Repeated acrylic and sumi ink washes crinkle and warp thin paper.
Floated in black shadow-box frames. HxW Framed dimensions.
No longer afraid of unintentional references to known ancient symbols, I now savor discovered affinity. 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 stunned to discover a symbol I have been working with for decades revealed as a single pole ladder. (See Abrir in the Legacy Project.)
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 the new weavings seen in the Legacy Project and Wence’s in Available Weaving. I love the fact it is nearly impossible to read, but references the Biblical….more to my taste, the spiritual quest.
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 with others on the long list of things to do. Collages are mounted on wrapped board, bumped out and suspended in shadow box frames. Sizes are framed dimensions.
In May, a series of Taoist magical star dance patterns painted on old paper money will be ready to debut along with five new larger paintings influenced by a lovely mesa at Bandelier gently carved out by the river at it’s base.
All work © Sandra Martinez, Martinez Studio