Thanks for the comments and yes the framed pieces are Chasing and repousse', it's one of my favorite mediums. To use tools that are 1/4" or smaller and bring the metal to life, I enjoy each piece more than the one before.

And raising is also in my top favorites. What you described I'd consider more etching, my raising involves a hammer and raising stakes and taking a flat sheet of metal and bring it to the shape of a vessel.  I'll be posting a series that I'm currently working on and finishing up very soon. hope you like these new vessels, let me know.

I'm always amazed at what painters can do with brushes and a piece of canvas, but then I do a similar thing with metal, I think. 

Hi there, you do some great work, what medium do you work in or what is your favorite?   Also Contact is one of my favorite movies also!

GRIZZ

Hi Kara.  I learned encaustic from a local instructor in atlanta.....beleive it or not, it was hard to find an instructor here as well.  I have fallen deep into a passionate relationship with this medium.  It is so addictive.  You can go to my website and see more work...I haven't posted all of it on this site yet.  Comments please!

Melody T.   mltstudios.com

Hi Kara, Thank you for your astute and humbling compliment about my painting ‘Secret Cascade’. I have a great admiration for Maxfield Parrish’s work and have studied it for many years. I employ and now teach Dynamic Symmetry an ancient compositional system that Parrish used from about 1915 on. To answer your question about learning how to use acrylics, please allow me to explain.

I had used them for over 25 years as a professional illustrator but I was not educated as a painter yet. Then, about three and a half years ago I met my mentor Brian Davis, a master oil painter. You can see Brian’s work in over a hundred galleries worldwide. Through his tutelage he exposed me to master acrylic painters who really knew how to use the medium. Although many of these artists did not have any teaching tools, they did have art books that I purchased to study. I was also able to rent a few of paintings from a very generous gallery to copy; yes copy. The reason art instruction included copying master works was to learn what they (the original artist) knew and how they worked. When you look at a painting up close and personal, you can deduce how it was painted, or at least have a good shot at it. I also knew people in the gallery business that were extremely generous in giving me some insights into these artists practices. After rolling up my sleeves and getting at it for a few weeks I was able to figure out most of the important techniques. I then painted several paintings using them to check to see if I had indeed got it right. I now have the pleasure of passing what I’ve learned on to my acrylic students.

I have to admit though, now I almost exclusively paint with oils. After learning a lot about acrylic painting, Brian told me that I must try oils and again exposed me to masters. Fortunately many of them have teaching books and even videos to study. I have even been blessed with having some personal mentoring from David Leffel through Brian.

Believe it or not, many of the traditional thinking about painting with oils are actually myths. They really don’t have a strong odor if you do not use solvents. Thin layers can actually dry very quickly from hours to overnight depending on medium used. The biggest myth is that oil painting is hard; it is the easiest of any painting medium I have tried.

Sorry to go on a bit, I just love to talk art and painting. Please let me know if you would like any further information or clarification. Thank you again for taking the time to look at my work.

Warm Regards, David

Hi Kara,

 Thank you for the comment and question.  The image was created using long exposure.  Probably around 30 seconds.  I use a large format view camera that uses 4" x 5" negatives.  (I'm still using film).  I'm really enjoying your website and your artwork.

Hi Kara:  These new paintings you put up today are a lot of fun! I've started to do some really small ones - what a way to loosen up! It's amazing how nit picky I can get when I have a lot of square inches to work with and how loose I can let my work be when the surface is really small.  Somehow it doesn't make sense - but there it is..

By the way, reading the Art Expo price schedule really put show costs into perspective!!  (Thanks for the breakdown David!) I just paid for a couple of local shows (Seattle) - but even comparing the local shows with say the cost of doing a really good studio event was an interesting breakdown.  (Love that Excel program). 

I've been trying to learn the 'Zen' of sales and marketing forever, but the description of making anything as large and complex as the Art Expo work - physically, etc. - that would be a whole new approach.  Let me know what you decide.

Barbara 

Hi Kara,

I'll attempt to explain the process involved in my monotype/chine-colle image Ysaye.  The process is quite simple. The leaves are brayer transfers made from actual leaves I found outside my gallery/studio. Using Speedball hand brayers that are inked with etching ink, I roll over the leaves and then transfer the impression from the brayer onto a plexiglas plate. Additional marks are made in negative on the plate by reversing the process and rolling over leaves on the plate itself. Finally, torn Japanese colored papers, music, and old magazine photos are soaked in water for a few minutes to soften the fibers. I then blot them lightly and lightly sprinkle wheat paste (wallpaper glue) on the back surface. These glued images are then placed upside down on the plate and a German made paper is then placed on top of the entire plate (kinda like making pizza). I run it through the etching press at 800 lbs. of pressure. That's it. It's a fun and very fast process.  Cheers!  Brent

Hi Kara, actually I was talking about attending ArtExpo New
York. It is the biggest professional tradeshow for the fine art world period.
You can attend for free by registering yourself as your own company. To have a
booth is where the real expense is and the best exposure is too. The costs are
quite high. Regular 10’x10’ booths start at $5,950 and when you add up
everything from shipping to extra lights you’re into it about $10,000. They do
have an emerging artist section who are representing themselves that is a lot
cheaper called Solo. These start at $3,300 and go up from there. Once you add
in shipping and extras you are in the neighborhood of  $5 – 7,000. You can check out all the fees etcetera at www.artexpos.com  You might also take a look at the preview of some of the artwork
coming to the show at: www.artbusinessnews.com
just click on the ArtExpo Preview issue in the lower left corner of the site. It’s
a pdf document. Of course you can’t get out of the plane fare, room and food
costs. There are some less expensive hotels a few blocks from Javits Center so
the big expense is the air fare.

I went a few years ago and learned a ton of invaluable
lessons and a few good leads. I just didn’t have a body of work to approach the
marketplace. You do. By going as an attendee you don’t have any of the overhead
and can meet publishers, buyers, gallery directors, even museum directors when
they aren’t busy. This show is all about connections and broadening your scope.

Let me know if I can help you with more ideas or info. I
just like to see artists succeed and your abstract work looks very promising in
this venue. This is just an idea to ponder not a push of any kind.

Warm Wishes, David