I lay the ground for this piece last night before I left the studio. So, this morning I could screen over "dry" painted thickened dye. It is a different look, and I like to see the variation in how the color I laid underneath is selected by the screen's motif.
Returning home from a road trip out to an earlier time zone (who knew there was one east of EST?) I happened on these anemones that were stressed by 90 degree heat. Me too, so I spent the day in the cool of the studio.
Nova Scotia Artist Regina Marzlin had work in Antigonish where I stopped to take in her "Crown, Branches, Root." The SAQA family is world-wide, but the community behaves like you lived around the corner. Fun to see this exhibit of hers.
Maud Morgan's painting "Gold Coast II" was from the early 70s. Her use of the grid, along with the narrow range in tones, reminds me of some early contemporary quilts. Or maybe of some made today in the Modern Quilt vein. What goes around...
A neighbor gave me these pink anemones in trade, and they are my signal that fall is around the corner. Which means I best get all I can out of this late summer weather. You'll have to excuse my taking a break from the studio to drink in autumn's aperitif.
Artist Row is a juried show held at the Rochester Public Market each year. It's my first year, and they awarded me this for best in my category. As much as I hate to be categorized, I'm thrilled to get this award. It'll go in my trophy room.
Helen Frankenthaler's work "Orange Shapes in Frame" (detailed here) in the deCordova Museum was made in 1964. Her experiment with pouring paint on unsized canvas produced figures unlike any others of her time. Had to stop and take in this large scale work. Always clears the brain.
I've been trying some options for a half yard of printed fabric. All work, but there is one that is more dramatic and that's what I'll use. Deadlines for submitting this is soon, so I'd better get going!