Photography - April 2018

While I was down in Wellington I took a LOT of photos. I had some happy and not-so-happy results. 

 I've spent many hours arranging them into series for viewing.

"Trees at TLC"

Consider a tree for a moment. As beautiful as trees are to look at, we don't see what goes on underground - as they grow roots. Trees must develop deep roots in order to grow strong and produce their beauty. But we don't see the roots. We just see and enjoy the beauty. In much the same way, what goes on inside of us is like the roots of a tree. ~Joyce Meyer

"PUNGA"

 "MANHOLE"

 "BARBED WIRE"

"LIFE & TIMES OF A DRAIN-PIPE"

"Gateway to TLC"

"PERPENDICULAR"

"WELLINGTON NIGHT-LIFE"

The last series are my "Really Bad Moon Pics"

 I am really ashamed of them and ashamed that after all this time I STILL haven't learned how to fully use my DSLR. I have some mental blocks when it come to reading information and processing it in y head. I am now wishing I'd attend a photography workshop at TLC. Being "there, on-site" would have probably really have helped. 

I love the dancing light patterns though, kinda of reminds me saxophones...and seahorse!

NB:I have since learned that ORA on the TLC website has online tutoring that I can refer to help me which may be useful for the future. I've only got one more month of my study left and I've been shedding a few tears. I can't imaging not having the creative support when I have finished though I do plan on applying for a scholarship in October to do Level 7 Advanced so may well be back :o)

Photographing/editing (sorting into series): 20 hours

April 2018 - Encaustic Painting (block week 2 workshop at TLC)

On the 1st of April I travelled down to Wellington to attend an Encaustic Wax painting workshop at The Learning Connexion. I was very excited to be doing this as I had been wanting to do the workshop for some time but it hadn't worked out due to other constraints. As it was a long weekend being Easter, the workshop ran from Tuesday to Friday. Marci explained there were a lot of techniques to be covered and she'd demonstrated two or three each day for us to try. 

(Click on the image to enlarge)

The first day of the workhop we learned what "encaustic wax"was, the materials used and why those particular waxes. We each had our own workstations with a electric griddle and board to work on. After the heating the wax, Marci showed us how to apply the wax to our supports, fusing in between each coat after the first four applications. Then she showed us how to add pigment using small containers. She had a bagful of the little "Dine" cat tins (cleaned, of course) that she collected thanks to her very fussy cate who would only eat Dine but she found they worked really well for individual colour pot size-wise but also had some old muffin tins as well. Marci also discussed what sort of pigments could and couldn't be used and why that was. They need to be oil based  not water based to to be compatible the wax medium.

Our first activity was to simply "add colour" by mixing small amounts of pigment with small amounts of wax using the individual containers or tins. In between the wax was "fused" using a hand held propane torch or a heat gun. I found the later gave less intense heat therefore giving more control on how quickly the wax melted.

I started the first day with lots of enthusiasm and very quickly realised I had NO control over the outcomes! What I did really like, that surprised me was the effects shellac had on the wax, both fused and unfused. Thus I decided to purchase some from the materials shop, along with some Microcrystalline wax to take home with me.

Above: Encaustic wax with a mixture of pigments,

gold leaf and fused shellac on a hardboard support.

My second experimentation was applying the pigments thickly at one end  and then, supported on an angle, fusing the wax with the preconceived idea they would 'run' - they kinda of did, but didn't! (still learning how this whole wax-thing works!!) I liked the effect so I set it aside to look at it periodically to admire and decide if I was going to risk messing with it  :o)  

On the final day, Marci demonstrated collaging and image transfers. I attempted the latter but stuffed up by fusing it so I had to peel it off and start again. Unfortunately the music score had very little ink to cling so it didn't transfer very well. I was disappointed about that.

Above: Encaustic wax medium with image transfer

On this block I've play around with scoring the wax, first with the prongs of a fork (then fusing) and then with a awl or something similar. This time I was careful with my fusing as I wanted the leave some of the engraved lines intact. 

Finally, I applied an application of shellac, lighty fusing it to create interesting patterns and textures but not too much so I didn't lose the lines I'd just scored into the wax.

I was also keen to experiment with plant materials and encaustic wax. During lunch break on one of my walks around campus I collected a few leaves etc and tried to be open to whatever happened in my creative use of them. My first few attempts were happy accidents but I also had some of the (thin) leaves curl when I wanted them to "stick" and leave an impression.

Again, I'm REALLY liking the use of shellac as it gives such a nice rich glossy texture.

My Big Experimental 3D FAILURE...

Then I had a real BIG fail!  I was getting annoyed  with my inability in producing a preconceived expectation (I think it was only after the first day lol!) Marci suggested I try using a 3D surface as a change like a rock. So I went found one, applied some wax, some leaves, some more wax and went outside to fuse it. Well, the lant materials caught a light and burned away until this was just a big black blob *sigh* I stared at it for a while, quite a long while and then thought: oh well, I just some things "just burn" and surprised myself, by being ok about the outcome!

Photo inspiration "Evening Sunset"

Above: Encaustic wax medium, colour pigments, pink dye, black permanent marker, unfused shellac 

On the final day Marci demonstrated use of collage and photo transfer with encaustic wax medium. 

This is an area I'm very interested in exploring further and though my image transfer wasn't 100% successful I a happy with the outcome of the collaging with printed mulberry.

Encaustic Wax Workshop 24 hours

Photo editing/blogging 8 hours

Woodwork Assemblage - Student support, encouragement and confidence building (aka: Ricky Time)

 After discovering the screws we had for the box were too small for securing the wheels to the base and getting some bolts, Ricky drilled the holes.

 We chatted away about his week while he screwed the bolts down with a spanner.

 My son, Cam (18) walked passed and said "Mum, why are you doing it like that? It's way faster with a ratchet and socket set " 

 Yep - WAY faster! Ricky and I are always grateful for !Tips and Tricks of the trade!"

 Woodbox project - COMPLETED!

 Whilst on the job of completing things - this ceramic project we started in 2016 FINALLY got wired together so Ricky could take it home

 It's really satisfying to finish things and I'm trying to attend to "getting things completed" as I'm really good at starting things but not finishing....

Ricky sewing on a vest he is making for himself. One of the fabrics his Mum purchased frays so I had him zigzag around all the edges to assist with sewing the pieces together without making a mess. Ricky has sensory-issues and can spend a lot of time stressing about any surplus materials/fibres/dust.

Teaching/student support, encouragement

 and confidence building - 6 hours  

Tapestry Projects: an update

My Creative Work Experience Memorandum of Understanding form for The Bach "Town Basin History" Community Tapestry Project. Heather Carthew is the current Chairperson for The Bach, did the artwork for the project and was more than happy to fill in the MOU for me. 

 I warped a small loom to do a sample measurement to determine how much wool we might need 

 An 8 metre skein covers a 3.5 inches area over 8 epi.  So I have estimated we will need 800 skeins to complete one panel.

These are the colour wool samples we'll be selecting the yarns from and I'm happy to have once again the responsibility of choosing them. I've been making a list to place an order soon as we have started work on the hem.

 I spent three or four hours one Saturday afternoon working on the hem which, I've been told gets woven in this way to make it a stronger hem and eliminate the need for sewing up slits.

THE COMMUNITY TAPESTRY STORYBOARD
We are finalising the details of the story - I forwarded all my information files after returning from the Weaving Workshop with Maximo Laura to Glenda who is working on the end product. She has eliminated a lot of my research to condense the storyboard ((I gave her way too much info!) into a brief historical explanation.

With all the (unforseen) issues with the community project, I decided  (and turn frustrations into creative energy!) I would work on a design inspired by an image I stumbled across on the internet but which reminds me of the view one gets coming over the brow of the Brynderwyn's (I'll have to search my images to find a photo I took)

I altered the image by turning it into portrait.

 I then printed a couple of copies to trace the shapes for enlarging the scale for weaving cartoon.

This handmade loom was a gift from Naoko's husband. 

It is A3 size so I enlarge the cartoon to fit.

For some time now, I've had the urge to paint. It took me a whole afternoon to achieve this and by the end of the day I was really tired and had a nasty headache. I used a combination of brush and my fingers to blend the hues.

Some of the yarns I have that will make up the colour palette.

Tapestry hours: 

Community Project: weaving hem 4 hours

Story board: compiling information 3 hours

Wool Weft: discussing/choosing colours and

estimating amounts/cost etc - 2 hours

Designing "Landscape" Tapestry (small start) line drawing 

and an A3 enlargement/warping loom 6 hours 

Painting landscape 5 hours

Ceramic creativity for July 2017

Thursday 6th July

Soap dishes - still experimenting to get the size, shape and base or stand right

GLAZING:

Part of my creative journey has been coming to appreciate all the things that go wrong or not as "perfectly" as I'd anticipated. If you look closely you'll notice a number of unglazed spots on my koru so I applied another coat of glaze and it'll go back into the kiln again.

Glazing some soap dishes...

.and numbers (the two on the left were accidentally fired before I glazed the leaves)

NATURE NUMBERS: 20th July

A piece of cut tree bark provides the textured surface

I've used builders paper for the number templates.

 Thursday 27th July

 More numbers...

Trying some different "feet" for my soap dishes.

 I'm really happy with this and I've learned how to attach damp clay with dried clay - using a clay/vinegar slurry as a paste.

 

The little feet different in sizes but oh well...

Ceramics: 10 hours