Filters over the years make a pretty good installation piece. I have dozens of coffee filters used for making paint and ink. They’ve been categorized and stuck in storage, I think they make a pretty good artwork on their own.
Heidi's Cabinets of Curiosities
My final stop on the magical mystery tour of Washington State and Vancouver was to Heid’s beautiful studio in Everson, WA. She has shelves and shelves (the photo captures about 1/5th of her collection) of ochre from around the world, all catalogued with the utmost care and respect for the medium. The earth pigments are sacred to Heidi and that came across so clearly as she described her practice.
As with vivianite, ochre regenerates over time, forming continually in some places that may seem unlikely…like waste-water treatment plants. So many stories are encased in each of those bottles of earth, I’m yearning to hear them all.
Find Heidi Gustafson on instagram:heidilynnheidilynn, and her shop and workshops at earlyfutures.com
Near the Canadian border, not so far from Bellingham, I met up with Melonie who was kind enough to introduce me to some of her collection of vivianite (pictured). There is so much I don’t know about this mineral pigment, and Melonie is the one to ask! I had considered earth pigments as a finite medium, use it up and it’s gone…not true for all earth pigments. Vivianite generates itself over time and transforms organic matter (if I have it right, iron must be present) into a hardened solid blue mass. There are different variations and I was lucky enough to see some samples of Melonie’s collection, she has researched vivianite extensively and is an authority on its use as paint in Northwest Native American artifacts. You can find her at NativePaintRevealed on Instagram and NativePaintRevealed.com.
Tim McLaughlin is Artisan Ink (find him on instagram) with a penchant for dip pen work and journals. My visit to his digs at the Maiwa Loft on Granville Island in Vancouver was a real treat— he shared recipes, texts and compared new library acquisitions as well as queries, quandaries and solutions to perplexing ink and paint mysteries…Like why is phytolacca americana so volatile/fugitive? Tim knew the answer. If you’re in Vancouver, I recommend signing up for his classes, check out the innovative workshops available on the Maiwa.com site.
Art Lab Usa creator Happy Kush (yes, that’s her name) showed my around her lovely home laboratory and we got to geek out all things natural paint, pigment and ink related. I became aware of her experiments through Instagram and felt an immediate affinity for her endeavors. We talked recipes, artmaking, how to take these endeavors into the broader community. She is an artist and software engineer, combining her many talents to create meaningful work. There was even time to mess about with paints and inks. Thanks, Happy!
I kicked off my Northwest expedition with a visit to Kathy Hattori and her business, Botanical Colors. We discussed extracts, dyes, and of course plants! In the photo you can see a lovely bowl of Wolf lichen all set for some dye testing. I left with little bag of my own Seattle lichen, and some gum tragacanth— a binder with a long history and plenty of uses including textile printing and dry pastels. If you haven’t checked out her site…you should…Botanicalcolors.com.
Printmaking SOMA Camp 2019
Sample prints from printmaking class using mushroom ink. It was a whirlwind class…In 3 hours students received directions, watched a powerpoint, designed blocks and created a 10 print edition! They met the challenge with creativity and joy. Everyone left with a copy of each other’s work. The ink was made with the pisolithus mushroom and a sodium alginate thickener.
It's All Natural Part 1
Large color chart in assembly stage. All colors handmade.
Top row is all indigo. second row, pokeberry, cochineal and virginia creeper berries. Third row is birch leaves, coreopsis, virginia creeper and Oakland ochre (Oakre).
Part 2 revealed soon.
Mushroom Season is Upon Us
Spore prints, why not? This one is a large mushroom from my yard. Place the mushroom gill side down on your paper overnight, et voila!
For white spores, be sure to use darker paper or paint the surface. The spore print here was placed on some watercolor paper brushed with my indigo and pokeberry ink.
Reflecting on a residency 2 years ago, in December-January 2016/17. I had this intimate installation, devoted to may pigments and color experiments with the local berries and earth. This in contrast to the large scale charcoal drawings about real and invented spaces.
11.19.18 Hittin' the Road in 2019
At long last the promised book is coming together. I’ll be interviewing some of the artist/makers of the natural pigment world and posting interviews on the blog posts, Instagram and putting the best bits in the book. I love collaborating and this is an opportunity to see what’s happening out in the world and incorporate it into a book about process and artists.
If you have thoughts or suggestions of people to visit, let me know.