Category Archives: painting work by holly suzanne

Studio Visit Magazine

Acrylic, Ink, and Tempera on Paper.
Acrylic, Ink, and Tempera on Paper.

Hello Blogger Friends:)  I’ve been absent from the web, but busy in painting work these past months.  I’ve also just arrived home from a lovely and full visit to Portland this past 10 days and am feeling invigorated by connecting with loved ones as well as the beautiful setting that the Pacific Northwest offers.  Prior to leaving for Portland, I learned that Studio Visit Magazine had published Volumes 21 and 22 and wanted to pass this along to you.  The piece above  along with another painting I submitted for review have been juried into print for this publication by Dina Deitsch, Senior Curator, deCordova Sculpture Park and Museum.  To view a copy follow this link to Volume 21.  My work is under Holly Suzanne Filbert and is on pages 56 and 57 but I would recommend checking out the other selections as well.  There’s some interesting stuff there:)  Enjoy and I hope to share more soon.   — Holly

 

Morning Coffee and Watercolor Rain

This morning Nathan and I are sitting at Mead’s Corner having coffee (this is where my work is up this month).  We happen to be positioned in a sunny room right in front of this piece, “Watercolor Rain”, which is a mixed media collage on board.  It suites my mood this morning, so I share it here.  There’s something about the way she stands, turned away, head down.  I experience the piece as a  melancholy calm, with hints of passion and memory, nostalgia and wistful remembering,  Some of my pieces hit me this way.  So much of my experience and way of experiencing are worked out in the making, each artifact a part of an intricate tapestry of being.  So I let it ruminate,  and allow myself to feel.

 

 

Poetic Collage

Standing Alone I
Mixed Media: For my latest show I added a layer of wax, shellac and wood glue to add a textural dimension to an existing ink and watercolor painting that I mounted on a 2″ gallery wrapped wooden board. I used a wet shellac burn to brown the wood glue to represent bark on the solitary trunk. The amber shellac added a lot to the piece, bringing out more of the autumnal colors.

 

Sometimes in my work, after a painting rests  awhile, it calls for something else and the result for me is a kind of visual poetry or collage.  There is a cadence to the work.  It feels otherworldly and seems to take on a life of it’s own.  Some people call this flow; some call it inspiration.  I’m not sure what I call it but it seems pregnant and full of possibility. I liked these paintings before; they felt fresh and alive.  Now they seem mature and full, as if they’ve the capacity to hold and embrace the weight of living.  Perhaps that’s what age does for some people.  It’s certainly something to think about.

Cycles of Life

Cycles of Life
Mixed Media on Board with Resin
18″ x 18″
2012

 

The title of this piece is perhaps self evident.  This piece, constructed with paper, plastic, shellac, wood glue, acrylic paint, and oil was made with the summer fires in Colorado in mind.  Often what we believe will scar the landscape or our own lives actually ends up bringing unexpected discoveries.  The overall topography is something to behold and hold in reverence.

 

This is one of the pieces I’ll be featuring in the show at Mead’s Corner in Wichita from October 31st to December 1, 2012.

Encaustic Collage

Untitled Mixed Media Encaustic Collage

I don’t think there is any limit to what a person could do with encaustic painting.  The first encaustic collage was done on a wood panel using photocopy transfers, paint, encaustic medium, gemstones, etc. all mixed together into a story of sorts.  The bottom encaustic mixed media collage started with an oil painting I completed a couple years ago that has never felt finished and ended with what you see here.

For those of you who are curious….

here is some info on encaustic from wikipedia:

Encaustic painting, also known as hot wax painting, involves using heated beeswax to which colored pigments are added. The liquid/paste is then applied to a surface—usually prepared wood, though canvas and other materials are often used.

The simplest encaustic mixture can be made from adding pigments to beeswax, but there are several other recipes that can be used — some containing other types of waxesdamar resin,linseed oil, or other ingredients. Pure, powdered pigments can be purchased and used, though some mixtures use oil paints or other forms of pigment.

Metal tools and special brushes can be used to shape the paint before it cools, or heated metal tools can be used to manipulate the wax once it has cooled onto the surface. Today, tools such as heat lamps, heat guns, and other methods of applying heat allow artists to extend the amount of time they have to work with the material. Because wax is used as the pigment binder, encaustics can be sculpted as well as painted. Other materials can be encased or collaged into the surface, or layered, using the encaustic medium to adhere it to the surface.

This technique was notably used in the Fayum mummy portraits from Egypt around 100-300 AD, in the Blachernitissa and other early icons, as well as in many works of 20th-centuryAmerican artists, including Jasper Johns.

Kut-kut, a lost art of the Philippines implements sgraffito and encaustic techniques. It was practiced by the indigenous tribe of Samar island around 1600 to 1800.[1]

In the 20th century, painter Fritz Faiss (1905-1981), a student of Paul Klee and Wassily Kandinsky at the Bauhaus, together with Dr. Hans Schmid, rediscovered the so-called “Punic wax” technique of encaustic painting. Faiss held two German patents relative to the preparation of waxes for encaustic painting. One covered a method for treating beeswax so that its melting point was raised from 60 degrees Celsius to 100 degrees Celsius (from 140 to 212 °F). This occurred after boiling the wax in a solution of sea water and soda three successive times. The resulting, harder wax is the same as the Punic wax referred to in ancient Greek writings on encaustic painting.

Encaustic art has seen a resurgence in popularity since the 1990s with people using electric irons, hotplates and heated stylus on a variety of different surfaces including card, paper and even pottery. The iron makes producing a variety of artistic patterns elementary. However, the medium is not limited to just abstract designs, it can be used to create complex paintings, just as in other media such as oil and acrylic.”

 

I strongly recommend it!

Enjoy the night-

Holly

 

 

 

Remembering some early works…

I picked up my paintbrush a few years back after a long lapse in practicing the art of painting.  It took a major life event, namely a catastrophic multi-vehicle accident, to slow life down long enough to rediscover my love.

These paintings are some of the early work I completed in those first few months of recovery.  I was wheelchair bound at the time, healing from multiple fractures to my pelvis.  It was a time of healing on many levels, and a time of looking into the future without clarity as to what it would hold.

I’ve found a way through that time, much to my delight, and my life is richer and fuller for it.

I’ve completed a number of works on the theme of this crash and my process. Click here to see more.