The artwork of
Arline Erdrich, studio/technique
Arline Erdrich, studio/technique
The studio and home of Arline Erdrich is in the lush, rural,
semi-tropical environment of Aripeka, Florida: An old
fishing village nestled along the central gulf coast. Her
work is imbued with the richness with which she is
surrounded. Erdrich's studio, at one time or another, has
looked out on the open gulf or a great expanse of woods
with several deer wandering about in her view.
The Acryllage Process
A proprietary process, using acrylic paints, enamels, oils, and wax in combination with the use of electric sprayers and plastic sheeting.
On a studio floor covered with clear plastic sheeting, the painting begins with canvas that is lying on the floor. After an application of the under-painting with brushes, electric sprayers are used to mist color onto the canvas, bleeding color into and on top of each other. The plastic sheets on the floor catch the “fallout” from the sprayers. This pigment accumulates and dries over time, after several canvases have been prepared in this manner. While wet, and also when dry, my movements and the movements of others on the plastic covered floor leave their marks; evidence of the human presence from the rubbing and scraping, thereby creating uncontrolled spontaneous imagery and texture. This plastic, with dried pigment, is eventually removed from the floor and cut up in varying size pieces, put in baskets to establish a future “palette.”
A proprietary process, using acrylic paints, enamels, oils, and wax in combination with the use of electric sprayers and plastic sheeting.
On a studio floor covered with clear plastic sheeting, the painting begins with canvas that is lying on the floor. After an application of the under-painting with brushes, electric sprayers are used to mist color onto the canvas, bleeding color into and on top of each other. The plastic sheets on the floor catch the “fallout” from the sprayers. This pigment accumulates and dries over time, after several canvases have been prepared in this manner. While wet, and also when dry, my movements and the movements of others on the plastic covered floor leave their marks; evidence of the human presence from the rubbing and scraping, thereby creating uncontrolled spontaneous imagery and texture. This plastic, with dried pigment, is eventually removed from the floor and cut up in varying size pieces, put in baskets to establish a future “palette.”
The plastic pieces from previous sprayings
(which have been saved) are used in the current
work and are applied in multiple layers with the
use of a varnish. When the varnish dries the
plastic is peeled off and the pigment remains on
the canvas. Layer over layer forms fractalized
effects, similar to painted stucco that has
chipped away over time to expose varied-colors
and depths of texture.