New Work: Concealment Series

Concealment Series. Encaustic & handmade cotton paper laminate. © Haley Nagy.

In my new work the fusion of encaustic and hand papermaking is used to explore the idea of the “hidden”.
Read on for my mini-artist statement…

As an artist, I am very interested in the concealed and disguised elements of our culture. These are the things that are “seen but not heard” or that “go on behind closed doors”. For example, my series about homelessness dealt with the idea of the “invisibility” of an entire population of people.

In my recent work I am exploring the concept of the “invisible” in a more abstract manner by embedding (or “hiding”) encaustic paint shavings inside layers of handmade paper. The hidden elements in these works are then revealed to the viewer in varying degrees. In the work “Conceal”, the paint is only recognizable by the surface evidence of its texture. In the work “Reveal” I heated the paper (a replica of the piece titled “Conceal”) until the paint melted inside, partially absorbed the paper and literally “blossomed” forth from within. In this case, although the paint is somewhat evident from outside, the image cannot be really seen until it is “activated” by shining light through it. This is how the viewer uncovers what what was hidden.

One Interpretation…

Many find religious significance in this interpretation of my work. For example, the idea of the “hidden” in my Concealment Series can be likened to that of “faith” or the “holy spirit”. Both are concepts that cannot be seen with the naked eye. Much like the hidden paint within my paper, faith too must be sought after to be found. Since the transmission of faith has traditionally been aided by the vehicle of the written word, it seems only appropriate that this artwork is too on paper. Furthermore, the seemingly random layout of the paints resembles a loose cross-like structure, which lends an even more religious reading to the works.

Other Interpretations…

It is my hope that these pieces may serve as a catalyst for dialogue across a variety of disciplines. I would love to hear what you think these works are about and what they mean to you.

haley-nagy-signature

Radio Interview on CRI’s Heart of the Matter

Heart of the Matter Screen Shot

I had the pleasure recently of being interviewed by Jeff Gardner of Catholic Radio International. Please take a moment to listen to the broadcast here: The Heart of the Matter. The broadcast is also available for free on iTunes (Use the direct link or search “Catholic Radio International”, select “Heart of the Matter” and choose 10/15/09) . If you are short on time, feel free to skip ahead to 17:15 to hear the beginning of my interview.

Happy listening. I look forward to your feedback!

haley-nagy-signature

P.S. For your convenience, the images we discussed are below:

Lost Everything Trying to Start Over

In the Seen But Not Heard series, I explore how the homeless live outside of our consciousness, completely devoid of identity and how they are viewed by mainstream society. I explore our view of homeless people by simply creating portraits of the signs they hold to show we rarely look past their cardboard pleas for help. Works in this series are still available for sale on Etsy.

Lost Everything Trying to Start Over by Haley Nagy

Lost Everything Trying to Start Over. 6 x 6. Encaustic & Mixed Media. © 2008 Haley Nagy.


Sweet Baby Rose

A hand-bound, commemorative artist book made in honor of Rose Marie Kerner. Read more about this special commission on the original blog posting.

Sweet Baby Rose by Haley Nagy

Sweet Baby Rose. 4 x 6. Encaustic & Mixed Media on Paper. © 2009 Haley Nagy. SOLD.

Sweet Baby Rose. Hand-stitched Artist Book, Belgian Binding, Encaustic & Mixed Media. © Haley Nagy. SOLD.


Suburban Bird

suburban-bird-by-haley-nagy

Suburban Bird. Oil & Encaustic. 12 x 16. © 2009 Haley Nagy. SOLD.

Fused: Art + Wax in Chicago

Chicagoans, save the date for my upcoming show. My new works on paper will be exhibited and I would love the opportunity to talk to you about it. Plus, there will be free food, great art and amazing company. Hope to see you there! (Details below)

haley-nagy-signature

FUSED: Art + Wax in Chicago

Members of Fused Chicago present recent work in encaustic and mixed media(s).

Opening Reception: Friday, October 9th from 5:00-9:00 pm
Show runs until October 30th with open hours on Saturdays and Sundays from 12-4:00 pm or by appointment, (312) 351-4949.

Gallery 537, Fine Arts Building
410 Michigan Ave #537
Chicago, IL

Participating artists include:

Donna Byrne
Tina Elkins
Alicia Forestall-Boehm
Shelley Gilchrist
Ken Gold
Andrea Hill
Cindy Jevon
Katsy Johnson
Catherine Keebler
Dawn Korman
Jenny Lerner
Barb Loevy
Jane Michalski
Bridgette Guerzon Mills
Haley Nagy
April Nomellini
Paul Rinaldi
Emily Rutledge
Karen Tichy
Brenda Thomas
Michele Thrane
Judy Trombley
Kathleen Waterloo

New Work: When the Bow Breaks

When the Bow Breaks by Haley Nagy
When the Bow Breaks, Encaustic & Mixed Media, 5 x 7, © 2009 Haley Nagy. SOLD.

When the Bow Breaks was created for the upcoming Book About Death exhibit in New York. In the spirit of mail artist Ray Johnson, hundreds of artists submitted stacks of 500 postcard reproductions of an artwork they created to explore the topic of death. Upon the opening of the show, guests will be invited to take the postcards with them. As the stacks dwindle, the exhibition will slowly disappear. In this way, the simple act of removing the postcards from the space mimics the cycle of life and death itself. The exhibit will vanish only to be reborn elsewhere. Furthermore, this show changes the definition of “book” from a single bound volume, to a “loose leaf” collection spread across the globe. It’s similar to the concept of the internet: in the way that information is connected by thousands of lines in a web, the postcards will form a book connected by the intentions of thousands of people.

A Book About Death by Haley Nagy
A Book About Death, Postcard, 4 x 6, © 2009 Haley Nagy.

My submission to the exhibit deals with a particular kind of death. Like most of my work, the images within are highly iconographic. Nests are the places where birds lay their eggs, incubate them, where the nestlings hatch, grow, are fed and develop. Therefore, in this case, the nest represents the womb or motherhood in a way that I hope is understandable to the average viewer. Similarly, the image of a toy rocking horse is a stand-in for the “egg” and represents the infant, the embryo, and the idea of (or potential for) childhood. The red paint leaking from the nest and streaked upon the background is a subtle reference to blood… and ultimately, death itself. Death, intertwined with life, is the topic of this work. In particular, this work deals with the sadness of miscarriage, the loss of the potential life, infertility, missing what you never had and the controversy over abortion.

This show promises to be an awesome, emotional and uninhibited collection of artist’s visual impressions about death. Each submission to the exhibit is also archived online (blog, website). Isn’t it kind of ironic that this book about death cannot decay but will instead be immortalized on the internet?

The original painting, When the Bow Breaks, is for sale on Etsy.

haley-nagy-signature

A Book About Death
Opening Reception: Sept 10, 2009. Show runs from Sept 10 – 22, 2009
Emily Harvey Foundation
537 Broadway, New York City, NY 10012

P.S. If you live in the area, don’t miss the Flux Fest at the Boiler the next night.

FluxFest Poster

New Work: Suburban Bird

suburban-birds-framed-by-haley-nagy

Suburban Bird. Oil & Encaustic. 12 x 16. © 2009 Haley Nagy.

I think it is finally finished. It feels like it is missing something, but I may just need to leave it alone for a couple of days and come back to it later. I initially tried painting the birds with a light gray glaze to prevent the image from feeling too “bottom-heavy”, but it was unsuccessful (as you can see here). There’s something much more satisfying about the telephone wires dappled with dark, bird-shaped specks, don’t you think? I’m fascinated with how birds congregate on these wires moments before sunset… like some sort of secret ritual we are allowed to witness but aren’t meant to understand.

This is one of my submissions to the Degrees exhibit so I took this picture of the painting in its frame in order to get a sense of what it might look like in the gallery. I would love to hear your feedback about the work. How does it looked framed? Does it feel finished?

If you are interested in the process of how this was made, the progression of this work is documented on two of my previous posts: Evolution of a Work in Progress: Part 1 and Part 2. By the way, if this work isn’t selected for the show it will soon be available on my new Etsy site (launching mid-April). How exciting is that?

haley-nagy-signature

P.S. Here’s wishful thinking courtesy of Museumr.

bb40902dbdb4b2de_o

Degrees Exhibit

Save the date for my upcoming show. Members of Texas Wax will exhibit works related to the theme “degrees”. As you can see from the postcard below, there are numerous definitions to ponder…

Cheers,

haley-nagy-signature

degree3

Evolution of a Work in Progress: Part 2

Below I continue to give you a sneak peak at the process of creating an encaustic painting (see original post here). I apologize for the spotty quality of the photos. As you can probably tell, the pictures were all taken at different times during the day and evening. Unfortunately, I’m currently working out of my kitchen (where, oh, where is my dream studio?) and the lighting in my apartment is dismal at best. Encaustic paintings are notoriously difficult to photograph even under ideal conditions because the wax reflects and absorbs light in a very unpredictable manner. I get the best results taking photos outdoors in natural light, but had no desire to do trek up and down three flights of steps every hour or so for this blog posting. So there you go.

Here I decided that the natural encaustic medium I was using was too opaque for what I had in mind and started scraping and fusing to remove the trouble spots.

step-4

Eventually I scraped all the way down to the underpainting using clay carving tools. You can see the amount of wax that was removed, which I can recycle into fresh medium for another project. I then used a metal palette knife in conjunction with the heat gun to mix the remaining caramel-colored wax into the oil paint underneath. This resulted in a thin, textured underpainting layer with a very “painterly” feel to it.

step-5

I re-coated and fused the surface with a thin layer of clear encaustic medium. After transferring the image with tracing paper I carved the image even deeper into the wax. Using oil paints and oil bars I filled the crevices with pigment and then wiped off the excess.

step-6

I continued to carve and add to the scenery using the same technique. The oil paint leaves a residue that adds to the misty, atmospheric effect of the background. Are you starting to see what the image is going to be yet?

step-7

Check back soon to see the final painting…

haley-nagy-signature

Evolution of a Work in Progress

I’m working on the submission for Degrees which doesn’t leave me a lot of time to blog.
Instead, I thought you might enjoy a step by step photo blog showing the evolution of my work.

This part is just the underpainting. The final image probably won’t look anything like this. I’m also using exceptionally bright, pastel oil paints because they’ll look much darker after I put on several layers of natural encaustic medium. Use your imagination – what do you think this is going to be?

step-1

step-2

Here I’ve started putting on the encaustic medium. This is what the first layer looks like after fusing.

step-3

haley-nagy-signature

Special Commission: Sweet Baby Rose

sweet-baby-rose-by-haley-nagy
Sweet Baby Rose. 4 x 6. Encaustic & Mixed Media on Paper. © 2009 Haley Nagy. SOLD.

I just finished binding the special commission I received last week. Before I show you the final product, I wanted to give you an overview of the process itself.

The patron of this project (Rose’s godmother) provided the content to be bound into a book. In her beautiful, calligraphic hand she created a set of pages filled with transcriptions from the funeral of Rose Marie Kerner, including her speech, the lyrics from the songs, the obituary and more. As you can imagine, these were written on loose-leaf, linen paper instead of copied onto folded signatures, which presented me with a small challenge. This format limited the kind of binding I could use to either a perfect binding or an Asian binding. I found that a Japanese tortoise shell binding worked perfectly, though I had to make the spine abnormally narrow due to the relatively small margin allowance.

I used the Japanese binding method on the fourteen duplicates which were prepared for distribution to various family members. However, I decided to give the original copy a very special binding with wooden covers using the supposed Secret Belgian Binding method. (Yes, this choice was inspired by the wooden books of Daniel Essig and Jim Croft. I only wish I had their skills and resources so I could have used real wood instead of craft plywood).

cut-the-wooden-cover

First I cut the wooden covers to size (a little bigger than 8.5 x 11) and used a pencil to mark where the holes should be drilled. Again I must thank my woodworking friend Scot Eddy for his assistance in cutting the wood. Although it was soft enough to be cut through diligent use of a craft blade and t-square, he saved me a significant amount of time by doing it for me with his professional tools.

nail-holes-in-the-cover

After sanding down the edges, I simply used an old nail to drill holes into the wood. I hammered it in, pulled it out, and re-hammered it in again from the other side. Low-tech, but effective!

stain-the-wooden-cover

Once I ensured that a needle and thread could fit through the holes, I stained the wood with Minwax Dark Walnut wood stain. I painted two coats, allowing each to dry for eight hours. Then I painted two coats of polyurethane with a dry time of three hours each. This series of steps put me a bit behind schedule as I didn’t anticipate how slowly the stain would dry during a bout of unusually cold and damp Austin weather.

sew-the-covers

Time to sew the covers! Don’t let the simple appearance of the Belgian Binding method fool you. It took three tries before I got the correct tension between the covers. What the online tutorial neglects to say is that you should use a mock-up block of paper as a guide for how close to sew the covers. Constantly folding the cover around the block of paper is the only way I was able to get accurate results.

Next I glued my “Sweet Baby Rose” encaustic painting (on paper) onto the front cover. If I could do it over again, I would have carved a small recess into the wood for the placement of this painting in order to protect it from damage. It is probably time for me to start teaching myself some basic woodworking techniques so I can avoid these problems in the future. In the final step, I cased in the original, handwritten papers using a simple stitch spiraled around the interior threads along the spine. For more information on how I sewed the interior pages see “How to Bind a Typed Report” from Rob Shepherd’s book Handmade Books: An Introduction to Bookbinding.

Here’s a gallery of the final product, including the duplicate copies.

haley-nagy-signature

P.S.

If you are interested in learning more about the journey this family has undergone, you may listen to a couple of radio broadcasts about baby Rose from the radio show Threads of Grace by Sally Robb:

January 2, 2009
January 7, 2009
January 9, 2009
January 12, 2009
January 15, 2009
March 16, 2009

You may also send words of comfort and encouragement to the family via their CaringBridge website.

New Work: Eye of the Beholder

This collection of images is a digital “book” that takes advantage of the internet and social networking sites to distribute the content across new media platforms. Imagine this piece as if it were an electronic set of playing cards accessible to anyone with an internet connection. Each card is a self portrait of the artist. The work is a seemingly playful exploration of my personal self image and my identity as an emerging artist. Furthermore, I encourage viewers to look outside this explanation and use these portraits as a catalyst for exploration into their own concepts of beauty and social acceptability.

haley-nagy-signature

Eye of the Beholder. Digital Media. © 2009 Haley Nagy.

New Work: Saving Yourself

“Saving Yourself: Steps to Preserving the Chastity of Adolescent Girls” is a collection of photographic essays. The interior pages leave black smudge marks on the hands of the reader, causing them to dirty themselves simply through the act of reading. Just as the true nature of the photographs are revealed, the participants in this dialog become unclean.

Saving Yourself. Hand-stitched, Guarded Album & Mixed Media. © Haley Nagy.

New Work: Nagy Family Cookbook

Handmade artist book filled with Croatian recipes, such as “war cake”. The condition and staining chronicles the turbulent and mysterious journey this cookbook has undergone. Diary-like entries and handwritten notes shed light on the life of the owner.

Read more about the process of creating this book on my previous post: Bookbinding Inspiration.

Nagy Family Cookbook. Hand-Stitched, Modified Coptic Binding & Mixed Media. © 2009 Haley Nagy.

haley-nagy-signature