Painting on Glass: Fr. Bill

I have been continuing to paint on glass, mostly when I am able at school as I am able and after school while still on campus with my NAHS. I have one student in the morning during one of my planning times. As seen here, Alyssa sketched me while working on a painting on glass.

Friar Bill, 8 x 10", painting on glass. Friar Bill and Brother Xavier will be called Two Friars as a dyptich. I like the idea of putting together multiple portraits, versus singular portraits.

Friar Bill reminds me of the 'lion' in Chronicles of Narnia: The Lion, the Witch and the Wardrobe, by CS Lewis. The character of the lion in that novel, as you may know, symbolized Christ, and the novel was an analogy for His gospel.

On Portraits: Abby Sangiamo

So I have been working with portraits this semester. I have been reflecting to my roots as an Undergraduate at MICA and my professor in Portraiture, Abby Sangiamo (see link).

I enjoyed reading his Artist Statement at his website:

Abby Sangiamo's Artist's Statement:

"Whenever I begin a series I have a rough idea how the first piece will look but none at all about the last, years later, down the road. When a series looses its will to accommodate new ideas I give it up and move on. The frontal portrait series lasted through eight years and several hundred works, until ‘81, but a few years ago, inspired by tattoos as personal narrative, I breathed new life into some long forgotten pieces from that series that struck me as needy… and ready for dramatic change."

Literalism & Invention:

"I take liberties with mediums and methods but not with the structural integrity and recognizable identity of my subjects."

The Source:

"My efforts have not been the result of philosophical introspection about the nature of art or a rationalized commitment to one kind of image making over another. I simply use my particular skills and inclinations in a way that feels most personally “right” at the time. As an artist I don’t feel the need for a conveniently selected philosophy of art or reality to give my inclinations its blessing."

Painting on Glass: Brother Xavier

This is one of two 8 x 10" portraits of two Friars at the St. Francis Inn in Philadelphia. This is Brother Xavier. The St. Francis Inn is an amazing place with an amazing ministry serving the porrest of the poor in urban Philadelphia (Kensington neighborhood). If you would like to learn more about their ministry you may view a film made by Gerry Straub, "Room at the Inn" (see link).

My 2nd portrait of Friar Bill is being created.

My idea for these portraits comes out of a sculpture viewed at the Weatherspoon Art Museum on the campus of UNCG called, "Urban Francis" by artist, Judith Shea. Friar Bill and Brother Xavier are 'true' Urban Francis' of our day, who I have personally encountered and served with side by side.

My Katie

This is an 8 x 10" Drawing on glass with vitreous paints. The technique of drawing on glass is much like a hybrid of an ink wash drawing/painting, charcoal drawing and an etching. This piece is one of a strand I would like to complete through the rest of the semester. The technique of drawing and painting on glass with this medium has existed since the Middle Ages. The pigment used is fired into the glass making it permanent. Some paints for glass are not vitreous but are enamels and not permanent to the glass or will fade in the daylight. This will not occur with vitreous paints according to the late glass painter, Albinus Elskus, whom I had the priviledge of taking a workshop with in the early 80's.

This piece is of my daughter sleeping in travel on a Mission Trip we took this past summer. Our children are our most treasured possessions. Our sleeping children always appear angelic. I enjoy painting on glass as an autonomous process, outside of detail within site specific projects or installations.

I think it has a lot of potential to be explored out of context of the traditional stained glass window.

This MFA program has invaded the whole house, well almost!

Here are two 6' x 21" Intuitive Drawing/ Paintings in progress. I am working on canvas now, instead of Rives printmaking paper. As I am completing the last of the 7 smaller ones, clearing space in my studio to resume some glasswork, I am now beginning to paint in the dining room. My husband and daughter are rolling with the punches. Anybody that comes to visit will have to deal with this reality. :)

I like working larger on these, but I am finding that the oil is taking longer to dry between layers. I am enjoying using larger brushes and my whole arm to make strokes on the canvas. I am thinking about changing the composition of my underpainting on the next ones. New ideas about how that will be composed...

Intuitive Drawing/Painting: 7th piece

Here is my 7th Intuitive Drawing/ Painting with 3 detail shots. Each of these paintings has been 22 x 28". I am beginning larger works using this strand, so this is the last of these at this size. Seven is a holy number. I have enjoyed working on these, and I think the works in reality are stronger than they photograph.... or at least with my photographs.

I have contemplated a lot if they are prayers as I initially intended. I think that they are offered as such. I am not sure I am always prayerful when creating them. I had a good friend who passed a few weeks ago, and found out after the fact. I missed her services, and am greatly sorrowed about that. I started thinking about her with these last paintings, and the scripture , "In my house there are many mansions". I thought well perhaps I am making a painting for her room. My friend was a patron of my work, and had brought so much to my life that I am grateful for. I will miss her.

Rest in peace Dear 'M'.

Mom's Always Watching: Murrini test tile

I completed this test tile, 10 x 10", about a week ago, but have been so wound up with painting to clear my studio for glasswork, that I forgot about it. I will be starting a next murrini portrait of Faith Ringgold. I feel good success with this test tile. This test tile fused the murrini to effetre clear sheet glass, which I finally found available and is the first time it is being used. It is of my mother done with the same palette of murrini as the piece brought to Residency 1. However, I worked from a drawing instead of a posterized photograph. Initially, I wasn't sure about it, but I like the surface painting done with vitreous paints to punch in the darks. I think this will be helpful to me as I complete. It is definitely a piece that needs daylight to work. This helps to confirm for me, if these pieces are intended for daylight.

So I am ready now to plunge forward with Faith as a 22 x 28" glass piece, utilizing all the constructive criticism from Residency 1. Although I am starting on a glass piece I am continuing to draw and paint.