|Elizabeth Busey, In Anticipation of Sweetness. Reduction Linocut,
18 x 18in circle, Edition of 16.
I have been up against a self-imposed deadline. During February, I am the featured artist at the Bloomington Bagel Company. Besides the fabulous bagels, the venue has a large white, well-lit wall, and my people (folks who like or buy my art) eat there. So I wanted to get several leaf prints finished.
|Everyseed bagels are my sustenance of choice.
But be safe — don’t eat in your studio.
|Elizabeth Busey, Yielding Gracefully. Reduction Linocut, 17 x 25″|
During my exploration of the sassafras leaf, I was operating under the assumption that the colors I see in the fall were always in the leaf, but became more apparent in autumn. For the yellows and oranges we see, this is basically true. But not for the red. The red that I found so challenging and unfamiliar is in fact produced by the leaves as a sort of battle against the inevitable arrival of winter.
I don’t know how Thomas Edison did it. Popular lore claims that he discovered 1000 ways to not create a light bulb before he achieved illumination. I’ve been experimenting with encaustic printmaking this fall, and while I have learned a great deal…let’s just say that I have not achieved my light bulb.
I received some nice news this week that one of my favorite prints, Breath Intertwined (a close-up view of two red bud leaves) was accepted as part of the 2015 Delta National Small Prints Exhibition. This print went to Boston last fall, and is currently at the 57th Mid-States Art Exhibition in Evansville, IN. I thoroughly enjoyed creating this print, and this encouraged me to do another up-close leaf print.
|Selfie with me and two layers of ink|