P.T. Artist Sandra Stowell

This new collage, A Small Prayer, came about from my studio cleanup, during an interval in my remodeling intensive. I am delighted to make any new artwork at this time, no matter how small! A Small Prayer is approximately 7″x7″ (not quite square) and it consists of quite a few different pieces from older art, along with a couple of found objects.

I started with the one remaining remnant of another much older artwork. This was a rather unsuccessful work that slowly decayed to nothing outside, leaving only the small figure below. I evicted the original low relief artwork from my studio, along with several other early pieces! Yard art!

I rescued the small kneeling figure from the grass while tidying up the yard, and made it the focus in my new work. I probably made this much older and now weathered figure from polymer clay, and added layers of paint.

In addition to the figure, A Small Prayer consists of a construction byproduct circle of metal roofing, a lovely scrap of birch bark, and several pieces of my collograph prints. I mounted these to a square of door skin plywood. Then I mounted that to 3/4 plywood, so it is painted, edged, and ready to hang.

These bound and wrapped mummies are a chine colle photo etched print with string, mounted on honeycomb cardboard packing material.

Here is another artwork that I started long ago, now completed by adding collage elements. The images left to right: the early version, the new version, and then the final mounting:

I am afraid that the earlier version was already sufficient. It consisted of the watercolor window with cutout trees superimposed, with the tracing of purple shadow painted in.

I may well have cluttered and spoiled it by adding the newest elements: a leaf, a bird, and a crescent moon. But it is done, and now the work is mounted on a chipboard panel eady to hang.

I am currently very discouraged about most of my artwork, so I will put this away and hope that I will like it again later! Wouldn’t it be lovely if someone wanted this. But really that is not very likely. I am doing no marketing here. Although I did sign up for the August studio tour, so maybe I will sell a few pieces then.

I have been taught about the value of presentation. A fabulous painting or lovely drawing will be better “seen” by others if it well presented. This may mean framing, or I may choose mounting for presentation. Mounting an artwork to a board or panel may be more appropriate. I don’t want my work behind glass, and framing is a lot of overhead for an artist. Professional framing is expensive, and do it yourself framing requires skill, time, and tools.

With some drawings and paintings I mount the original work directly on a board or a panel. If it is on paper, I will seal it with acrylic medium or wax. This is not archival, but I am not making great art for posterity. The surface will be delicate/fragile, but so what? Art will be hung up for viewing, not handled daily like a toy or a tool! It will be up to the owners to care for it as they see fit.

When I mount archival prints of my work, I may not resist the urge to enhance them. Even a very good print will not have the impact of the original work if the original has dimensional impasto or collage elements. So when I mount an archival print, I may do a bit more to improve the presentation. Here is one example:

You can see on the left the archival print, just positioned on the painted canvas board prior to mounting. At right is the mounted print with enhancements. Note that I took the photos in different lighting so the colors appear different. Really the overall colors are much the same.

What is different: I added a tiny hint of dimension to the print, using acrylic medium & translucent color. I added to the leaves and another spot where the original work has dimension. The main change was is on the mounting panel: I extended a hint of the branches out beyond the print. This felt necessary because I mounted the print on a larger panel, so the background distracted me from the actual print. I like it better with this additional level of presentation. It is not just a weaker copy of the original, but something a bit different and new.

I like using ghost prints. I often made a ghost print back in my printmaking days, unless I was printing an edition. And that was infrequent as I preferred the variety of unique prints.

A ghost print is the second or even third image pulled from the plate without re-inking. Sometimes, very occasionally, a ghost print will be spectacular; better than the first, intentional print. But more often the ghost print will be pale and a bit lackluster, but still with some value.

Ghost prints can be excellent backgrounds for additional work. An intricate ghost print provides a fine start for abstract doodling with colored pencil, pen, or even paint. I cleaned out some flat file drawers and found a few ghost prints to work on. The blue ghost print at left has colored pencil, a bit of marker pen, and an added circle applied. It may be something of an aerial view.

I transformed the orange ghost print on the right using watercolor paint. It now an abstracted landscape to my eyes, and I rather like it. These two pieces are fun examples of using ghost prints.