I do hope I am not boring you people with all this "Sgraffito" talk. Just thought I would share some more...
I am working with Eva Magazine, Knoxville's local Women's magazine, on a piece about my Sgraffito work. Thought I might post how my scratching started.
I had been struggling for a long while with my style; not really knowing which direction I needed to take, when I realized that I was most interested in actually including the viewer in the process of my painting. I just didn't know exactly how to go about this.
In a fit of frustration in my studio one day, I took my palette knife to the canvas and began removing the oil paint from the canvas. Below the paint was my underpainting using oil pastel and pencil. The effect was marvelous. I realized this removal of the paint added much more interest to the overall effect of the painting. I also decided this was how I would be able to involve the viewer in the process of my forming the work. The viewer could actually see the technique; layering, removal and final result in each of my paintings. I even began to transform the images in front of my eyes by removing the paint and surprising myself with a fresh viewpoint that I was previously unaware of. After much research on the internet and books on painting techniques, I realized I was interested in Sgrafftio Painting. The word sgraffito derives from the Italian word "sgraffire" which literally means "to scratch". Although I began using a palette knife, I started to explore different ways to remove the paint. I have used old credit cards, paper clips, forks, pens and pencils.
I now actually use the scratch marks as the linear elements in paintings. I also sometimes scratch away portions to reveal shadowing. My latest focus of sgraffito is what I refer to as "building and painting out." Layers of glaze and paint are built in steps. I usually end up painting out most of the composition in the last stage of work to reveal what I think of as the final piece. I enjoy the freedom of Sgraffito and each time I create a work, I feel more involved with the composition because I work in stages with the glazes. I am glad I am finally able to show the viewer the process in which I am so interested.
1 comment:
Certainly not boring me! First off, congrats on your upcoming appearance in the magazine - that's wonderful and deserved good news!
I like what you are saying about including the viewer, and it's interesting that you want to share with them the process - it shows that THAT is what YOU find most engaging and important in art. I respect that greatly.
And in terms of your process, you know I am just smitten with how you work and the end results. It really is like the dance of life.... I want to say something profound but all I keep thinking of are cliches.. Two steps forward, one foot back... that sort of thing - but it fits. Your engagement with the canvas and your mediums is a push and pull relationship, a meditation in search of something sincere, and a challenge to uncover new truths about yourself in the process by taking risks. We all know how it feels to take that chance and scrape something away - you never know what's under there - you hope for the best, but there is a bit of fear in your gut that you have to resist to actually bring the knife to the canvas.
Your abstracts speak about who YOU are - whether you realize it or not, it's all coming through. Your deepest goals and values are nonverbally translated, as is your personality, including your intelligence, humble and kind heart, courageous spirit, and questioning mind.
I could go on and on (and have) but I'll close by saying I am sending a hug to you and the little love within ;)
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