More Inspirations

One intriguing aspect of Basquiat's artwork is how he joins smaller drawings together on a larger surface, and then integrates the imagery. Here is an example from the recent show at the Cleveland Museum of Art.

The reflections make it a bit hard to see, but you get the idea. Fabulous!

There is such a multitude of ways to approach art making. I think you know by now how I promote the unique approach each person can take. No one else can tell your story. It's yours to tell, and you have to do it your way.

Sing your own song.

As I mentioned in my last post, I am working on some new pieces that are very different for me. I found an over-sized book at a library sale full of photographs of every day buildings and people from the olden days, all in black and white. I cut out the images that appealed to me for use in my collage work, and I alter them for my own use. I have written about my techniques for integrating found and throw away photographs in to my work in previous blog posts here.

I used an image of an old house for my piece About a Boy: 

Both found and "throw-away"photography are combined and integrated into a larger piece,
About a Boy, Gayle Pritchard 2017.

In the newest piece I am finishing, and which I showed in progress in my last blog post, I used found imagery of a group of children, which have now been sandpapered, hand colored with oil pastels and stitched with other found papers. I love how it's turning out!

Beginnings and Endings

About Chris, a photomontage in progress

As my upcoming show installation date approaches, I am busy each day putting finishing touches on various pieces that I want to exhibit. (Please see the Upcoming Exhibits link for details of Memories Evoked: Circling Back Home.) In the process of digging through collage papers and found objects to complete a piece, the makings of a new piece sometimes comes together before my eyes. That is the case with a new piece I have just begun, About Chris, a detail of which is pictured here. I am so excited to finish it, a composition of art photos and throw-away pictures of trees held together by a large house image and this painting.

I have just finished Dream House tonight, a handmade book inside of a handmade, hinged house structure based on a dream. Here you see the accordion book part of the piece clipped and clamped for drying.

Dream House by Gayle Pritchard. Here you see the accordian book clipped for drying.

The book fits inside the house structure, and accordians out of the openings. After the clamps were removed, I washed the Yes! glue from the picture surfaces so I could sandpaper them. I then added oil pastel into the scratches. Click this link to see how I alter photographs.

Using Throw-away Pictures in Collage, Part 1

I love making collages, and I have a little secret for you: even though I am known as a fiber artist, I consider everything I do to be collage. I absolutely love the gathering and sorting of snippets, whether they are pieces of fabric, found objects or paper ephemera. Old pictures are no exception.

I have an entire box full of what I call throw-away photographs: you know, the ones that used to come in a pack of printed film (yes, pre-digital era!). When film was developed, they didn't just print the good images; you got them all, and it was up to you to throw them away. I started saving them for use in my workshops so that I could pass them out to all the students to try our techniques. Over the years, I have made some amazing work with these throw-away pictures, so I thought I would show you how I alter them.

A recent grouping of pictures pulled from my box

First, you'll need an old, crappy picture to practice on. You will also need very fine grade sandpaper and a damp paper towel. Down the road in this process you'll see how the little spray mister is used, and how I added color. But for today: first things first!

This black and white picture of clouds is a good one to use. It has little character by itself, but also has a lot of areas ready for scratching up with the sandpaper. Don't get bogged down picking an image. Just grab one. Even a magazine image or a page from an old book will work, as long as the paper isn't too fragile.

I usually fold up a small piece of the sandpaper, then use it to scrub, scratch and draw on the surface. The direction of the scratch marks as well as their length will become visible later, so have fun with this part.

Next time: adding color

This Way, Please, Part 1

 

 

Ah, yes, this way, please. I love this journal, because I treasure my collection of "body parts" images, snapped by my husband at my request. I use them all the time in my artwork.

I am teaching a journal making workshop here locally next month, on October 2nd. All students (young adults welcome) will learn how to make a hand bound Japanese stab-stitch journal. In addition, we will discuss journaling techniques, and I will get the class started by showing them (this could mean YOU) how to "consecrate" their work.  The picture below shows a detail of the binding technique, which I have utilized on one of my own personal journals.

Last Friday was a rare "out of the house" day for me. I get so busy working, that sometimes weeks go by in

which I realize I haven't seen any people...and I'm a Taurus!! Believe, this can be painful. Anyway, my
artist friend Gail Crum and I made a studio visit last week. We talked art all the way there and all the way home, a total of three hours in the car. We also talked art while visiting the artist studio, of course, and we were joined by another mutual friend for lunch, so I got to talk books, as well. It was a lot of fun. Clare Murray Adams and I have been friends for a long time, and our creative paths have aligned themselves through sheer destiny, it sometimes seems.

Here is the door to Clare Murray's studio:

 It was such an inviting and inspiring location. Here is some of what we saw:
Collagraphs:
                                         Zippered rocks and zippered sticks:



                                   and a cool collaborative project Clare is doing with Oberlin artist Rebecca Cross:

And all of this before lunch! More to come in This Way, Please, Part II.