Tuesday, 31 May 2011

Illuminate your inner artist this summer in the Gulf Islands of British Columbia



Looking to get away to a beautiful place this summer? Join Deb Chaney this summer on 5 day journey whereby all the secrets of the illuminated artist are revealed in support of your creativity. As a metaphor for the creative process, Deb will create a large abstract mixed media painting specifically to illustrate ways in which we can overcome creative blocks such as overwhelm, procrastination, and fear; as well as learn how to support and nurture our inner artist to thrive. This retreat is open to artists of all genres.

Illuminate the Artist Within (TM) Retreat will be held June 27th through July 1st, 2011 in the beautiful Gulf Islands of British Columbia.
A community art studio and table space for each participant will be available 24 hrs/day -
meals packages available
- quiet time for yourself - hot tub - hiking - laughter - joy - rest- - yoga - supportive creative community. Only eight (8) spots available. Register (604) 736-5111 register@debchaney.com More details at: http://www.debchaney.com
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Tuesday, 24 May 2011

Isolation Coats and Varnishing on Mixed Media Paintings

This blog post is primarily for students of the past Concept to Completion workshop, and for

those who recently attended the May 14th, OPUS Granville Island demonstration in Mixed Media on Panel and for all those past students of my Energizing and Experimental Abstract Painting Workshop with Acrylics and Mixed Media. And, lastly, for any artist who is interested in varnishing their paintings that contain mixed media.


To start, when I write here "mixed media" I am referring to a mix acrylics paints in all their forms (liquid, heavy body, ink and spray acrylics) as well as mediums that are polymer based including but not limited to molding pastes, absorbent ground, gesso, GAC products, polymer mediums, clear tar gels and so on. And also including but not limited to pencil crayons, inks, spray paint, pastels, water soluble pencils, and collage.


Lately I've been using quite a bit of chalk pastel to finish off my abstract paintings. In particular

I love the Senelier chalk pastels and after my demonstration at OPUS Granville Island last Saturday I purchased a whole bunch of Panpastel(TM) which I've never used before but am super excited to try on my on the dry textured areas of my mixed media paintings using my flat Robert Simmons 'Decorator' brushes. Whoohoo I'm excited!



This blog pertains to a question has come up in all these above mentioned products during demonstrations and workshops and that is, how do you final varnish a painting with a lot of mixed media, such as pastel, on it? The challenge is that usually you would lay down an *isolation coat (defined below) on top of your painting prior to putting a final coat of either polymer varnish or MSA (Mineral Spirit Acrylic) varnish. However, once you've added pastel if you like where it's located on your piece and you don't want it to smudge, you'd be leery to apply an isolation coat. So what do you do? I sent an Email to the technical team at GOLDEN paints and here's what they said.


Please note prior to reading this understand that trying the advice below which solves our/my

challenge of finishing off a mixed media painting was advice tailored to my needs and that each piece and each artist will present other needs and potential problems and for anyone interested in pursuing this approach should contact Golden Technical Support and always TEST before applying anything to a final, valuable piece as these steps are irreversible.


If you are first spray applying an Isolation Coat, of the GAC 500 and Transparent Airbrush Extender, then applying the Polymer Varnish should not be an issue since the dry media has been consolidated. The logic for this recommendation is in essence we are happy to offer Polymer varnish as a removable water-based varnish, however it is slightly more prone to color shift or slight ambering in time; so we are only comfortable recommending it for applications where full removal and re-application are a possibility.

For direct application to dry media such as pastel the MSA would a be a better option. Also, you are correct in the assumption that Polymer Varnish does not come in an aerosol can.


Isolation Coats are very useful for a standard acrylic painting as they allow greater options for future conservation. However once an art piece moves into mixed media or other unique process many considerations need to be weighed. These may include the look of a surface, or sensitivity of materials to various solvents.

Regarding the pieces you described water sensitivity and fragility of the media are the main concerns. Brush applying any coating over powder pastel, or charcoal has a risk of smearing or blurring the media. Thus, we typically suggest only spray applications directly to these surfaces. Take into consideration that applying any coating to a dry media will deepen and darken colors, a good analogy for this is how a river stone looks dark and glossy when we and grey and frosty when dry.


One option is to not apply an Isolation Coat and simply spray apply MSA Varnish (Gloss) in thin layers until the powdered media is fully sealed with an even gloss finish. Then the final sheen could be adjusted as needed with a reduced sheen varnish. This process would begin to mimic our recommendation for varnishing a watercolor which can be found here at http://www.goldenpaints.com/technicaldata/varnwatercolor.php


Another possibility is to use an Airbrush to spray apply GAC 500 mixed with Airbrush Transparent Extender at a ratio of 2:1. This mixture is our standard recommendation for a sprayable Isolation Coat, however since this is a water borne care must be taken in application to avoid runs and blurring the underlying media. Once the pastel is sealed then MSA or Polymer varnish could be applied as desired.

Finally there is an option of sealing the pastel with a few spray applications of MSA Varnish (Gloss,) allowing the piece to cure until the solvent odor had completely dissipated , then applying an Isolation Coat, and finally applying a final coating of MSA Varnish. The logic here is that having a full layer of an Isolation coat will hopefully protect the underlying media if a conservator ever needed to remove the top varnish. But it is a complex composite of coatings and you would want to leave documentation with the piece about the process you settled on.


As always please make some test panels before experimenting on a finished work. Once last point of information is that the processes mentioned above do no relate to the use of Oil Pastel which being a non curing media has its own set of concerns, and limitation for varnishing.


* isolation coat - An isolation coat is a clear, non-removable coating that serves to physically separate the paint surface from the removable varnish. The isolation coat serves two purposes: 1. To protect the painting if/or when the varnish is removed by separating the pigmented area of the painting from the solvents used in removal. 2. To seal any absorbent areas in order to create an even surface on which to apply the varnish.

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Tuesday, 17 May 2011

Artist Profile: Lindsay Clark


Artist profile Lindsay Clark, Vancouver Artist


I'd like to introduce you to Vancouver Artist Lindsay Clark. Lindsay took my Energizing and Experimental Abstract Painting in Mixed Media and Acrylics Workshop last August 2010 at OPUS Framing and Art Supply store in North Vancouver. Since then, her art has taken off and she's been painting up a storm of some beautiful works we want to share with you here on this blog.


To start Lindsay, can you share with us your experience at the workshop and tell us if had you painted before? How did

this experience supported your growth as an artist?


The workshop opened me up to the idea that I am painting not to produce a product, but to enjoy the creative, spirit-led process. This really shifted painting into a new place for me where I felt so much more free and a whole lot less pressure than I felt in previous art classes focused on technique. Deb introduced us to the ability of listening to what is inside, and how it wants to express itself on the canvas! It has given me a creative license to do whatever I want! How come nobody ever told me I could do that? Thank you Deb!



Since the workshop, please tell us what you've been working on?



I’ve been doing a flower series with abstract backgrounds. (See picture of blue and gold paintings with couch) Creating the playful, flowing backgrounds with layers and layers of colour is almost like a meditation to me. I like working with series because there is something about seeing a group together that feels more whole. I am enjoying working with flowers that are more detailed over the top of the abstract backgrounds, because it is a style that is truly unique to me. (See picture of the blue iris on the brown background). Flowers to me symbolize growth, expansion, and the beauty of the natural world around us, and they really resonate with me- so I’m happy to have rediscovered my artistic license to create what is in my heart.



I understand you work full time as an urban planner and as we all, you do have a very busy life...How do you make time for painting when it's never urgent nor a priority to take time for our creativity? Do you ever get stuck or blocked with your art and if so what do you do to get unstuck and inspired again?


Painting to me is my therapy! I don’t find much inspiration in my work day to day right now, and I find that coming home to my creative space in the evening or on weekends helps me work through things in a constructive, non-rational mind way. It somehow opens up that flow and can help me move past barriers, or simply slip in to a better headspace for a bit. I try not to force myself to achieve anything with my work, because if it becomes another deadline then it turns into another stress and then I get blocked with it. I've also done a couple vision boards where I piece together images to help me bring in what I want to experience in my life- its a fun way to create art around the house and keep reminding you of your hopes and dreams.

So art is a peaceful retreat for me. Sometimes I sit down with this intellectual idea of what is going to come out, and something entirely different flows out- see the swirls painting with blue and orange- where my body just tells me the message that needs to come through for myself. Its kind of a dance, you just have to move where your body takes you.


I remember back in July when we first met at the workshop you mentioned you were a Reconnective Healer. I had never heard of this healing modality before. Could you tell us more about this?


I explain Reconnective healing as a massage for the soul, that can facilitate physical and emotional healings. Sometimes we look a physical pain as an annoyance, but I am learning to see it more as an indicator of something that your body wants you to look at and bring attention to. Reconnective healing helps us to get to the root of issues- whether they are emotional or otherwise- and start to shift that so we can feel at peace and calm. It has helped me immensely to feel better in my body and enjoy the dance of life.



I am, as you know, a big believer in self care - especially for artists! What do you do to nourish your self and soul?


Nourishment is totally my word right now. On the rough days I resort to chocolate, but the nourishment that really counts is the stuff that lights up my heart and helps me feel truly alive. I find that in the wild beauty of nature, in meditation, in joyful music, at dinner with my close friends... the list goes on and on. But what it really comes down to for me is being authentic about who I am and what my heart is calling me to do. When I follow that, I am the most alive and nourished.


What in your opinion the best thing about being and artist?



Being an artist is being free. It is tapping into the creative drive within you and flowing with that- which ultimately is such a gift. How many of us walk through life not feeling alive? It becomes this mechanized movement, and when we are out of touch with our hearts, we are missing the juicyness of life! I feel like freedom is found in emotion, in living out what we experience- both the heartbreaking sadness and the joy.




What 's the most challenging thing, for you, about being an artist?


Cultivating a healthy relationship to abundance. Not everyone is paid particularly well for being an artist- only as our society learns to evolve and respect the callings of the heart, will we be able to truly support the arts and whole humans. But I think people are waking up to that- I can’t even count how many people I know who are realizing that what the thought they were “supposed” to do just isn’t cutting it anymore. There is a real need for meaning and experiencing something more potent and alive. And that is where art steps in and leads the way.




If someone reading this blog would like to see more of your work, visit an upcoming art show, or get a hold of you, how would they do so?


I can be contacted through my website: http://www.wix.com/lindsaychloeclark/reconnective-healing



Thank you Lindsay!


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Tuesday, 10 May 2011

Welcome to You Tube

After much fear and trepidation and with much help from my friends I have finally joined the ranks and started my own youtube channel. Ta da: http://www.youtube.com/user/DebChaneyArtist

Bo Burnham's song "welcome to youtube" is the inspiration for the blog title. Be ware, this guy is crude, so if you are easily offended, don't play the link.

Here are my posts thus far...

I look forward to continue to grow the video library and have some fun technical how to's on abstract painting with mixed media and acrylics based on my workshops in the near future.

  1. 2008 Peter Moraites visited my studio in Santa Barbara, CA and took a bunch of photos...here's a little slideshow to music of the photo shoot while I was working on a painting. http://youtu.be/N07B13p-Zu4
  2. Artists in Our Midst Roundhouse Exhibit April 2011 Opening Night.
  3. Part i, ii and iii of a radio interview this April 2011 with Kara Ko from Vancouver's Co-op Radio show "It takes a village".
  4. A slideshow of my Pure Abstraction and Emerging Artworks to music.
  5. Live video of a Thursday night Painting Party at Beaumont Studios.

If you want to subscribe to Deb Chaney Artist You Tube Channel, go here: http://www.youtube.com/user/DebChaneyArtist and hit "subscribe". Enjoy. Deb

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Tuesday, 3 May 2011

Spring/Summer 2011 Workshop Schedule is up!

After the Beaumont Studios Little Gems Show (comes down today), Volution Salon show ( up until July), The AIOM Roundhouse Exhibit (was up last Thursday & Friday), and my Open Studio here in Vancouver this last weekend with artist Lisa Penz I have been getting a lot of interest and number of inquiries about workshops. Thank you!

Here's the most up to date schedule for spring/summer 2011 workshops:

Energizing and Experimental (INTRO)

2 Day Workshop in Acrylics &Mixed Media.

Fundamentals in abstract design, colour, layering- emphasis on creative process.

September 24 & 25. Vancouver (West Side). $350.

Registration: info@debchaney.com (604) 736-5111



Thick, Layered & Encaustic-like Abstract Paintings.

(ADVANCED) 2 Day Workshop.

How to build thick layers with Acrylics Mediums.

May 28 & 29 in Vancouver (West Side),

October 29 & 30 North Vancouver $ 495.

Registration: info@debchaney.com (604) 736-5111


illuminate the Artist Within (™) 5 Day Retreat.

(ALL ARTISTS WELCOME).

Learn the Secrets of the Illuminated Artist in support of your creativity.

June 27 - July 1.

Gulf Islands. $500.

Registration: info@debchaney.com (604) 736-5111


The website will be updated shortly to reflect the changes. Thank you for all those registered currently, past students and current inquiries.

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