You ain’t seen nothing ‘til you’ve seen murrine

A glass dish using the murrine technique.

Glass Artwork has been around for centuries. But murrine is a 4000-year-old glass technique that dates back to the ancient Middle East. 

According to Visual News: “Using long rods of glass cane, intricate patterns can be built into a loaf like form, only revealing the hidden details when a slice is cut off. While you’ve probably seen the technique used in patterned glass work at your local art gallery, you’ve never seen the astounding level of detail achieved in these reinterpreted paintings from Loren Stump."

I was so impressed with his work; I decided to feature him in my blog. Amazing was my first reaction. When I finally saw the incredible detail in each piece, I could only say “Wow!” Stump’s work truly has that wow factor.

Read more on the Visual News site:  http://www.visualnews.com/2014/06/10/slice-incredible-glass-artworks/#QozWlcJfC8DtTPWe.99

As a native of Sacramento, California, Loren Stump’s career began over 41 years ago as a stained glass artist. In 1993 Loren discovered his natural talents with glass in molten form. Self-taught, he quickly mastered advanced shaded murrine, intricate sculpture, and paperweight encasement. One innovative technique Loren is known for is the manipulation of a two dimensional murrine sliced into a three dimensional form.

Mr. Stump is also showcased for his large scale lamp work, sculptures made of soft glass, and masks. Loren’s progressive methods and expertise, along with the use of his own inventive tools, keep him in demand as a remarkable glass artist and instructor. Traveling throughout the United States and abroad, Loren is known for sharing his wisdom openly as an entertaining, patient, and tireless instructor and demonstrator.

Loren’s incredible artwork has been displayed or is currently on display at the Corning Museum of Glass, The Ertz Israel Museum, and the Kyokei Fujita Glass Museum.

Link to view Loren Stump’s incredible glass artwork:

Loren Stump

Another master glass blower Davide Salvadore can be seen at work here:

The Corning Glass Museum has a series of videos not only on murrine, but on glass blowing in general that are both interesting and educational. Here is their link:

http://www.youtube.com/watch?

v=iG1LnlccCmM&list=PL05E3768228E2B5C4&feature=share&index=36

How you work tells a lot about your personality

"Window on Pine Island" 16x20 on wrapped canvas

I took a portrait painting class in oils. The technique was classic. Using a live model, we first coated the canvas with a film of oil and burnt umber. Then we proceeded to wipe out form and light.

Before I knew it, I had “wiped out” a head, a body, arms, and the light areas on the model’s skirt. It was a marvelous experience except for one thing. The teacher used her own method for getting inspired and to ramp up her energy.

"Wipe Out" of model

I don’t know about the other students, but I found it difficult to focus on this new and difficult experience. The teacher’s loud, blaring music distracted me and made it hard to concentrate. What I learned that day is that one person’s method of working is another one’s madness.

On day two, another problem occurred. We came back to finish our portraits, but other people had used the same classroom, and our easel’s had been moved. Only one student had thoughtfully marked the place and the angle of her easel with blue painter’s tape. The rest of us fought to find and duplicate our same vantage point.

Model on first day                                      Model on second day

  

The live model was also in a new position and the lighting had changed. As a result, we had to start over wiping out afresh and delaying the process of our work. The only thing that hadn’t changed when we came back was the music. My irritation turned into anger as the music ragged on my already raw nerves. The only thing I had to show for the class was an unfinished painting that never got finished, and a complete distaste for trying the wipe out method again.

We all have our own unique ways of working. Some artists enjoy listening to classical music while they work; others like jazz or soft rock. I turn on talk radio which turns into “white noise” as I lose myself in the painting. For me, classical music which I love is to absorbing and interesting and forces me to listen to it instead of painting.

"Winston" 12x16 oil on canvas

One artist likes to paint in the nude. She finds it freeing, leaving her unencumbered; there are no spotted paint clothes; no need to sweat or have a sleeve mess up a fresh brushstroke. Creative work is tedious and personal. The more you recognize what “turns you on” or what unleashes your wild muse the better.

Choosing the right approach or piece of music that fits the painting adds to its authenticity. Does the painting require a soft touch and a delicate balance? Background music that influences these emotions and feelings could make a difference in the outcome. Does the painting demand looseness and bold energetic brushwork? Listening to a Russian composer may give you the push you need.

Find out what works for you, and once you’ve found it, stick to it; whether it’s listening to the blues, the news, or working in unadorned silence.

"Raccoons at Sunrise" 16x20 acrylic

A Workshop by any Other Name

Inspiration and fun highlighted a demonstration by the renowned artist Art B. Cunanan, a water colorist from the Philippines who lives in Ontario Canada. Once longing to be a comedian, Art’s wife, Lu, suggested he stick to painting. A professional oil and acrylic painter at the time, Art moved into watercolor for the freedom it provided for spontaneity. His secret? “You must plan ahead!” He paints for the “light,” which requires leaving areas of the canvas unpainted where you want and need the most light.

“Loose” is his watchword and Art slathered watercolor paints on a dry canvas with vigor and imagination. Using plenty of water and a mop brush or “rigger,” Art places color first in sky areas, using his favorite cobalt blue wash, but only in certain areas. He leaves some white spaces for clouds or light.

Working his way down the canvas, Art splashed in some yellow near the “eye line” Art prefers to paint plein air and from his imagination. For our demo he worked from a photograph so we could see how he applied his interpretation of what he saw to the canvas. Using only a few light pencil marks to define negative space and light, he worked loosely around those parameters.

The rigger brush provided a point when he needed detail, but mostly he washed many different colors over areas of the canvas, leaving them unblended; a splash of alizarin here, a touch of yellow ochre there. He never uses green, but prefers to add cerulean blue to areas of yellow mixing them on canvas to make green. He stressed that too much time on a canvas produces overworking and “tightness.”

Masterful at what he does, he wrapped up a beautiful finished painting in about 40 minutes as we sat with our mouths hanging open. For a beach painting, he also spattered some droplets of color to add texture to the sand and some finer shadows. He stressed that colors should appear in different areas all over the canvas to provide continuity.

Cunanan added people to scenes with simple shapes and the stroke of a brush tip. Two legs were single strokes of a different color (no feet or detail). A head was a simple dab of paint. What brings the people out and makes them viable along wiith other details? Art uses a touch of white gouache on the shoulders and head. His people look realistic and add to the energy and interest of the painting.

I will be taking a full day workshop from Art next week while he is here in Fort Myers. In the Spring he has workshops in Spain and Italy. In the summer, Cunanan teaches workshops in France. Of course, he teaches in his beloved Ontario where he is more familiar with painting snow scenes than beach scenes and pine trees more than palm trees.

Please go to Art’s web site and enjoy his wonderful energetic portfolio
@ http://www.artcunanan.com/