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I recently expanded my repertoire into resins and the choice is clear, ArtResin.Art Resin bottles

I am hooked…luckily we have it readily available here in Hawaii through Fiberglass Hawaii. Many years ago I worked with fiberglass and casting resins with the catalyst drops, mostly for craft or repair work and never considered using it for my art. My work with encaustics (a mixture of beeswax, dammar and pigments) allowed me to get a flow-y and layered look… and now I am able to achieve something similar and further my potential by not having to be so cautious about damaging previous layers and having an end product that is more durable. ArtResin allows me to use a variety of mediums and pigments and incorporate items such as gold leaf and coconut tree fiber, which is different from other resins I’ve used in the past.

I love the fact that it is a relatively clean medium to work with, “ArtResin is certified non-toxic (when used as directed) so it’s not bad for your health like other resins. No VOCs. No fumes. No solvents. No respirator needed. Non-flammable. Non-hazardous. Conforms to ASTM D4236 (Safe for Home Use)”.  It is also beautifully clear, “ArtResin is chemically engineered to offer the most efficient yellowing protection on the market. Its advanced stabilization additives provide superior clarity for long-term non-yellowing performance”. The 1 to 1 ratio is easy to work with and they have very handy coverage calculator on their website – https://www.artresin.com/pages/calculator. The website also contains an abundance of information.

Resin paintings with levelPrepping is key before you measure and mix. You need to start with a level surface. It is still sticky and messy… here is a list of my essentials: lots of newspaper, plastic cups, stirrers, gloves, spreaders, tweezers, small butane torch, lighter, pigments or colorants, box or plastic bin that is larger than the work (necessary to keep out dust and other particles especially when you have a large dog like I do), 80 grit sandpaper to sand each previous layer after hardening for better adhesion when pouring another layer. I use cradled wooden panels that support the weight of multiple layers of resin, but stretched canvas is another option for small works, larger works on canvas will need to be supported, they will sag otherwise. Lots of masking tape to prep the panels and often more in between the different layers.

The actually mixing is easy: equal parts of both the resin and the hardener, stir for at least three minutes, I stir longer for bigger batches.

Blue Summer Fronds - Pati O'Neal

Blue Summer Fronds – Pati O’Neal

Separate out smaller amounts to mix with different pigments and powders. This part has and still is an experimental thing with me as I found that even different colors of the same medium type will change the viscosity and hardening time. (ArtResin does have its own line of pigments to help with the predictability.) The average time for work-ability is 45 minutes, which may seem like a long time, but when working with larger panels, it gets to be a challenge. After you spread/pour/manipulate the resin, use the torch to get rid of the bubbles, always moving quickly over the surface to create that glassy surface. Pick out any debris that might have fallen onto the surface and torch again if necessary. Then cover carefully. In about 12 hours it will be hardened but still a little tacky, in about 24 hours it will be mostly cured with final curing by 72 hours. Aside from the creative aspect and manipulation, working with ArtResin has been a breeze and I’m looking forward to more…

artresin logo

 

 

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Friday, November 22, 2013, from 5:30-8:00, is the Preview Reception for the Matchbox Plus IX Show at Cedar Street Galleries in Honolulu. The artwork, both 2D and 3D, are all originals and are all miniature size from a multitude of artists. For this exhibit, I submitted two of my coconut fiber works, “Eastside Palms Diptych” and “Ali’i Beach Palms”.  Both of these works are painted in acrylic on actual coconut tree fiber which has been prepared and mounted on cradled wooden panels.

Eastside Palms Diptych - Pati O'Neal 2 pieces 5"x7" each

Eastside Palms Diptych – Pati O’Neal
2 pieces 5″x7″ each

Ali'i Beach Palms - Pati O'Neal 6" x 6"

Ali’i Beach Palms – Pati O’Neal
6″ x 6″

The show runs November 22, 2013 to January 5, 2014. It is on the second floor of the gallery. This is always a fantastic show with a concentration of creativity. Here is the invitation with all the info:

MatchboxPlusIX_2013_Front MatchboxPlusIX_2013

This is an encaustic work that I finished a while ago. I was honored to have it accepted into the WAG Juried Show in May. I just got it back from being scanned and now have a beautiful image of the work. Encaustics have been around for 4000 yrs and have lasted unbelievably through the years, but due to the nature of the beeswax used in the process, it can be damaged if exposed to temperature above 150F (i.e. inside a hot car, if your home gets that hot , you probably have bigger problems than the painting.)

Kanaloa and Pele - Pati O'Neal

I created this piece to take advantage of the properties of the medium and to get really into the spirit working with the heat and trying to capture it within the work. The different textures in the painting educes the energy of the Hawaiian goddess of the volcano, Pele, meeting the Hawaiian god of the ocean/underworld, Kanaloa, as molten lava flows into the ocean on the Big Island of Hawai’i. The original is 18″h x 36″w on a cradled panel. Limited edition giclées on heavy archival rag paper and open edition matted mini-prints are available through my website at www.pationeal.com.

Here are a couple of small encaustic pieces that I did for the Matchbox Plus Show at the Cedar Street Galleries.

They will be on exhibit there until December 5, 2010.

They are both 2  6″x6″ panels mounted on a cradled board.

The first is titled “Glacier”

"Glacier"

 

This one is titled “Whitewash”

"Whitewash"