Openings Connecting: BIG BLUE TAOS THING

Monday, June 8, 2009

TAOS, FINALLY EXPOSED: big step, showing my WORK?

i've done very little lately.
i DO HAVE excuses.
like, work on the summer's training for aesthetic education??
hmmmmmmmmm, looking for a new haircutter???
aw, taking photos? being away?
at any rate,
one thing i did do was to frame what i've come to call "the BIG BLUE TAOS THING" because i started it last july in sas's taos workshop, and rolled it up and sent it home, taped it to the wall, and then started attacking it with my experiential devices and materials i'd bought and never used, like oil sticks. i scraped and scratched at it. and reapplied, and scraped some more. all NEW TO ME. now i've put the big thing in a lovely wooden frame, and it's ON THE WALL in the living room. the fourth piece of mine framed.
SLOW PROGRESS.
SO NOW, i look at it, and think i'd love to find out how to do "encaustic"...add ONE MORE LAYER, but just a fine film of smokey wax.

and i've added something to my blog this week. finally.

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.