Tuesday, July 5, 2016

Many Hands, One Pulse

It was a challenge for me to figure out how I was going to start to move forward and heal from the horrific shooting that occurred at the Pulse nightclub here in Orlando. It affected me much more deeply than I would have thought. I was not emotionally able to go visit my friends at the vigils that occurred. It took a few weeks before I could even really talk about it, and I talk a lot.

A friend of mine, Thomas Thorspecken (Thor) of Analog Artist Digital World, organized an event on July 3rd - Orlando (United) Drink & Draw, in which several artists would gather together on an evening downtown and together sketch portraits of each of the 49 lost in the tragedy. I knew as soon as I heard about it that it would be a perfect thing for me to do. I was admittedly worried about how emotional I would be, but something told me that it would be a personal venue to process what happened and begin to heal.

The day after the shooting, I was beginning a week-long art camp, and my art students had created a work on Yupo Synthetic Paper that reminded me of how I felt. It looked like someone had cried tears all over a rainbow of colors. I was looking for a quotation that fit, and found the perfect one the day they made this....



“And tears came before he could stop them, boiling hot then instantly freezing on his face, and what was the point in wiping them off? Or pretending? He let them fall.”

It turned out to be a quote by J.K. Rowling from "Harry Potter and the Half Blood Prince" "How perfect," I thought, as J.K. Rowling had personally paid tribute to one of the victims of the shooting because he worked on the Harry Potter ride at Universal Studios.

It was exactly how I felt. There is too much pretending. I had gone to church the day of the shooting and while everyone else around me was standing and professing the faith, I was on my knees sobbing and I just didn't care who was watching. I was done pretending. It seemed in one morning I was feeling my own load, then a flash of Christ's burden, and knew the sacrifice the victims had made, and I just chose to give up and trust that God would carry me that day. And I just cried. What was the point, of wiping them off....I let them fall.

So, in my first thoughts about working at the event, I decided I would work with watercolor on Yupo.  Like my students, I wanted to be able to flow with my thoughts freely, literally, without worrying about making a mistake.  I wanted my work to show the vibrance of the life in each person, and somehow bring them visually into a place that is better than here, and I knew that medium would do that for me. A few days into the thought process, I realized that I may have gotten in too deep with the cost, because I thought I may be responsible for at least half of the portraits, and that would be a big cost. I reached out to the Yupo company, who has been great on Facebook to acknowledge my work, and they offered a donation through their distributor Legion Paper. A week later I had 30 pounds of Yupo paper at my door, no questions asked. I knew that God was beginning to bless the effort truly.

So the evening of the event, I showed up at The Falcon downtown with my watercolor, brushes, and Yupo, and an open heart. But I would not nearly be ready for the unbelievable outpouring of energy that would surround me.



When Thor arrived, the owner of the establishment where we were gathered began writing on a marker board the names of the victims, and assigning artists to each one. I had seen a lot about each of the victims but learned more as the process happened that night.

The first name that I was given was Amanda Alvear. Each of the artists were to research the victims on our digital devices to get an image to work from. I looked up what I could find about her, and saw and amazingly beautiful young woman. I read that she was only 25, and loved her little nieces and brought them out shopping. I saw a snapchat she had taken inside the club and heard the gunshots ringing out. I read how she would not want hate spread from what had happened.

I could have read more, but a huge knot started up in my throat and I had to step outside and get some air. I decided to pray that God would bless my efforts. I knew I did not have long to complete things so I went back in and as I did, I saw that someone had painted the words, "We all have a pulse" on the sidewalk. Under the circumstances, this saying has many meanings, but to me, at the time, it represented the common energy of us all, living and deceased, and the connection between us.  As if to say, "We all have ONE pulse: together"......The electrical blood flowing through all of us.



I could feel it moving me forward and to work. It seemed to flow through my brush and on to the paper, one, two, three, four, five, and never stopped until my task was completed.


Amanda Alvear



There was something so bizarre about what was happening. So much energy, so much work. So many many people. The board would get filled up with victims' names, attached to an artist, completed, erased, and then more were begun. "Who is doing 39?" Was something you would have heard....Each life held in our hands and pencils and fingers and brushes. Too much responsibility to be sure. It must have been a million times worse for their doctors and nurses.



I moved around to a few different tables, and even a couch once, to get better light as the evening turned to night and my window spot turned dark. I read about each victim which I was assigned, one by one, fought back the urge to give up and cry, and kept going. Frank Hernandez, the beloved big brother. Akyra Murray, the youngest victim, a beautiful young woman just out of high school with a basketball scholarship. Luis Velma, the 22-year old with a terrific smile and amazing heart who worked at Universal Studios, and Jerald Arthur Wright, the handsome young man who worked at Disney. I don't have the words to give them the descriptions and honor they deserve.I just did my best at painting their smiles the best I knew how.

Frank Hernandez

Akyra Murray

Luis Velma

Jerald Arthur Wright


When I got to reading about Luis Velma it took me a lot to get past the familiar feeling of the night that I just wanted to think and cry. He was the victim that J.K. Rowling had paid tribute to.
And here I was, God was putting him in my hands, with the Yupo...I let my tears fall through my paint onto the Yupo. "What was the point then, of wiping them off? Or pretending?" I let them fall...



As the night wore on, artists came and went. We had figured 4 portraits per artist as things had started, but more artists came, some left, and we got all 49 accomplished. They were laid out on some tables near me, an incredible body of work. FORTY NINE. In one night. The vastness of the art was both a testimony to the vastness of the tragedy, and the energy and love of our artist community. And it was beautiful.



At the end of the night, I was finishing up the last portrait, and Thor and I left while my last two paintings were still wet at 1 am. It was surreal walking downtown to my car at that hour, holding the two wet paintings flat while Thor and I noticed how bright the sky was. A bright, royal blue color at 1 am with bright puffy white clouds, and it was so quiet on the streets. What time was it?..Had we stayed there till sunrise? I felt like I was holding two souls up in my hands, and I just had to keep walking,  no matter the time. I had to keep them safe.

Thor walked me to my car and I passed the paintings to his safe keeping. He carried them the rest of the way, and it was like a weight was lifted from me.

But I know, so much that we all are holding passing on the load of this and so much grief in this world, helping each other along the way. It feels here in Orlando since the shooting that a lot of us are much more aware, caring, loving toward another. Working together to make things right, somehow. I'm really glad that I was given an avenue to contribute my way, and I truly hope that somehow the work brings peace.

Thor is looking into showing all of the portraits from that night at an appropriate venue. Please let him or me know if you all have any suggestions or a connection for this.

Thank  you to Thor, my fellow artists, to Yupo and Legion Paper for their donation, but mostly to God for truly blessing our efforts there that night.











Thursday, May 26, 2016

I'm melting!! A Greek Exploring the Ancient Process of Encaustic

Recently I have decided to dive head-first into encaustic painting. Encaustic basically means making pieces of art with melted wax. This technique, which was found in art as early as the 1st Century BC, incorporates heat to create layers of pigment. The word originates from the Greek word, "Enkaustikos", which means, "To burn in".

I've found it to be an absolutely LIMITLESS medium. It's so much fun to put layer upon layer, and using sculpting tools to remove layers, revealing things underneath. It also allows for some pretty fun incorporation of many many other media, including but not limited to- photographs, drawings, oil pastel, chalk pastel, alcohol ink, found items including metal, wood, etc. plastics - just about anything you can imagine. I also loved what I learned about applying wood glue to the wood and using a torch to burn it. It gives some amazing texture to work with.

Over the past few months I've been experimenting with some fun works. This first piece came to me when I was looking at pencil shavings on my desk. I was submitting for an art show titled "Viva la Diva" at the Orlando Museum of Art, and had done some concept sketching for female figures with a frill. Little did I know as I was conceiving this idea that right in front of my face, I would find my perfect material from discarded remnants of another project.




My vision turned at this point to a ballerina. My concept came from my own memory as a dancer when I was young, and my love for nature. I wanted to convey a connection between the young woman and the energy of the outdoors. 







In doing this, I decided to allow the wood of the substrate itself to show through and represent the wooded scene behind the lady. First, I drew the lady onto the wood base, and used my woodturner to make a basic outline of the figure and the trees so that I could keep an eye on where everything was and possibly keep some of the lines in the end.

I had seen a video online which showed "wood glue burning". Basically, painting something on using wood glue, using a torch, and allowing the glue to blister and burn. This then creates an interesting texture to the surface, and in my case, actually created the look of bark on a tree, and even allowed for the actual wood to burn, which I wanted, to create a double earthy effect. 


The following photo is actually from a more recent project, but it shows what happens to the wood glue really well. 



In the case of the ballerina piece, The wood glue was the tree trunks and barre. I allowed the fire to burn parts of the wood itself as well as you can see below.

After the burning of the wood and the wood glue, I added several layers of encaustic medium - which is basically  beeswax mixed with a resin. As I did this, I added piece by piece, the pencil shavings that would become her tutu.  In between the layers, the heat gun is applied - to fuse the layers together. In some cases I used my sculpting tools to pull off wax in order to create the layering effect and dimension I wanted. I also sprinkled some of the colored actual pencil parts - they almost looked like "confetti" and I wanted them to create a magical effect to the natural background.







 From there, I decided to actually add oil pastel rather than the pigmented wax that I have. I did not want to overpower the texture or burn effect on the wood. I just wanted to add a bit of color to bring out the color of the pencil shavings on the skirt and to add some depth and interest. Again, every layer of oil pastel covered in wax medium and then heated with the heat gun to burn in the layers. Using clay carving tools to pull layers off when I chose to. More medium. Heat. etc.





I added in some ground to the dancer, reflection and shadow, a wall to the left to rest the barre, all with oil pastel, worked with pulling off layers and putting more on some more, each layer covered with wax medium and melted with the heat gun. Below is a photo of the final piece. 




I was so proud to present the piece at the 25th Annual Orlando Fringe Festival. It got special recognition in Watermark Online, which listed it as one of the "Top 10 Fringe-iest Pieces at Visual Fringe", and describing it as such: 

"This abstract depiction of a ballet dancer on a fiery and bold background combines two key aspects of Fringe: dedicated performance and courageous passion."

It is always an amazing thing when a complete stranger sees your vision just the way you did. How incredibly grateful I am for the whole experience. Since this piece I've made several more and learned even more about what encaustic can do. I hope to share some of that with you in the not-too-distant future.

Encaustic is a messy, interesting, baffling, frustrating, beautiful, challenging, limitless medium.

And I guess that's why it seems to be one of the best thing I've found so far.






Saturday, January 30, 2016

When the most important critics love your work.

"Go pluck a bird" ~ Sarah Ikegami :) <3
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
I need to say something this morning, because my heart is overflowing with gratitude, and the only thing I can do now is to share.
In our society, lots of times there seems to be a notion that a woman has to choose between her career and her kids. Maybe that is true in some professions, and it certainly is hard to balance when they are little. But at this point in my life at least, I am so overwhelmed at how much everything, EVERY little piece of my heart, that I gave to my kids is coming back to me in a very direct way.
Specifically, I'm speaking here of how that is coming through what they say about my work and the direction it is heading in.
Not only do they support me in my art, but they truly love it, and so proud of everything I do. I know that may sound trite, but I respect the opinion of all three of my kids so much, because I really believe they are so much smarter than I.
Sarah, my fellow artist, just completely understands everything before I even explain it, and more than that, offers incredible insightful help constantly. <3. Michael is always getting excited about my work and offering to help take photos of my art with his professional equipment, working tirelessly to get me the materials I need to grow my business. And my youngest, who also has an incredible talent in visual art though it is overshadowed by his musical ability, well, he just plain LOVES my work. The way he sees it, the way it changes his face...it melts my heart.
To have all three of my kids not only be able to SEE my heart through what I make, but also LOVE it.
I wish I could explain how that feels.
I met someone the other day who told me that he was never going to have kids. He had too many things to do, you only live once, and he wanted to travel the world. I've met many people who have told me that over my lifetime. There were many times, I am not going to lie, when I wished I could escape and just do what would fulfill me at the time.
I am not saying this to try and convince people to have children- that is a truly personal choice. Nor am I going to try and lead anyone in the path I took. However I am called to tell you this morning that I recently have been completely changed by the TANGIBLE love and pride pouring out to me through my kids, and the fact that God gave me three, only makes it exponential. In my heart of hearts, I truly believe that there is no trip, experience, or thing I could own in this world that could top that feeling. Maybe it's just about having faith.
I just feel so grateful to have reached a time in my life when I can be me, when I don't feel like I need to choose between my family and trying to reach my dreams. And truly, I really wasn't expecting more. I wasn't expecting the support and love that's pouring on me now. It's so completely awesome.
When they tell you that everything you put into life, you get back, and then some, BELIEVE IT. IT'S TRUE.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
My daughter's quote at the top relates to her amazing job she did rooting me on with a present series of works in encaustic medium, where I may be using some of my feather collection. :) Please follow me on www.facebook.com/Lisa.Ikegami.Artist to see my process.

Sarah, Michael, and Nick I love you. <3






Friday, December 18, 2015

You Who Lift a Penny From the Gutter...

Last year, as some of you might remember who have been reading this, my daughter got married. It was a ton of fun, putting together all of the flower arrangements for her, helping with her dress, and the event itself was so amazing.

I wanted to give her and her new husband a gift of art that I would make, but with everything that was going on, the piece I had in mind just slipped among all of the things that needed doing, and I set it aside for their first anniversary.

Fortunately, the piece that I had in mind had enough power of vision in it to wait until I had time to make it. My daughter and her husband had gone to Victoria, Canada as part of their honeymoon. They took some amazing photos of Butchart Gardens which were so inspiring to me. I also saw among their photos a statue in the city which adorns the words of Victoria Canada's first poet Laureate, Carla Funk:

"You who
lift a penny
from the gutter
and with the same hand
point out stars,
find me."


this poem truly struck a chord with me, and I felt certain that if I created a piece of art that centered on those words, it would be a message from me to my daughter and her husband- my blessing - and my belief- in their love.



Among my daughter's photos, I also found one that was absolutely exquisite:


The photo of the creek with the wishing coins transported me to a magical place- and the Gardens really look like that. I could smell the fresh moss and pine needles, feel the cold stone, hear the trickling water, and it was so incredible.  Immediately I knew I had to create a piece that "married" the idea of the "pennies in the gutter" to the "stars". 

I thought about how that would reflect the poem. The coins in the painting were not pennies to lift "from the gutter," but they were the opposite- wishes thrown into a gutter, if you will, perhaps with the same purpose. Either the penny was lifted to save due to physical poverty, or it was lifted for luck. But either way, the point is the same- the notion of hope, that a person who was special enough to find hope in something as insignificant as a penny, and could also have a mind so open to believe in eternity- to believe in things beyond this world - and to believe in the promise of the future - was desired by the writer. In the painting,  My desire was to represent this back-and-forth reflection between the sky and the water through hope.

I decided to use the technique I had experimented before on both the New York Gapstow Bridge work and white feather painting - Gesso on board, and then acrylic, with soft pastel on top.

My first step was to sketch out the concept- I pictured this very same image of the creek and the coins at the bottom, but imagined the trees reaching up to the stars, literally as if the coins could be a "reflection" of the stars. Next I covered the whole thing with clear gesso.

In this case, the coins and the stars would be important. I decided to go ahead and use masking fluid for both so that they could sort of "recede", as stars do, once I removed the product. I could then go over the coins with some color to make them look more realistic.

Unfortunately at that point the piece laid dormant for awhile as other things came to the forefront, but I was determined to complete it for their anniversary. I found myself hesitant to put on the fist strokes of color- I think because this piece was so important to me. I knew I wanted to include the poem somewhere, and I played around with how on tracing paper. I was making the mistake of trying to see it all complete and make it perfect before starting.

Then,  when there just wasn't time to worry anymore, I just made myself start painting. Something, anything. Anything that "felt" right, lightly, with acrylic.



At that point I felt confident enough to paint in the sky. There was a bit of a dilemma as I made this in my mind: WHERE would the light theoretically be coming from? If I paint directly from the photo, It would seemingly be daytime, because that's when the photo was taken, under a deep canopy of shade trees. I really wanted that beautiful pop of light green highlighted moss in the upper left of the creek. But then, how could it be night time then, so the stars would be out? After some worry, I decided to create a world in my mind where a very bright moon was directly overhead. 

When I laid in the sky, I used mostly cerulean blue, with some mars black. I played around by putting some white to the right, and it gave a little mystery to the sky, so I left it.


After smoothing out the sky, I gave myself permission to really go for it with the acrylic. I even pulled out the palette knife for the stone, and got in some dimension. It was a lot of fun. 



I painted in some trees in the foreground and got the colors for everything mostly where I wanted them. This shows after the paint dried and I rubbed off the masking fluid for the stars.


For the coins, I removed the masking fluid, and then went over them with a brush with a little color, so that they'd look more realistic. Here are some really close-up shots of how that looked, and also how I added the soft pastel to pull out more color for the soft browns, mossy greens, deep blues and purples of the creek.




As far as putting in the words, it's funny, but the way the sculptor put the words of the poem in that tree sculpture is sort of parallel to how I might have chosen to do render the words.  (Although without the "ribbons" behind them) How wonderful to be looking at the words of the poem while you are looking at the stars. I wanted to allow that to happen in this piece as well, and also to champion the poet's idea of "finding". I liked the idea of "hiding" the words a bit, and through exploring the growth in the nature, finding a completion in the soul. 


I thought that there wouldn't be anything better than the incredible joy in making this piece but there was- and that was seeing the look on my daughter's face when I gave it to her. I am so gifted to have a daughter who just...
gets me.
and more than that, who really loves me.

It's also interesting that I found so much freedom in making this piece, that I might just do more with my own poems. You never know where the path takes you on this creative journey. You start down one way, looking at the ground, but then, there are also the stars.

Leaving this for you all as a Merry Christmas and thank you for reading my blog!














Tuesday, December 15, 2015

Frosty Feathered Friends

I recently completed several mixed media pieces on board, just using watercolor as a background and popping out the subject matter in soft pastel.. I'm finding this technique to allow rich layers and varied textures in the pieces, and I seem to quickly get the best of all the worlds.

Over the past few weeks I completed a series of "wintery" birds. This started with a simple feather as a gift. Symbolically, this little eagle feather was almost autobiographical. I'm learning a lot about the philosophies inherent in Native American culture, which tie the animal world, and really all of the natural world together with humankind. The feather connects the owner to the bird. In this piece I just took a piece of watercolor board I had laying in the studio, painted a background in watercolor and then made the little feather with soft pastel. It went really quick and it turned out to be a perfect Thanksgiving gift for a special person in my life.


After the feather, I made a cardinal in memory of my dad, just for myself, but after I made it I decided that the technique was so fluid and gave such good results, and also, that I was really enjoying focusing on the birds. I thought I should keep going and make several, to share with the people at Faith Arts Village Orlando for their holiday show. Here are a few that I made-

"Chickadee"


"Bluebird in snow"


"Cardinal in Snow"


"Snowy Owl"

They all were created in similar fashion as the little eagle feather- watercolor and soft pastel. I did use some colored watercolor pencil, and in some cases chalk pencil, on the eyes and beaks, to get more detail in. Each piece happened slightly differently as I tried to get the best effect. For instance,  I sketched the scene lightly in pencil, then painted in the watercolor background, rendered in the eyes beak and feet with either watercolor pencil, chalk pastel or both. It was really thrilling how quickly each piece seemed to come out of my hand. I really just had FUN.

After applying water to perfect the feet, eye and beak, the body of the bird was rendered with soft pastel. For the snowy owl above, I started with all the white, added in the grey shadows and blended, and then applied workable fixative. When that dried I went back in on top with more white highlights, and also the black feathers in the back. More fixative, then a final work of the white and final matte finish. For the cardinal above, I painted in the grey background and the grey shadows in the snow, went for the reds of the bird with soft pastel, drew the tree needles with watercolor pencil, sprayed fixative, and finished up with the white snow (the falling snow I made by rubbing pastel on rough sand paper and also drawing dots) and also covering up some of the tree needles and around snow with final coat of white pastel. Every piece was finished with a coat of matte fixative.

In the middle of pouring my heart into these works, some things presented themselves that reminded me of the fragility of life, and how are we are so connected to the animal world. And this shook me to my core. It even made me re-evaluate my entire lifestyle, in order to live a more honest life. It's funny how each foray into an avenue of art seems to make me understand who I am, despite myself. It can be a really scary and frustrating experience, but I know that is how it is supposed to go for an artist, and I've committed myself to that journey. And so be it.

I decided to donate a portion of my profits to the National Audubon Society. My dad used to love birds, and used to call me his "Little Chickadee". I saw that with a donation there I could symbolically "adopt" a bird, and they sent me an "adoption certificate" along with a plush black-capped chickadee that sings its call when squeezed. It came on my birthday. And I know that my late father helped me to paint each one of these pieces.

It was so surprising to me how many people resonate with the feathered friends, and also, how many people seem to have feathers follow them! I made so many new friends at the show. Many of the birds flew to new homes, and my soul was nourished into its next artistic adventure!









Monday, November 9, 2015

Painting the Flying Spirit of the Bird

When I last posted, I was following the feathers. They led me to the peacocks, and then, as always happens in the creative process,  I ended up somewhere I had not even imagined!

I was recently inspired to create some art for an exhibition hosted by the Orlando Museum of Art called "Animals!". It was funny that this exhibit came up, because I had put off creating my peacock painting in alcohol ink for a long time, the whole process seeming overwhelming. If you followed my last post, you'd see how I had struggled, but really wanted to move forward with this new medium, and well, how I was so enthralled by the peacocks.  The next logical step was just to DO IT, and the exhibit provided the perfect motivation.

Here's the photo from the last post of the incredible creature that I chose to render.


Unlike the earlier alcohol ink works that I had done, I decided that with this one, I'd use a couple of different little tricks to help me start. First, I used some watercolor to sketch in the image of the bird. This way, I could always pull it up with some water if I wanted to make changes before starting on the alcohol ink. Then I did something else new- I used some masking fluid to outline the bird, thus letting me be a little more free with creating the background. I was surprised at how much it looked like an angel!



The next step was dropping in some different greens, and brown, and blotting them with paper towel to get a first layer that was homogeneous. I knew I wanted the top level of the bird to have a different treatment, so I focused on creating sort of a horizon line. Then I just had some fun dropping in some other colors to create shading within the greens.


This next photo shows what happened when I also dropped some rubbing alcohol to mix everything up.


I went at the colors as they mixed with a little brushing with dry brushes, and some blotting with paper towel, to create this look.


At this point I decided that the background needed to have a little more definition of darkness under the wings, to help the bird stand out from the background. I played a little with that. Also in this picture you can see how I started to put in the upper part of the background. My thought was to make it appear more like "sky" while the bottom looked more like "earth", and the bird itself and the activity of its flight was the transition. The technique I used for the sky was to drip some colors on the left edge of the paper, and lift the paper to let it run to the other side. You can see how things started to get a little messy over the peacock's head, but I knew I was covering that with bold and dark colors, so that was ok. I played with the sky until I liked the look.


Here's how it looked when I removed the masking fluid. Still a lot of work to do.



This was the tough spot for me- to just get bold and start dripping color for the bird. However, Once I told myself to loosen up and do whatever needed to be done for the whole piece, including working more on the background, so be it. I started light to dark. I decided to use even more layering of color and drops of alcohol ink to make the "earth" part of the background interesting.


Next came a critical point in the piece for many reasons: I worked in the very dark feathers behind the orange ones, and started to do the detail of the "eyes" on the peacock feathers. I started to get really frustrated and went back and forth washing over and erasing things and redoing them several times. Once during that day I was reading and happened upon this quote by Robert Henri: "Paint the flying spirit of the bird rather than its feathers." Reading that gave me permission to really let my hand knew it was supposed to do all along.


Here is the piece as finished- I ended it with more work on the wings, tail, and doing some free splattering of fun. and I think he was finally flying!


I was so honored that this work, plus two others were selected for the show at the Museum, which turned out to be an amazing show, and so thankful that they were received wonderfully. Now, I'm inspired to create more!

Please comment if you have any questions!!!

Thursday, July 16, 2015

Playing with Peacocks, and Discovering Alcohol Ink

Well, I was going to wait a bit til I had more work done with a new exciting medium that I discovered, but I thought I'd take a break from what I'm doing to put it down in writing.

It all started last spring when I met a fellow artist at an event at the Orlando Museum of Art. I did not recognize her, but I did recognize her work, and as we conversed I discovered that she too was a lover of Yupo paper! As we discussed our techniques, I told her how I was unhappy with some watercolor brands, and asked her what she uses. I learned at that time that she uses alcohol ink! Apparently, though, a lot of people do. It is a permanent medium, unlike watercolor on the Yupo that could, conceivably, be washed away.

This is how it always seems to happen with me- I usually stumble upon something accidentally that the whole world seems to have known since the dawn of time, and I feel kind of silly.

Immediately, I thought of a subject that I had been wanting to capture. When I was visiting an aquarium last spring with my sister, I saw this incredible giant octopus. I stood there mezmerized for what could have been half an hour, and I know she wanted to move on, but I just couldn't stop studying it. So I took a video to capture it a bit.


Well, I figured what an APPROPRIATE subject to test out alcohol ink on, an octopus!! The Orlando International Fringe Festival was coming up, where I have shown my art for several years, and I took that as a goal for finishing the piece to submit for the show. It would be a perfect venue, I figured, since the spirit of Fringe is to move beyond your comfort zone as an artist and discover something new.

I really had no idea what to do. All I knew was that the inks worked similar to the watercolors, except that instead of being soluble with water, I would have to use alcohol, and/or a mixative. I went to my favorite store near me, Art Systems, to see if they had the materials, and I figured it was meant to be because they only had 5 colors, which happened to be the exact ones I would need to complete the work. I did have to pick up a black from another store, but I had most of what I would need. I picked up a spare set of watercolor brushes, and went to work on a new pad of 9 x 12 yupo.

I had looked on the internet a bit, but honestly there was very little to teach me how to do what I wanted, so it was going to have to be complete experimentation. I honestly had no idea if it would work or not.

The first thing I did was to pour out some of the inks in separate wells of a palette, and literally brushed them on the yupo. I discovered pretty quickly how different the alcohol ink was than watercolor (at least as far as using the same brush-on techniques I was used to) because:

1) It dried REALLY fast, even the inks I was using in the wells of the palette, so I had to work very quickly. Once the ink was squeezed out of the little tube, I had only a few minutes to sop it up and lay it down onto the painting.

2) Unlike the watercolor, there really was not a complete "erase" ability. In other words, if you made a mistake and tried to pull up the ink with alcohol, there would still be some pigment left on the paper, it wouldn't be completely white. But:

3) It did allow for layering since it did dry fast.

4) The bad part too was that it was really messy - as in permanent messy- and everything smelled like a doctor's office.

So since I didn't have a lot of time to worry, I just brushed out an abstract version of my octopus that looked like this:


From there, I just played around with squeezing out more pigment, and the only detail I really concerned myself with was the eye. The main reason I thought that alcohol ink would be fun for the octopus was dropping pigment and alcohol for all of the little suction cups, and I was right. 

However, I did learn early on that there was not a lot of control. The size of your "drop" depended on the size of the dropper obviously, and just a little tiny dropper size really bled big. 

I thought about getting anal about it and upset, and figuring out how to fix it, and then I decided to just...have....fun.... 

So in the end the piece turned out looking like this: 


And I liked it. Keep in mind that this photo really doesn't explain it well. There was a lot of glare as I took the shot.  A better one, though with less detail shows it as it hung at the Fringe Festival a couple of weeks later: 

I titled it "Dancer in the Deep", because it stuck with me that the lady at the aquarium described the octopus we were viewing as having a real personality, and she said she was happy that she was "dancing" for us.

And the cool thing is- the art was claimed before the gallery even really officially opened, and I was told that it went to the Fringe Festival's President of the Board of Directors. I was COMPLETELY HONORED and overjoyed. 

Well, this new medium, with its bold colors and dreamy effects had really taken ahold of me in terms of its possibilities. 

After Fringe, I was floating a bit creatively, and frankly really just busy with the children's book promotions and marketing, as well as beginning some new books. I did not know where I would be heading fine-art wise.

Then I decided to again, follow the feathers.

Before Fringe, I had gone to an event at the Polasek Gallery and Sculpture Gardens where they had brought in some birds of prey to view, they had a bird exhibit, and an exhibit about the peacock as the Winter Park Logo and its history. While speaking with the curator and sharing my "feathers" inspiration (as outlined in this blog previously), she mentioned a place in town where a man raises birds, and she encouraged me to get ahold of him- maybe he would sell me some feathers, and share some info with me that would be inspiring.

I was a bit hesitant to follow that path, as I really didn't know this fellow. But, I took a chance and decided to call him up, and he invited me to visit what he described as his "bird sanctuary". He raises peacocks, and the property was just beautiful, on a lake in downtown Orlando. It was a little sketchy, I'm not going to lie. However, in the end I was blessed with a lot of his spirit and love of nature shared to me. 

The first thing that happened when I got there was that there were a lot of peacock feathers hanging around. He gathered them up, gave one to me, and told me to look at it as I turned around in different angles from the sun. He said that it was impossible to paint it. I nodded my head, but inwardly I decided I'd try to prove him wrong.


He brought me on a tour of his property, including a beautiful lake on one end with some incredible lily pads. 



The flowers were incredible. I wish I could describe it to you, but it really is impossible. He plucked them from the lily pads and had me smell them. I smelled the purple one and can only describe it to you like heaven. And then I smelled the blue one, and again, I can only describe it as heaven, but it was completely different, and I can't explain how that is possible. He had a wonderful way of explaining that that scent was what Moses smelled as a baby floating down the Nile, that brought me to tears. He had, earlier, made honey from those flowers (he showed me where he had kept bees and made honey years ago). Later he put them in water and I got to bring them home!


He had some incredible peacocks outside, and I got a photo of one with his wings open that was breathtaking.



Also I got to have a whole lot of fun with a bunch of baby peacocks, and learned that they are not shy of people, or cameras. :)



Well, when I decided to pick up the alcohol ink again, I wanted to work on all of this, as it was just so beautiful. The flowers were the first thing I approached. I did look a bit more online, and saw a lot of people approaching work with this medium by dropping the color directly onto the paper, thereby sidestepping the problem of having it dry in the wells of the palette. I decided to try that this time. I'm going to post a video I took as I was working, but please keep in mind that I was (and am) still experimenting, and as I look at this now I realize how painfully slow I was still working.



 Also, as I will show you later working from light to dark was something I had not mastered yet, and there are some things that can be done with this. Here I did not use the palette at all. I had bought a couple of more colors, including a green that was more olive-toned. I dropped it down with a bit of the brighter green and in the end realized I had to use quite a bit of alcohol to lighten it.

The piece turned out kind of cool. It didn't look like the flowers I started with, but I don't mind because it's all in the game of learning, and the end work turned out pretty. I called them "Lotus Flowers" because of the biblical reference that was rendered by the bird breeder, and I love all of the spiritual folklore of the lotus flower. It was so neat to see the actual flowers close up at night and open during the next morning. 



The other thing I discovered was that really, working with 91% rubbing alcohol is really the only thing that works. the 70% doesn't cut it for lightening pigment once its down, and the higher concentration really cleans the brushes better.

The next piece I wanted to play with was a peacock feather- something colorful and easy to recognize, and I knew, like the octopus, I could play with it a lot and still have its spirit shine through.

Before starting the new piece I got some squeeze bottles with tiny nibs to use for very small amounts of pigments so that things wouldn't bleed too fast and get out of hand. I also had seen online about using some q-tips, so I got those to experiment too, and laid out everything knowing I would work just as fast as I could, having everything easily accessible. The right kind of alcohol, plenty of paper towels, etc. It was getting easier and I was learning how to be prepared.

After some more research I learned how to lay in some background, lightly, and then go for the layer above. The piece changed a lot as it went but I played just enough to make it look like I had captured the spirit of the feather.  I had so much fun thinking of the spirit of the incredible work of art that God made to hypnotize the lady bird as she looks into those blue eyes, maybe this is what she sees....


Next I am tackling that incredible peacock as he flies. I know that has the potential to be overwhelming but I plan to approach it in the same way as these, with no expectations except to let myself be free and "go with the flow" as it were...

And I like to think that maybe, sometimes, painting exactly what you see is not the goal. Maybe that's how I proved the peacock guy wrong- you CAN paint a peacock feather, if you don't LOOK too much, but FEEL it flying in your heart.