ORIGINAL ASIAN INK PAINTINGS WITH TOUCHES OF GOLD LEAF

of Downeast Maine's Seas, Rocks and Flowers

To view a larger image of the framed pieces click on the image. For larger images of unframed work email me!

I have found a new ink! It has a beautiful bluish cast. The gradations it can create on paper are subtle and pure. Over the next several days I will post the new black and white wrk completed with this ink.

FALL LEAVES STICKS
$40

COLOR CLIMBERS
$25

SWEET PEA CURL
9 x 13 $20

TREE IN THE MIDDLE
$40

WINDED
$40

SEA WATCH
sold

IRIS STAND
$70 Unframed

BIRDS AT NIGHT
$380 Framed

GLORY TRUMPETS
$110 (backed unframed)

HENRY'S COVE ADAPTED
$50 (backed unframed)

CANYON
$50 (backed unframed)

BOTTLED GLORY
$70 (backed unframed)

MY GARDEN ON PAPER!
$70 (backed unframed)

SINGLE PEONY
$20 (backed unframed)

POPPY DANCING
$250 framed ($190 unframed)

MAINE SHORE ASIAN STYLE
$350 framed

BIRD SINGS TO THE WINTER MOON
Sumi, Suen Paper, Vegetable Colors, Ground Sea Shells, Cream- Cream is used as a resist. The blue or Indigo, was painted on the BACK of the painting. This paper is so translucent, paint on both sides can become part of the picture.

These paintings are done on a fiber paper from China called suen.

SING! BIRDIE SING!
18 x 24 Framed $110

The ink , SUMI is made from pine pitch and a

binder called nikawa. It comes as a hard stick which is reconstituted by grinding it on slate with water.

TULIPS AND DAFFS DANCE
24 x 18 $45 Unframed

PEONY CAN BRAG 18 x 24 sold

The translucent colors are vegetable, the opaque ones mineral. In classical Asian art the minerals are ground to varying consistences from a pure powder called suido to large granuals.There are 16 different grinds.

BOWING 18 x 24 sold

COFFEE, CREAM AND WAVES 13 x 54 Framed - sold

Opaque whites are ground sea shells; originally pearls were used.

FLOWER COMPLEMENTS 18 x 24 $55 Unframed

GRAPES AND ORANGES sold

BIRD SINGING TO FALL BERRIES
Sumi, Suen Paper, Vegetable Colors 17 x 44

The paper is tissue thin and very absorbant. Unlike western watercolor paper on which water rests and moves the pigment on the surface, suen paper absorbs the pigment into its fibers. This means each movement of the brush is recorded as well as color and moisture content of the brush at the time of painting. The brush can be loaded with many different colors and/or values of ink.

CHERRY BRANCH REACHES THE BUGS 13 x 54
sold

For example the base of the brush can have the lightest wettest value, a quarter of the way down towards the tip will be darker and a touch drier and so on to the tip which is loaded with dry very black ink. The brush is applied to the paper in an oblique angle so touching the paper is the tip to the base.

HUMMINGBIRD IN THE MAINE GARDEN

Sumi, Vegetable and Mineral Colors on Raw Suen Paper 13 x 58

DINNER!
Sumi on Suen Paper 14 x 53
sold

Note in the picture, DINNER! how far apart the parts of the composition are placed. Asian artists will often try stretching the composition enlarging the negative spaces seeing how distant the pieces can be while still reading as one picture.

Because the paper is so fragile, it wrinkles ( and rips) when wetted. Therefore it must be wet laminated to backing paper.

Cooking the glue.

It is during this process that I often loose a piece.
The larger the piece of paper, the more difficult and time consuming the mounting process becomes. A small piece can be done quite quickly. (Consequently, a small Asian piece can cost $15-$20 while the larger ones run $200-$300 unframed.)

The first step in laminating is to cook the glue.

Cooked glue become translucent.

I use a wheat paste purchased in Chinatown. Once it has cooled it has to be forced through a sieve.

Putting the glue through the sieve.

Then water is added gradually until it is the consistency of skim milk. The painting is laid on its belly and the glue is brushed on to the back. This is the hard part since the paper (not unlike tissue paper or paper towels) tends to fold.

Stretching the painting

If touched at this stage, it will deteriorate.

A wet painting...

The backing paper is then wetted and put on the painting. I use a shoe brush to pound the back until the two papers' fibers mesh.

Next the edges of the backing paper are glued and the piece is put onto a board to dry for 2-3 days.

Drying

After it has dried, it is cut off the board.