that in this new year I will allow myself more time to paint and focus on my work. I've been accepted to a new show in February and am creating some new small works for it. I have some plans to create large pieces and get my work out into the public eye a bit more. Here's to 2010!



(top-bottom: Speaking in Tongues 1 & 2, 5 x 7" each, Encaustic on cradled wood

Hems and Haws

While I was painting my last few oil paintings, I had this canvas on the side of my easel as a way to work out the random ideas in my head and also as a way to use up the excess paint on my palette. I really hate to be wasteful with paint (it costs so much!) so in an effort to squeeze every cent of worth out of my paint, I usually create something that's a bit of a departure. And quite freeing, too!


Occasionally when I paint, I try to think about how the piece will fit in with the body of work that I've already created. I think about it all being linear and telling a story together. This is fine, but sometimes I think the work will find a way to fit itself in just from the sheer virtue of being from the same artist. This may not always be the way that things work out, but it's ok to open yourself up to experimentation and see where that goes. Right? :)

Hems and Haws
Oil on Canvas
20 x 20"
July 2009


New drawings/paintings...They Were Standing in the Shadows Watching


After some thinking, asking, & experimenting....I've finished some drawings/paintings on paper (I never know what to call them-- what do you say?) of an image I've had in my head for a while. These are each 15 x 15" on thick watercolor paper. I started with a charcoal base which I then over painted with white acrylic. The mixture of the white and the charcoal produced the grays and I then drew into it with a stick of graphite.






I was so happy with these that I also did a large drawing and then translated the imagery to encaustic paintings--- I'll post pictures of those soon!

Will be available on my website soon!


New paintings


(On the Verge; Encaustic, Oil Pastel, & Charcoal; 4" x 4")
I've been looking to create some new paintings to enter into the First Annual Autumn Arts Painting Challenge & Competition on Facebook led by some pretty awesome ladies/artists. Really got me thinking about creating imagery free of collage-- I wanted these paintings to be pure creation- just as the Fall is. I started with this tiny block in order to experiment with some new (to me) ideas. I wanted to use oil pastels directly on the hot plate and then mix some encaustic medium into it. This creates a very rich color that is a nice thickness. I fused it into the encaustic painting and it's interesting to see how differently it moves than just regular encaustic paint. For the specks, I crushed up some charcoal and embedded it into the painting. I wanted my next effort to have finer charcoal so.....

(Untitled; Encaustic, Oil Pastel, Charcoal, & Graphite; 12" x 12")
I wanted to challenge myself to make these next two paintings vibrant with lots of movement so I started this one with a thick pink background. I scraped the lines at the bottom right in with the tip of a sharp woodless pencil and the dots on the top left are finger prints of the super crushed charcoal with medium placed on top of it.


(Backwoods Sermon; Encaustic, Oil Pastel, & Graphite; 12" x 12")
I had this fresh green that I made and my husband said, "Slap that all over the place!" haha So I did! I used the oil pastels directly on top of the wax and also as a mixture from the hotplate as described above. I fused them until I was happier with the mixture and kept layering it all. Then I took my sharp pencil and scraped in these tree images. There's a nice dimensional quality to it with the indents that the lines made all the way through the wax until it hit the board.

I'm very happy with the results and looking forward to painting more! I love how this painting challenge made me think of moving in another direction-- it's just the pull I needed at the right moment.

A new home for Abe...

A few months ago I completed a series of ten paintings and immediately installed them in the Freeport Square Gallery in Freeport, Maine. The series is entitled "Mummies of the Civil War" and features prominent officers on each side of the fence. There are 5 Union men and 5 Confederate men, each molded into their own mummified form, to be preserved in their history for eternity.


The link between the Civil War images that I'm so drawn to and the history of encaustic paint going back to Egyptian times is what inspired these paintings. They each measure 10" x 22" and are on cradled birch.

Today I found out that Abe Lincoln sold-- hurray! I'll be posting more very soon-- still working on my website relaunch and on the class schedule and renovation of Sweetland Retreat.

Webcam heads up..

Heads up- I plan on setting up my webcam while I paint encaustic tonight- come check it out! I have a new series that I'm going to start working on- inspired by my painting below. They are still civil war focused but they'll be on long boards and looking more like mummies. I'm so excited! Hope it all works out tonight- I plan on turning on the webcam around 5:30pm. I'll update here when starting.
Live right now!
http://www.sweetlandretreat.com/blog.htm

B&W Exhibit

Two of my encaustic paintings are hanging at the Freeport Square Gallery in Freeport, ME. Both of my black & white Ghosts of the Past paintings for their B&W show. The gallery is absolutely beautiful and we also had the chance to see a live concert there last night- very cool!

Ghost hunter...


Animated gif of the progress of my latest painting.  It's still in progress, just one more day working on it and I think it'll be done.  I really like seeing how this one has moved along!  I kept changing my mind about what colors I wanted it to be and put this painting aside for a while.  Then I decided to turn Abe into a rooted being and it all started to come together.

Here it is-- your moment of zen!

Intro to Encaustic Painting - Saturday June 20th, 10am - 2pm

at Sweetland Retreat: 256 Pond Rd, Manchester, ME

Learn the ancient art of encaustic painting! Encaustic is the use of beeswax and damar resin melted together and combined with dry pigments to create a unique painting medium. This paint is applied hot/molten and manipulated with a direct heat source. It makes for a lovely layered image into which objects and photographs can be added. If you've seen a Jasper Johns painting then you've seen an encaustic painting!

This class will cover a brief history of encaustic, supplies and where to buy them, setting up, basic encaustic painting including fusing, embedding objects, and creating texture, as well as cleaning up, and caring for your paintings. Participants will complete 1-2 small paintings. No painting experience necessary. Open to ages 15 and up.

$70 includes all supplies; feel free to bring along objects to incorporate (dried natural objects, paper, and photographs on plain paper work well)

Instructor: Jamie Ribisi-Braley, Manchester, ME (<-- That's me!)

Jamie is passionate about creating art and about sharing her techniques and knowledge. She loves to learn how the old masters created their supplies and how they used them. Jamie believes that once you have the foundations of a medium, you’ll know how to make it work for your voice.

Jamie is co-owner of Sweetland Retreat and received her BFA in Painting from Boston University. http://jamieribisi.com


Register now!

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