Art in the Kitchen
My art happens in many places: the studio, the cafe, the museum (including history and science museums), the wander, the train, the kitchen, the sewing area, the back yard, the industrial workspace, the standing desk, wherever I am watching my daughter and even the couch. This is where I get my work done, and in about that order.
Today work is happening in the kitchen.
I’m going to use techniques I learned from a mask-maker in Venice a few years back to add a three-dimensional quality to my next stretched skin painting. I’m using a copy of the wax positive I used for casting the glass part of “She reveals hidden color“. I never trust kilns- anything can go wrong and frequently does, so I made a copy of the face I sculpted in wax before I added the mask and put it the wax positive in plaster for the glass kiln. This means I have a life-sized wax head kicking around.
The way I would do this ideally would be to make another alginate mold (the squishy stuff they use in the dentist’s office to take impressions of your teeth) of the wax positive and then make a plaster positive from that, then do what I’m doing right now on the plaster one.
It will save me half a day and a lot of alginate to do it just on the wax… if it works. I just molded a wet layer of blotting paper to the wax face and applied a layer of glue on top of that. I will use several such layers, some with plaster mixed in.
The reason to use a plaster positive is that plaster absorbs moisture and the paper would dry more quickly. I’ll give it an hour while I work on things for Identity Tapestry. If this first layer hasn’t begun to dry I’ll make a plaster one.
So… art in the kitchen. It has the added benefit of being able to make tea at the same time.
So… now over to making new laser-cutting test files for improving the plaques on Identity Tapestry.
Obviously I believe in using any materials at hand to make the work as I see it in my mind, from centuries-old craft techniques, to traditional fine-art mediums, to lasers.