Finally Catching Up

  As I am taking stock of how much has transpired in the last several months, it feels great to be wrapping up a bit of review.  In the midst of trying to get our feet back on the ground after the fire, as well as preparing for the "Turn Up the Heat" exhibit at the MS Rezny Gallery in Lexington (which closes this Friday!), I received an invitation from fellow artist and friend, Kathleen O'Brien, to apply for submission into the "Kentucky Visions at the Capitol:  Fifty/50" exhibit.  The KY Art Council is celebrating 50 years of supporting the arts in KY by showcasing 50 artists who have either been KY Crafted artists or Al Smith Fellowship recipients (Kathleen has been both!) in the past 50 years, as well as 50 new artists, nominated by those already involved in the KY Art Council in the previous half a century (doesn't that sound dramatic?... I could not write the number "50" one more time in the same sentence :)) .  I am honored to exhibit with Kathleen and the other 98 artists, and so happy to be accepted into this show.  In it, the KY Art Council is honoring the past, as well as anticipating what will evolve in the next 50 years in the Council.  This exhibit is showcased in the Kentucky Capitol Annex, Frankfort, KY.  It will run for the duration of the legislative session, and opened on January 5, 2016, and will continue until April 22, 2016.  

Sadly, I was not able to attend Arts Day at the capitol, on January 20, due to snow, which kept us snuggled up at home on the top of a very long hill. Kathleen had 2 pieces accepted, as did I, and here are pictures of my pieces below.  You can see an album of the 100 pieces in the show at this link to the KY Art Council page.

"While the Sun Was Rising", encaustic, photography, pigment

This piece was made from a photograph that I took one morning while doing yoga during a clear and still sunrise.  Out of nowhere, a massive series of storm clouds appeared from the north, and I was completely taken in by what evolved in the next 20 minutes.  The sky changed in such rapid fashion that I could think of nothing else, and was drawn into the power of nature, and of its force and ability to overtake any moment.  Although a funnel cloud developed and started to drop down shortly after this picture was taken, it was quickly reabsorbed into the surrounding configurations.  I felt such gratitude to witness to this breath-taking beauty, as well as to be safe.  I pondered how nature mirrors our own lives, which can change on a dime, and how we can use these metaphors for inspiration, validation, and comfort when our own circumstances need balancing.  

The photograph was mounted to a panel, covered with multiple layers of wax, and then further interpreted through many drawn layers of powdered pigment/Pan Pastels, which were fused between applications.  As I worked on it, I thought of the many who have been affected by intense weather (literal and figurative), and how I wished for sunrise to come once again for them as they find various ways to recover.  I am so grateful for the practice of art, which enables such contemplative practice...

"Seasons of Life",  encaustic, macro photography, pigment

This is the largest piece I have yet made, and the first in which I incorporated encaustic sculpture into a 2D panel.  I worked with collaging multiple images of my macro photography, coating them all with many layers of encaustic, hand-coloring them, carving relief work, and then fusing them into the overall composition.  The pinecone, tree, chrysalis, and butterfly weed all protude out of the panel in many directions, adding a new depth of interest.   This idea struck me well into the making of the piece, making it very challenging, as I had to take a razor blade to composition that was already fused down, and remove it in order to sculpt it and fuse again.  At some point, I had to stop myself from excising each image in the collage, realizing that enough was enough :).  That is the nature of experimentation and progression with any piece, eh?  It is always hard for me to stop, knowing that a work is ready to come to a resting place.  

  The symbolism in the piece is salient for me, as I am reflecting on the many stages of my own life right now while raising our 2 boys, witnessing my mother continue to decline with her Alzheimer's, and taking stock of the many stages in life related to letting go, bringing in new energy, and incubating that which is yet to come.  Time seems to be going by so quickly, and I am reminded by the stillness of the butterflies in this image to be present for what is happening in each moment as often as I can remember, while trusting that new growth continues to develop all the while.

  A couple of other new pieces I have been working on are below, and I wanted to share them while I am catching up in this post...

"Potential Awaits", macro photography, encaustic, pigment

This is the second panel piece I made which incorporates sculptural work, and this time, it was planned from the beginning :).  There is much detail drawn into the opening buds with colored pencil, and the background was covered with almost 1/4" of beeswax (that is a lot of layers!), and then hand-carved in an organic and intensive process.  I love carving this way, even though my wrists do not! The ensuing lines remind me very much of wood-cuts, of which I have always had an affinity.  I am always moved by elements in a piece that show the journey of the making.  It reminds me of how our lives unfold, and how we travel many different paths that lead to who we are, uniting to make us more whole and deep.  The buds were taken in late February of last year, at a wonderful nature preserve in Berea, KY, Anglin Falls, which is one very magical place...

"Sacred", encaustic, macro photography, pigment

Detail of "Sacred"... it is difficult to see in the previous image, and has such a luminous quality up close...

This was the first experimentation with hand-carving the background.  I love the flow which emerges as the carving unfolds, as it seemed like a good background for such a frozen moment in time.  I found this luna moth in my driveway one morning after an early pre-dawn run, outlined by the soft light of the street lamp.  I was surprised she was still there, not having been consumed by the night creatures that often use the lure of light which draws many winged ones in the dark of night.  The luna is such a divine-looking moth, and I am always reminded of the fleeting beauty in life when I come upon them, as they live for only 5 days. It makes me reflect on how I would live if I knew that was the amount of time I had to exist on this plane.   I so appreciate that photography exists to enable the preservation of these moments and experiences in time.

  Well, if you are still with me in this long post, congratulations :).  I feel so happy to be able to complete this re-cap, as it has been a long time in the making (thus, the long post!).   Stay tuned for an entry on the opening for "Turn Up the Heat", which is waiting in the eaves for wifi availability tomorrow, so that I can upload a large photo album.  And now to sit and breathe and enjoy the heavily falling snow...

New Exhibit! "Turn Up the Heat"

I am so very happy to announce the upcoming opening of the encaustic invitational, "Turn Up the Heat", at the Mary Rezny Gallery in Lexington, KY.  I was invited to participate in this show with five other artists--  Debbie Jackson Billips, Melissa T. Hall, Trish Korte, Bridgette Guerzon Mills, and Raymond Papka, and am thrilled to be part of this talented group of artists who demonstrate a wide range of artistry through this ancient and contemporary art form.  The exhibit opens this Tuesday, January 12, and runs through February 20.  There is an artist reception this Friday, January 15, from 5-8 p.m., as part of the Gallery Hop, and if you are in the area, it would be lovely to see you in person!

I enthusiastically embraced the invitation to be part of this exhibit on the morning of the fire. Because we were displaced from our home and were in major coping mode, creating the work became both challenging and healing.  I owe much gratitude to my spouse and young sons for their patience, support, and understanding, as creating the sculptures for this show absorbed much of my time and energy.  To say that I felt relief in completing the pieces and bringing them  to the gallery last week would be the understatement of the year ;),    I am incredibly thankful to have had the opportunity to create a new body of work, especially under the circumstances, and feel so happy that this experience helped me get back in the saddle.

"Dive Deep" (12 x 14 x 5)  (Macro photo of a parrot that sat on my lap at the zoo, "transformed" into sea creature...  this is a pedestal piece).

"What I Found in the Tidepool" (27 x 18 x 7)   (Macro photo of nautilus shell from nearby nature preserve, mounted on wood from our land which was found by my son... this piece can either be hung on the wall, or placed on a pedestal).

"The Sacred in the Night" (25 x 14 x 12)   (Macro photo of a luna moth discovered on the ground in the pre-dawn light, swarming on a globe made from beeswax-layered mulberry paper, lighted by LED light internally, and mounted on wood from our land... This is a pedestal piece).

"Vessels Are We"  (18 x 23 x 19)   (Hand-sculpted mulberry paper infused with many layers of beeswax, adorned with encaustic paint bead-like droplets, and embellished with wire "branches").

"Alive in the Flow"  (13 x 59 x 5)   (Multiple pods created from macro photography of the outer and underside of the Common Blue Morpho Butterfly wings, nestled in tree roots which became dislodged in a recent flood... this piece is a wall hanging).

"Beauty and Protection"   (16 x 10 x 9)   (Macro photography of Common Blue Morpho, mounted on wood found on our land... This is a pedestal piece).

With the exception of the vessel, all pieces originated with a photo that was colored, layered with many layers of wax, cut, hand-sculpted, carved, embellished,  and colored again before being incorporated into the forms which would hold them... as this is a very labor-intensive process, each piece holds around 100 hours of work.  This gave me much time for mindfulness about the miracle of being alive and having the privilege to create.  It gives me great joy to be able to share these pieces with you...  Thank you for being along for the journey!

Another Way of Keeping a Diary, Part II

  I begin where I last left off, anticipating that my sculpture for this exhibit, "Another Way of Keeping a Diary", was awaiting placement on the pedestal for the opening on Friday, November 20, 2015.  I woke up the preceding Thursday morning to an email from one of the curators and artists for the exhibit, Flo Bartell, explaining in the kindest way that she could, that my sculpture actually suffered severe damage, and that she attempted to fix it the best that she could, but that she did not know how the repairs would hold.    Four of six luna moths had become detached, many were cracked, and one was missing a tail, the branch was completely disconnected, and many thorns had been broken or removed.   After some deep breaths of acceptance, I went about my day, dismayed as I was.  After lunch, I received a voicemail from my dear and supportive spouse, encouraging me to consider flying out to fix the sculpture.  After intense deliberation,  I quickly booked a plane and flew out the next day, arriving 14 hours and 3 planes after take-off.   I was picked up from the airport late at night, given a lovely bed and use of private encaustic studio, and provided with much encouragementc, French press coffee, and early breakfast by the most welcoming couple-- Flo and her husband, Dr. Gary Bartell.  There was another artist in the exhibit, Mira White, who was staying with Flo, and she graciously shared her bedroom accomodations with me.   I  felt so nurtured, and trusted that the Universe was providing me with as much support as possible to restore the piece (yet again!).  

Flo Bartell beside one of her pieces selected for the exhibit...

Mira M. White, next to her piece in the show...

I awoke at 4:30 a.m., and began the 6 hours of intensive repair to rebuild the sculpture.  I did much perspiring during those hours, hearing the ticking of the clock as the reception opening hour approached.  I reflected on how resilient we humans are, and how we just have to step up to whatever things happen in our life, and do the best we can to make it through.  It was such a strange mix of fear of not being able to complete it, and such challenge to finish it even stronger than before. Thankfully, my hands remained steady and my intentions could not have been more clear, and it was, indeed, completed!  I kept 2 fingers on it for the entire transport to the San Luis Obispo Museum of Art, where I placed it on the pedestal 40 minutes before the juror and artist , David Limrite, arrived to spend time with the pieces before doing his presentation for the opening.  Never have I been so relieved to literally step away from a piece I have made!  And then I took many deep breaths of relief...

Wonderment at seeing my sculpture restored and on pedestal, as if no worse for the wear...

Standing with David in a cloud of great relief and gratitude to be there together...

  The most wondrous thing about the whole experience is that by having my sculpture arrive destroyed, a window opened for me to go out and be part of one of the most amazing experiences of my life.  I was able to meet many talented artists and view a wide range of beautiful work in person, and to share stories of what brought them to work with the incredible medium of encaustic in such diverse ways, the meaning of their pieces, and bits of life histories.  I was also able to connect further with David Limrite to process the unbelievable journey that evolved throughout the creation of this piece, and to share some of the profound gifts it has brought.   After the opening, I had the opportunity to join the International Encaustic Artists board members,  David and his wife, Jordan, and Flo and Mira for a delicious dinner at an authentic Italian restaurant... it was a lovely ending to one of the most magical days of my life.  I flew out the next morning after dear Flo drove me to the airport at 5a, and had one experience after another where kindness unfolded, despite it being the weekend prior to Thanksgiving, which challenged my inexperienced travel skills to their depths.  It was fascinating, and left me with so much evidence of what happened as a result of letting in what was offered to me... the gift of going out to repair that which was broken.  I can't imagine it getting any more profound than that, or any more joyful.  Lucky me. 

"Life Events"

According to insurance terms, we have sadly experienced a “life event”.  Six weeks ago, we had a house fire, which resulted from my encaustic wax being accidentally left on when we left for the day, somehow igniting, and emitting black acrid smoke which damaged much of the contents of our house.  We found all 4 of our cats alive hours later, with incredible relief and gratitude that no living being was harmed from the fire.  We spent 5 weeks with family, and learned much about sharing space, vulnerability, coping, and receiving help.  There were incredible outpourings of compassionate care, offers of assistance on many levels, and a palpable feeling of being valued and loved.  These were the beautiful gifts that emerged in the midst of what has been terribly painful and raw. 

We have had the opportunity to simplify all that we own, having handled every single item in our home, deciding whether it was salvageable, would be cleaned by us, or put into the hands of the fire restoration crew to clean.  Daunting and overwhelming, it was, and still is, honestly, as we are now moving back in to our home.  We have been brought to a new level of mindfulness as we are recreating our living space, as well as how we live day to day.   And we wish to offer much appreciation for all of those you helped lighten the load these last many weeks.  There are no words to adequately describe the depth of our thankfulness...

And the interesting thing that we quickly realized is that life continued where it left off the  week prior to the fire, almost as if nothing had changed.  It was an incredibly busy week leading up to the fire... in a matter of 24 hours, I submitted a collection of work for the Berea Library as Artist of the Month, showcasing 12 encaustic sculptures, which resulted in them being saved from the fire (as they were stored in the room where the fire took place).  I submitted a large encaustic sculpture for the International Encaustic Artists call for entry for their upcoming exhibit entitled, "Another Way of Keeping a Diary".  A few days later I watched as the Encaustic Art Institute's 5th Juried Encaustic/Wax Exhibition in Sante Fe, NM, as well as the Fertile Ground exhibit, in Berea, KY, both had their openings.   I was honored to be in these shows, and so excited by the energy of having been part of both of these exhibits.  I also turned 47 that week preceding the fire, and had commented that I usually did not remember many particular years of my life, but felt that this one was going to be significant...  

So I am off to a strong start in that category!  And life has continued on in some very good ways that help balance some of the intensity of the fire aftermath.  I was invited by Mary Rezny to participate in an encaustic invitational show of 5 artists this upcoming January, and readily accepted (the morning of the fire!).  I am honored to be part of this group of artists who are showing different expressions of what can be created through encaustic art.  It feels wonderful to be working on pieces that will be part of this show, and helps me to get back in the saddle :).  Stay tuned as I share some of the process as I create new work...

I was also thrilled to learn a week after the fire that my sculpture had been accepted into the International Encaustic Artists exhibit, which leads me to the announcement of its upcoming opening in only 2 days!  It will be showcased at the San Luis Obispo Museum of Art, in San Luis Obispo, CA.  The title of the show, "Another Way of Keeping a Diary", certainly called to me with my recent decision to outwardly share my healing process through art, and I began work on this piece in the summer.  I had a cow pelvis that had long been bleached by the sun that we found on our land, and knew long ago that the right opportunity would come along and call for it to be used.  I wanted to show holistically how our bodies hold trauma, grief, healing power, and liberation that comes from owning what we have lived through.  

Long before the fire, I had titled the piece, "Phoenix from the Flames", but felt self-conscious about naming it such a thing.  After much reflection, I called it, "Tear Bottle", and wrote about the history of tear bottles holding the grief of loss, as a sign of respect for that loss... and how acknowledging that loss and honoring it enables deeper healing to happen, and for new experiences to come out of what previously held trauma, like the miracles of my children that emerged from the same pelvis that experienced violation.   It felt empowering, although deeply painful, to place each thorn on the pelvis, and I did much tonglen meditation for all those who have known violence to their bodies, and for those who are experiencing it, still.  The work of creating this sculpture was deeply healing on so many levels, and became a sort of prayer and offering for hope and healing for all those who are in need.  It was cathartic on a level that is difficult to capture in words, but is something for which I will always be grateful.  

The morning of the fire, I actually moved the sculpture out of my studio and into the house, about 5 feet from where my wax caught on fire.  Fortunately, I covered it with a trash bag, to protect if from our cats nibbling on the branches, and quite fortunately, it melted it over the whole piece, protecting it from the spray of blackened wax, extinguisher spray, and hose water that exploded over the whole room.  I was able to carefully remove the bag and restore the sculpture after 8 hours of work.  The beeswax was an amazing protectant for the sculpture, and it did not absorb the acrid smell that consumed many of the materials in our house.  We aired it in the wind for many watchful days, and were so relieved that it remained intact.  I was able to have it shipped across the US via airplane, and it arrived and will be on a pedestal at the museum in a matter of days.

 I have reflected and wondered if the spirit of the cow who inhabited this pelvis knows of the amazing healing it has brought to me, or of the journey far from the hills of Kentucky that it has now taken, to be viewed by many.  I know it will leave me with a profound depth for as long as I live, and I am so very grateful to the International Encaustic Artists and to the San Luis Obispo Museum of Art for putting together such a powerful exhibit.  I owe special thanks to David Limrite, artist and juror for the show, who offered much encouragement for restoration of the piece, and tremendous validation of the power of my piece.   I am so grateful to have had his support during this time of exhaustion from coping with literally enabling this sculpture to be the "phoenix from the flames".  

Thank you for sharing in this process of life and creating with me.  There have been so many lessons about impermanence this past month, and I have had much opportunity to let go of things... pride, privacy, guilt, possessions, art supplies, and pieces of artwork damaged by the fire (to name but a few).  It has helped to reflect on each piece, be reminded of what it has taught me, and to release it in whatever way was needed.  And the process will be ongoing, as life is an ongoing experience of letting go and opening to the new that moves in...

Opening for NOT BIG (3) Exhibit

Friday evening, Mary Rezny of the Rezny Gallery hosted the opening for the not BIG (3) exhibit, and it was an evening full of energy, learning,  engagmement, gorgeous violin music (Brice Farrar), delicious food (thank you, Marco Logsdon, artist and wonderful cook).  I really enjoyed meeting the other artists, and hearing about their work, diverse and beautiful.  It is always lovely to make new connections, especially when they feel like old ones... 

Finally got to meet Kathleen O'Brien, artist and healer ... (and to the right, Mary Rezny (black shirt) and to her right, Nathan Zamarron, juror)

Ray Papka, beautiful encaustic assemblage piece... many more on his website-- check them out here!

The exhibit remains open until  September 11, so stop by and check it out if you get a chance... lots of amazing work to be seen.   I feel so grateful to my boys, who made it through the whole evening, and to Susan and Laurie, who made the trek up to see the exhibit.  Thank you, Mary and Nathan, for enabling me to be part of this exhibit... it has been a great experience, and I look forward to the positive energy from new connections made.

---

AUGUST 11, 2015

Today I am beginning my first blog post by sharing some fun news.  I am honored that my encaustic sculpture, "Quiet Emergence", was chosen to be included in the not BIG 3 Exhibit at the Mary Rezny Gallery.   I am really looking forward to seeing all of the work and to meeting the artists.  Below is more information on this exciting exhibit...

Regional, National, and International Artists Chosen as Finalists

M S Rezny Studio/Gallery is pleased to announce the finals in the national/international small arts juried competition notBIG(3) The Exhibit.  There was no intended theme for this art competition; the only requirement was that the artwork had to be 12”x12” or smaller, including the frame.  128 artists from 28 states and 6 countries submitted 380 artworks for consideration.  This year’s juror Nathan Zamarron, LexArts, Community Arts Manager, Lexington, selected 45 artworks to be in the exhibit.  “While looking through the works I saw a vast array of aesthetic and approach to art making.  The variety of media and subject matter made the selection process fun and engaging as well as challenging.”  Although the work may be small in size, it is big in content. 

M.S. Rezny Studio/Gallery     P.O. Box 4714     903 Manchester St.    Lexington       KY     40544     mail@msrezny.com       859 252 4647       

  Another thing for which I am grateful is that St. Joseph East of Lexington chose my 24" x 36" photograph/powdered pigment work, "Morning in the Garden" (below), to be part of their Healing Arts Initiative, in which they purchase work from artists in KY to be in the hospitals to promote a healing and calming environment for patients and their families.  During my years as a social worker in hospice, I experienced firsthand the need for imagery and symbolism that radiates positive energy for all who need care and work in that environment.  I applaud St. Joseph for providing the funding and commitment of time to make this a priority, and am thankful to have a small part in making the hospital a more healing environment.

  I would also like to thank Berea Arts Council and the Kentucky Guild of Artists and Craftsmen for showing my work.  You can find my photography at both galleries, and encaustic sculpture will be arriving there soon!

  I am so happy to announce that my website (michellehaydenfineart.com) is up and running, thanks to hours of assistance and support from Greg Schloemer and Billy Lakes.  These guys were awesome in their patience and knowledge, and really helped me bring my art website to fruition.  I would highly recommend their services to anyone in need of help with computer issues or building their own site.  You can find them here, at Sentinel Solutions.   Big thanks to both of these guys!

   I look forward to sharing updates about my art and process of making on this blog.  Thanks for coming along for the ride!  I love hearing from you, so please drop me a line if you feel so inclined...