THE SILK PAINTING PROCESS

The process of making these silks had many stages:

It started with an initial concept that was my response to the Torah and commentary.  As I read through Torah over a year, I made a series of sketches:

TheProcess1

It started with an initial concept that was my response to the Torah and commentary.  As I read through Torah over a year, I made a series of sketches:

 

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I then made a more detailed sketch working it over many times. Often the specifics of the drawing would be composed of a number of other drawings as is shown here.

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After this, the drawing was copied onto a silk that I stretched over a frame.

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Then this image was redrawn with a liquid resist called gutta. This clear substance is designed to contain the color dyes that were then painted onto the silk. The dyes spread up to these drawn lines and stopped the colors from spreading.
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The next phase was the application of the paint/dye onto the silk.

Over five years, I worked in many places from my study/studio in Venice California, to Amsterdam, to Vancouver and Toronto Canada where I directed some films, to San Miquel de Allende and Oaxaca in Mexico.

The photo on the right was taken in Toronto. After the painting was completed, the silk was then steamed to fix the colors to it.

This process sometimes changed the image – moving the colors.

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After the steaming, the silk was then rinsed to remove excess color.  It was hung to dry. 

Here in my studio, two pieces were hung after steaming, washing and drying.

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The next phase was dry cleaning, which removes the sticky gutta.  I used this dry cleaning place over the five years, and the people there were often enthusiastic about seeing these works.  A change from shirts and suits.

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The final stage was taking them to the framer where the paintings were re-stretched onto museum boards and put into plexiglass frames.  I used the service of Allan Jeffries Framers who is shown here.
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And then crowded onto my office walls.