My love affair with clouds continues. Clouds encapsulate the emotions of human life that more static entities cannot. They can be majestic or tender, suffocating or fleeting. In the Midwest, we say that clouds are our mountains. But unlike mountains, clouds are ever-changing.
My latest linocut,Emancipation of the Sun, highlights clouds that I saw over Lake Michigan earlier in the summer. My daughter had joined me at the Krasl Art Fair, and after the tiring job of setting up the festival tent and hanging the work, we retreated to the lakeshore. As we walked the waters edge, conversation flowed as the scenery changed, finally culminating in the darkening clouds lifting away, releasing the sun to shine on other shores.
Elizabeth Busey. Emancipation of the Sun. Reduction Linocut on Rives BFK, 25 x 40in (image size) Edition of 12, $600 (Until 12/1/16)
The Great Lakes are so vast that to our human eyes, they are simply freshwater oceans. The sun was setting over Chicago as well, but was still high above the West Coast and beyond. We have no control over the sun. Imagine how grateful early humans must have felt when the sun rose in the morning, and how terrifying it must have been when it left. They had to create stories and rituals — their own sort of faith that the sun would return.
Today we know that the sun returns. Our cell phones tell us exactly when to expect it. We celebrate or curse our society’s penchant for time changes. But the rising and setting is still the most breathtaking part of the day. It is a small acknowledgement that much as we wish to control everything about our lives and the people in them, we cannot. We must let go.
My latest linocut, Cantata for Eventide, was inspired by a blanket of clouds, and benefits from an entirely new color in my palette. My local art supply store, Pygmalion’s, creates a custom oil color each year. All proceeds go to a local charity, and there is a show in the spring for people to show the artwork they created with the color.
My yellow relief ink made by Gamblin is definitely on the greenish side, so I was intrigued to use this buttery, warm yellow. Owner and fellow printmaker John Wilson advised me to squeeze out some oil paint on a paper towel and let it sit for several hours. Sure enough, some of the oil soaked into the towel, leaving me with a substance that looks much like my relief inks. Mixed with some transparent base, it is the base for the setting sun in Cantata for Eventide.
I’m thrilled with the results. I haven’t been able to get quite this warm a yellow before. Now it is all I can do to not go and buy lots of Gamblin oil colors with which to experiment. While the number of colors you can make is infinite, the colors you start with make all the difference.
August is a very hot month in the Midwest, and in past years has been very dry. This year is no exception. My exhibit at the City Hall Atrium in Bloomington, Indiana, is designed to quench the viewer’s thirst. Entitled “Force of Nature…Wellspring of Life,” the show has fourteen of my prints that have something to do with water. Some celebrate the beautiful calming aspects of water, while others consider its carving, sculpting force. Still others show how our agricultural practices are shaped by water’s availability or scarcity. My latest print, Day’s End on the Ontario Shield, highlights the intricate patterns created by the freezing and thawing of glacial waters over the millenium.
Elizabeth Busey, Day’s End on the Ontario Shield, Linoleum Reduction Print, 2011.