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This is the fun part,
to figure the color out,
because I have no idea
what color I want to use.
Sometimes I deliberately
go for a color
I think will be horrible.
and it's easy for me
to go right away for attractive,
and it's more challenging
for me to play with something
I know might look awful,
you know, it's-- so we'll see!
starts with words--
the words from newspapers,
books, just whatever resonates.
this is about Augsburg
become a seminarian,
or become a minister.
and try not to predetermine
where that is going to go.
I sort of really like
the process of gluing.
it keeps me from being precious.
constructed in a way
many, many layers.
I also take the layers away.
a lot of the layers.
So like archeology, I build it
up and then I tear it apart,
and I take things away.
This will have three layers.
I'll probably put
copper leaf on.
Once the copper is on
all the different levels,
and then I glaze over the leaf.
The glaze seeps in to all the
indentations and... beautiful!
soft scraping
and having the flexibility
of having my canvases
on the wall
or putting them on the floor
and moving them and interacting
with them is a way for me
show up in the work,
so I'm not just so in my head.
And I touch the surface
of my paintings a lot
and I encourage people, as soon
as they come into my studios
there's information
from what touch tells us.
the eyes can see something,
but when the hand touches it,
the hand can
be in a sharper focus--
you get it more clearly.
leads your eye again
into these tiny little details
when you rub the surface.
This story is
about a 13-year-old girl
who's name was Aisha
and this is her picture,
and she was *** by three men
and *** to death.
And it's on so many levels
it's a disturbing story.
So this piece is in honor of her
and how helpless she was.
is an image of her,
and actually underneath this is
the words from the newspaper
that tell her story.
And the ravens to me are,
in mythology they're a mediator
and the god or gods.
they're telling her story
to whatever higher power it is.
Isn't that beautiful?
Look at that. Yum, yum, yum!
on a surface that has dimension.
When I come back and sand it,
all the places
that are the highest
are going to get worn away.
know where I'm going.
Isn't it beautiful?
Until that right time that I can
see where the painting is going.
The reason I'm drawn to history
is just thinking about
stories we've never heard.
They maybe worked the land,
a big fancy life
so nobody really
talked about their story.
I think I know when I'm done,
the whole piece connects,
when every part of it
seems to work together,
start out knowing that.
So a lot of times I'm surprised.
Gwen laughs