Friday, June 19, 2020

Artist Catherine Nash: New Artworks


Fire.
Intense Heat.
High Winds.
Smoke.
Oxygen.
Breath.
Transformation.
Standing tall.
Speaking truth.
Listening.  
Hearing.
Accountability.
Understanding.
Empathy.
Compassion.
Transformation.
Breathe.
Love.
One.



And so it is...

                                                               ©C.Nash

©Catherine Nash
Smoke, 2020 
encaustic painting in a vintage

box with original smoked sides,
wax dipped leaves, found wood.
7”w x 20”h x 4”d
$975

available through the Bowersock Gallery  508-487-4994
info@bowersockgallery.com

©Catherine Nash
Waning, 2020 

encaustic and mica

in a vintage drill bit box
11.25”w x 4”h x 2”d
(private collection)

I've offered a rare, intimate tour of my studio as I was working:


“Mesdames of Wax: Emma Ashby and Catherine Nash"
Bowersock Fine Art Gallery 

373 Commercial Street, Provincetown, Mass. 

This two person show runs June 19 through July 2nd, 2020.
[My art will be available all season within the gallery.]

Steve Bowersock presents my new work within the gallery:
https://www.youtube.com/watch?v=7LzzUuQ_LPI&feature=youtu.be
  
The Bowersock Gallery has posted 
Part 1 of a 2 part interview with me: 

...and Part 2 of 2 interview:


I have been so grateful to have had the carrot of a deadline to work towards - it focused my creativity within this time of uncertainty, which has certainly affected my work, however subtly.  The two assemblage pieces at the beginning of this post came after the Black Lives Matter protests/movement began...and the "poem" I wrote (after the works were completed) when the devastating fires in the Catalina Mountains began on June 5th from a lightning strike...and which continues to burn today.  Predictions are that they will until our monsoon rains come, perhaps in another 10-14 days..  Such a visceral metaphor for all that is happening socially and politically...

The sky and all it's mysteries continue to inspire me~  
©Catherine Nash
Promise of Another Day, 2020
Encaustic painting
12”w x 18”h x 1”d
$1250 retail
available through the Bowersock Gallery  508-487-4994
info@bowersockgallery.com
©Catherine Nash
As Above, So Below, 2020
Encaustic painting
12”w x 18”h x 1”d
$1250 retail
available through the Bowersock Gallery  508-487-4994
info@bowersockgallery.com


I've been reading books about Alexander Von Humboldt.  He carried a cyanometer with him as he scaled the highest peaks of the Andes in 1801-03. At the time, the shift in value of blue was still mysterious to scientists...
I release the science behind it and inhabit the mystery.   
Catherine Nash
Altitude, 2020
Encaustic painting
12.75”w x 12.75”h x 2.5”d
$1350 retail
available through the Bowersock Gallery  508-487-4994
info@bowersockgallery.com

©C. Nash
Altitude, 2020
side view

©Catherine Nash
Breathing Under Water, 2020
Encaustic painting 
12”w x 18”h x 1”d
(private collection)






Clarity. Attention. Pay attention. 
Breathing under water
…the silence of the depths. 
Tumultuous life above the surface
…but here I am. 
Under. Within. Without. 
Edges soften. Skin dissolves. 
There is no ‘me'. Attentive. Listen. Breathe.
                                                
                                                         ©C. Nash



"Breathing Under Water" was started a month ago in reaction to a soundscape recording by two talented Tucson friends of mine, Will Clipman and RC Nakai...specifically Tank Journey #3. (You can listen to their mesmerizing music at https://tanksounds.org/r-carlos-nakai-and-will-clipman/ Consider listening to that track while looking at my painting.) 

The painting emanated from my poetic response. For me, the image truly expresses not a hiding place from tumult, but a shelter that is protective and safe: the place of peace and quietude that I inhabit within which embodies both light and darkness.

We are fortunate and blessed to be breathing, both physically and spiritually. It is essential for us to breathe and live peace, especially now, holding ground in love.



©Catherine Nash
Morning Star, 2020
Assemblage in a vintage drawers, 
24K gold leaf, encaustic painting, 
mica, handmade paper, 
natural elements.
5”w x 15.5”h x 4”d
(private collection)
©Catherine Nash
Morning Star, 2020
Assemblage side view

©Catherine Nash
Tidal, 2020
assemblage with high shrinkage abaca paper, 
shell, vintage carved wood, branch, in a
1880s sewing machine drawer.
6.25”w x 16”h x 5.25”d
$695 retail
available through the Bowersock Gallery  508-487-4994
info@bowersockgallery.com
©Catherine Nash
Tidal, 2020
assemblage side view

These other works were also recently completed within the last 12 months.  Still enamored with the depth of space, these intimate landscapes are secured in burned vintage jewelry boxes.  My distress at our disregard for the environment in the name of progress triggered these works.  
Gaia, our planetary jewel that hosts life, is polluted and burned without regard to future generations.  Henry David Thoreau, in his distress at "progress" in the 1840s, exclaimed that "at least the sky is safe!"
  
Of course we know that isn't true, but looking to the sky reminds me how fragile life is~ 
©Catherine Nash
Aurora
, 2019

Encaustic painting in a burned vintage jewelry box, 
found brass elements and wood.
13” W x 6.5”H x 2” D
$575
available through the Bowersock Gallery  508-487-4994
info@bowersockgallery.com

©Catherine Nash
Relic
, 2019

encaustic painting in a burned vintage jewel box,
found pocket mirror, wood, 24K gold leaf.
5.5” W x 6.25”H x 1.75” D
(private collection)

©Catherine Nash
Constellation
, 2019

encaustic painting in a burned vintage jewel box,
rusted ring, found wood.
5” W x 9.75”H x 1.5” D
(private collection)


©Catherine Nash
Night Fishing
, 2019

encaustic painting in a burned vintage jewel box,
found pocket mirror, wood, 24K gold leaf.
7.75” W x 6.5”H x 1.5” D
$575
available through the Bowersock Gallery  508-487-4994
info@bowersockgallery.com

©Catherine Nash
Night
, 2019

encaustic painting in a burned vintage jewel box,
old wooden screw press.
7.5” W x 6”H x 2.25” D
$450
available through the Bowersock Gallery  508-487-4994
info@bowersockgallery.com


©Catherine Nash
Our Ocean, 2019

encaustic painting in a burned 
vintage jewel box, rusted ring,
antique optical glass, pearl.
3.5” W x 3”H x 3.25” D
$275
available through the Bowersock Gallery  508-487-4994
info@bowersockgallery.com
©Catherine Nash
Four Elements, 2019

encaustic painting in a burned 
vintage jewel box, 
found rusted watch.
4.5” W x 3.5”H x 2.5” D
$250
(private collection)



©Catherine Nash
Winged Sky, 2019

encaustic painting in a burned 
vintage jewel box, 
old T square.
7.5” W x 6"H x 2.25” D
$450
available through the Bowersock Gallery  508-487-4994
info@bowersockgallery.com




©Catherine Nash
Acorn, 2019

encaustic painting in a burned 
vintage jewel box, 
reclaimed wood, vintage brass acorn, mica.
4.5” W x 3.5"H x 1” D
(private collection)




Hope...Love...One

Monday, September 16, 2019

A Collaboration: Pandey and Nash "Eclipse"



front and back cover of Hand Papermaking magazine/summer 2019 issue
(with Robert Rauschenberg and Ken Tyler collaborating in France in 1973  on the back cover)
Catherine Nash and Radha Pandey
Eclipse, 2016
10" x 8"
edition of 150 for
Hand Papermaking magazine portfolio 12
"Intergenerationality: Collaborations in Handmade Paper"


Exciting!  On the front cover of the summer 2019 issue of "Hand Papermaking" is the collaborative effort of myself and the talented Radha Pandey: we created an edition of over 150 for the "Intergenerational" portfolio for Hand Papermaking magazine in 2016. Fifteen teams of collaborators worked on the portfolio. 



15 teams of collaborators created editions for 
"Intergenerationality: Collaborations in handmade Paper" portfolio
Hand Papermaking magazine






Collaboration:  Aesthetic Considerations

As a starting point, we shared our personal art, studio practice, and philosophical interests with each other. 


Catherine 
space 
sky
air
spiritual/science in tandem
geometrical diagrams/sacred geometry superimposed on landscape
experiences of nature
the metaphysics of place and memory


Radha
natural processes of erosion, sedimentation how one affects the other.  
water to soil to water
ownership of land - borders/mapping - 
      how changed over time vs. physically as a natural landscape
depth 
under the surface


Discussing the possibilities for collaboration, we discovered common ground in our artistic content as it relates to earth, water, and air, both scientifically and poetically. Eclipse explores a blended interpretation of the concepts we are engaged with in our own work as individual artists and papermakers.

The tangible dialogues of the elements of space and sky, water and soil, together in tandem with human interactions with our planet conjured up ideas of:
  • boundaries
  • land ownership
  • a human experience of nature and in nature
  • the metaphysics of place and memory
  • the natural processes of erosion, sedimentation
  • the physical landscape and its relationship to the mental landscape.

These ideas became the focus of our collaborative piece. Whittling down these concepts to their essence, we utilized our materials as the way to carry metaphor. Our collaborative work unfolded in a unique way: as we spoke together about our individual interests in materials and processes, the piece evolved to embody our shared concerns, materializing differently from how we would create individually.  


Radha and Catherine hand pounding cooked/rinsed gampi bark fiber in prep for our edition. 
The Morgan Conservatory of Paper in Cleveland graciously let us use their facilities! Thank you, Morgan!



Collaboration:  Technical Details

We undertook our collaborative portfolio project at the Morgan Art of Papermaking Conservatory in Cleveland, Ohio in June of 2016, using hand and naginata beaten gampi bark as a paper fiber, internal colorants of filtered and ground earth samples from Sedona, AZ, as well as wax and a watercolor paint derived from earth minerals. Our processes included nagashizuki (Japanese-style) sheet-forming, pulp painting, external dyeing, paper cutting, and stitching to create a cohesive artwork that expresses our shared vision.







Our collaborative three days working together in Ohio came to an end and we divided up the remaining surface tasks between the two of us.  Back in my studio, I (Catherine) printed two wax circles on each sheet. With a very wide Oriental hake brush, I painted a bokashi [gradation] wash onto each sheet using a special watercolor paint made of dark blue sodalite. When all were dry, I carefully ironed out the excess wax out of the sheets leaving a wonderful resultant darker circle. I mailed the edition in process back to Radha in Cleveland. 

Edition of "Eclipse" in progress

The satisfaction of a complete edition!


Radha cut a smaller circle out from within the waxed circle below the horizon to bring part of the “earth” up into the “sky”. Painting them with several coats of the same blue sodalite paint, she brought forth a rich contrast so that the “earth moon” stood out in the “sky.” PVA glue was used to adhere the circles to the sheets using a template to help place the circles in the same spot on each sheet. 


 It was a great honor to work with my friend and colleague, the talented artist and papermaker Radha Pandey.  We are so grateful to Hand Papermaking magazine for this wonderful opportunity!  Thank you!




Catherine Nash and Radha Pandey
Eclipse, 2016
10" x 8"
edition of 150 for
Hand Papermaking magazine portfolio 12
"Intergenerationality: Collaborations in Handmade Paper" 

Bios

Radha Pandey is a papermaker and letterpress printer. She earned her MFA in Book Arts from the University of Iowa Center for the Book where she was a recipient of the Iowa Arts Fellowship. She has Western, Eastern and Islamic-world Papermaking techniques with Timothy Barrett and teaches book arts classes in India, Europe and the US.

Her graduate thesis work- a hand-printed book of botanical anatomies titled Anatomia Botanica won the MICA Book Award at the Pyramid Atlantic Book Fair in 2014, and received an Honorable Mention at the 15th Carl Hertzog Award for Excellence in Book Design.

In 2018, her book Deep Time won the Joshua Heller Memorial Award at the Pyramid Atlantic Book Fair.  
Her artists books are held in over 40 public and private collections internationally, including the Library of Congress and Yale University.

Currently, Radha is working on an artist book inspired by Mughal miniature paintings of botanicals from the 17th century, for which all the paper will be hand made in the traditional Indo-Islamic style.

Radha will be leading an exciting arts tour in India of "behind the scenes of various working artists and craftspeople" from Dec. 19, 2020 - Jan. 2nd, 2021.   Please visit her blog at  Rice - Paper - Tree  for more information and to get on her mailing list.

View her art at https://www.radhapandey.com.




Catherine Nash is an artist who freely mixes media in her work to express her ideas.  Specializing in Japanese and Western hand papermaking, encaustic painting and mixed media drawing, Nash is a teaching artist who balances her studio work with artist-in-resident teaching, lectures and workshops across the United States, as well as in professional studios and universities in eight European countries, Canada, Australia and Japan.  She has published 4 educational DVDs on the art of papermaking and has just self published a book that surveys international artists entitled “Authentic Visual Voices” that includes her interviews with 28 international artists about their creative ideas.   Her work has been included by invitation into numerous national and international exhibitions, most recently in Brazil, Chile, Tasmania, England, and France.  Her love of travel and different cultures has inspired her to live, exhibit, research and teach on four continents.

After receiving a B.F.A. in Printmaking and Drawing from the University of New Hampshire in 1980, Nash spent a year and a half creating prints and drawings in Paris.  In 1987, she graduated from the University of Arizona with a Masters of Fine Arts in Mixed Media. Two independently designed research trips to Japan enabled Nash to study the techniques of Japanese woodblock printing and papermaking in depth. From 1996-2002, her extensive research in Italy and Scandinavia increased her knowledge of historical and contemporary Western papermaking and paper arts.  Nash has combined encaustic waxes and filtered earth pigments with her handmade paper works since 1994.
The landscape, aesthetics and cultures of Japan, the rich gradations and spaciousness of Scandinavian summer night skies, experiences with Native American friends and her explorations into the wilderness of the southwestern deserts have deeply influenced and informed her work.