I'm playing this week with new fresh drawings that are much less literal and more about how they feel.
For the past six months I've been exploring a more figurative path in my painting. It began abstractly and then moved into a type of realism that is below.
Over 30 years ago I made brushes from the hair of my dogs that have wonderful character.
I used one of my dog's hair to add body so it would hold paint and added hair from my other dog out the outside to give it a curl. As I recall the tricky part was holding all of this in place at the end of a chopstick while I wound dental floss around it to secure it. Lastly, I covered it all with clear nail polish. Over the years I probably used them thousands of times. They have iron oxide stains on them from years of use with decorating work in clay.
When I painted this diptych I wanted it to work well as two panels or single panels. At the Robert Allen Gallery Rob decided to display them separately. You can see both of them on different walls in the photo. He told me that people don't even realize they are a diptych.For me, they work both ways.
Together, 36x72, mixed media on panel
Robert Allen Fine Art Gallery in Sausalito.
Currently exhibiting paintings by Susan Adame Artist
Until January 31, 2019
Robert Allen Fine Art
301 Caledonia Street
Monday to Friday 10 to 5
Closed Saturday and Sunday
The inspiration for this painting was a photograph that my grandfather took of me years ago. I suppose it would be considered a self portrait. The photograph won an award at Berkeley Camera Club.
I am exploring portraits with my new ideas. I'm finding the human face a compelling subject. The subtle nuances of expression are endless.
An invitation to exhibit a self portrait in Chicago inspired me to consider something entirely new. In my adult life, I can't recall ever painting a self portrait yet the idea has completely captivated me. I paint primarily abstractly so I thought doing an abstract portrait would be the perfect place to begin. Now I can see that I have been launched in an entirely new direction and I am excited to explore.
The first series was abstracted to some degree, however, when I began a second series things changed. When I used some photos of my family as references I found myself wanting to go in an entirely different direction and not completely lose the faces I love.
It was a fun surprise to see that Sergio Gomez used my photo for the logo for the exhibition.
Last week two of these paintings were cityscapes that I didn't think were exciting. This created a great opportunity for risk-taking so I turned them sideways and everything changed. I used oil paint with some cold wax over the acrylic paintings. They all still works in progress but now I'm having fun!!
Exhibition February 28 to March 24, 2018
700 Gilman Street, Berkeley, CA 94710
Open Wed-Sat 12 - 6pm
The Exhibition includes the work of East Bay artists:
Susan Adamé, Dobee Snowber, Susan Taylor and Wilma Wyss.
A year and half ago I asked four artists friends to join me in creating a group show. This is the result of us talking about life, getting to know each other and making art.
Thanks to Julie MacCray, the owner of SHOH, for her mastery in displaying our art in her gallery.
After seeing Raimomds Staprans exhibition at the Crocker Museum in Sacramento last summer, I wanted to create cityscapes. I loved the slightly elevated view that Staprans was using and wanted to use this perspective myself.
I created a series of maquettes and took photos so I could find a relationship between the buildings that was not only visually pleasing, but I wanted to convey a feeling of connection and community.
First I mix the molding paste with acrylic paint. I have used deep browns, deep reds and grays.
I prefer to paint on a dark surface, however, it is not necessary to add paint if white is the desired base color.
Application of molding paste
I use a large palette knife to apply the molding paste. A variation in the surface appeals to me. The wood grain can be revealed when scrapped.
After the material is dry, it can be sanded. I lightly sand the entire surface to soften sharp edges and transitions.
I can then paint using either acrylic or oil on this textured colored surface.
After they are lightly sanded they are ready for paint. In these photos I am showing both the smooth areas and the the subtle texture. The transitions have been sanded. They can be left unsanded so they will reveal the dark edges more easily for a different look. In some areas the paste is very thin so the wood grain is shows.
Susan Adamé, artist
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