plant art

Arts Itoya Painting 4: Shingling

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My fourth painting is of a shingling plant I documented in Yakushima, in this case Ficus pumila. Ficus pumila is a native species in Japan (and other East Asian countries). I’m always attracted to epiphytic shingling plants (plants that climb up trees or rocks vertically such that their leaves look like lush shingles atop their substrate). This was a very time-consuming painting in both the drawing and painting stages, but I think it was well worth the effort!

Yakushima Island was not as fertile for rice production as other areas of Japan, so during the Edo period, Yakushima paid for its shoganate taxes by logging sugi trees and producing wooden shingles rather than in the more customary rice. This deforestation had negative environmental impacts. Reforestation and conservation efforts including declaring the island a UNESCO World Heritage site have since tried to rebalance the important island forest ecosystem. This painting’s title references both the plant’s growth habit and common grouping name as well as Yakushima’s ecological history.

This is Shingling, acrylic on round wooden panel, 12x12x.875”, 2024.

Shelby Prindaville's "Shingling" acrylic painting of Ficus pumila on a round wooden panel.

Arts Itoya Painting 1: Duality

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The first painting I completed at Arts Itoya is of two backlit hibiscus flowers from Yakushima. The substrate is a gold and silver leaf flecked Torinoko paper; I added the translucent green coloration. I was inspired by the dark fantasy iconography of flowers in anime, particularly in Hell’s Paradise as well in Demon Slayer and Suzume.

This is Duality, acrylic on gold and silver leaf flecked Torinoko paper, 14.37x11.6”, 2024.

Shelby Prindaville's acrylic painting, “Duality,” of two hibiscus flowers on decorative washi paper.

My Favorite Ceramic I've Made Yet: My Last April 2023 Raku Saggar Piece

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I have a lot of my own ceramic pieces that I love, and there are a number of those that I plan to keep for myself for the foreseeable future! I’m pleased with each of the ceramics that came out of my recent April 2023 raku workshop; that work spans the realm between good to fantastic. One piece I made is my favorite ceramic I’ve made yet, though, which is a hurdle that was relatively easy to pass when I was a beginner back in early 2020, but is now a much rarer event.

This piece, like the others in this series I’ve made, was dipped in three coats of ferric chloride, wrapped in Muehlenbeckia axillaris or Creeping Wire Vine and then aluminum foil, and saggar-fired in a raku kiln. It is finished with kitchen wax.

Ceramic glazing in general is a lottery; there are a lot of variables and some are outside of your control. I think I won that lottery with this vessel!

April 2023 Raku Crackle and Saggar Ceramics

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This is my second post reviewing my April 2023 raku workshop ceramics! This one will cover two of my three “baked potato” aluminum foil saggar-fired ceramics and my clear crackle piece.

Based on my experimentation using plants at my April 2022 raku workshop, I only had real luck with saggar firing Muehlenbeckia axillaris, colloquially known as Creeping Wire Vine. I therefore used it again! Below is a plate that was dipped in three coats of ferric chloride and then wrapped in the vine and then aluminum foil and fired. The Muehlenbeckia axillaris impact is relatively subtle because it mostly went white to medium gray, but the plate overall turned out well. The very first time I did this “baked potato” technique, I used a matte clear acrylic spray. The second time, I went with gloss. I didn’t really love either, so this time, I went with applying a kitchen wax. I really like the way the wax looks, so I think that’ll be the winner moving forward!

Next, I did the same process with a vase - on this piece, I also sprinkled just a little sugar on as well for some small-scale spotting in the design. This one’s interesting as the Muehlenbeckia axillaris is more apparent, and it produced the full value spectrum on the same vase; the top vine piece is white to light grey, while the bottom vine carbonized a lot more and turned medium grey to black.

And finally, I chose to do a clear crackle on a small, necked vase. Handbuilding necked vessels is tricky, and I complicated matters with this piece by leaving my building process evident on the outside to contribute texture (while smoothing it for structure and stability on the inside). This was quite risky; I knew there was a good chance this piece could crack or break with thermal shock due to the thinner seamed areas. However, I was fortunate - it made it through the firing completely unscathed! I wanted to enhance the seams and stress spots that I had intentionally retained, so I painted over each of them and the lip of the vase with wax before glazing with Clear Crackle on the exterior. As I’ve explained before, this means the glaze doesn’t stick to the waxed areas, and the wax burns off in the kiln. The exposed, unglazed clay body then carbon traps the smoke in the post-kiln reduction atmosphere, turning a dark, smoky grey. I finished the piece by putting kitchen wax on the unglazed areas.

Again, none of the “cracks” in the below piece are structural - they are all decorative and this vase is fully sound.

BROTA and Buenos Aires Series "Gardens of Memory" Dried Sweetgum Leaf

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This is one of my favorite new pieces from this summer’s BROTA residency in the Buenos Aires Botanical Gardens! It’s a mixed media piece including a methylcellulose transfer of a photograph I took of a Monstera deliciosa collaged atop a dried sweetgum leaf (Liquidambar styraciflua). The support is handmade artisanal paper from Ato Menegazzo Papeles.

BROTA and Buenos Aires Series "Transmigration Landscapes" Failed Tests

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I experimented with a number of different chromatography processes to learn which method would be conceptually and aesthetically strongest for my own practice. Two of the failed tests I did were interesting enough in their own right that I kept them, too, though as is evident they use a different technique that proved less effective at pigment differentiation than the process I used for the main Transmigration Landscapes.

These are, respectively, Failed Test 1 and Failed Test 3.

BROTA and Buenos Aires Series "Transmigration Landscapes"

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I had my chromatography series Transmigration Landscapes framed right before moving, and so I’ve taken the time to photograph the pieces in their final form! From this Buenos Aires Botanical Garden collection, there are seven framed pieces each containing five loosely grouped chromatography plant portraits. The framed dimensions are 8.875x30”.

These are, in order:
Transmigration Landscapes : Arc
Transmigration Landscapes: Atmosphere
Transmigration Landscapes: Cadence
Transmigration Landscapes: Flare
Transmigration Landscapes: Percussive
Transmigration Landscapes: Reflective
Transmigration Landscapes: Vibration

BROTA and Buenos Aires Series "Gardens of Memory" Sacred Fig Skeleton

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This is one of my favorites (I have several!) of my new pieces from this residency - it’s perfect in its deceptive simplicity. I say deceptive because work went into obtaining the components of this piece, from learning how to make banana paper while on residency in Peru, to sifting through hundreds of fallen leaves in the Buenos Aires Botanical Garden before finding this perfect leaf skeleton specimen, to discovering that the two suited each other beautifully.

This artwork is mixed media including a Ficus religiosa skeleton leaf, matte medium, and handmade banana paper and is 17x11” (unframed dimensions).

BROTA and Buenos Aires Artwork Series "Gardens of Memory"

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As you can see in this earlier post, I worked atop two very large trunk cross-sections for a permanent outdoor installation. I also worked atop smaller trunk and/or branch cross-sections as well. Here are four new pieces in my “Gardens of Memory” series. The series is so titled because the substrate is very directly a part of a once-living tree (paper is too, but in a more distanced form), and the images atop it are from various botanical gardens I’ve frequented.

BROTA and Buenos Aires Outdoor Installation Pieces

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Here are two partner pieces I created to donate and install permanently in Buenos Aires after I leave with the help of BROTA! They are both mixed media pieces including acrylic, methylcellulose, toner, and marine varnish on a tree trunk cross-section, and will be diagonally mounted on wooden poles outdoors when installed. The institution that will host these works is yet to be determined. The two pieces are part of my Garden Memories series.