Artist Statement

Just as I have a right hand and a left hand with which to create, I also have a right side and a left side of my desire to create: ​

The left side is attracted to the mix and match of this with that, like a scientist in the lab, looking for patterns to arise, pieces to be fitted together, and some sort of alchemy to stumble forth. I enjoy learning the standard properties of a medium or a surface and then looking for more what-have-we-here-today? The simple formula of “how can use wine as paint?” + learning the technique of using wax resist from batik and pysanky = wine stain portraits. This is just one stage of a fluid cascade of wondering about this and seeing a link to that, which fills me up with question marks and arrows that unfold into flowcharts.

The right side is driven by the simple fascination I have with the human body. The standard set of facial features almost reads as binary code: one forehead, two eyes, one nose, two ears, one mouth with two corners and one chin. But we look so vastly different from one another. Even in one face there is an inexhaustible exchange of expressions, which can cause one person to look completely different from one expression to the next. It is the chase and capture of this chameleonic delight that spurs me on. In addition, I cannot resist the delightful mysticism of a personality glowing through, with its chaotic and controlled counterparts. 

Archival Considerations

These wine stain portraits are delicate due to the unique nature of the medium. Yet, at the same time, the simple fact that they are made of wine is why they are appealing. So, these two considerations must go hand in hand.

The first wine stains that I created in 2010 have held up very well in a variety of conditions. I, too, was curious as to how they would age and have been mostly satisfied with their stability thus far. I continue to learn more idiosyncrasies as I expand upon the original technique and will do the best I can to extend their lifespans. 

The archival lifespan of a wine stain, however, cannot be known fully, since I have been working with wine in this manner for a relatively short time and since there are few artists using wine in this way.

That being said, these pieces are delicate, like watercolors, and may undergo a certain degree of oxidation as an inherent process, much like silverpoint. Keeping the wine stain framed should help slow this process. 

All of the artwork has been sprayed with Krylon archival UV varnish, to protect against damage from exposure to sunlight. Also, there may be some residual wax (paraffin) from the resist that remains in the fabric, which I believe should contribute to stability. ​Still, it is recommended to keep the wine stain out of direct sun and in a humidity-controlled environment.

Think of a good bottle of wine: you carefully store it and save it for just the right time, but then ultimately, you have to open the bottle and drink it, otherwise it is wasted. The wine stains are to be enjoyed and loved as highly distinctive works of art, but within the constraints of their own ephemeral lifespan.