A few photos of my current painting in progress. Focusing on the rainforest for this one, specifically the Amazon and its flora and fauna. Also wanted to work on a larger piece, so this one is 20″ wide by 20″ high. It’s heavily detailed courtesy of all the leaves and tree branches. Not to mention full of white-faced capuchin monkeys! The sketch on paper maps everything out before I transferred it to canvas. The painting itself is an acrylic on canvas. I’m still working on the rainforest background at the moment, and the blue morpho butterflies. Butterflies may be small, but they are hugely symbolic in my work.
I’m happy to announce that for the first time, my painting Sustain will soon be released as a limited edition run of giclée prints. The overall print size is 12” wide by 12” high with an image size 10” wide by 10” high. It will be a limited edition of 50 prints for $50 each. If you would like to be notified as soon as they are available, contact me via my website at : https://amyguidry.com/contact.html.
Currently working on a new painting for WOW x WOW’s upcoming online exhibition, “Super Reverie.” I decided to paint an ocelot for this one. When I was a child, I was such a fan of ocelots and big cats that I could identify them solely by the markings on their fur. While the overall ocelot population is currently considered stable, there are only 30 left in the United States in southeast Texas. They used to be found east in Arkansas and Louisiana, as well as throughout Texas and in Mexico. Now they are found only in extreme southern Texas, northeastern Mexico, in addition to Central and South America. Hunting and habitat loss are their biggest threats, which is why a border wall could hinder their roaming for food and breeding.
These are progress photos of the beginning layers of paint as well as much more development of detail to the hair and eyes. The painting is an acrylic on canvas, 6″ wide by 6″ high. Sign up for my newsletter if you’d like to know when the finished piece goes online: https://amyguidry.com/contact.html.
I’m happy to be able to announce that an interview I did with The Advocate is out now. Patricia Gannon wrote the feature discussing my current series, In Our Veins, and the message behind it. I’m going to quote myself right now, but I think it’s an important point to get across: “We’re capable of destruction but also absolutely amazing things. We can live in harmony in a responsible manner.” I create these paintings to provide a visual of what is going on with our planet, as well as what could be, as a reminder that we are all connected and should all do our part to preserve nature. Read the interview here: http://www.theadvocate.com/acadiana/entertainment_life/patricia_gannon/article_f57aa1b8-0f15-11e7-8675-3f9ca702e2f4.html.
I’m happy to announce that I was recently invited to participate in an upcoming exhibit at the Amelia Center Gallery at Gulf Coast State College in Panama City, Florida. The exhibition is titled “Menagerie” and it focuses on animals, covering a wide range of topics from environmental concerns, to societal constructs, to self-examination, to the pure celebration of nature. It will run from Feb. 3- March 3rd, 2017.
Several of the small paintings from my In Our Veins series are now $100 for the month of December. There are a few 4″ x 4″ paintings still available as well, so I’ve included them in this group since they are also $100. This offer is available through December 31st, so there’s time for those looking to get something for the holidays or to get a piece they’ve been eyeing for their own walls. To purchase, contact me directly at https://amyguidry.com/contact.html.
I’m happy to announce that my painting, Preservation, is on the cover of the new EP by the band, Levees. The EP, Another Medicine, is out as of today. And if you are in New Orleans, be sure to check out Preservation in person while it is currently at LeMieux Galleries.
My painting Preservation is featured on the current cover of the Denver Quarterly. Aside from being on the cover, I’m also happy to have another opportunity to get the message out regarding animal and ecological welfare. The circle of leaves was an image that came to mind before falling asleep, and I made note of it in my sketchbook. Using the leaves to replace the head (which is in keeping with some recent paintings where I use landscapes or trees in place of heads), represents the connection of all life forms. Nature is so much a part of us that I freely use trees or landscapes in place of heads or limbs, just to emphasize that connection and significance.
The small lot of land the deer stands on is in reference to our dire need to conserve wild land and forests. The natural space is shrinking due to deforestation. All the more reason to plant trees and support organizations that preserve natural habitats.
In many of my paintings, I use the eyes and facial expressions of animals to convey a sense of connection and relatability, but lately I’ve been doing the opposite and feature animals without faces or covered faces. I’ve been exploring the idea of Anonymity vs. Connection- without seeing their faces, does that make them any less personable or meaningful? And how does this apply on a global scale?
My most recent painting is now online. The title is Preservation and it is an acrylic on canvas, 8″ wide by 10″ high. The deer and leaves illustrate the connection between animals and forests, and the need to protect nature as a whole. It is the latest addition to my In Our Veins series, and can be viewed online here: http://amyguidry.com/preservation.html.
During the panic of preparing my home for what surprises Hurricane Gustav would bring, I was also concerned about what to do with my artwork. Thankfully, I have pieces that are in galleries far away from the hurricane’s path, however, I had to then deal with the artwork currently in my possession. So I thought it might be helpful to post a blog on how to prepare your artwork in the event of a hurricane. Of course, anything could happen, and following these ideas may not prevent all damage from occurring, but it’s sure worth a shot.
First, you should already have this on hand, but make sure you have good photographs of all your artwork. This will be important for insurance purposes. Whether you evacuate or not, you should keep these photographs, digital files, what have you, in a safe place- air-tight container perhaps- or take them with you if you leave. Now, I’m gearing this towards paintings since that is my experience, but this can apply to other media as well. Move all artwork away from windows or vents- anywhere water or debris can get in due to strong winds, etc. Keep everything up high and off the floor in case of flooding. If you have a closet with high shelves, move pieces there if they will fit.
All pieces should be covered to protect from moisture- not just flood water, because even a small amount of water in your home will cause mold and mildew to grow when there is no power (i.e. no air conditioning to keep air circulating and control humidity). I would recommend covering pieces with a sheet of paper over the face of the piece, and wrap in glassine. This will help ward off any condensation (just as you would when shipping a painting, especially to any area with a significant climate change from your location). To further protect the work, wrap in Mylar or polyethylene. Since you never can be to sure, I would then place the work in some type of airtight, heavy plastic bag.
As soon as you can get back to your home in the event that you evacuated, remove all plastic wrapping, etc. from your work. If your power is out, it may be best to leave the work wrapped in Mylar since you will still have to deal with humidity in your home. Or if you have a friend, neighbor, etc. whose power is on, I would ask to leave the work in their home, unwrapped, so it can breathe. If your work has any debris on it, you can gently wipe that off with a soft, dry cloth. Don’t use any type of cleaning products, though, as this will ruin your paint. If there is any mold, which hopefully Mylar would prevent that anyway, you will have to bring the piece to a professional art restorer. I would not recommend trying to remove mold yourself.
Again, none of this is a guarantee, but it should for all intents and purposes protect your work. Even without anything crashing into your work, the possibility of water damage in some form or another is pretty high. My brother’s work had mold growing on it even though Hurricane Katrina only brought about an inch of water into his home. It was the lack of electricity for several weeks that allowed the humid conditions needed for mold to spread. (His work was also hanging on the walls, unprotected.) So you just never know. If you really want to be safe, I’d say rent a U-Haul, pack your work in there, and leave!