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I recently sent off a piece to Grizzly Grizzly in Philadelphia as a part of their founding members show. A group of art friends and I started Grizzly Grizzly a number of years ago to showcase compelling artists from around the world. We decided to keep ourselves removed from showing our own work so that we could focus on the curatorial process and remove our egos from the common vanity gallery collective.

We wanted to do something unconventional and unlike other art venues in the Philadelphia area. It was a real push for me to celebrate artists so different from my own work. I think that was the most rewarding experience. We gathered a diverse group of members to push ourselves in unique directions that a typical gallery would not. It was a way for us to view the art we wanted to see and champion.

I left the collective back in 2010 when I moved to Austin, TX. I miss putting on shows with Grizzly Grizzly, we had a great time and it was a fulfilling experience. Its makes me so happy to see the space thriving. Thanks to the current members for inviting us to show and for all of their hard work continuing to grow what we began!

Read the show’s review by Knight Arts, and of my piece. “Galbraith”: http://www.knightarts.org/community/philadelphia/to-all-the-girls-ive-loved-before-grizzly-grizzly

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Sketch From Alaska

 

 

Come out and see my new work at the East Austin Studio Tours! I have new paintings on view at my new downtown studio. I will also have many prints (framed and unframed) for sale. I recently opened a studio downtown on the East side at UP Collective, 2326 E. Cesar Chavez. The space has over 21 artists exhibiting for the studio tour so it should be a definite stop on your schedule.

My new work is available for purchase and exhibition, commissions are also welcome. If you have an idea that you would like to discuss I would love to talk about it with you. I have enough 2013 work for a solo show and am seeking a Texas Gallery to show with in early 2014. I will have artwork in a wide range of sizes and prices, so it will be a great time to get some new pieces as gifts for the holidays or for your home!

Sneak Peek so some new work coming out of my studio, encaustic with huge charcoal drawing transfers.

Sneak Peek | Some new work coming out of my studio, encaustic with huge charcoal drawing transfers.

I will be at my studio all four days of E.A.S.T. and am looking forward to meeting lots of new people and discussing art! Dates/Times: Nov. 16th -17th and Nov. 23rd – 24th from 11am to 6pm

If you head out to see DUE E.A.S.T., the studio tours group show, be sure to keep an eye out for my piece there, “Wiseman”.

Due East

I am also instructing some new classes coming up in 2014 and a Drawing Better and Faster course starting this Nov. 21st at the Contemporary Austin. Click here to sign up.

Galbraith, 2013, Encaustic and Oil on Found Wood, 16" x 26", Vincent Colvin

Detail from “Galbraith”, Encaustic and Oil on Found Wood, 16″ x 26″, Vincent Colvin, 2013

I’ve noticed that there are concerns and misconceptions out there about encaustic art and how to care for it in your home. I wanted to shed some light on this and provide a guide for understanding more about the medium for artists, galleries and buyers/collectors. I’ll do this in 2 posts.

Fayum Funeral Portrait, 98-117 A.D., Encaustic on wood. (That's old! Older than any oil paintings on wood in existence I know of...)

Fayum Funeral Portrait, 98-117 A.D., Encaustic on wood. (That’s old! Older than any oil paintings on wood in existence I know of…)

The take away from all this: Encaustic is one of the oldest and most archival of all paint mediums. The care of it is not very different than that of any oil painting.

Care for Your Encaustic Painting:

What is it?: Encaustic is a painting medium made of natural beeswax and dammar resin.

Sunlight: While it is not recommended to display your encaustic piece (or really any work of art) in direct sunlight, do not fear the heat of the sun. See below.

Temperature/Mositure: In your home as long as temperatures do not drop below freezing or get over 160 degrees your encaustic piece will remain unchanged. Normal home temperatures fluctuate between 60 and 90 degrees. I have had many pieces in very cold temperatures with no issues, think Philadelphia-snow-magedon no heat… I have displayed works that get sunlight in the morning or afternoon with no damage to the work over years of time. I have even displayed encaustic work in the bathroom, a place with quick temperature changes due to steamy showers and seen no issues or change in works. Wood substrates should be sealed on the back to discourage moisture absorption.

Surface: In the first year your work will go through some slight changes. The piece will become more clear over time increasing the beauty of the surface and transparency between layers. Occasionally, gently wipe dust off of your piece with a clean and lint free rag. I prefer lint free cotton rags, or even better eye glass/computer cleaning cloths. Optional: With a new clean rag, for encaustic that has a smooth final surface you can gently buff, in a circular motion, the surface of the wax. This will add a beautiful sheen to the work and discourage dust buildup on the surface. In the first year if you want the sheen all the time in the work you may need to do this once a month or so. After a year when the wax cures you will rarely to do this to keep the sheen, maybe once a year. Note: Works with high surface texture or oil paint on the surface should not be buffed in these areas. Dust these with a soft brush.

Shipping or Moving Homes: Transporting encaustic is best left to an art handler as is any high quality work of art. If you choose to do this yourself there is a right way, a wrong way, and an easy way.

  • Living in the "Danger Zone", How I brought my work to my recent show.  Rented a cargo van and got the A/C steady to beat the TX summer heat.

    Living in the “Danger Zone”, How I brought my work to my recent show. Rented a cargo van and got the A/C steady to beat the TX summer heat. Worked great for this short distance.

    The right way is to build a box unique to the piece that allows the encaustic surface to never make contact with anything other than a silicone release paper. Contact the artist or an art dealer to make this.

  • The wrong way is bubble wrap or newspaper or transporting in anything hot, ie: back of the moving truck during summer or your car without the A/C on, your hot trunk etc.
  • The easy way is to go to the local arts and craft store and buy a few large clear plastic bags that are designed for buying sheets of high quality paper like Arches or Rives. Even better, also buy silicone release paper and cover the surface first. You can wrap the piece in the release paper, plastic and then foam or bubble wrap, put it in a box etc. Still  be sure to consider temperature. This way is suitable to get the work to a destination, but not a good way to store the work long term.
  • Do not lean an encaustic work against a wall, or any art work, on its front edge, you may damage it.

Wrapping Up: Okay so this sounds like a lot of special consideration right? Well honestly, not really…. lets consider an oil painting on canvas. It needs to be dusted and cleaned yearly or more, to be displayed out of constant direct sunlight, to be properly packaged when moving or it can warp or the canvas can be torn, be protected from extreme temperatures or the paint can crack or flake off. There really is very little difference.

Generally when I am transporting works, I wrap them as I mentioned in plastic and take them directly to the destination. When I stop on the way I keep the A/C on and the car running ( I live in Texas now after all) When I ship them I send large works with a art shipper and small works overnight (not in the summer). In most cases encaustic can be repaired if an accident occurs. Contact the artist to see if they can provide the service. I do, if anyone needs advice or help just let me know.

My next post will be about the archival characteristics of the encaustic medium! Stay tuned. – Vincent

Tagia, Detail, Oil Glazes on Steel, 24″ x 32″, 2013

I am busy preparing for my solo show, Simultaneous Passage, at the Southwest School of Art in July. The exhibition will be on view from July 18th to August 23rd. I had posted some earlier stages of this piece, “Tagia” about 3 posts back. It is built up of many layers of rust, oil and glaze mediums that are brushed on, applied by hand, wiped, scraped, sanded, smeared and gouged. The show will consist of a variety of paintings drawings and prints.

Statement:
Blending scapes of land and sea, Simultaneous Passage, also blurs the lines of process, media, and viewing. The imagery triggers a memory or creates responses to birth a new one. The stories told depict a interpretation of the past. These individual moments take place within our collective memory, whether you are an observer or a creator, making us all somehow participants of the story. Art allows the viewer to become creator using their mind as an extension of the piece viewed. The events live in multiple time frames as they transition their own lifespan of creation, experience and subsequently, memory.