To Make A Painting

Crackle

There are three different crackle techniques in my most recent series. Cracks develop as water-based and oil-based layers of varnish or paint separate from each other. Ingredients, timing, thickness of application, humidity and temperature must all be just right to achieve a particular effect. 

Many of the paintings must go through one step each day over many days before the crackle is finished. If my timing or thickness is off at all during the three crackle stages, the entire piece can be ruined. After they are finished, It takes the paintings days to dry completely. I import my crackle making ingredients from Europe as they are not sold in the United States.

One piece in this series features a unique alligator like crackle. I created this effect using machine oil. I love redeeming materials that we don’t often pair with thoughts of beauty.

Texture

I use a special texture technique in some of the paintings in my most recent series. 

After I paint an initial painting in acrylics, I meticulously work through a piece of lace or fabric. I have to be very careful that the fabric I use does not move while I work. Once I have covered the fabric, I very carefully remove the lace leaving a print of it in raised on my canvas. Once that is dry, I often apply gold metal leaf to it.

Artifact

Artifacts are an essential part of the journey and storytelling in my pieces. An artifact can be a painted ellipses, Italian mosaic tile, copper tacks, or even shrapnel. These artifacts can allude to ideas of treasure, covenant, inheritance—even the brokenness that we carry within ourselves, depending on the piece.

Gold Leaf

Metal leaf is gold, copper or silver that has been hammered into thin sheets by goldbeating and is often used for gilding.

Working with gold metal leaf is difficult. Leaf tears easily and blows away if you breathe too closely on it. I absolutely love working with this tedious material. In addition to  the usual gilding techniques, I have developed my own style of “painting” with the dry gold metal leaf.

I like using a special adhesive imported from Italy. After the adhesive cures, I apply the leaf by carefully balancing it between my brush and pallet knife. Once the leaf is stuck to the piece, it’s application needs to be refined. Once I am happy with the piece, it is sealed.