ee wai earth water

ee wai earth water

Digital Photography and Ink/Paint on Glass in Response to Light and Water InkonGlas Toolless Ink Images on Ceramic Panes Carolӯnne Whitefeather ©

PREFACE AS ENVOY The designs of ee wai earth water and InkonGlass intermix as bodies of work with sequential and periodic singles for continuing collections.

For each of us, immersion into Nature with curiosity and visualization of natural properties that activates, engages, and challenges our senses. As a child I was privileged to live with, near and in water that rose as crystal clear and cold from great aquifers. Immersion, and observation from above, developed a memory of textures, colours, patterns and discussions about what the earth is, what about its water, and how we and the earth are in an inseparable circulating relationship with earth water. The natural patterns of Moving Light on and in Water are fond memories that invite images in serigraphic design, exploring clear waters as I travel, and challenges for image capture with fast action mirrorless cameras. Our vision's visible patterns and textures appear in fresh and salted waters, and we only need to understand time, angle, place, and opportunity. The memories fostered seeing into water, especially at edges, in places I visit. Water is a living part of the earth, and shapes living environments from below the surface, the surfaces, and in heights reaching to the tops of mountains. Water flowing at its source brings patterns of light and flow unique to their locations.

I wanted to return to Water as Subject, Medium, and Story for a while. Water is a living entity of Earth, not object. The exploration of serigraphic inks made from water, and water-based fluid acrylic paints and mediums made a residual of inks to become their own medium with a new path for flows. From tactile properties of paper came the curiosity for surface tension interactions on ceramic plates. As with the Rheology in nature, the flow of materials leaves us with patterns, and for ceramics various patterns whether on ceramic glass or various acrylics. The memories, digital photography images, the patterns and use of water in serigraphy, and very early painting practices led me into another exploration for inks as paints on ceramic surfaces without the use of hand-held tools. What began as another curiosity became new art with connections to nature, culture and studio.

The images with their own art language in both collections challenge us to consider ‘style’ in art—when is Art realistic, representational, and objective or non-objective abstraction. Is there an existing art style label as was established for its definition correct as we use the established label for what we See? What do we see, and what do we perceive we see?

Those are the challenges to realize and consider. This idea, this concept, moves beyond the recognizable individual style in my Printmaking.

Carolӯnne

EARTH WATER RISING FROM BELOW, AND AT EDGES

Wakulla Springs rises from a vast aquifer to become Wakulla River, in North Florida. It is one of the largest volumes of water to rise and become a river.

With a constant 70-degree temperature, its measured 200-300 million gallons of water a day rise from the karst cave system. That is over 200,000 gallons per minute. The water becomes a river lacing the dense forest before joining another and flowing into the salted gulf waters.

Seeing very brief moments of flickering colours while looking up while swimming gave rise to my curiosity many years later tif he fast action mirrorless cameras might catch Light as Patterns while standing on the edges. If I could see something from below looking up, could we see it looking down into the water with tools able to capture Light.. Certain days of the winter proved th is could be possible while looking into the water at certain times of theday and at certain angles. The very brief moments of Light as Waves and Particle reflecting and refracting can be suspended in the digital tools to be seen long after the Light moves on and we cannot see it with our vision. These are views of seeing into fleeting moments in unedited digital photograph.

Wakulla Springs Florida

Light Reflection on the surface and the skin of the manatee and Light Refraction in the water

Rising Up and Over Each morning water rises and flows upward after it arrives on shore, sluicing up and over plants and geology, reaching the highest edges of a mountain before traveling horizontally into shapes fitting the land. Mountains also give spaces for water to rise from within and flow downward to below. Mountains are sources of and facilitators of Water.

Once in the crater of Haleakala, the arriving morning water joins in the rising waters at its heights rushing into gaps and gulches as rivers and waterfalls, nourishing land before blending with the salted waters.

Haleakala at 10,000 feet

WATER DESCENDING FROM HEIGHTS At its 2250 feet peak, Kūkaʻemoku, or Iao Needle, is topped with a native cloud forest and is home to a spring of water that begins near the peak and joins with the rains to become a river in its central Maui valley. The liquid earth joins rain in the forest to tumble in rhythmic notes in pools and on boulders on its path to the salted waters. Colour photography in near the top in the forest’s dense areas appears to be black and white, yet moments of seeping Light reflect and refract in colourful patterns.

12,000 feet elevation Colorado Rocky Mountains

Rain in the Appalachian Mountains Southern Virginia

Water descending on the south faces of The Adirondacks

WATER AT THE EDGES calm and shallow, swift and swirling, Time and Light as Visible Patterns

12 Noon, Paia, north shore of Maui, facing true north the time when a.m. meets p.m., the time when water and wind and light meet and exchange positions the time sharks read the flash of light on underside scales above them the time fish rush to find haven in the reefs

12 noon, a December 23, Wakulla Springs, Florida, facing west, look straight down, waiting for the time Light and Pattern move

WATER TRAVELING IN SKY / WATER AS ELEMENT OF SKY water travels in and as part of ‘Sky’ reflecting and refracting Light

The American Southwest and Southern Plains

Keanae Maui, Waiting for Sunset and Full Moon in June Water is heavy, moving, and light interactive as a moment-by-moment timepiece

Finally, Hina appears. Night Sky colours change and soften and are warmer at this latitude than closer to polarities.

InkonGlas

In response to the Patterns of Colour of Light in Water, on Edges InkonGlas began as explorative use of inks left from serigraphic productions and grew into something completely different. From residual inks came other variations of water-based acrylic fluids with synthetic and natural pigments. Without tools in hand, images develop with the connected movement of artisan hands as the properties of water move about and settle.

The 'style’ of InkonGlas is not Abstract, while most interpret them as such.

The images are not taken from something, changed and reused. These are Literal and Realistic. They are the action-based, toolless images from the artist process, and material properties.

5 inches x 5 inches, acrylic plates Upper L to R: Bimini, Cozumel, Great Bay St Thomas Center L to R: Wianapanapa Maui, Kalaupapa Molokai’i, Maliko Maui Lower L to R: Unawatuna Sri Lanka, SW St Louis Mauritius, Makena Maui

Earth Water

36 in x 36 in, safety plate glass

24 in x 24 in, acrylic plates

Kalaupapa, the nursery bay adjoining the children’s cemetery area Time and Light in and on the primary nursery edges is greater than areas not as nurseries Reflection and Refraction camouflage the crystal-clear infant Manini Unedited Digital Capture

InkonGlass

Kalaupapa , Molokaii’i the old woman’s cave, sentinel ledge, observation for what may come salt puka a second cave formed below, a sanctuary for nesting turtles

Kalaupapa, Old Woman’s Cave swift forces to protect the nesting turtles as they enter and leave

Oahu

Kepi Rondonit on the Albania edges of the Ionian Sea ancient constructions meet and bound marine nurseries clear water moves as rivers along the edges

The Ionian Edge

‘INKONGLAS’ MATURES INTO ITS OWN VISUAL LANGUAGE AS POETIC RHEOLOGY The forming of various pigments into inks deforms into flowing fluids where Time, and Action record patterns of Light, Colour and Pigments as patterns suspended to bond as visual literature.

Freeing InkonGlas as folios free from the opacity of walls with custom made acrylic frames engage natural and gallery light as Light inclusive with walk-about dimensional views.

Colours of Culture began long ago as stains, dyes, paints, inks and geologic metals. The Purpureus Beratinus image presents a view into areas learned in the research of The Albania Projects. From the 4th c Illyrian/Byzantine makers of the divine purple stains for the first sanctioned manuscripts created in what is today, Albania. Much of the original information and original works remain in Albania. On the Ionian edges the sea-inclusive crafts persons formulated the unique stain for imperial parchments from selected snail shells, and, and sea grasses and water to be aged in specific clay vein vessels. This work begins a series that will come in the near future for InkonGlas to introduce distinct and specific colours from long ago in formative and early first cultures and connect to new Serigraphy.