New Challenges

my next project

OK! I admit to have played hookey for a bit but I needed time to unwind after that whirlwind period of show preparation. Now most of it is over.  I still have the show going at the bank in Impruneta but that will end on Monday after a month. The personal show  that is part of my prize from the show in Pontremoli hasn't been decided yet so, in the meantime, I am again painting and preparing panels for it.

But I have a new project. . .  the cement blocks in the photo.  I will be decorating them in some way. . . a murales. . . something that I have never done before but it is very exciting. At this point I am researching materials as well as considering the theme.  Most likely it will be an Etruscan theme since this is the same hotel, Hotel Fontermosa, www.fontermosa.it  that I decorated years ago with Etruscan themes.  The blocks, really ugly, had to be placed here at the entrance to protect and reinforce the hill behind. During heavy rains  the erosion has triggered dangerous landslides that fell into the entrance area below.

Thank you for visiting. I promise to write again soon.

An Installation

I have written 5 previous posts about my Etruscan project at Hotel Fontermosa: graphic solutions, room numbers, greeting card, and portraits. This is the last of the series. . .an installation created for the hotel’s dining room. First a short definition. Installation art describes an artistic genre of  works that are often  site-specific, three-dimensional works designed to transform the perception of a space. It is an art form generally applied to interior spaces.
Using wax and wire mesh, I created two Etruscan  figures, the double flute player and the dancer, ever present entertainers at a festive gathering in Etruria. My intention and purpose was to complete my Etruscan theme in an area used for the consumption of food and beverages, a dining hall, where the magic flute and ballerina evoke sensations of conviviality, music, dance,
In the Etruscan tradition the sharing of food played a role of primary importance. The practice of offering a banquet for various festivities or celebrations signified that there was a special communion between the participants and the divine. Precious  foods were offered: milk, wine, honey, meats and particular breads made with herbs and cereals.

My figures were modeled after a dancer depicted in the Tomb of the Triclinio (above left) and a dancer depicted in the Tomb of the Lion (above right) and, of course, the flute player from the Tomb of the Leopard (below) (all can be seen in the archeological site at Tarquinia.)
  Many sketches, many preliminary plans were drawn and a near-life size drawing was made to help me with proportions. Then the inner structure of metal tubing and wire was made. It had to be solid and secure because I intended to suspend my figures from the ceiling so that they would be free. . .weightless. Now in the dining room, objects of curiosity, they are often touched making them swing (especially by children) and, in a way, they are brought to life.

 

It was winter, I remember, and the wax was hard because of the cold.  I had to use a hairdryer to make the wax soft enough to press into the wire mesh. The process was slow because of this.

The materials I used  varied.  I am a hopeless hoarder so I have a studio full of THINGS  that I hate to through out,  “you never know when they will be useful!” The wire mesh, once cut, twisted and pulled, rolled and folded, was covered in places by yellow colored tarlatan ( a kind of gauzy cloth that you use to clean inked plates while etching), it  was painted, was lined with transparent acetate sheets or just plain plastic.  Bits of metal were used to decorate both figures. Silver leaf was used on the musician’s face.

Once ready to be placed in the dining area, a Plexiglas panel, (1 mt. x 3 mt.) was  fixed to the wall behind the area where they would hang in order to create a virtual space.

Details

www.fontermosa.it

A Detour

Before I continue to describe my Etruscan Project, I have to go back a few years in time to one of the first art courses taken here in Florence. My young son was in school at that point so suddenly I found I had some free time. I decided to look for a course in art as I had always done throughout my school days at home.  This was a logical sequel to my constant search for art lessons, especially since I was now in beautiful Florence, Italy, the cradle of Renaissance art, where my search had become even more serious.

I don't remember, (maybe through the Yellow Pages) by chance I found the Martenot Art Center, Academy of Fine Arts. This school, elaborated by Ginette Martenot, born in Paris in the 30's, uses a method which is a specific approach to the teaching of art  aimed to develop creativity from early childhood and to awaken the artistic capacity in adults. From Paris it spread throughout Europe. What I found was an affiliate of the atelier in Paris.

Of course I knew nothing about the method.  It's basic concept, teaching drawing, painting and sculpture, is that everyone has artistic ability, but, most of the time it is hidden and remains latent inside us. I had no idea that this center, the contact with this method, and my encounter with "maestra Signorina Poggi" would prove to be a landmark in my artistic formation. And . . . .  more than anything,  I learned that nothing happens to us just "by chance".

The why of this detour?

It was during these classes that I had my first experience with sculpture and the use of modeling wax with wire mesh (screening, light fencing). I still have the recipe for making the wax: pure bee's wax, oil,"colofonia" or rosin, a yellow translucent resin made from the sap of pine trees. These are melted to mix and cooled until pliable.

examples of wax figures

These were final exercises concluding a detailed study of each the horse, the dog and the face.
We observed and drew their structural anatomy and their expressions.
(The dog was ours, a gift to my son when he was five.
She was docile, but, in the end got tired of "posing" for me!).

masks.
Here, wire mesh was manipulated, pulled, stretched and perforated by hand until the mask was created. Then, softened wax was pushed into the wire metal at points that would highlight the facial expression but also "fix" the form.

Now back to the Etruscan project. Using this procedure, wax and wire mesh forms, I wanted to create an installation that would be positioned in the dining room of Hotel Fontermosa.

                                                  *   *   *   *

"Drawing, or rather the placing of a mark that has a significance, is a primordial need of man. It derives from the necessity to leave a trace of one's

own existence." ...Martenot

www.fontermosa.it

Portraits and Decorative Motifs

But my project hadn't ended here. There were walls to be decorated and a special project I had in mind for the dining room area that I was anxious to start. . .

I did a series of small paintings, 30x30cm, using a mixed technique of paint and collage on canvas.  The surface of the canvas was prepared roughly with plaster to simulate the rough wall surface of the fresco tomb paintings. Photocopies of Etruscan vases, paintings or statues, chosen at random, were then applied becoming the base for my compositions. Charcoal, oil and acrylic paint were used over these forms favoring the earthy reds and yellow ochre so frequently found in the Etruscan tomb paintings.

Playing With The Image

To start with, I inverted my flute player to the left so that the text could be placed to his right as if his flute was pointing to the message.

That done, I wanted to cancel the backgound decoration and simplify the lines in his cloak.

Then I started to play with the literally millions of  color combinations, visual effects, the fonts (assortment of letters, styles and sizes) that could all be combined.  I must haved tried millions of possible logos until. . .

. . .it became an obsession.

It was a jury of family and friends that made the final choice.

(I would have used them all!!!!!)

Transparent Room Numbers



stencil for figure



stencil for figure

The next part of the project was totally different. I wanted to get back to painting and a solution had to be found for the room numbers. I had been working with transparent material for  awhile, painting on glass, plastic and Plexiglas. So, I thought, why not paint my flute player on a transparent support of Plexiglas along side of each number? The spot light over each door would illuminate the figure as well as the number.

example of one room number

That's what I did. I used a small transparent rectangle, special paints for glass, also transparent, an airbrush, and stencils for the numbers and the figure. Some are vertical and some are horizontal but the figure for each room number is hand painted and each one is done in a different color and style.

Thank goodness the hotel has only 20 rooms! Otherwise,  either I would still be there finishing them or . . . would have gone stark raving mad!!!

www.fontermosa.it

GREETING CARD - LAMP SHADE





First, my Etruscan flute player, reversed for convenience, was printed on a greeting card for the hotel, to be used as a souvenir of sorts.

The really great part about this card, however, is that parts are transparent so that, with a light blub behind, it functions also as a  shade for lamps used in the bedrooms and other parts of the hotel.



The card illuminated





The lamp with shade (Tellus Lighting Innovations)



Now came the hardest part. Though I have never had experience with graphic art, I decided to have a go at it using, as I said before, the programs that Internet and the computer offer.

It was frustrating. After working to create an image I would somehow lose it! Or, if I wanted to repeat the image using a different combination of colors or format, I couldn't remember the steps I had used to begin with. . .

 Did I say frustrating?  Incredible.  But I learned a lot and. . . had fun in the end!!!