together. They’re meant to reunite or converge. I call it the collision of the ingredients.” Though each of his mixed-media pieces is often inspired by a particu- lar “ingredient”, the story or message doesn’t reveal itself until after it all comes together. Typically that story is one of nostalgia, bringing the viewer back to a time that was simpler and more carefree. For artist Brit Hansen, it’s not about found objects or uncommon medi- ums, but rather using a traditional medium––acrylic paint––in a nontra- ditional way. Using a unique carving
rare mediums or developing a new technique, there typically isn’t any for- mal training available. Skills have to be developed through self-guided learn- ing and trial and error, and it requires a thirst for exploration and an intrepid and resilient spirit. “I was a block printer before, but I didn’t like the printing part,” Brit said. “I just loved carving. So, that got me experimenting with carving all sorts of things––wax, clay, wood. I was carving wood for a while and painting it back in. But the problem with that is that I also don’t love painting, and this felt like twice the process. So, that’s what
erly to bring the colors out.” Artist Cathy Sheeter, on the other hand, was drawn to a medium that while it can be traced back to the 19th century, never became mainstream–– and that meant resources were extremely limited. Cathy would soon change that. The medium was scratchboard, and at the time, classes were few and far between. To boot, Cathy had studied animal sciences in college, not art. Still, art called to her so she challenged herself to continuously draw to sharp- en her skills. After college, she was
unexpected mediums
continued...
Using unthinkable materials to craft a story
"Black and White Dancing Shaman", 15" x 40", Doug Fountain
C oyote toenails, dried gourds, fallen feathers, a vintage game of Twist- er––these may not sound like the makings of fine art, but at the deft hands and creative mind of a skilled artist, they are indeed. It’s the ability to see the hidden potential in these un- expected materials and use them in meaningful ways that results in truly unique artwork that’s rich with story. And often, it’s not just the way in which they’re used, but the materials themselves that convey messages and give even more depth to the story. From the journey that brought the artist to the medium to how they mastered working with it, as you begin to peel back the layers, you dis- cover there’s much more than meets the eye. The medium is the message Mass media philosopher Marshall McLuhan famously said, “The me- dium is the message.” And in many cases, when artists use mixed media or manipulate traditional mediums in a nontraditional way, that medium becomes a significant part of the story. It may communicate a specific mes- sage, or change the way the viewer perceives and engages with the story being portrayed. For instance, at first blush, feathers and gourds may carry little mean- ing but when these elements are thoughtfully combined with specific
colors and geometry, and imbued with the energy of artist Doug Foun- tain’s Native American heritage, it communicates the history and symbolism of the culture in a way no textbook ever could. “On the face of the mask, every dot is a prayer of thankfulness, gratitude and abundance,” he said. “The triangle represents unity. The rectangle, family.
Above: Hand-thrown ceramic vessels with fossil lids and hand-carved texture by Myron Whitaker Below: "Prickly Blossoms", 14" x 14", etched acrylic on wood panel by Brit Hansen
technique that she developed, Brit creates a three-dimensional, tactile experience that pulls viewers into the rich, colorful stories of the desert Southwest. “Any painting can have texture,” she said. “But the way I do my texture, it has direc- tional lines that really lead the eye. I try to create a texture that mimics nature and casts shadows that are very natural. So it gives it a 3D effect.” Achieving the vision she had in her mind’s eye for these carved pieces, however, didn’t happen overnight. It was a practice of pa- tience and a lot of trial and error. The journey to mastery When working with
got me thinking, ‘If I could just carve paint, then it’d be done.’” Brit started experimenting, and after about a year, she got the experiment to work. Initially, her palette consisted of just one color, then progressed to two. Today, she’s up to 12, which can translate to 40 to 100 coats of paint. Doug Fountain’s journey to creating his distinct Native American masks, wall art and sculptures also came through a lot of experi- mentation and leaning on prior experience to help guide him. “So much of my process has been developed through trial and error over the years,” Doug said. “Being an architect by trade and growing up in a building family, I had access to plaster and other materials, and access to gourds from farmers. I just started exper- imenting and taught myself. For instance, with the feathers, I had to first learn how to clean them prop-
And the circle of the mouth, happiness. I think those are things that some people re - ally connect with and it makes it that much more special than just a beautiful, three-di- mensional piece of art.” Similarly, at the hands of mixed media artist Tim Weldon, retired piano keys, a vintage Mr. Tap ‘n’ Go doll, and thoughtfully selected blocks, Scrab- ble pieces and colorful scrap pieces of wood come together to tell a story of dance, mu- sic and movement. “The pieces all fall into place serendipi - tously,” he said. “Like they’re meant to be
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Issue 3 | Winter/Spring 2024
Issue 3 | Winter/Spring 2024
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