Shades of White

Sublimation by Deidre AdamsSublimation, 30 x 40 inches, acrylic on panel, ©2011 Deidre Adams 

After finishing the Anythink commission, which had occupied the better part of my time for about three months, I felt a little rootless. I tried working on another textile piece, but it just didn’t want to cooperate. So I brought out all of the paintings that I had started but not finished in the preceding months. During the contemplation of them, a couple in particular were calling to me more emphatically than the others.

Not unsurprisingly, when winter in Colorado sets in for the long haul, my mood turns away from color and yearns for something subtle. I love winter and snow; I love to go for a walk in snow, when everything is covered in uniform whiteness. And I’ve long been drawn to create what I think of as “white” work. Even though there are many colors in the work, on first look they read as “white.” Last winter, I started a couple of white paintings, but set them aside as other things became more pressing.

According to color expert Kate Smith, white aids mental clarity, encourages us to clear clutter or obstacles, evokes purification of thoughts or actions, and enables new beginnings.* White has connotations of purity and cleanliness, which could be a source of ironic comment in context of my own immediate surroundings, but putting that aside, what I enjoy most about working with white is how interesting and challenging it can be to work with subtlety.

 Sublimation, detail, ©2011 Deidre Adams

I’m exploring effects of depth by varying the transparencies of the whites and by adding layers of mediums and glazes in between. I’m also using small amounts of interference colors. They don’t show up in the photo very well, but when viewed in person, they create an interesting reflectance effect that varies depending on your point of view.

My fascination with whites goes back several years. My first “white” piece was Shades of White, done in 2006. I was thinking about the appearance of old walls that have been painted over with white in an attempt to obliterate something, but despite someone’s valiant effort, what lies beneath is often still visible like a kind of determined ghost.

Shades of White by Deidre AdamsShades of White, 48 x 48 inches, mixed media textile, ©2006 Deidre Adams 

This one also has a landscape feel, so it’s ambiguous. It could just as well have been a Horizons piece, but that was secondary to the white idea.

Shades of White - DetailShades of White, detail, ©2006 Deidre Adams

 

Here’s another one, not technically a “white” work because of the strong dark circles and a bit more color, but never miss an opportunity to show some older work, I always say. This is the first of what later became my Façade series, based on walls.

Façade IFaçade I, 38 x 62 inches, mixed media textile, ©2006 Deidre Adams

We’ve had what seems like a lot of snow so far this winter, but since it’s been in the high 50s for the last couple of days, it’s melting fast. That’s the great thing about winter in Colorado.


*All About the Color White by Kate Smith

 

December 30th, 2011|Art, Painting|5 Comments

Some matters of logistics


Informal Analogy, 48 x 48 inches, acrylic on panel, ©2011 Deidre Adams

Before I say anything else, in case people don’t care to read all the way through this, I would just like to point out that I’ve added a lot of new work to my website. Please take a look and let me know what you think. Now, on to the story.

While working on a 12×12 series (see here and here), I got the idea that it would be fun to work even smaller, so I bought a dozen 8×8 panels. So far, this hasn’t turned out as expected; it’s been a struggle trying to get these tiny paintings to a satisfying state. I don’t know why this is, but it’s the same with textile works. (At least a painting on a wood panel doesn’t have the placemat problem.) But I can’t force it, and so those have been placed aside for the moment.

So when small doesn’t work, what’s the answer? Go big, of course!

Now, I must work within certain limitations, the most obvious of which is that since my studio is a room in my house, working large is a challenge. The largest possible painting I can do is 48 inches (the width of my work table). Since it was the dead of winter and we were having a series of frigid days at 10° F and below, that was the determining factor.

I had 3 panels made at this size – the most I could afford at the time. And since my studio room isn’t big enough to accommodate working on these flat all at once, the obvious solution is to take over the entire house. My mostly unused living room became the site of panel prep. Here’s the first stage, after a complete dust removal with a vacuum cleaner and a damp rag, a filling of teeny-tiny nail holes, and two coats of Golden GAC100. Right now it looks so beautiful, I would almost rather make a nice table out of it than use it to paint on.

I’ve found a great local source of panels: Space Gallery in Denver. These are beautifully made, furniture quality. Much better than anything I could do myself, and reasonably priced. They also seem to have a source for the raw materials that’s far superior to what I was able to get from Home Depot. So, if it’s within the budget, why not pay for a professional-quality product and use the time and energy saved for what you really want to do, which is make art? And yes, if I never have to see that scary table saw in action again, it won’t bother me too much.

Bonus: I get a chance to check out the latest show at Space Gallery, one of my favorites, and experience the unexpectedly wry humor of the director, artist Michael Burnett. Michael also gave me a great tip the last time I was there, which is to give the back of your panels a coating of your prep medium. This helps to equalize the stress between front and back and hopefully eliminate the chance of warping.

Well, since I needed painting substrates more urgently than I needed furniture, I eventually went on to the next phase of prep, gesso.

I like to put it on in thin coats with a roller, and I do three coats, letting each dry completely before going on to the next. This gives me a very nice even surface. I’m not completely sure why that’s important, since I will henceforth do a lot of things that will make it very UNeven, but that is now my ritual, for what it’s worth. To do three at a time, I also need to use the front entryway.


Now that warmer weather is on the way, I’m excited at the prospect of being able to work outside. I have a fantastic deck on the back of my house, and I just need to get set up out there. I plan to do some larger works out there when I figure out all the logistics.

 

April 8th, 2011|Painting|4 Comments

Cerescape Series – Part II

More from the Cerescapes series.


Cerescape No. 4, 12 x 12 inches, acrylic on canvas, ©2011 Deidre Adams

 


Cerescape No. 5, 12 x 12 inches, acrylic on canvas, ©2011 Deidre Adams

 


Cerescape No. 6, 12 x 12 inches, acrylic on canvas, ©2011 Deidre Adams

 

March 14th, 2011|Painting|2 Comments