156
AMPERSAND DEEP PANELS
ADD STRUCTURE TO ORGANIC IMAGERY
Artist Rebecca Crowell shares her insights into the process of using multiples
ABOUT THE
ARTIST
Rebecca Crowell
lives and works in rural
Wisconsin, surrounded
by woods and elds that
inspire her nature-based
imagery. Her work is
exhibited regularly both
regionally and nationally,
and is included in many
public, private and corporate collections.
For more information, please visit
www.rebeccacrowell.com.
Find Gessobord
"
and other
panels by Ampersand on
pages 154-155
inksmith
I
n the past few years I have been using
multiple Ampersand 2" Deep Cradled
Gessobord panels fastened together to
achieve visual contrast in my work. I love the
way the geometric shape of the panels adds
structure to what is otherwise very owing
organic imagery.
Various configurations of panels have also
suggested new formats for my work beyond
traditional squares and rectangles. Some of
my multiple panel paintings are strongly
vertical or horizontal, or have an irregular
shape overall.
I generally start a painting by moving
individually painted panels into various
con gurations on my studio wall. I always
have more than one painting in progress, so
there are many possibilities in play. At this
stage, I rely heavily on intuition, moving the
panels around until something strikes me as
evocative and provides guidance for finish-
ing the piece. I gravitate toward imagery that
suggests places or situations in the landscape,
as well as emotions, memories or states of
mind.
At other times I begin my compositions
with a particular format in mind. For ex-
ample, I am very attracted to the strong ver-
tical format and have used it in an extended
series, but beyond these basic starting points
I let the process of discovery take over. I
approach every panel as if it is an individual
painting, in terms of its composition and
its level of development--and indeed, some
panels do remain single, not part of a larger
arrangement. My painting process involves
building up layers of color and texture with
oil paint, oil sticks, wax medium and a
variety of tools.
When I have decided on a final arrange-
ment, I have the panels mounted together by
a woodworker with bolts through the cradles
or with boards screwed on the back. The
quality and durability of the wood materi-
als used in the Ampersand Gessobord lends
itself to this level of carpentry without affect-
ing the stability of the panels.
I generally begin with one main color
over most of the surface. Then as I layer the
paint, I alternate between contrasting colors,
dark and light, transparent and opaque.
Texture results from a range of techniques,
many carried over from my college days as a
printmaker. These include the use of brayers,
linoleum blocks, drawing tools, and natural
objects that are pressed into the paint.
Scratching, gouging and judicious use of
solvents reveal bits of the underlying layers. I
am aiming for a surface that appears organic,
with complexity and a sense of depth.
I have found that Ampersand Gessobord
is tough enough to take this rather strenuous
application of paint. Because it is sturdy and
rigid, I can apply plenty of pressure, and the
surface of the panel remains intact no matter
how much it is worked. Gessobord's smooth,
even surface is important to me because it
never interferes with the appearance of the
textures I create.
I have a fairly minimalist aesthetic, and
appreciate subtlety. I analyze and edit as
much as I actually paint, deciding what is
needed and what has to go. How do I know
when a painting is finished? For me there
is a sense the painting is mysteriously itself,
individual, as if it could be no other way.
Installation view from Circa Gallery, Minneapolis, MN in 2004.
Installation view from Circa Gallery, Minneapolis, MN in 2006.
Bolting the panels together and assorted
tools and materials for adding textures.
