Painting

SOLO EXHIBITION JILL EHLERT

ART OPENING - "SEAFORMS: THE NATURE OF CREATION"

SeaForms: The Nature of Creation - Mixed Media Collage work by Jill Ehlert at The Chapel Gallery opening Friday September 21, 2018 5:00-7:00 with an artist talk at 5:30. Show continues to October 31, 2018.

THE CHAPEL @ ST. MATTHIAS

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Click here to view more photos from the opening night and to watch a video of Jill describing her sources of inspiration and some of her art processes.

ARTIST TALK

MISSA - WORKSHOP THAT I TOOK JULY 2017

Metchosin International Summer School of the Arts

JILL EHLERT - 12" X 12" - Mineral pigments, oyster shell white, oxidized Japanese silver leaf , pumice ground on cradle board.

JILL EHLERT - 12" X 12" - Mineral pigments, oyster shell white, oxidized Japanese silver leaf , pumice ground on cradle board.

I attended a 5-day workshop July 3-7, 2017 with instructor Judith Kruger at the Metchosin International Summer School of the Arts (MISSA). I had a fabulous experience. The workshop was exciting, challenging, filled with new materials, tools and techniques. Judith has boundless energy, a knowledgeable teacher who is dedicated to Nihonga - "traditional Japanese mineral pigment painting".  Judith amalgamates this ancient form of painting with her contemporary art practice, "exploring the formal and conceptual junctures between historic process and modernity as an ongoing project".

Everything in this workshop was new to me. We made our own paint and ink from organic and inorganic matter like cured oyster shells, minerals, natural ores, pine soot, mica and silica. We made a natural glue from cow cartilage to act as the binder. The materials are ecological, non-toxic and water-based. We worked with Japanese silver leaf and learned methods to oxidize it.  Judith demonstrated how to  mount Washi and stretch watercolour paper onto a cradle board. It was an action-packed week.

THE LOCATION

The Metchosin International Summer School of the Arts has been providing high caliber specialized workshops for artists, teachers and serious adult students since 1984. MISSA has a reputation for hosting  local, national and international instructors who engage with students in an intense multidisciplinary environment. MISSA welcomes students from around the world to participate in an artistic emersion for two weeks every summer. 

Artists from near and far have come together each summer to the Pearson College campus to share in spirited creative exchange. The school is positioned on the sheltered shores of Pedder Bay and looks out to the Straits of Juan de Fuca and the Olympic Mountains beyond. The campus setting provides a stimulating natural environment for artistic development and exploration. It’s easy to understand why so many return year after year to be part of the ‘MISSA Magic’!

MISSA takes place every summer on the campus of Pearson College, while the students are away. Participants at MISSA can stay in college style dorms where internationals students have spent their school year. The college campus is designed in a West Coast Modern style and takes the from of a seaside village with buildings of native cedar clustered on 75 acres of old growth rainforest. The simple, low-slung structures are linked by footpaths and stand in harmony with the surrounding landscape.

THE WORKSHOP SPACE - THE FLOATING STUDIO

I was fortunate to attend a 5-day workshop July 3-7 which was held in the "Floating Studio", also known as the marine lab during the regular school year at Pearson College. The Pearson campus is in a fabulous location on Pedder Bay -  truly a magical place. I stayed in residence for the duration of the week. Resident students arrive the day before, on Sunday night and also stay the night of the final day of class, for a total of six nights and leaving on the seventh day. The food is fabulous and all one has to do is art all day with all meals and snacks provided. Students can go back to the studio in the evenings.

Photos by Jill Ehlert unless otherwise stated.

The Floating Studio - aka the Marine Lab.

The Floating Studio

The Floating Studio in the evening.

The Floating Studio in the evening.

REFLECTIONS AROUND THE FLOATING STUDIO 

THE FLOATING STUDIO/THE MARINE LAB - A view from our workshop space and one of the critters we shared the space with.

THE WORKSHOP -  "ABSTRACT ALCHEMY: BLACK, WHITE AND WARM METALLICS"

A Description of the workshop from the MISSA catalogue "In this course, students will reinterpret nature’s deep imagery and essence with a limited palette using matter from nature itself. Participants will make paint, ink and home-made gesso from inorganic and organic sources including pine soot, shells, and minerals. Natural metallics will be introduced for warmth. These arcane processes have been employed for thousands of years on ancient Asian screens and scrolls. Collage can be added and embedded for depth. A variety of drawing and painting techniques will be introduced to yield meaningful, process-driven, ecological work on varied supports, embedded with individualized expression, heart and spirit."

THE INSTRUCTOR - JUDITH KRUGER

Judith Kruger, is an American visual artist whose paintings, prints and mixed media works address Human-Environment connectivity and their shared vulnerabilities. She is recognized internationally for her advocacy of natural painting materials and historic, ecological processes.

Judith currently resides in Northwest, CT. Her studio is located in an old hosiery mill, 125 miles north of New York City, at the foothills of the Berkshire Mountains. Click here to read Judith's artist statement.

SOME OF THE TOOLS AND MATERIALS IN THE WORKSHOP

DRAWING/PAINTING WITH SUMI-E INK

The Sumi-E ink drawings above were incorporated into the mineral pigment painting below.

Jill Ehlert ©- 24" x 18" - Sumi-E Ink, Mineral pigments, Japanese silver leaf, antique Japanese pharmacy paper, punched holes on Washi paper mounted on cradle board.

Shadows as inspiration. Photos and work (12" x 12") by Jill Ehlert 

My WORK IN PROGRESS AT MISSA

Working on a Sumi-E mat - made of wool and polyester felt.

Working on a Sumi-E mat - made of wool and polyester felt.

Water reflections as inspiration. Experimentation with Sumi-E ink, wax relief, Japanese silver leaf and mineral pigments on illustration board - 12" x 9"

I learned so many new techniques and had a good introduction to mineral pigments. This was an excellent workshop that I would recommend. Click here to see Judith Kruger's workshop page for 2018.

New Paintings in Abstract Paintings Album

Drawing ! and 3 were done in the Steven Aimone Workshop "The Spiritual Language of Art". The Middle drawing was done in my studio.

Jill Ehlert - 48" X 48"

Jill Ehlert - 48" X 48"

Jill Ehlert - 36" x 48"

Jill Ehlert - 36" x 48"

Jill Ehlert - 48" x 48"

Jill Ehlert - 48" x 48"

These are a few examples of the paintings that I have done recently.

There are 28 paintings in my new Abstract Painting album.  

Helen Frankenthaler

HELEN FRANKENTHALER

"Mountanins and Sea" 7' X 10"

"Frankenthaler's career was launched in 1952 with the exhibition of Mountains and Sea. This painting is large - measuring seven feet by ten feet - and has the effect of a watercolour though it is painted in oils. In it, she introduced the technique of painting directly onto an unprepared canvas so that the material absorbs the colors. She heavily diluted the oil paint with turpentine so that the color would soak into the canvas. This technique, known as "soak stain" was used by Jackson Pollock and others; and was adopted by other artists (notably Morris Louis and Kenneth Noland) and launched the second generation of the Color Field school of painting. This method would sometimes leave the canvas with a halo effect around each area to which the paint was applied but has a disadvantage in that the oil in the paints will eventually cause the canvas to discolor and rot away".  Quote from Wikipedia

Frankenthaler said "A really good picture looks as if it's happened at once. It's an immediate image. For my own work, when a picture looks labored and overworked, and you can read in it—well, she did this and then she did that, and then she did that—there is something in it that has not got to do with beautiful art to me. And I usually throw these out, though I think very often it takes ten of those over-labored efforts to produce one really beautiful wrist motion that is synchronized with your head and heart, and you have it, and therefore it looks as if it were born in a minute." (In Barbara RoseFrankenthaler (New York:Harry N. Abrams, Inc. 1975, p. 85)

Abstract Expressionism - American Painters

Helen Frankenthaler, Sam Francis and Robert Motherwell

Abstract Expressionism

Check out this link at Wikipedia which has a great article on Abstract Expressionism. 

Scroll down the page to "Major Artists" are those significant artists whose mature work defined Abstract Expressionism. 

The second list "Other Artists" are those significant artists whose work relates to American Abstract Expressionism.

The third list is related styles, trend, schools or movements.

Appropriation

Robert Genn's June 15th. letter about appropriation has sparked a lot of interetsing viewpoints. Click appropriation to go to "The Painter's Keys" page with his letter and all of the responses. Be sure to scroll down the entire page to the bottom to read all of the comments. You will see the following response from me there as well.

Memories Lost

(left) collage by Jill Ehlert (right) original image fromWikipedia

I used Photoshop to enhance the contrast of the head and printed it onto transparency film with my Epson printer. The Phrenology image appeared in Wikipedia and stated: This image is in the public domain. Its copyright has expired in the United States and those countries with a copyright term of life of the author plus 100 years or less. I used that transparency to transfer the black ink onto my painting. I took the picture of the trees with my digital camera and again transferred the image/ink with the same technique as the head. I pondered for a time about the ethics of using this appropriated image of the head. I have the ability to draw, but the idea of using this image was more appealing to my artistic process. I feel that this is what the spirit of collage is about - found materials and images that can have a rebirth. I would like to think that the original artist would be delighted to think that the image lives on in a painting in the year 2007.