People often ask how I create my watercolors. Next time I perform this process I will make a video but here is a description in the meantime.
I cover the floor with as many pieces of high quality watercolor paper that I have room for. I thoroughly wet the paper(s) with water by either using a spray bottle or large 4″ brush. This wetting is a throwback to a time when I soaked paper for printmaking. Next, I mix the colors I that feel or look good to me at the time. No planning, but I do select color based on how I am feeling at the time. I use the tools at hand, literally my own hands work the large washes along with huge mop brushes, but there are fingerprints, and a sleeve dragged (possibly) through the work during the original throwdown of paint onto paper. The brush does a loose dance and my fingertips direct the magic. I allow the wind, sand, bark or other fragments of the life from Gaia come into the work. Mother Earth has her hand in the painting as she allows a leaf to settle or insect to walk across the paper. Often I find objects or materials to use as resists. Some resists are added supplies from the kitchen–often an experiment and sometimes products that I have used before. Salt is a common additive, but oats might be chosen instead.
I allow the paint to pool in deep rich colors or pale watery shades. Then I leave. I rest and let my creations solidify. Usually, I sleep and dream about what is brewing on the paper, my dreams are strongly connected to the work at hand. I have contemplated how much my dreams direct the paint but it is speculation. My imagination though is given wings to soar from the dreams which in turn helps the creation move further along. Sometimes, at a point of partial drying I check back and add more pigments, squeezing the drops out of the brush and allowing them to fall, gravity does the work. Although I often work in series, every piece has its own method, its own manner of coming into being even though they are pointed simultaneously. They are living creatures that continue to thrive under my guidance. It is an intuitive process. I feel connected to the work and allow the paintings to emerge–letting the melange of images come forward and speak out. But its only the beginning. They need time, to flower, to open: to be interpreted further. After all the paintings are dry they are stacked and weighed to keep them flat until I am ready to proceed with adding ink. In Part 2 I will discuss the next layer – Inkwork.
Boundless 