Printmaking Workshop

Colours of Canterbury and other places, made at this morning’s printmaking workshop at Arts in Oxford Gallery.  Many thanks to Jo who made these lovely paints.

 

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Paintmaking Workshop

 

I am holding a paintmaking workshop on Saturday 23rd June.  If you are interested please book at the gallery to reserve a place.

We are also holding two other workshops to accompany the exhibition LOCALity now on show at Arts in Oxford, North Canterbury.

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Seeds, hips and twigs

I completed a Skillshare course on botanical sketching by Laura Ashton, and was really pleased to get a few tips that really helped!  So pleased to find a use for some of my dried plant material.

 

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Wrybills

Been a while since I have posted, but I have been otherwise occupied with the gallery at Arts in Oxford.

No painting, no prints, no solar dyes.   Well, actually, I have done some on the odd occasion, and I had to do some mono prints for the exhibition “From the Rivers to the Shore” which was on at the gallery from 10 June for five weeks.  The show is now on at The Depot Artspace in Devonport, Auckland.  From there it will go up to the Hokianga, at Rawene,  in No 1 Parnell Gallery.

I was delighted to sell the work I exhibited in Oxford North Canterbury, which is this one below.  Wyrbills are the only bird on the planet with a bill that bends to the right – it is endangered due to habitat loss on the braided rivers of the South Island of New Zealand, where this species breeds, and on the distant shores it visits during its annual migration to overwinter in warmer climes.  It is also endangered due to predators and weed invasion of the bare rock covered areas of the braided rivers where the eggs are laid amongst the rocks.  In conjunction with Braided River Aid, the gallery hosted a panel discussion with two Canterbury University academics from the Biological Sciences department who are researching nearly everything you can think of to help these and other endangered birds.

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The rocks are coloured with pigments from the river rocks.  You can see the curve of the bill in this sketch below!

 

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Paintmaking in the Gallery

As part of our group exhibition, Accumulative, I will be in the Arts in Oxford Gallery this Sunday 23 October from 10.30 am until 4 pm making paint from rock from the Canterbury area and further afield.

Hope to see you there!

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‘Accumulative’ exhibition Print

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Waimakariri Near and Far, mono print on paper.  Detail of one of my Accumulative exhibition prints with Waimakariri and Waikari rock paints.

Carbon Footprint

 

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We’re all in the joke mood at the moment, that is if you are doing an assignment for Art of the MOOC.  It has been a real battle for me to think of a joke related to a social issue or a social movement.  My attempts just sounded so silly, but after going on line to find some, I thought mine were not that bad after all…

So how about:

When is a thinking person’s coal mine empty?  When it’s mindful.

When can coal see?  When it’s fossilised.

Then I thought, if I am making paint from coal (which was my intention), to sequester it, for example, I need a link to paint and pigment.  Luckily, my brain caught on, and I came up with using charcoal (which is also carbon).  Now, as there is a good possibility that prehistoric man also used charcoal to paint or draw with, aka cave paintings, I could somehow make  a joke that linked carbon, pigment and paint.  I do have some coal left over from when we had a coal fire (oops, but we only used it once and we had to travel 100 k to buy the coal)…  but the charcoal came from the woodturning stove and the tree came from the garden and it did seem a little more environmentally appropriate.

So my joke for Art of the MOOC was:  Was there a prehistoric carbon footprint?  No, they used their hands…

I made a video of the paint making process which can be found on my Facebook page.  www.facebook.com/celia.wilson.56   It is also on Vimeo https://vimeo.com/147520835, and I have a link to Twitter…

 

 

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Walks in the Waitakere Ranges

Have just found this draft which was started late last year, so I thought I should finish it.

In November I spent a week near the Waitakere Ranges just north of Auckland, and had the opportunity for some lovely bush walks.

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Paddocks and regenerating forest – Manuka a nursery species.  Ponga, tree ferns, Kauri alongside the track.

IMG_1697 IMG_1701Close up of Kauri bark.  Gorgeous!

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Crossed this stream.  Typical of the bush streams in the area.  This one is near civilisation.

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Definitely not in the bush! Planted at the entrance to a property. Looks like a Black Eyed Susan vine Thunbergia alata.

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Kawakawa , Macrocarpa excelsum– lovely holes in the leaves from it’s friendly co-habitant, the Kawakawa looper moth caterpillar.

I managed to find some pigments – mainly hard clay, and some small clay pebbles, rounded by the running stream water.  I’ve never seen these before, was quite a surprise.  Because they are wet, the colour comes off on to your fingers, and you can easily mark another harder surface.  I thought perhaps that could have started the use of clay as paint…

 

 

 

Canterbury Pigments

I’ve been working with my pigment rock collection lately.  Re-testing and recording to replace the work I did in Textbook 2 which was lost (i.e., stolen…).  The rocks and earths of the Canterbury Plains produce these colours that are presently on show in “View and Do” at the Arts in Oxford gallery.  All the artists taking part in the exhibition are holding workshops.  The workshops are varied – watercolour painting, abstract design, ceramics, box making and paint making.  Volcanic and sedimentary rocks, chalk and lime are gathered here to make twelve separate watercolour paintings, all 50 x 95 mm on black paper.  Details of the location of the pigments in each painting are  listed below.  The details are in the same order as the paintings:

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view and Do Portrait

Green dye from Black Turtle Bean

Following on from the previous post about black bean dye –

The next day, bicarbonate of soda was added to the Black Turtle Bean solar dye.  Colour changed to green and this colour transferred to the un-mordanted silk and cotton scraps.

This test needs to be redone; the bicarb was added to the original dye which was probably a bit tired – the beans were ‘going off’ at the time.

 

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I also added to the solar dye pot some rolled-up paper, but the green disappeared into a brown-green when applied to paper.   Something in the paper which is photocopy paper reacting with this dye.  Where the pools of dye were deeper the green colour is just apparent.  This paper is stuck onto the test page and covered the swatches in the above image, hence the change of page direction!

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