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Portland Art Center presents:
The Family Dynamic
A family exhibition featuring large scale paintings by Portland Open Studios artist Lorna Nakell, sculptures by her husband Noah Nakell, oil paintings by Noah’s mother Susan Sumimoto, and photographs by his stepfather Chuck Nakell
Sept 6th – Sept 28th, 2007
Portland Art Center
32 NW 5th Avenue
Portland, Oregon 97209
Opening reception Sept 6th, 6 – 10pm
We asked Lorna to tell us a little bit about her working process, and this is what she says:
More Paint – More Water
by Lorna Nakell
Since starting in my new direction as an abstract painter about two years ago, I have gone from creating 22”x30” watercolor and mixed media paintings on paper to making these new 8’ x 12’ acrylic and mixed media paintings on canvas. The change of size and medium has been a challenge, but a rewarding one. Below is a description of my painting process:
My canvases are custom built. After they have been delivered to my studio, they are laid flat on the floor where they receive one coat of gesso and one coat of Golden’s absorbent ground. When they are fully dried, they are leaned upright against the wall where I begin to sketch out the design with pencil. Then charcoal stick is used to develop the lines and shapes creating the final under-drawing.
When the drawing is completed, canvases are laid back on the floor where they are dampened with water from a spray bottle. I then apply colored inks with a dropper and thinned acrylic paint in carefully placed splatters and drips. I alternate applying ink and paint careful to keep the surface constantly wet until the desired colors and blends are achieved. The wet canvases are then lifted carefully to allow the colors to run together in a slightly controlled fashion. Although some aspects of this background process are controlled, the paint tends to have a mind of its own, pooling together in unexpected ways. I never know exactly what it will look like until the entire surface has dried.
When the canvases have dried, they are leaned back against the wall where they are sealed with a fluid coat of acrylic medium to prevent the charcoal from rubbing off. After the medium has dried, the surfaces are ready for me to add painterly shapes and forms with acrylic paint, sparkly shapes with mica or glitter and other layers with tinted acrylic resin. Because my work is so process oriented, even though I might begin with a plan for each painting, I end up having to spontaneously work with the effects created by each step. This is exciting to me because it leads to surprising results. Only when all the colors and shapes seem to balance out and an overall mood is achieved do I consider a painting done. When finished, each painting receives a protective coat of varnish.
Above, Lorna working in her studio.
To find out more about the Portland Art Center, see http://www.portlandart.org/.
Portland Open Studios artist Linda Womack met with a reporter for an upcoming article about her and her work. Below is Linda’s write-up about her preparations to meet the press, “reprinted” here with her permission from her blog http://embracingencaustic.wordpress.com where you can see the original article along with images. You can see more of Linda’s work on her web site at http://www.lindawomack.com/.
by Linda Womack
OK, so it wasn’t on film at all but I did get up close and personal with a local reporter. Yesterday I met with Josephine Bridges who writes for numerous papers including a local favorite that covers my neighborhood: The Southeast Examiner. Josephine is writing a story on four Portland Open Studios artists who work with unusual materials, and our resident publicity hound, Bonnie Meltzer, put her in touch with me.
Josephine and I had met before, but last time I was doing demos in my dining room so she was very excited to see my new studio and all of my new work. I was nervous because I don’t usually get to talk with reporters — they usually review my work without any interaction from me — but she put me right at ease. We just sat and had a conversation as if she just stopped in for tea and the time flew by. Of course I did my homework beforehand and had a press kit ready. I haven’t made too many of those either but it’s easy to find advice online on what to include.
My press kit included:
- A copy of my resume
- My art statement
- My two latest press releases (about the HGTV show and my solo show at City Hall)
- A sheet titled “What is Encaustic?” so she can write knowledgeably about my technique without having to do any additional research
- Two promotional post cards with images on my work on them, one with a sticker announcing upcoming shows.
- Two business cards (Someone once told me to always include two so they can give one to a friend or have one at the office and one at home)
- A CD with high resolution images of 5 recent paintings, an image list with titles and sizes, 2 images of me with my work, 2 images from my book (Embracing Encaustic). After looking over the book she was so enthusiastic that I gave her a copy of that too!
- What I forgot: Copies of previous press clips (duh!) and a class schedule. It turns out that she wants to take a class!
Josephine was pleasantly surprised when I gave her the folder containing my press kit. Hopefully it will make it that much easier for her to use one of my images in the story. I shamelessly pointed out that I haven’t even done a press release on the book yet, so it’s something she might consider for another story. It seems like it could have a good DIY angle.
She did ask one question that I hadn’t had before: “What’s the one thing you want people to know about your work?” This is a great question! I told her that all the technical aspects of encaustic tend to scare some people off and they should know that it’s really not that hard to get started if you just know a few basic techniques.
Look for the article in the October issue of The Southeast Examiner.