In the midst of the tea mania, I began work on another part of the series. This is also the point where my "processing" theme came clearly into view. With so many ideas and directions swirling in my head - with limited time and a mentorship opportunity that I wanted to make the most of - I had to keep reining things in and figure out how it would all connect. This is where I decided that the work would be limited to the mountain and all other projects would be studies to assist these main works. (And I would revisit the other pieces after the residency.)
This 3-dimensional project was quite thrilling to work on. I planned to create a miniature version as a test piece but soon realized that if I truly wanted to know how the materials would behave, I had to dive into the large piece. The miniature version emerged again about half-way through its big brother's completion.
Using recycled cardboard, the mountain faces began to take form. Each piece of the puzzle measured, bent and formed into the next. It was taking shape as I had envisioned! I loved it just like this but knew it wasn't done yet.
The next step was to seal the cardboard and prep it for its next layers. And here, my project underwent an overhaul. I loved the all white version and wrestled with whether or not to continue. But, realizing that I was facing the fear of ruining it, I decided to dive right back in. I wasn't here to play it safe. So, I dove in and... loathed how it was unfolding. Later that afternoon we had a small group critique and even after everyone's encouragement, I knew that I had to shift gears and immediately afterward began to therapeutically scrape off what I had done. (I hated it so much I won't even show you that mess!)
Seeing the mountain range again in white, I had a personal artistic epiphany. I had an awareness of depth and light and shadows like never before. Everything came into focus. The miniature wood panel then became a study in gradient light and colour as I examined how the natural light hit and reflected off of the 3-dimensional work.
After a study in mixing neutrals and creating a proper gradient (thanks, Alma!) each colour was mixed and applied based on the natural light study, but with a greater range. Here I had flashbacks to my time with "Foxy Loxy" where I would think I was finished but after the paint dried I'd see areas that needed touching up, wouldn't have enough paint to do so, and would have to mix more paint to match the first coats - another test of patience and precision!
I am so glad that I was able to discern what was fear and when to listen to that inner critic. Working in a studio with other artists this summer confirmed my suspicions that we've all got that inner chatterbox, critiquing and questioning things at every stage. It's hard to "unsee" your work, viewing with fresh and unbiased eyes... and it's very ease to rip it apart. But knowing when to listen to that voice and when to silence it is an integral part of the process. Having mentors and fellow artists to talk through the process is even better.
Coming this week: part three of my artist in residency experience!