What a week of contrasts this has been!

As I enjoyed welcoming the morning from my porch today —  air cool and clean, sun breaking through trees, birds alive and active — it is actually hard to imagine that only four days ago we were in hurricane countdown mode. And that then it hit, with rough wind and rain all through the night.

And then it moved on.

Many areas in Florida are still dealing with significant damage and loss. I am grateful that here in our neighborhood everyone fared well and stayed safe, without loss of power or much more than fallen limbs to chop up and cart to the street.

Being able to get in the studio felt calming and therapeutic.

And nothing says art therapy to me quite like working on paper collaged works.

Every stage of these works is pleasing to me. I enjoy going through my bins of scraps (which I set aside just for this purpose) to find small pieces that speak to me, and then to find others that might connect with that one. I love the warm watercolor wash of burnt sienna across the sheer fabric screen print of black limbs on yellow. I began with that.

Frequently throughout the composing, I will put on the cut mat that will eventually be used for displaying the work. It helps to see what’s going on and to be sure nothing is closer to the edge than I want.

I found a mix of materials to work with for this one. The sheer fabric piece, a piece of monotype-printed tissue paper (the large green leafy section) and a big solid triangle shape printed on upcycled brown kraft wrapping paper.

When you are beginning a project intuitively, I think it’s best just to look at what you have and respond. Are the parts speaking to each other? I think these are.

Then, if I step back to analyze with some art principles, I will probably discover the reasons why. The colors are connected: all appear organic, a color that could occur in nature. And, because I mix all my colors from a limited range of basics, I know they actually contain the same base hues.

There is also interesting contrast. Ripped-shapes. Straight edges. Fabric. Thin paper. Thick paper. It’s not so much alike that there’s no energy.

About ripping paper:

When you print with paint on thin papers (like rice paper or tissue paper) the difference in surface tension between the unprinted part and the printed part creates an “edge” where ripping happens well. In this picture, In my left hand is what I am ripping off. I use the thumb of my right hand to guide the ripping along the printed shapes. This process can create organic edges that are much more interesting than cut edges.

With fabrics, it’s harder to rip in shapes. But, when a ripped straight line will work, it will also have a little different character than a cut straight line and it can be more interesting.

Here’s what I’ve got so far by the end of the weekend:

What’s glued down: the top part of the green, the fabric screen printed piece top right and the brown triangle.

What’s TBD: The bottom of the green and the smaller fabric scrap in burnt sienna are just laid on top for now. Maybe they will stay. Or be moved. Or added to.

I’ll enjoy seeing how it evolves.

. . . .

To Florida friends in the path of Milton: I send wishes for safety and peace as you tackle whatever cleanup and restoration you’ll be going through.

. . . .

Upcoming exhibiting for me in November:

For all the artmakers: Happy creating
For all the art lovers: Happy appreciating

Thank you for reading. I always enjoy questions and comments.
--Bobbi

bobbi@bobbibaughstudio.com

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