Wet mounting my painting

One of the complication for using alum solution extensively is that it makes the Xuan paper very brittle, as I come to find out.  I don't know if the culprit is the alum itself or the tiny bit of animal glue (suppose to work like a binder) that I mixed in with the alum.  In any case my Xuan paper is like the dried outside skin of an onion.  I inadvertently snag the edge of the paper on my felt under pad and the paper immediately rips.  

 

That means wet mounting is the only viable alternative to present this painting.  In the wet mounting process, the painting itself is thoroughly wetted down to relax the fibers, in this case, to soften the dried onion skin.  If I can be careful to align the torn edges and fit any detached pieces back into the proper position ( like a jig-saw puzzle ), I stand a pretty good chance of repairing the rip.  Obviously I must take extra caution when I apply the starch onto the back of the painting.

My wetted painting lies face down on a smooth surface and starch is applied onto the back with a stiff brush.  The brush looks extremely intimidating at first.  Surely it will tear the wet tissue like Xuan paper into pieces.  It is counter-intuitive, but the stiff brush actually helps to spread out any creases and expel air bubbles that are trapped under the wet Xuan.

A piece of blank Xuan which is larger than the painting is carefully placed over the painting which is wet with the mounting starch.  This is now covered with several layers of newspaper.

The newspapers help to absorb any excess water that seeps through the backing, and also shield the wet painting from the harsh pounding and brushing with a dry coconut fiber brush.  This process is very similar to a press which wrings out excess water and forces the backing paper to adhere firmly to the back of the painting.

The now moist newspapers are now peeled back, revealing a completely smooth and flat backing.

Starch is now applied to the edge of the border.  

The piece is now carefully lifted from the smooth surface onto a hard board for drying.  The lifting process turns the piece face up now, which is the way it sits on the hard board.

The drying process will shrink the paper a tiny bit, enough to pull it taut and flat.  Remember the starched shorts days?  You get the gist!!!  The dried piece can now be cut from the glued border and is  ready for framing.

Dragonflies

 

I pinned my algae pond painting on the wall and have been digesting it for a couple of weeks.

 

I know I did the painting out of a notion of trying to capture the algae infested pond in my backyard but I am also keen on playing with my alum solution and the gold speckled Xuan paper.

I know this exercise seems to have nothing to do with traditional Chinese brush but it is so liberating to be able to play and goof off like a rambunctious kid.  This painting somehow reminds me of Monet's water lilies pond.  Obviously I am not suggesting my painting here is eponymous with the great master's but I suppose I could sniff out a smidgen of that scent.

Whereas I don't have any water lilies in my pond, I do have ducks, frogs and heron.  I contemplated adding a heron to my painting but for some reason I think it might be trite.  Forget about the marquee actors.  Let me give some unknown performers a chance.

How about bees and butterflies and dragonflies.  When I think of painting insects, one painter comes readily to mind.   Chi Baishi is known for offering a platform for insignificant subjects like fish, cicada, shrimp, crab, mouse, dragonfly, moth etc.  His paintings on such topics are simple and honest and ground breaking.  Everybody else was painting the lotus flowers and peony.

I see dragonflies darting around my pond.  There are a few varieties of them, but the most prominent ones are the red ones and ones with a white body and black markings on their wings.  The black and white scheme make these dragonflies very noticeable and should stand out against my blue green background of my painting too.  I presume.  I shall paint them, they are my unknown performers.

 

I am posing this dragonfly with its body tilted upwards, revealing its underbelly.  I am going to situate this dragonfly resting on top of a twig sticking out of the water.  The straight up composition guides the viewer to or away from the painting.  It works both ways.

 

This dragonfly sits farther down the twig, showing its entire white body with wings spread.   This is the black and white effect I am looking for.

 

A dragonfly that is flying away reveals only the white abdomen.  Its wings crossed like a propeller due to the lighting conditions.  This dragonfly is made to be not entirely succinct to hint motion and also add depth to the perspective.  It is my hope that this dragonfly assumes a role of a supporting cast in the background.  It gives its presence without robbing the lime lights of the main characters.

I've painted in little blobs of algae that break off from the main patches.  I use yellow highlights and dark shadows to give them a three dimensional feel.  I treat them as if they are the fresh oregano leaves one sprinkles onto a dish when the food is presented.  They are there to decorate and to add flavor.  

 

 

This shows the composition of the 3 dragonflies.  The blobs of algae have not received their yellow highlights and shadows yet and look flat on the paper.  

  

I'm adding a fourth dragonfly to my painting.  This one is flying away from the others; its white body radiant in the sun and its wings just a blur.   I am giving this dragonfly the strongest white value despite the fact that it is apparently not the main character.  It is used to add motion; suggesting the insect is zipping around the pond and direct the viewer to imagine beyond the edges of the painting.  This is to contrast with the upward pointing dragonfly at the top of the painting.  I've also added a few specks of nondescript bright white objects around this particular dragonfly as a tease.  They could be anything, any floating debris.  I am using them like decoys to help guide the viewers to this particular dragonfly.  You may say that they are like the guiding elements on a UHF antenna.  I am hoping that the convergence and divergence of points of interest will help to add intrigue to my painting.

 

 

I am trying to avoid parallel lines, which is common in painting water, by painting an undulating, swirling  pattern with the help of algae.  I am hoping to avoid being stoic and create a sense of liveliness out of this dead body of water.

C'est la vie, it is up to us to find beauty and inspiration in something that is dull and mundane.  Whether the situation is an eyesore or poetic topic for a painting, it is our call.