Tag Archive: batik


 

1.31.15 Tallahasse pix  (60 of 77)

Old and new Florida State Capitol buildings; the 22nd Floor Gallery is at the top of the new State Capitol building

 The gallery setup December, 2014, rolled around and I hadn’t heard any more information and updates from the woman in charge of the gallery. I emailed and called for two weeks. I finally received the information that she was taking care of an elderly parent and would get back to me which she did about a week later. By this time it was early January. Another woman who told me she was the newly appointed curator for the gallery then contacted me. She gave me the information that I needed about when I was going to hang the artwork and when the show was going to be taken down. She then sent a revised layout of the gallery floor plan as they had renovated the space earlier in the year. I got to work and began taking the measurements of my work and laying the information onto the floor plan drawing. Fortunately, I had printed several copies and penciled in the dimensions so I could get the arrangement of work the way I wanted it to be displayed. A few days later I was with friends at a garden art show in Miami when I received a phone call from the curator. When they had transitioned over to the new curator, one of the artists that had been previously selected to exhibit had been mistakenly told that she could have the time slot to exhibit that I had been assigned. How was she going to resolve the problem and keep everyone happy? I agreed to allowing my work to be shown in the gallery for a month and a half and then move the artwork downstairs and across the street to the lobby of the Secretary of State’s office. They would move the artwork for me and re-hang the show. Whew! I finalized my arrangements and began packing my artwork.  After I bagged and wrapped all of my paintings I loaded up my station wagon with my husband and started the seven hour drive north to Tallahassee. We decided to make a mini vacation out of it and stretched it out over two days. We were then able to catch up with a friend in Tampa and spend the evening at a favorite restaurant in Ocala. We even ate three-dozen oysters at an old Florida restaurant near Tallahassee!

1.31.15 Tallahasse pix  (40 of 77)

Warren enjoying his Oyster feast

Rep. Mark Pafford & Mono

Representative Mark Pafford and friends

The next day we had made arrangements to meet State Representative Mark Pafford, the House Minority Whip in his office in the Capitol. We had met him a month earlier at a chance encounter in the Everglades and I had looked him up and told him when I was going to be in the building. Meanwhile, I had to park my car on the building grounds—not an easy task. The curator met us at the guard gate and arranged our parking while we went upstairs to see him. We then drove the car into the bowels of the building after the police ran a mirror under the car and lowered the security walls to allow us to drive in. We placed all of the artwork on a rolling cart and load it onto one of the two elevators that would stop at the twenty-second floor. Then the three of us began the over four hour process of hanging the work. The woman who was supposed to assist the curator was out helping her mother—otherwise the curator was going to have to hang the twenty-five pieces of artwork herself. Thank goodness for my husband the handyman!

2.2.15 Capitol Gallery Images (21 of 23)

Flamingo Fixit hanging “Hava Tampa”

He speeded up the task and quickly figured out the hanging logistics for some of the larger paintings. We worked until we were told we had to leave at 5:30 pm as the building was closing. When we tried to leave we had to speak to security through an intercom box so they could raise the guard gates. We drove off and celebrated with an early dinner and returned to the hotel for the evening.

SONY DSC

Muffy Clark Gill and Representative Kathleen Passidomo

  The next morning we met our State Representative, Kathleen Passidomo and her aide, at the gallery so she could see the exhibition and we could have some publicity pictures taken. (She ran her picture in her weekly newsletter that week). I took pictures of the entire exhibition for my own records and spent a few minutes savoring the excitement and self satisfaction. I had achieved my goal!  

The Creation of “Drake”

Image

Every once in a while, I like to let my readers see How I go about creating one of my Batik/Rozome paintings.  First off, My readers ask “What is Rozome?”  The easiest way I can explain it is that Rozome is a wax and dye resist process similar to Batik, but using Japanese bamboo brushes to paint the soy/beeswax onto the fabric, while a different style of bamboo brush pushes the dye into the dampened silk fabric, rather than immersing it in a dye tank.

For this painting I selected a photograph I took of a male Wood Duck that was take by me last spring at the Ellie Schiller Homosassa Springs Wildlife State Park in Central Florida.

This beautiful park features all animals that are found in the state of Florida with the exception of  “Lu “, the Hippo, an honorary citizen.  You can see all sorts of wonderful birds, manatees, otters, alligators and much more.  Well worth a visit!

I then enlarged my photograph so that I could make a large line drawing to work from. I used this drawing to serve as a road map for my project.  Working from the drawing, I transferred the lines onto a large piece of silk, creating my own drawing on the fabric. Then, after stretching the panel to keep it taught, I applied a layer of soy and beeswax to the areas that were to remain white.  Gradually, I would wax over each successive color from light to dark as you can see from these works in progress photos.  (I did the most of the background first before I went back in and worked on the duck).Image

During this process, I am following the hundreds of fine lines I drew on the back of the fabric so I could created the water effects (My friends think I am nuts). I am still waxing as each value of color is painted onImageHere you can see the darker tones are gradually being added.

 

ImageHere is the piece almost ready to be ironed out to remove the wax.

After I have removed most of the wax by ironing and blotting, I then roll the piece up in several layers of newsprint like a jellyroll and steam it for three hours in a converted Turkey fryer.  Removing the piece from the newsprint, I then rinse it in a chemical bath to remove any excess dye before I press it dry.  The painting is then ready for a photograph and to frame it!

Now featured on Artsy Shark!

Agua XIII The Red LeafI know I haven’t written a blog posting in a while-I’ve been so wrapped up in creating and organizing my artwork (not to mention exhibiting and creating a revised website) For 2014, I decided that I wanted to get back into chronicling my ideas and inspirations for my art. I have a lot of work to do: I received a notice that I will be showing in the gallery at the Florida State Capitol in 2015– more Seminole kimonos to create.

I have submitted work for the Florida Contemporary show at the Baker Museum of Art, and next week I am venturing over to Boca Raton to see two of my “Agua” series paintings, Red Leaf 1 and Red Leaf 2 in their opening day at the Nathaniel Rosen Museum and Gallery.

A happy and busy time for me.

Meanwhile, I submitted work to Artsy Shark, an online site that helps to promote visual artists. Carolyn Edlund of Artsy Shark selected my work after I made several revisions to my website and images. the results are amazing!

You can read about my work on the article here:Artsy Shark

Many thanks to Carolyn and her webmaster Jason Stambagh for making this happen!

Dying Steps, part 2

Dying # 4

Dying # 4, adding more color

After these first two rounds of dying and painting are completed, I go on and add more color, working from light to dark, trying to bring out as many details as I can. the painting begins to take shape

Version three of the dying process

I now can get started with my dying process. This painting is very complex, due to the number of color combinations and waxings that must be done in order to accomplish getting the information in front of me to look like what I have envisioned. I start by painting on all of the white areas with hot wax. This time around, pure white is few and far between, so after I do the initial waxing I paint on the next few colors: yellow for the floating debris, and a pale rose pink for the basic flesh. tone While the painting is still wet, I decide that it is too intense, so I paint a layer of ecru dye over the pink over the wet fabric, to more carefully match the color I am looking for. This gets waxed, and I keep on going…

"Warren's World" in the early stages

"Warren's World" in the early stages

"Warren's World" Panting with first few dyebaths started
“Warren’s World” Painting with the first few dye baths started

February is always a busy time around Naples.  It is the height of “The Season”, which means every week there are at least three if not more events going on around town.  The third week of February, I had the opening of my show at FGCU; A demo on Third Street in Old Naples during the “Third on Canvas” event, and a Saturday demonstration for the Southwest Florida Craft Guild.  I had started planning for all of this the summer before, so I wasn’t completely overwhelmed, but overall, it was still a lot of work!.  By the time Sunday rolled around, I was spent.  When I had any free time in December and January, I had created images that I wanted to batik on to scarves for a March event: “Have a Seat III”, at the Patty & Jay Baker Naples Museum of Art.  These were developed from photographs I had taken the previous summer, edited in Photoshop, and then redrawn with a charcoal pencil on to each scarf.  I also had to pack up a box that contained my demonstration supplies: bees wax, soy wax, Tjantings, bamboo brushes, stretcher bars, silk tacks,and dyes in jars ready to go.  A lot of stuff to haul around (Did I not mention the standing easel and two framed paintings to display while I worked?)  A small crowd gathered around me during the cold non-Florida day when I was working outside in front of Gattles on Third Street.  Many of the people were my fans, or knew of batik, which made me really happy.  The next day, after the dyes had dried, I continued to work on the paintings as a demo for the Southwest Florida Craft Guild, an organization of which I have been a member for over 15 years.

Applying soy wax with Tjanting tool to painting

Muffy Clark Gill showing innitial drawing on fabric for batik painting

Close-up of Wounded Warrior III in progress

FGCU ArtLab Reception 2.18.10

Feb. 18, 2010.  I have been behind in writing, as I have been busy preparing all of my paintings for the show that debuted last Thursday at the FGCU ArtLab.  This show  is titled: “Dying Arts: Batiks and Silk Works by Muffy Clark Gill and Nuch Owen” has been a labor of love for over a year since interim Curator Anica Sturdivant asked me to participate .  I met Thai artist Nuch Owen many years ago when she first came to the Naples area.  Her skill in painting on silk using Gutta resist is unbelievable, and very intricate. I enjoy her work and respect the talent that goes into creating it.   I brought 8 paintings to the show including “Seated in Silence”;” Hava Tampa Spirit”, and two of my pieces from the FGCU Steamroller project.  WGCU Public Media hosted the reception as a member event, and over 60 people showed up(there were RSVP’s for 107, and it was hard to track a true total).  Quite a few for a intimate gallery setting on the University campus.I really enjoyed talking to the students who were asked to do a report on the exhibition.    The show also featured the debut of my new silk hanging: “Influence”.  I have a web page of the show here:   http://tinyurl.com/ydmhbot.

The show  was part of a busy week that included a talk about how I use my Mac computer with my artwork, and two Batik demonstrations in the Southwest Florida area, along with the opening reception  February 12th for the 7th Biennial National Art Exhibition at the Visual Arts Center in Punta Gorda.  The “Hava Tampa” painting was one of the 138 entries accepted from over 720 submissions.  By the time Sunday night came, I was worn out!

This vintage 1910 photographic image: “Sheriff Frank Tippen and Seminoles” was loaned to my by Pam Brown, whose family was one of the first residents of Immokalee, Florida. The photo was in the family album, and it’s imagery spoke to me: Three men smoking cigars while the three women patiently sat while their photo was snapped in a commercial photography studio. I loved the gesture of the men holding the cigars, and I am told that the women, as they were holding their arms in front of them were all pregnant. I scanned a copy of the photo into my computer, and adjusted the brightness, contrast, and color so that I could see the images more clearly, then the fun began. How shall I create this image in Batik? How large do I want to make it? What fabric did I want to use? Shall I do it in full color, or try to match the sepia tones of the photo? Do I want to make the painting so I can frame it, or should I hang it from a rod? These are some of the myriad questions I ask myself before I get started on the drawing for the painting.

Seminole Indians with Frank Tippen Circ 1910

Seminole Indians with Frank Tippen Circ 1910

I have been working on my Batik paintings all summer, and decided it was time to take a creative break.  About three months ago I received a request from artist Ken Marquis to participate in the Landfill Art Project  http://www.landfillart.org/.  He is seeking artists from all fifty states and around the world to paint hubcaps that he has recycled from landfills.  I looked at his gallery of images and thought that I would take on the challenge of painting a hubcap.  I’ve always been a scrounger, recycler( my parents were very strong into the depression mantra of waste-not, want not ).  When I was a kid, my brother and I would go to the annual community trash pick-up day and assemble bicycles cannibalized from the ones that had been dumped, so the idea was really appealing to me.

A few weeks later, I received in the mail a heavy metal Pontiac hubcap to paint.  My guess is that is is circa 1960’s to late 1970’s vintage–The metal was very strong and heavy.  I had to let it sit for a while until an idea spoke to me:  Seeing that was originally named after Indian Chief Pontiac, why not do something with an Indian theme?  I happened to be dusting a favorite curio that I had purchased years ago at the Four Corners State Park in Arizona that showed images of antelope racing across sandstone in the ancient Mimbres pottery style.  I looked at a book of photographs of petrographic paintings, and found images of hunters racing across the stones that I would adapt to my concept.  With these ideas in mind, I began my adventure.

The primed Pontiac hubcap

Stone painted with running antelope in the Mimbres Indian style

Stone painted with running antelope in the Mimbres Indian style

Muffy Clark Gill working on her Batik painting: "Veranda View"

Muffy Clark Gill working on her Batik painting: "Veranda View"

During art shows, gallery exhibitions, or school demonstrations, people often look at my Batik paintings  and ask me “How do you do such a complex painting process:  or “You must have a lot of patience to create your work”.  This blog is dedicated to understanding why I paint, and my creative process.