I have been interested in art all my life and began drawing as a young girl. The most significant memory from my childhood – the one that set me on this path – was a comment a teacher made when reviewing an assignment. We were to draw an item from everyday life; I chose my brother’s baseball mitt. When my teacher handed me my graded assignment, she said it looked just like a photograph. I was so proud and knew, right then, that I was going to have art in my life.
I started in graphite, moving to pastels, then painting with gouache, acrylic and eventually oils. I grew up playing on my grandmother’s farm, and have always had a love of nature and old buildings, so painting landscapes was the obvious choice. I began studio painting old barns and buildings, and eventually started painting en plein air (outdoors).
I was encouraged to break away from my detailed painting style by a fellow painter and instructor, so the hunt began to find a medium that would lend itself to painting loosely and quickly.
After dining in Roanoke one evening, I saw a painting in a gallery that caught my eye. I’d never seen this type of painting before; the finish looked like a piece of glass. I researched and found the artist lives in NC, so I went to his studio to find out about his work and his medium. He uses multiple layers of paint and, what I found out made the piece look like glass – polyepoxide, otherwise known as epoxy resin. I also found a woman from Australia who mixed colorants into the polymer, poured them on a canvas and moved the canvas about, to make beautiful abstracts.
Painting abstract with polyepoxide is much easier than painting representationally since the polymer begins to cure (ie: thicken) about 45 minutes after it’s mixed. But I’m not “wired” for abstract, so I had to develop a way to carry my preferred style into painting with a medium that doesn’t lend itself to painting realistically. I also can’t paint with brushes, given the short curing time, so I depend on non-traditional tools such as toothpicks and stir sticks.
In addition to painting with epoxy, I also teach classes in it at my Resinate Art Studio and Gallery in Greensboro.
Carol Kaminski | artist@ResinateArt.com
Behind the Tulip
This vibrant triptych is sure to capture attention. Two 12″ x 24″ panels flank a 24″ by 24″ panel. The underside of the tulip is painted with over a dozen shades of red and yellow. Painting a triptych in pigmented resin is quite a challenge. Since each piece cannot be painted the same day, getting the exact amount of pigment in the resin to match the other pieces can be difficult, not to mention lining up each part as it moves from panel to panel.
This work started with a layer of silver leaf attached to the panel, followed by a layer of pigmented resin in pastel shades of pink, blue and green. The hosta is painted on as the final layer using eight different shades of green, blue, magenta and purple. It was the inspiration for “Tropical Hibiscus”, a commission for a collector who saw this, but wanted a larger piece using a hibiscus, for their Florida home.
Red Zinger 3
The bearded iris ‘Red Zinger” was the first bearded iris I painted in pigmented resin and started the “Floral” series, which has been the most popular flower of my collectors. It is painted in shades of red, violet and purple.