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Studio Newsletter for March 16, 2007 by Dianne Bersea
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| Jodi Forster is preparing new shell rattles with goat and deer hide and wonderful bead / gem embellishment. |
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Newsletters by e-mail.
Are you enjoying our newsletters? Is there something you'd like us to talk about? More images of work in progress? More about our process? Let us know. We'd like to hear from you
Add your name to our e-mail newsletter list. About 4 times a year we send a direct e-mail newsletter to keep you up to date on shows, workshops and new developments in the studio. Click on e-mail connection below.
jodi@islemuse.com
dianne@islemuse.com
Note: Our studio name is changing to reflect our web domain name. Maybe. It doesn't seem quite right to do so, not to mention all the work involved. But we have been advised to consolidate our image under one name "Isle Muse Studio" by a friend who is a Harvard MBA. But then what does he know???
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I worked right down to the wire to get artwork ready for our Firesign Four 'Transitions' Show at the Tidemark Theatre in Campbell River. To the left - a three panel acrylic painting in-progress. Below left, the painting as it appeared in the show. I've included several images in this newsletter that show the evolution of ideas as I worked on them. |
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Clear Cut - Frederick Arm
I did this quick sketch on a boat trip into the high-tidal flow channels north of Quadra and Cortes Islands. Later I did the watercolour study from the sketch. For the Firesign Show 'Transitions' I worked the image up further. It still went through an additional transition or two before it became the acrylic I exhibited. |
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I find it exciting to look into an image and find something more I can do. And I'm fascinated by clear-cuts, those great open areas of the coastal mountains left by our rapid mechanical logging operations. They reveal the skin of the mountain, the sculptural framework of the mountain. Here, I also wanted to look at the drama of the mountains with their changeable weather and shadows moving across their slopes. I am even influenced by the dramatic landscapes of Thomas Moran.
Medium: acrylic 24 x 24" on stretched canvas.
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Snow Tree
Painting to left evolved from a sketch I did looking out my window during the last snow storm. Here are three stages in the process.
1. The original sketch in watercolour pencil
2. The image as first transferred to the canvas.
3. The finished acrylic painting, 24" x 24" on stretched canvas.
I found it difficult to match the actual colors when I made this jpeg for the web. It's a bit more subtle I think, but I love the attitude of this little hemlock... ready to fling back and release itself from its snowy mantle.
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