A few Sundays ago Kerrie D. and I took a workshop in working with resin. It was at Pratt Fine Arts Center here in Seattle and it was taught by Anne Randall ( a very knowledgeable and oh so very excellent instructor). Tin has it's limitations and I have pretty much been a purest in that regard, working only with the metals I can find. Now the resin will allow me to add elements I can't find in tin and will expand the visual impact of my work when it's incorporated.
This is the first ratchet screwdriver I've ever bought. I love it so far. Used it just a few minutes ago to put some screws in some plywood. It worked beautifully and for once I didn't strip the heads, not sure if the 2 are related or not.
Dave Yoas is a fountain of tin working knowledge, in fact he could write the book on it if he chose to. He's self taught and has been fearlessly working in tin for years. Dave's creations are mind boggling complex, humorous (if not just flat out hilarious), provocative and intelligent. He shows his work once a year at the Marin County Fair in the SF Bay Area (He's won numerous awards). He doesn't sell his work, he doesn't have a website or even a Tumbler, he has no web presence besides the few pieces I have shown here on this blog. Which is quite unusual in this time of Face Book and all the other ways there are to say " HEY LOOK AT WHAT I CAN DO!" online.
I met Dave as a result of his purchasing a tin piece of mine (he has a nice collection of tin work by various other tinsmiths). He mentioned in an email that he did some tin work as well. Being the cynic that I am, I had the thought of "Oh dear, I bet it's going to be bad" Boy was I ever wrong! So we started emailing a little, then eventually started talking on the phone. Dave lives in a neighboring town to where I grew up and we discovered we have people in common. I've been to his place a couple of times and have seen his work up close. It's overwhelming in a good way.
Dave is generous with information he has learned and we have conversations about problem solving from time to time. One of the juicy tidbits he has shared with me, is the use of rubber bumpers on the back of the tin work. The bumpers make the plywood stand out evenly from the wall and keep it from shifting. This is brilliant! I just did this for the first time and am blown away by how ingenious this is. I used longer screws than what they give you in the package. If you are so inclined to try this you will find the bumpers at your local hardware store. Cost is less than 2 dollars for 4. Thanks Dave Yoas, you're the tops!
My Dreamboat gave me some new tools this morning for Easter. The Tekton is great for cutting through thick rims, like on trays. The Bostitch is great for cutting through the rest of the way on thicker tin, however it does leave tooth marks so you'll have to use your detail snips to clean up the edges.
Austin is really smart, engaging and insightful, not to mention funny. I saw him talk about his book last night at Town Hall in Seattle. Before it even began he was talking to the attendees and moving about the floor greeting people in his casual manner. He also played the piano, which of course made him ever more endearing in his All Stars.
Show Your Work -10 ways to share your work and get discovered (Workman publishing) is caulk full of excellent advice for artists of all ilks.
Sometimes the drawing for a project might look great. Scale is right, colors look good but then it doesn't translate as well as I'd hoped. This was the case with this work in progress. Looking at it like this gave me a stomach ache, which is a clear signal when something isn't right. It took me a full day and a half to figure out what was wrong. Then it occurred to me that the tin all looked new. It has a mass produced feeling devoid of any funk.
That was easily corrected with some faded and patterned tin. Huge improvement.
I debated for a while about using the metal crimper to give the lanterns the appearance of paper but decided against as it made it seem too crafty.
The flowers are cut from a common English candy tin.
Still quite a ways from being done but it's getting there.
This is the almost finished piece I've been working on. I have yet to add a few more butterflies and to figure out how to attach adequate hardware for hanging. I am pleased because this is almost exactly as I had imagined the artwork before I started.
RED CURRENT (sweet fruit) was a short-run exhibition in March 2012, hosted at Roq La Rue Gallery and curated by Sharon Arnold. Red Current's purpose was to demonstrate the wealth of contemporary artists in Seattle, inclusive of all styles, genres, and mediums. The artists represented shared only one very specific characteristic: they were women.
In this new project, Arnold hopes to achieve what she would have liked if she had had the chance in 2012 - to create a space for women artists, inclusive of all backgrounds, age, race, cis/transgender, and genres; without any limitations on space or duration.
This is a not so great shot of my work in progress. You can see that some of the flowers are taped on. I taped them on so I could stand the piece up and look at it from a distance before nailing them down.
This work in progress is the largest one I've attempted. It measures 35" x 22" . Working larger is different from working smaller. The process of doing the background would have been fine for a smaller piece, but for working large it has been tedious and time consuming. Next time I will do it differently. The process of learning all on my own is beyond satisfying. If only I was as lucky as Kaffe Fasset , to have drones to have collaborators then I could create way more work in the larger format.
Now to figure out the scale and arrangement of the flowers...
Some artists choose to paint the same thing over and over again. I don't know how they do it, to me that would feel like some sort or purgatory, seriously. It's like eating the same food for every meal--boring. But with Stephanie's work she has chosen to paint something interesting that has obvious variations. So it's the same but not the same. Her pallet is rich and vibrant without being overbearing or falsely saturated. Her subject matter expresses a love for nature in civilization, devoid of buildings, cars and the presence of people, with streets and sidewalks as the only evidence. The serene, calm and joy is evident in her work and something I can stare at for years to come. To see more of Stephanie Lindsey's artwork click here.
Tin boxes that contain note paper or children's toys can become excellent supports for staging mini shrines. These sorts of boxes have plastic windows in the lids that can be removed easily. This particular one was left outside in the rain for a few seasons and became quite rusty. When working on a project such as this, it has to be figured out in stages. Attaching a hanger on the back was the first order of business. Holes were punched into the back of the box and a stiff wire was inserted into the holes then bent into curly cues on the inside to prevent the wire from slipping out. Then the background tin (shiny red) was cut to size and placed inside the box. A red block of wood was then taped into place and nailed on from the back. Next the pieces to be attached to the lid have to have holes punched in them as well as corresponding holes made in the lid. The Virgin of Guadalupe was then nailed to the wood, the roses and other pieces were riveted on. The lid was put on and a final blind rivet was put through the lid and the box.
This process can be done for other projects where a single image or tin piece is to be the staring attraction. The possibilities are endless.