Openings Connecting: November 2010

Thursday, November 25, 2010

STONES: enrapturing me

...this began years ago as I, like so many others, would become enRAPTured by certain stones, connecting with their spirits/markings/shapes/colors and carrying them away with me to make my stacks and altars at home.

Eventually, I became compelled to find ways to join certain stones together

and to enhance others...

IN REVERENCE FOR

what Nature had created.

my Lake Michigan shoreline stones soon found good company with other elements such as vintage papers, quartz, fossils, turquoise, pyrite, obsidian, leaves...

and were secured with wires, waxed threads, beeswax, rattan, fabric strips

and text: Pablo Neruda, of course, E. Meloy's quotes from
the Anthropology of Turquoise, and me.

THIS COLLECTION IS LEAVING TOMORROW FOR THE SHOP AT FOLIO'S.
(Saying good-bye to them as I took the photographs and packed them up)

FOUR DIRECTIONS/FOUR VISIONS: Two Graces: First showing for me, JUNE 3, 2011

With no directions home, I found Taos in the late 60s. It felt like home immediately. It still does. I know this sentiment is familiar to countless others.

The mountain stopped me in my tracks, and I stayed for several years. Since that time, I circle back annually.

To me, that circle is symbolic of this body of work at Two Graces. This is a time in my life when I've been fortunate enough to experiment with art making. Not surprisingly, I found myself drawn back to the images in the Ektachrome slides that I'd taken in the early 80s of Chaco Canyon, the San Francisco de Asis Church, dusty roads, and the ever changing skies of Northern New Mexico. The spirit of this adobed land lingers in my core and manifests itself within these works.

This past Michigan winter was spent creating enlarged negatives from my thirty year old slides, pulling part of my past into the present via today's tools of scanner and computer. Using traditional silver-gelatin darkroom processes, these resurrected and modified negatives acquired a new life. The majority of these prints are the result of this mediated reincarnation.

The smaller images took me into photographic processes from the mid-1800s. These handmade platinum/palladium prints are created coating vellum, for translucency, with these metal salts and exposing them to ultraviolet light. They are then bathed in the alchemy of the darkroom. The tonal qualities are unique in each print. Finally, 24k gold is layered to the backs of the prints, emanating the warmth, glow, and depth of these beloved places.