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What is a collage anyway? This was the question I asked myself as I prepared for the collage workshop I taught  in my studio this week. I pulled out collage books from my bookshelf. I started piling up supplies from my studio. I made lists of supplies I needed to buy. I started making lists of ideas. Again, what is a collage?? I admit that I got kind of frenzied. I’ve taught collage. I’ve included aspects of collage in my own work. But suddenly I couldn’t pinpoint what the heck defines collage. How does one organize the different possibilities into a coherent learning sequence?

While I got frantic, I could tell that Jim was watching from the sidelines, maybe just slightly amused at my antics. Apparently this is part of the process I need to go through to prepare for each workshop. Every time. Even if I’ve taught it lots of times before.

Pre-collage workshop mess–this is a snapshot of the inside of what my brain feels like as I get prepared

In addition to gathering up information and supplies, I also spent quite a bit of time experimenting with various techniques.

Pre-workshop experiments with various transfer methods

Things gradually start to fall into place. Out of the shambles come glimmers of how to get the workshop organized. This time I decided to make samples of various techniques and ways to use materials. I stuck them to the wall, where I could see them and reorganize them easily. Once the sequence made sense I left them in place to become a handy reference for workshop participants.

Samples of techniques

I also tack up a rough idea of a logical sequence in which to teach.

A rough sequence for the first day

Finally I can’t stand the chaos any more. So I pile everything in a really big heap, so I can shove tables around to figure out work spaces for participants. Then I set up each space with tools and miscellaneous useful items. Can you believe how neat the tables look now? Supplies, paper towels, water, folders with information and more are organized for each participant. What you can’t see is the huge heap of stuff piled up beyond view.

Set up and ready for the collage workshop

I set up a table with supplies for stamping and stenciling and creating tar gel skins. Don’t know what tar gel skins are? Well, they’re fun. You, too, can learn how to make them when you take collage next Fall or Spring!

Set up for collage stamping & stencil

Next, I sort out the huge pile and voila! Ready or not, it’s workshop time.

Polly & Kathy hard at work

Charla & Merrill making tar gel skins at the stenciling, stamping and gelling table.

Jenine, looking for just the right image to add to one of her collages

I’m thrilled when I see each person’s space full of stuff. Ideas are flying back and forth. The tables look like they did when I was getting prepared. Creativity is happening! By the end of the first day, each person has a start on three different collages. A remarkable amount has been accomplished. By the end of the second and final day of the workshop, everyone is exhausted but brimming with ideas for completing the collages.

I could have sworn that I took snapshots of each participant’s collages before they left, but somehow I ended up with only a few. Did my camera eat the rest of them?

Below is one of  Merrill’s works in progress. What you see are gel transfers of images of fish. I was very excited by what she figured out to do with the fish. But I didn’t end up with photos to show the more completed work. Darn it!

Merrill fish transfer in progress

One of Jenine's collages, using paste paper and stamps she'd made in previous workshops she had taken here

Charla used cardboard layering with tar gel skin, and a variety of torn papers for this collage

Kathy assembled a stained background, gel transfer and lacy papers for this collage

Polly stained her paper, then added crumpled tissue, painted over the tissue and added a variety of torn papers.

What a great group and wonderful couple of days. After everyone left, I put everything away (neatly). Now I’m ready to paint.

What is considered old in the art world? I’m not talking about the artist’s age, but the age of the artwork. Calls to artists to enter their work in exhibits usually have a time frame within which the artwork needs to have been created. Beyond this time, the art is no longer eligible for consideration. Usually that time period is two to three years. If you are a living artist, then work starts to be considered really “old” after about 5 years or so. Unless you’re one of the famous few. If you’re dead, well then, older work is just fine. Sometimes, the older the better. Any dead artist’s work is worth more just because the supply is automatically limited.

Once the work is purchased, age no longer matters. In fact, often the older the work the better. It’s just when it sits in the hands (or on the storage shelf) of the artist that it becomes problematical.

So what happens to those sad old paintings?  I have a few hanging out in my studio, although luckily, most of my paintings have sold. I think the old guys are good, although yes, I have improved over the years. But for some reason they just sit on the storage shelf. I’ve never figured out why some really good paintings don’t say BUY ME to collectors. Anyway, recently I decided to take one painting off it’s stretcher bars to see how it felt. It felt strange. Like I was giving up on an old friend. I carefully rolled the painting up to store again. Now the painting takes up less room and I have a set of stretcher bars to re-use. I’ve been enjoying working on wood panels and didn’t have enough canvas on hand, so here’s what I did:

Old stretcher bars with untempered masonite panels just waiting for me

I bought four untempered (without the chemicals) masonite panels from Arizona Art Supply in Phoenix. Jim cut them to size for me using a band saw blade. I covered them with GAC 100, which protects the acrylic paint from discoloring, applied three coats of gesso to each board, and then with Jim’s help, glued and clamped to boards onto the stretcher bars. Slightly unconventional. Now I have four panels with a half inch space between each one and the outer edges of the stretcher bars showing.  This presents just the kind of problem I like. And I have now clue what I’m going to do…

Meanwhile, I have a water reflection painting in progress.

More than a start but far from finished

While I work away on the water reflection  this afternoon, I’ll be aware of my new problem sitting on the easel just to the right of me, waiting to be solved.

Jim and I are participating in the 20th Annual Oracle Artist Studio Tour on April 14 & 15 from 10 am to 5 pm.

I’ll have my newest Water Reflection and Nooks & Crannies paintings for sale. I’ll also have my artist books, note cards and maybe a few surprises. My creative imagination is working overtime to get ready for the event.

Agua Caliente, acrylic on panel, 24" x 24"

Jim will be showing a new group of Sonoran Desert Wildflower photographs that he has been working on for the past year. These images are different from what you have seen before and he is excited to be offering them for sale. He’ll have framed prints and note cards from which to choose.

Sacred Datura, a photograph by James Cowlin

Our friend, Val Bembenek, will be joining us this year. She is a paper artist and will be showing her decorative paper maché bowls, handmade stationery and other items all created with recycled materials and desert botanicals.

Val Bembenek, papier maché bowl

For complete information about the Oracle Artist Studio Tour with a listing of participating artists and and directions to Oracle, go to http://oraclestudiotour.com.

We look forward to seeing you.

These are probably the last snapshots I’ll take of the two Olin-Chalmers Library paintings I’ve been working on. The reason–I’m on the last stretch on both of the paintings. I’m hoping to create the finishing touches this afternoon. Of course, you never know. I thought I was close on one of the paintings earlier this week, got annoyed at one area and sanded it off! It was a struggle to redo that part, scary because I was afraid I might have ruined the painting. Taking this kind of risk is part of the process for me.

Looking down (this isn't the official title)

The stairway was what was attacked, sanded and repainted this week.

Looking up the staircase, Olin-Chalmers Library, Kenyon College

Once I’m completely done with the paintings, professional photographs will be taken by Jim. And I don’t even have to take them anywhere to get them photographed!

One of the appealing parts about being in Oracle is living right down the street from Rancho Linda Vista. Rancho Linda Vista is an art community which was established in 1968 by Andrew Rush and several other art professors from the University of Arizona. It still functions today, with a number of artists living and working on the property, a gallery, an artist residency program and much more. I’m guessing that this was the nucleus that attracted other artists to the area and helped to make Oracle the kind of place it is today.

A couple of weeks ago, the gallery at RLV opened an exhibit of a series of recent watercolors by Andy Rush. It was a beautiful Sunday, unseasonably warm, and perfect for an outing, if you can call going a half mile down the street an outing! The artwork was wonderful. The gallery and courtyard outside were crowded with visitors. Delicious food was served by Andy’s grown daughter, Maggie, with her children helping to serve the refreshments. Rancho Linda Vista has become a multi-generational community.

Visitors admiring an artist-made book by Andy Rush, with several of his watercolors in the background

Andy Rush also founded The Drawing Studio in Tucson in 1992. This is a vibrant place for people to practice art in classes, attend open drawing sessions, go to workshops and seminars and so much more. The Nature of Drawing   A Conversation about Art and Community , written by Andrew Rush, has just been published.

Andy Rush, signing his book for me

I couldn’t resist the chance to buy his book at the opening and have been enjoying reading it since then. It’s proving to be a book full of wisdom. Beautifully designed by Imo Baird, it is full of Andy’s drawings. This one will definitely find a prominent place on my studio bookshelves.