I’ve been an inconsistent blogger lately. Life seems a bit fragmented and busy. It’s not bad, just different, for all kinds of reasons.
I’m still doing #100TinyTreasures and have been posting on Bluesky and Facebook, but not here, so it’s catch up time. An impact on any project that inspires consistent practice is, for me anyway, that it reinforces and solidifies the hand of the artist. What marks and shapes do I go back to time after time? What formats and focal areas speak most clearly to me?
At the weekend I taught a gelli printing class with four artists. They each had an identical pack of papers, access to the same paints, stencils and tools. At the end of two and a half hours there were four completely different sets of gelli prints. The hand of the artist always shows…
Playing catchup with posting these. Week 6 was a modified colour wheel with Shay Michelle. I discovered although turquoise and similar shades are my fav accents colours, I have very few collage papers in that colour range. I need to get out by large gelli plate and fix that!
Week 7 with LaQuisha Hall was exactly the kind of layout I hoped doing Wanderlust would get me back to. I used to do a lot of this type of art journaling and have become more product driven. This page is about me wanting to be a safe space for people, and wanting my libraries to be a safe space for everyone as the world gets harder to negotiate.
Week 8 with Claudette Hasenjager was a tricky one, I had to push through the colour wheel exercise, and I’m pleased I did. I discovered I’m incapable of working tidily for too long and struggle to add enough white, and overdo the black. I expected to love the Ruby combinations, but they were a bit dark, while the Rouge were a bit dull, but the DWM Raspberry are perfect. The layout, based on the fav colour wheel, is about speaking out for myself and others, speaking up even if worried, and then going aggravation of my vocal cord injury.
Sometimes I veer off into florals, faces, or other distractions, but my deepest artistic love is the landscape. Memories of the landscape, fragments of the landscape: colours, shapes, shadows, glimpses…
I’m interested in what makes something read as landscape. Is it the colours? Shapes? The way things are stacked up from land to sky? I’ve been exploring the idea in small 6×6 collages. As with any series, they’re getting looser and more abstract as the series progresses.
I’m working on Wanderlust week 4, with Kasia Avery. The project is designed to be slow, which is not how I normally work, but I’m determined to try. So far, so good … although I did have trouble with the stitching ripping the hand made paper because the gel medium on the paper wasn’t completely dry. So I used gel medium to add more paper to the back, and tried to keep going – and of course it ripped again. Did I learn to wait? Sort of 😂
Pen and I have been creating collaborative artwork for years now. We’ve had two exhibitions, shown collab work in multiple gallery exhibitions, sold pieces, taught classes together. We’ve built a huge amount of trust in each other as artists, and in the ability for our relationship to cope with real honesty and our authentic selves.
Want to write giant black words over something the other did? Do it. Cut a piece into four and make them into a book? Why not! Pour neon pink ink all over something and let it drip. Go for it. We stopped asking permission years ago 😂
There comes a point, after the pieces have been mailed back and forth between the North to South Islands numerous times, where we start asking if it’s finished. Does it need one more mark, a line, a gold dot? There’s a time when we just know. That time always comes when the pieces are high contrast, richly textured, multi layered.
Are the collab works like the work we make individually? Yes, and no. There are elements that are absolutely our own. Penny is the queen of “feckn shiny things” and I can’t resist a good drip and some splatter. Penny’s all about rich blues, I love neon pink and orange. The hand of the artists show, but the works are uniquely ours, not mine and hers. It’s a very magical thing and I feel privileged to be creating with someone whose skills complement mine so well.
The images below are tiny sections out of large works I’ve been adding to tonight. I spent maybe 90 minutes working and used collage, transparent embossing powder, acrylic paint & ink, a green star-filled sparkly paste and a highly textured opaque embossing powder.
Cath Sheard Art 