Repeated acrylic and sumi ink washes crinkle and warp thin paper.
Floated in black shadow-box frames. HxW Framed dimensions followed by art dimensions.
2017 Winter retreats brought collages cut from a large painted mock-up study used for a commissioned weaving (Reyna). I welcomed the repetition of cutting out long strings of figures then incorporated the resulting shapes between them layered over larger painted pieces. Wence has woven two so far. Collages are mounted on wrapped board, bumped out and suspended in shadow box frames.
Taoist magical star dance patterns I painted on old paper money led to blind drawing star patterns. A lovely mesa at Bandelier National Monument gently carved out by the river at it’s base became another series of paintings on paper shaped by cutting.
2016 Codice Book Pages came out of my father’s gift of an antique German religious book from our family. The column structure led to figures interacting and sometimes blending into one. I worked on batches of pages on our 2016 winter retreat in the Southwest, then did larger painted studies back in Wisconsin, culminating in weavings seen in our solo exhibition at The Museum of Wisconsin Art, the Legacy Project and weaving archives. I love the fact it is nearly impossible to read, but references the Biblical….more to my taste, the spiritual quest.
I savor discovered affinity with ancient symbols. On our recent retreat we stumbled on the Mesa Prieta Petroglyph Project. Upwards of 100,000 glyphs are being meticulously mapped before the future opening of the site as a national monument. While touring the site with the founder, Katherine Wells, I was overwhelmed, standing in sacred space surrounded by marks made with deep purpose. I was grateful to discover a symbol I have been working with for decades revealed as a single pole ladder. (See Abrir in the Legacy Project.)
All work © Sandra Martinez, Martinez Studio