This artwork was created during a month-long residency in Newfoundland and Labrador. The stunning landscape, the vibrant colors of the ever-changing ocean and the wildflowers, were a constant source of inspiration.
Painting
Casein Paint
Casein paint has been used since ancient times as a form of tempera paint, the Egyptians used it and today it comes in tubes. One of the qualities that I love is that, unlike gouache or tempera -which I also love- is that it is not as picky and allows me to work better on transparencies and, while humid/wet, it behaves a bit like oil paint. When it dries it is resistant and has that oil-like visual quality, more so than most other water-based paints I've tried.
Milk paint is a non-toxic milk protein based paint to which I add color pigments. Milk paint has also been used for thousands of years and is made from all-natural ingredients that are safe and non-toxic once applied.
I painted with oil for years, unfortunately we are no longer compatible, the smell and toxicity of the products to dilute and clean are beyond me. I know there are water-based oils out there, but my head just can't turn around the concept and to tell you the truth, I'm a bit stubborn to try.
A friend made me discover casein paint, in fact she reminded me of what a great master Dauguet taught me, to make my own paints. He introduced me to casein, marble dust! oil tempera and exploring with materials...good good times learning with him.
The land of
The land of, casein on paper, 18 x 24 in. 2021.
Ovals of light playing
Ovals, casein on wood panel, 12 by 24 in. 2021
Movements and cycles, colors of colors erased
Light playing
Hand following
Land
I am grateful how everything had magically unfolded. After months of non-stop working in the studio, the possibility of having a workshop coinciding with the Bushwick open studios changed the rhythm of the summer and I had the opportunity to look at the work done.
This is one of the paintings from last year, one of the first Lands of Prayers. It looks to me now as a fundamental work between the ovals evolving in charcoal and the stream works of the year '19. I notice in this painting the intimacy of internal questions that are ravaging me and continue to intensify and focus: the artist as such and what a work of art is and from where arises, All in the silence of prayer.