Codex

On Monday we went with Daniella to Codex at Richmond, near San Francisco. She has written about it in her blog and included links to her favourites, which are pretty much also mine, so I will direct you to her blog to explore. It was the first time I had been to Codex, also, and I was knocked out by the quality of the work on display. We only had a few hours, but you could have spent days looking at the beautiful books there.
It was interesting for me, because although I love looking at Artists books, I haven’t really been terribly interested in making them, and I finally worked out why. It seems to me that each page of the book seems to aspire to be perfect, to be completely finished. I feel as if the things I make are just a step on a journey, that its still possible to change them, that they aren’t ‘set in stone’ . I know that there is really no reason why I couldn’t make a book of fragments, of impressions, and perhaps someday I might. But up until now, it’s seemed like too much of a statement!

The building the Fair is held in is very impressive, a huge industrial building with floor to ceiling windows as well as skylights. The light floods in, and on a sunny day, it is beautifully warm in there.

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From the forecourt of the building there are views across to San Francisco.

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Scrap

Yesterday we went to Scrap, a resource centre for artists in San Francisco, and bought for a few dollars lots of wonderful bits and pieces to transform into pieces of art. There is a similar organisation in Sydney, Reverse Garbage. which has branches elsewhere in Australia.

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The last day of the workshop at Wax Works West

Today was the last day of the Teaching Encaustic workshop at Wax Works West. While yesterday we gave short illustrated talks about our work, today we were required to present a demonstration in some aspect of teaching encaustic. For Angela and I, it was encaustic and paper. Angela tackled the use of encaustic in collaging papers together, laminating, etc, and I presented some three dimensional work made using encaustic and paper. Here are some small tiles I made representing various techniques with encaustic, and some three dimensional forms I made.

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We have been having a wonderful time. Daniella, Kim, Wendy and Judy have been very generous hosts.

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Ventilation fans and very well organised storage systems! behind the fans is the administration area with computers, filing systems, etc . Wish I was that organised!

Santa Cruz

I have arrived here in Santa Cruz, California, to do an R&F Teaching workshop with Laura Moriarty. Angela Noble is here with me. We are staying with the wonderful Daniella Woolf and Kim Tyler, and yesterday they took us out to show us around Santa Cruz, and to visit the redwood forest.
The workshop is at Wax Works West.

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the oldest of the trees here are more than 1500 years of age. Interspersed amongst the redwood trees are bay trees, with leaves that smell like Christmas cake and pine. The air is beautiful.

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A fallen bridge.

More rust………

Rust and steel
Rust and steel

Rust3 copy

I’m wondering whether anyone out there knows whether these prints will retain their colour?  I’m happy for them to degrade over time, but I would love it if the subtle and beautiful range of colours endures.

Wabi Sabi

Wabi Sabi.  Tea, rust on Japanese paper.
Wabi Sabi. Tea, rust on Japanese paper.

I discovered some references to Wabi Sabi recently. The term seems to convey things that I am interested in expresssing in my work.

Wabi-sabi  represents a comprehensive Japanese world view or aesthetic centered on the acceptance of transience and imperfection. The aesthetic is sometimes described as one of beauty that is “imperfect, impermanent, and incomplete”. Read about it here.

Characteristics of the wabi-sabi aesthetic include asymmetry, asperity (roughness or irregularity), simplicity, economy, austerity, modesty, intimacy and appreciation of the ingenuous integrity of natural objects and processes.

Rust and Tea. Monotype on Japanese Paper
Rust and Tea. Monotype on Japanese Paper

Productive day at the studio……

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About one third of my tiles coated with encaustic medium, a blank canvas for an image.

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A taste of a modular work, unfinished. Polymer intaglio print, monotype, encaustic medium. How to develop this further?