Blue Button etching

Blue Buttons, 5in x 7in, 2 color etching and aquatint, ed. 20, 2014

The taxonomic class Hydrozoa contain the tiny Blue Buttons creatures. While related to a jellyfish, they function a bit differently. Each creature is actually a colony of individual polyps. They live together on the surface of the ocean and drift across the sea. A single mouth intakes all food for the colony. While I had planned on all the etchings being one color, I decided that I wanted to do this one in two colors.

Sunken Ships etching

Sunken Ships, 5in x 7in, 2 color etching and aquatint, ed. 20, 2014.

It can be estimated that there are over 3 million shipwrecks spread across the ocean floor, both deliberate and accidental. I found the possible mysteries in this concept really stimulating so that inspired me to create this print. My painting the Wanderer draws from this idea as well. The architecture elements of the ship often become part of the ocean as corals and different creatures grow and swim all over them. I used two colors in printing this etching, which is also a new development in my etching series.

Siphonophore etching

Siphonophore, 5in x 7in, 1 color etching, sugar lift, and aquatint, ed. 20, 2014

The great Siphonophores roam and billow around the deepest depths of the ocean where food and light is very scarce. Siphonophores are actually colonies of animals that behave as a single organism. Each of the animals perform different tasks such as swimming, reproducing, stinging, and feeding.  Belonging to the taxonomic class Hydrozoa, Siphonophores are some of the longest creatures in the world at lengths of over 150 ft. Siphonophores use bioluminescent lures to attract and entice prey in a dazzling display of light, blinks, flashs, and bleeps. When unsuspecting fishes are attracted to the light, stinging tentacles wrap around to finish the job.

In regard to the process of this print, I used a new technique called sugar lift and it adds an additional step to the aquatint process. I painted a sugar solution of corn syrup, gum arabic, and india ink on the plate. It has to be removed or lifted off the plate before putting in the acid. After removing the sugar lift, I applied the aquatint with an airbrush. Sugar lift can result in more painterly marks than using aquatint alone. There were three stages of this print. First, the lines were drawn central figure for the line etch and in then in the second step, I added a traditional aquatint. Finally, I painted the sugar lift areas which are located in the background around the main Siphonophore figure. Sugar lift makes a different mark and I'm really excited about the possibilities. It was really frustrating because took me 5 entire studio days to get the sugar lift to work. At times it was really defeating if you could imaging working for an entire week without getting anything done or having anything to show for it. Plus to add to my frustration, it was costing me money because I had to rent the studio space each day at Spudnik Press. I was pulling my hair out, but eventually I was able to get it to look I wanted so that was really thrilling.

Etching plates in process

Here are some process shots shots for some new etching prints: Siphonophores, Sunken Ships, & Blue Buttons. 


The first photo shows the line drawing before putting it in the acid to etch.

The second photo shows the aquatint in process where I can get different values and tones on the plate. 

The third is proofing Blue Buttons after several dunks in the acid.

 The final photo contains proofs in several colors hanging above my painting desk. I've have looked at these every day since I started the project in April 2013. I'm analyzing the individual pieces as well as how they work together as a series. 

Fieldnotes at Comfort Station

Hydrozoa: Blue Buttons, 14in x 16in, acrylic on canvas, 2013.

Comfort Station presents

2579 N Milwaukee

Chicago, IL 60647

Fieldnotes 
new paintings and etchings

by Renee Robbins

Opening Reception:

Saturday, April 5, 4-7pm

Show Dates:

April 5 -27, 2014

Gallery Talk:

Sunday, April 27, 2pm




Chicago artist Renee Robbins exhibits her recent work of paintings and etchings at Comfort Station in April 2014. Fieldnotes is a reference to the scientific practice of observing variables, taking notes, and making lists. These notations can be seen as a journal of evolving ideas and Robbins uses this system as a way of negotiating between abstraction and representation. Recorded daily on scientific expeditions and adventures, Fieldnotes often include information about an infinite amount of variables such as color, shape, movement, pattern, location, or type of specimen. Oftentimes, the notes are reconfigured for research reports and presentations post-adventure. The artist views this reconfiguring as similar to her technique of pulling together the micro and the macro into one form. For each composition, rather than one specific specimen, there is a multiplicity or blend of many figures. In this way, Robbins’ paintings and etchings are a way to respond to the diversity in the natural world, both in and outside of our human experience

Renee Robbins works as a visual artist in Chicago’s Logan Square neighborhood. She has a BFA from the University of Kentucky and an MFA from Michigan State University. Most recently she exhibited at Firecat Projects, La Luz de Jesus Gallery, Ann Tower Gallery, and the Union League Club. Her other selected exhibitions include the Alden B Dow Museum of Science and Art, South Bend Art Museum, Alexandria Museum, and the Kresge Art Museum. The Chicago Gallery News featured her work as a ‘Young Chicago Artist’ to watch in the May - August 2013 issue.

For more info on Renee Robbins’ paintings: http://reneerobbins.com/fieldnotes.html

And a link to Renee Robbins’ prints http://reneerobbins.com/etchingsLL.html

Siphonophore No. 1

Siphonophore, gouache and colored pencil on paper, 5.25in x 11in, 2014.

I have a lot of new ideas and works in process based on the Siphonophore. It's not really one creature but a combination of several creatures that act as one in the deep sea.

Astro-Candy

Astro-Candy, acrylic on canvas, 14in x 15.5in,  2013.