"what their/our/my truths lie"

natural Earth pigments & wheat flour/flaked paint, coffee y leche, shampoo, dental cleaner, hand soap and pencil on handmade Burmese Mulberry paper

5" x 8"

this series is done with each paper atop the next. the bleed from one to the others underneath is the foundation for the next sequentiality...
~We are One~

"who their/our/my truths lie"

natural Earth pigments & wheat flour/flaked paint, coffee y leche, shampoo, dental cleaner, hand soap and pencil on handmade Burmese Mulberry paper

5" x 8"

this series is done with each paper atop the next. the bleed from one to the others underneath is the foundation for the next sequentiality...
~We are One~

"when their/our/my truths lie"

natural Earth pigments & wheat flour/flaked paint, coffee y leche, shampoo, dental cleaner, hand soap, pencil and toilet paper on handmade Burmese Mulberry paper

5" x 8"

this series is done with each paper atop the next. the bleed from one to the others underneath is the foundation for the next sequentiality...
~We are One~

and with the "Curly Dock" processing;

this would make a great installation with the Dock sprouting, rooting and growing into the paper
the 6" x 6"s and the old moss/lichen picnic table...

perhaps sitting under the old apple tree.... Use your imagination and watch it grow. With time limitations and wanting to unload the press to catch the effects of the Dock root with the paper I chose to break it down. To catch up here it may help to check out this previous entry...  http://gregpatch.blogspot.com/2013/07/before-dismantling-press.html

and then with the prints I felt I wanted to place a wash of a variant color upon the prints for contrast and a softening. I used coffee w/cream (1/2 & 1/2, where cassein is derived from). Hope you enjoy these finished? pieces.

Curly Dock 1

Curly Dock 2

Curly Dock 3

Curly Dock 4

"Stages" represents one piece of art with a photographed time framed processional. Each photo represents a documented, journaled or storied occurrence. Accentuating the concept by referencing it to a three act play with developmental titles; "stages act 1", "stages act 2" and "stages act 3". Pareidolia silhouetted players and settings appear within the staged grid patterns. The previous "unbroken circle" series and the "43 diminutives" works created a sequentially changing directed space for the performing pareidolia characters' search for normalcy, for balance. The forming and shaping of the "stages"' grid were themselves a part of the process of the theatrically referenced work itself in a futuristic manner reminiscent to Duchamp's "Nude Descending a Staircase" and other futurist work.  In "stages act 2" the lines appear more pronounced and suggest literally an open book as a possible source of the story line. In the final act the smaller grid pattern derived from the "43 diminutives" sits within the larger grid further delineating and defining the environment and the cast of the performance as they develop. A framework within a framework...

stages act 1

stages act 2

stages act 3

beet/carrot dye

coffee dye

egg tempera (egg yolk w/o sac)

Earth pigments

local yellow ochre clay

repurposed brown wrapping paper

"...a proc/gressing transformation..."

is headed toward Copper Guinea Farm.

"a progressing transformation"         approximately 43" x 73"

Porters Neck Yoga & Spa is now hosting "a progressing transformation". With your intent of Love, Peace and Co-Creativity please visit and participate with the art work.

“a progressing transformation” is a sustainable co-created art work. With intention the artist in us has contributed to the piece. Please leave your mark of intention for Love, Peace and Co-Creativity for all Earth beings by placing your mark of intent with the beeswax and natural pigment colors, add to it by applying your natural materials signature with a metal pin, stitching, or simply instill your prayerful intention to it.

Have fun and Be Creative!

Please leave your name with these Co-Creators:

Camber Caldwell

Peter Champoux

Joan Dorazio

Paul Dorazio

GIna Gambony

Barbara Hein

Daniella Metz

Robbyn Muse

Ryan Olsen

Greg Patch

Evan Root

Lilly Rousey

Molly Rousey

Tilden Rousey

Damon Savas

Georgia Routsis Savas

Matt Woisen

Materials:

Jute twine grid sandwiched by two thin sheets Lotka papers made in Nepal

Stockmar beeswax & natural pigment waxes (nci)

Ethiopian Coffea arabica; brain stimulant and increases CNS function, moves chi and blood

Blueberry Vaccinium spp. & Blueberry Vaccinium spp.; supports healthy vision

*Yellow Dock Rumex crispus dyes and mature aerial parts; healing energetics of clearing toxins in liver, gall bladder & kidneys, emetic

* two shades of yellow ochre clay; draws out toxins

* healing energetics of Turkey Vulture Cathartes aura (literal translation is purifier or pacifier of the aura) left/feminine wing feather

* Charcoal, ash & wood

5 wooden sticks to help light the fire

* grasses & dirt

* healing energetics of twig/branch Elder lf & br Sambuca nigra; antiviral and nourishing flavanoid

* Fire

* rain Water

* healing energetics of and leafed acorned twig/branch of Live Oak Quercus spp. This Oak is certified oldest in NC, @500 yrs; rejuvenates life force, strength & longevity

* healing energetics of and leafed fruited twig/branch of Cedar Pinaceae family. Estimated to be up to 1,000 yrs old; resilience & longevity

* healing energetics of and leafs of Long Needle Pine Pinus palustri;  inner peace and resilience

* from grounds/Earth of Copper Guinea Farm & Kitchen Atkinson, NC

natural Damar resin "Obtained from a renewable resource, its production helps support indigenous people and protect the rainforest by replacing other non-renewable industries such as logging." Earthpigments.com (nci)

consider also the healing energetics of the elements; Fire, Water, Air & Earth and grasses, charcoal, clay, the Earth's ley grid lines and the healing intentions of all the participants.

You can search "a progressing transformation" on this blog for more on this sustainable art piece.

a pro(c)(gr)essing transformation note 17

 

closeup of present drying stage

"...a pro(c)(g)ressing transformation..." note 16

it's a couch painting

at a hanging to dry stage with "...a pro(c)(g)ressive transformation...". I'm applying a mix, 6:1, of yellow beeswax and Dammar resin. Beeswax that is yellow versus the white is abundant with pollen oils and propolis. I'm enjoying the warmth of the yellow tones of it now and will play with the white at some time.
Have not yet found a local beekeeper who has enough to supply me with the wax. The beeswax & Dammar resin I ordered from www.earthpigments.com.
"Dammar is a natural resin used as a very traditional medium and varnish. For use as a varnish, dissolve the resin in a solvent such as turpentine or our citrus solvent. Dammar can also be melted. It is often combined with beeswax for Encaustic painting to harden and add gloss. Our 100 g Dammar resin is smaller pieces packaged in cotton bags ready to submerge in 200 ml of solvent, and the 250g and 500g are sold as loose nuggets. Obtained from a renewable resource, its production helps support indigenous people and protect the rainforest by replacing other non-renewable industries such as logging. Melting point 176 degrees farenheit. Do not heat over an open flame."
Earthpigments also has many recipes on their site. I'm using a recipe I got from another source because.

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#26        beeswax, natural pigment, coffee/blueberry/watermelon dyes on khadi  paper

#27             beeswax, natural pigments & red cabbage dye on khadi paper

#28          beeswax, natural pigment, red cabbage dye & watermelon dye on khadi paper

#29      beeswax and natural pigment, red cabbage & watermelon dye on khadi paper

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#21 coffee, blueberry, red cabbage dyes, beeswax & natural pigment on Lotka paper

#22 red cabbage dye, beeswax & natural pigment on Lotka paper

#23 red cabbage dye, beeswax & natural pigment on Lotka paper

"...a progressing transformation..." note 14

 

added some yesterday; the heart cutout from Peter Champoux's contribute showing the triangular ley formation adding comfirmation to the site, Olive Guinea Farm & Kitchen, placed some of the fire transformed pieces from the original panels, grass & tree leaf, some pieces of the charcoal from the fire pit we used to ignite the panels as the rain/water had dampened the jute ends/panels. There are some wonderful grays and textures from the hot finer ash imbedding with the panels and canvas. This morning I recognized one of the drawn hearts on the canvas playing an upward movement with the map heart placement made yesterday. There's joy in discovering/seeing elements we had not seen before here, as with living.

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#17