“Wings of Change”
Mixed media on canvas: acrylics, mica, 22kgold
140cm x 88 cm (55 in x 34.6 in)
SOLD
I am so thrilled with this piece after working on it for 2.5 months – photos can not do it justice (its look changes with every light and angle due to the interference paints). It touches me energetically and aesthetically at a very deep level, and so I’m very happy to introduce you to this finished spirit owl. The name came to me much later in the process than usual. I had been given a sense that it was a “messenger”, but I didn’t feel that this word was part of its name. Then, pondering on the symbolism of owls, I came up with “Winds of Change”, but the next day in class, it became clear that it was going to be “Wings of Change”. The fact that the yin yang symbols look like coins falling out of his wings has nothing to do with that decision – we noticed this interesting synchronicity afterwards.
Summary of Owl Symbolism:
- change, transition (the fiery wings are also suggestive of a phoenix, a powerful symbol of transformation in my life)
- intuition
- wisdom
- seeing beyond masks, delusion
Summary of Painting Process:
I’ve already shared some of the process with you in previous posts, but want to summarize it all here on one page.
Mirrored Image: Using Golden High Flow acrylics, I made paint splatters that I mirrored by folding the canvas in 2. I repeated this process several times.
Overall Colour Theme: Using a small sea sponge, I applied layers of colour so that the whole canvas was covered in paint.
Bringing Out Details: Using both white and purple and a fine paint brush, I spent a couple of days bringing out details that were already there.
Contemplation: Observing it from every angle, I looked for inspiration on what wanted to come to life through it. I decided on an owl and saw it in my mind’s eye emerging from the canvas, from the darkness.
Design: I created half a design free-hand. I did half the body on transparent tracing paper, folding it in half to duplicate it. I then did only the right wing on larger paper. I made myself a Fibonacci Sequence ruler to guide me in this process, re-working some of the pieces I’d done free-hand. It’s surprising how many were already intuitively to measure.
Creating the Mask: I traced the design onto masking paper and cut/numbered all the pieces – a laborious, but worthwhile process in the end, despite what I wrote about before. I’ll look for a masking paper that has a bit more tack next time.
Applying the Mask: I then traced the original design using transfer paper onto the canvas. Once I had all the pieces (which I flattened in a book – make sure to write “Do Not Touch” on the book), I used this traced guide to stick them on the canvas. For the spirals, yin-yang symbols and a few dots, I used masking liquid, applied with a paintbrush..
Creating the Background: Being very careful as the pieces kept lifting, I used a small sea sponge to apply 3-4 layers of uneven colours (blues, magenta, interference blue for the iridescent look). The transparency of the colours I chose also created additional colours (e.g. the blue over the yellow/orange created a green). The final mottled look is exactly what I was going for.
The Reveal: I had so been looking forward to this part – how exciting. I had to use my original design as a reference as many of the pieces were camouflaged by the paint. I was glad I hadn’t cut my nails to remove all the pieces of the mask. Rubbing the masking liquid off the spirals, small dots, and yin-yangs worked, but not as cleanly as with the masking film – plus it resulted in a blister on my thumb.
Yin-Yangs: I used Golden acrylic gold light (fine) paint to accentuate the
yin-yang symbols. This paint contains mica, energizing the piece with love and compassion -both for oneself and others – as we explore the transitional shifts occurring within our selves, our relationships, our lives, and our world. It’s about connecting with Nature in a truly unconditionally loving way.
Touch ups: Some areas in the upper wings ended up too dark – mostly blues – which didn’t stand out from the new background. I then spent about 6 hours adding colour and lightening these areas, but in a subtle way. Can you tell the difference between these two photos?
22k Gold Leafing: In addition to symbolizing the sun, divine love, and prosperity, gold has very powerful
metaphysical properties. It is seen as a symbol of purity, spirituality, and flexibility – helping to allow beauty and happiness to flow into one’s life, boosting vitality, as well as clearing out unwanted or stagnant energy. My teacher Timea Tallian generously brought in some of her 22k gold leafing for me to apply to the eyes, heart chakra, and to the top edges of the wings. Wow! This adds a lot to the painting on many levels.
Stretching the Canvas: This canvas had been folded for the mirroring process and rolled for storage several times in the last few months. Placing it on a clean white bedsheet, I sprayed it with water and cut a tiny bit into the edges of the canvas (every few centimeters) to help it relax for a few hours before the stretching process. I used an amethyst in the water and then layed a big quartz crystal on it during its resting time – adding to the piece. I’ve always used rituals as part of my creative process. This piece has received smudging, chanting, clearing with Tibetan bells, prayers, etc. over the past almost 3 months. I believe these ceremonies to be important elements of my praxis.
Timea then stayed with me 2.5 hours after class on Friday to teach me how to stretch it on the stretchers I’d bought that morning (we didn’t do so during class to avoid distractions and to spare my classmates from the noise). This is really a 2-person job! First, you create the frame – line everything up flat on the floor and put the parts together lightly. Next, use a square edge to make sure every corner is 90 degrees and keep turning the frame around tapping in and tapping out until everything is perfect. Make sure to use a block or some other protector between the frame and hammer not to make grooves in the frame.
Then, line the frame on the canvas, checking to make sure that it’s exactly where you want it to be. In my case, we had to make sure my mostly symmetrical design was exactly centered, leaving the same amount of space to the side of each wing. I also had to make sure the halo / sun and the tail had enough space.
After that, start stapling using a staple gun. Start at the center of each side first, stretching (either with hands or a stretching tool), making sure that the staples are aligned with each other. Then do one to the right and one to the left, both on the horizontal and vertical so that it’s evenly stretched. We sprayed it lightly a couple more times to help – it then shrinks as it’s drying. It’s recommended to put staples at a slight angle and not in a straight line to avoid stress on the canvas and risk of tearing. Timea is an art restoration expert and so she recommended we even add bits of cardboard under these staples in case I sell this painting to someone overseas or bring it home – necessitating that the canvas be removed from the frame to be rolled up for shipping. I wouldn’t want to tear the canvas while removing the staples. If it’s sold to someone locally, I’ll use a hammer to push the staples further in and the cardboard will then act as a buffer to protect the wall.
The Final Touches: At 8:30pm on Friday, after wiring it at the back and hanging it, I stood there admiring and grinning – so grateful for Timea’s help and for having been a part of this co-creative process with God/ The Universe/ Great Spirit (Use whichever you’re comfortable with – I’m comfortable with all of them). As I said, I am thrilled with this piece – on so many levels. It’s very much in the style of my previous work, but with many little improvements in both the logistics of the creative process and results. Basically, I learned a lot and this owl spirit will continue to teach – both myself and others. This week, I signed it and brought in my good camera to photograph it. Its iridescent nature makes it very tricky to photograph indeed!
More Finishing Touches: Signing /Varnishing:
On Monday morning, I signed it and took it outside to varnish (fumes are too toxic to spray inside). You should have seen me with my hat and scarf on my face and extra layers to protect my skin (should have done a selfie). I would hold my breath in, spray, and run to the other side of the courtyard to breathe. I put on a few light layers – this protects from scratches and UV rays. It was amazing to be with it in full sunshine like that.
I hope you’ve enjoyed following along in its journey into being. If you feel called to bring this painting into your home or business (or that of someone you love), please
contact me.
“Wings of Change”
Mixed media on canvas: acrylics, mica, 22kgold
140cm x 88 cm (55 in x 34.6 in)
SOLD
I believe that when I’m painting, I’m working with God / Higher Self/ Great Spirit / The Universe (whatever term you’re comfortable with – I use them interchangeably) – creating art is for me a form of self-healing, channeling, communing. I often include rituals in my process to help connect with that flow of universal energy, the very reason I so love to paint. Working with Energy in this way has also opened a portal to it for those who spend time with my art. This is why a great portion of my customers are also energy workers, bringing my pieces into their homes/offices for their benefit and that of their clients. It’s been such an honour to be a part of others’ personal and spiritual growth process in this way.
