Another grouping of people this one strikes me as a Greek chorus. I like this working fast thing. Of course, I’m working on completing some that I started, so the ones that I start from scratch may take longer than a day. Nice to finish up some paintings though!
Here’s the first of my paintings for the 30 in 30 challenge. Maybe it’s even done!
Sunday, July 27 I was with 3 other artists at the Edmonds Waterfront, demonstrating how I make and use some of my tools for my art. I was showing how I hand carve rubber stamps, the papers that I stamp to create pattern and textures for collage materials, as well as some finished and in-progress collages. Kim Day, NW Polymer Clay Guild member — working with polymer to make beads. www.nwpcg.org Lynette Hensley, collage artist and painter — hand carving stamps & show how she uses them. lynettehensley.com Carol Meckling, acrylic painter — happily drawing a pet portrait for you! carolmeckling.com Betty Melhoff, NW Polymer Clay Guild member — creating buttons from Polymer clay. www.nwpcg.org On this beautiful sunny day, we were entertained by some college jazz players right next to us, and there was a steady flow of curious lookers! Thanks for coming down to beautiful Puget Sound to have a chat! And thank you to the Edmonds Art Festival Foundation for the opportunity to show a bit of our processes right there in the public eye. Photos by Meredith Arnold
This year, September 20 & 21, once again I will be participating in the Edmonds Art Studio Tour. This event has become a destination, gaining in popularity and acclaim, and is now in its 9th year! I was fortunate to be a guest artist at Cami Smith’s studio that first year, was at Lynn Scott’s studio last year, and this year will be in Studio 11, with Mona Fairbanks in her studio, along with Robin Westbrook with her beaded jewelry.
This year I will have paintings as well as some 3D work, assemblage figures that I’m working on as of this summer, as well as some less expensive work, drawings, paint sketches, small collages and prints. People have shown an interest in these works, so I’m bringing them along for the tour.
In preparation for this year’s tour, we thought it would be good to give folks a chance to get to know us better, and so we put together an artist interview project. Here’s mine!
Photos from last year with Lisa JonesMoore and Lynn Scott:
Photos from the first year with Cami Smith, Cami’s mom and Pat, pictured below with happy hands!
Here’s the link to the Edmonds Art Studio Tour 2014!
#EAST #EdmondsArtStudioTour #LynetteHensley #FlyingRedhead
September 20 & 21, 2014
I am honored to have work included in the Edmonds Art Festival Juried Gallery this year. Two pieces were accepted, Fancy Coats and Friend of the Family. However, the good/bad news is that Fancy Coats already sold and is now in a private collection!
Edmonds Art Festival is a yearly event, always over Father’s day weekend, and is a signature event for the city of Edmonds, a fantastic supporter of its arts community.
I recently uncovered some of my kids childhood art, and at the same time, some of my own as well. My mother kept a xerox copy of some drawings I did when I was preschool age. Judging from child development research, I was probably 4 at the time. Mom has used the word prodigious, and also precocious to describe the drawings. I don’t know — but I do know that they are fun images. Birds, furniture, daddy, all with circles for feet and drawn with youthful abandon, with no thought about a horizon or the relationship between one thing and another on the page. I liked one of the pages so much that I posted it on facebook, and threatened to make it into a painting. My 28 year old daughter took that as a challenge and digitally re-made my drawing into a colored field, morphing the couch into a frenzied rodent, a spontaneous collaboration, one might say!
The original drawings were themselves a collaboration I suppose. On another page of drawings my mom had drawn a bird, a girl, and I used those to jump off and draw what I knew. I produced a domestic scene, couch, chair, doors, daddy, birds. I would venture to say that this means good things about my childhood, that it was overall peaceful and secure.
Several things I take away at this moment I decided to make a painting from my youthful drawings:
- Artistic development never ends. I’ve been telling people that this painting took me 54 years to complete. Ha!
- Parental encouragement and support of creative endeavors is priceless.
- A parent’s PRESENCE with a child, not taking over, or imposing adult ideas on childhood exploring, also priceless.
- Mom felt this piece of paper was important enough to keep for over 50 years. Very special.
- Asking an artist about their work, then listening and accepting what they say allows the one-who-looks to know more about the artist.
Now after a stroke, my mom is in assisted living. I still see the spark in her eye, still hear her encouraging words, and am grateful for her life, her entirely individual ways and her attention to me throughout my life. She is experiencing challenges forming words, but I simply admire her will to keep trying, and even her curiosity and interest in what is happening with her in spite of the frustrations. Always curious, very intelligent and inquisitive, she’s now set up with books on tape and her knitting…and I’m sure this will be an adventure too. May this phase be as peaceful and secure an adventure as my own childhood apparently was. This one’s for you, mom.
Welcome to my studio! Today is a happy working day in my studio and I’m glad you are here!
I use about half of a 12×12 bedroom for my art making, which is enough for now. Creative storage includes in-closet shelving for a good collection of blank canvasses and boards. Tools live beneath, and there’s some space for rolled paper materials in a basket in front of portfolio storage.
The very large storage piece in my studio is a flat file given to me by a former co-worker. It was given to her by a long time friend who was a Boeing engineer. The story goes that upon retirement, he started working in watercolor, and required a place to store large papers for his paintings. Being an engineer, he knew he could make a storage piece better than he could buy at a store. It’s oak, and perfectly made. No stubborn drawers in this piece. It was my pleasure to inherit this piece of furniture, and though I thought hard about all the floor space it takes up, it more than justifies it’s footprint with the amount of stuff I keep in it. I have hand-cut stamps, stencils, palettes, papers for collage and printing, a mat cutter, measuring tools, and below the files, a space for boxes of things I’m holding to use someday. I think it also holds the memory of a Boeing engineer’s ideas and images.
Beneath the paper covered work table is a drying rack, trash can and a little more room for storage boxes. Above the table are brushes that live on the wall in a set of drawers from Ikea which are always open, holding the brushes and other tools at the ready. I keep the things I use constantly right there on the table.
The floor easel is a recent addition that my husband altered to reduce the footprint. Behind the easel I have a tall set of drawers for paints, mediums and varnishes. It’s pretty ship shape, all in all, and I absolutely refuse to apologize for any mess caught in photos. It’s supposed to be messy!
One of the best things about this room is the light. I have two windows, one of which looks out on the backyard. It’s always green, some months greener than others! Immediately outside the window is a raspberry patch, and my raised garden. Can’t get much better!
Hey, thanks for visiting! Leave me a note and let me know you came by this virtual tour!
My sketchbook arrived in the mailbox today. So small and empty it is, and also full of promise. It’s like the beginning of every good idea, every project that seems exciting. This is yet another project that seems exciting. Good news is, this project has a due date and someone is waiting for it. Someone, and then a truck that will transport it to multiple cities. This is powerful — as powerful as I make it. It’s tempting to think too hard on this, to make it too important. It’s not — it’s a sketchbook…a receptacle for ideas and incubation. I will just choose some idea and get started. I think it’s best to have a theme. My best thoughts so far: Faces and hands inside of costumes costume details people from vintage photos Let’s get started!
The Sketchbook Project is a global, crowd-sourced art project and interactive, traveling exhibition of handmade books. Our mission is to allow anyone to be able to participate in art and to create a collection of work that represents the current state of artists worldwide.
I’m going to use it to spark some new ideas for projects of my own, while keeping in mind that the sketchbook itself is part of a worldwide project. The images will be scanned and available for viewing on the World Wide Web. The due date for my book is in January 2015. Can’t wait to see what I come up with, and also to see what others are doing!
Once a painting is completely done, and I’m satisfied, I sign it. Signing is important for many reasons as you can imagine, not the least of which is to signal myself that I should leave the thing alone. Done, already! I’m careful to place the signature in a location that will either enhance or at least not take away from the composition. These days I’m using a little squeeze bottle with a fine tip to paint my signature on my paintings, though I’m not locked into that. It’s just easier to write.
After the signature is completely dry, an isolation coat of acrylic polymer medium, a Golden product, is brushed on. One or two coats are used, depending on how much texture there is on the piece. I dry this layer about 24 hours.
Finally, two coats of a varnish go over the isolation coat. I use Golden UV Varnish in a satin finish. I used to use gloss, which allows the depth of color to show, and I really like that. Many of my paintings are finished with gloss. But the trade off is that the glossy finish reflects light, making it slightly harder to light, or to view in person and also causes specular highlights when photographing the art.I tried matte varnish, but to me the end result looked almost foggy. Matting agent is made of tiny particles in the medium that refract light, so of course it will look foggy. The happy medium (do I sound like Goldilocks?) is satin varnish. It’s a blend of gloss and matte, and the appearance is a pleasing, almost waxy looking finish. That’s nice because of the current interest in encaustics. The varnish should be brushed on slowly and evenly, avoiding bubbles. I use a wide soft brush that won’t shed. The varnish will seek it’s own level and dries within about an hour. I leave a space heater on in the room, and a window open as it’s somewhat toxic.
Nest time, I’ll show you a new trick I learned about attaching hanging wires.