Thursday, December 23, 2010
Saturday, November 13, 2010
Monday, October 4, 2010
So here is the first attempt above. I do not recall over how many weeks or month his attempts took at arriving what he hoped to achieve. Here another step above.I remember at this point he started to like what he had created but felt it wasn't modern enough.This lovely pattern was shown on the cover for the Second International Marblers'Gathering Exhibition in San Francisco, 1992. If I remember correctly he nearly felt he had it with the one above but the background was too busy so he marbled on to arrive finally at Paris below. Exhibited in Les Arts Du Livre d'Hier a Demain (Atelier d'Arts Appliques du Vesinet) Honorary degree for "Paris" paper. Exhibiton shown at the Museum of Luxembourg, Paris. In March of 2011 when Vi Wilson returned for 6 days to help me categorize Christopher's work for a collection and detailing works we noticed there were many attemptet steps to arrive at the final design and as we talked about how he went about it she wrote: "These papers were not created by successive over-marbling, but the different elements ( leaves, flowers etc.) were progressively added to the previous layer/s of color/pattern on the size. The completed pattern was then transferred to a sheet of paper". Vi Wilson
Tuesday, September 21, 2010
"Stalling Elephant with Two Riders is an excellent example of a painting produced by the stencil method, in this case by means of four different stencils. While all four marblings are in tarakli-ebru pattern and were made with the same comb, variety was achieved by combing the pattern in varying directions and by using different colors for each marbling. The marbler used a single comb with a pin spacing of approximately one millimeter. The two riders were produced with the first stencil, the top blanket was shaped by the second stencil, and the under blanket by the third; the fourth stencil created the elephant's body. After each of these stencil applications, the marbled paper was thoroughly rinsed, dried, pressed, and recoated with a solution of alum. The fourth pattern is particular interesting because several "skips," long solid lines, appear in the tarakli-ebru pattern. A skip results when a marbler lifts the comb out of the size for a short interval and puts it in again as he pulls the comb across the colors. (Skips are also prominent in the marbling of the four paintings of emaciated horses.) Obviously the artist gave a great deal of thought to how he could achieve life and movement in his painting through marbling. After the marbling was completed, the remaining details were drawn in by hand. The stencils need not have been applied in the order given here, but I found that using them in any other sequence would have meant covering a larger area at each marbling to mask what had been marbled previously. In those marbling processes where a stencil must be glued onto previously marbled areas of the paper, great care must be exercised while soaking and peeling away the stencil; removing the stencil too quickly could damage the marbling." (Christopher in Fine Print, in above mentioned issue.
Christopher's passion for learning, the challenges of what had been done hundreds of years before him, the joy of discovering and sharing and now being quoted in a museum surely would make him smile and be proud. I want to thank Jake Benson for inspiring this entry by letting me know of the piece's web access.
Monday, March 29, 2010
Tuesday, February 23, 2010
Mostly no financial gains but always hoping to make a living.
To witness his energy and understand his vision has been the joy of my life.
Thursday, February 4, 2010
It can also be downloaded through the following links: Page 1 and Page 2
You can reach me at email@example.com or firstname.lastname@example.org for a price quote or at I also have flowers available. Never forgotten and always missed.
Saturday, January 30, 2010
Sometimes I try to focus just on my art work but I'm always drawn back to his work and also having made so many friends with Marblers' through the lectures the subject is often close. There have been articles (Ink & Gall) about the first Memorial exhibition in Feb. 1989. So now I want to sort my thoughts so not to repeat some things written and share with others who have not read about it. I have frustratingly reworked this entry with some exhibtion photos and the preview looked perfect, the posting didn't. I will try another time.
The above photo is from the Newsletter O.I.C.Research Centre for Islamic History, Arts and Culture
August 1998, No.46 A slide lecture I gave at the centre in Istanbul in connection to the Exhibition at Ebristan
Friday, January 15, 2010
I had a P.S. to this entry some hours later: it seems like once you post an entry your mind keeps remembering, wanting to share more. I guess this is okay with a blog, that's what it is all about, telling and sharing however much if it feels right. The paper below I immediately loved.