process

     The beginning of each piece is a leap of faith; an unknown and free moment.  I jump in with the first mark - with an idea or without an idea, it may feel random.  After that, the real work of listening and responding begins. 

     A meditation cushion in my studio faces the piece I'm working on.  When I'm not sure what comes next, I have a seat to look and wait.  It's a conversation.  My job is to tune in to such a degree that trust blooms -- at that level, there are no random marks!  I follow the lead of the piece to manifest its potential.

 

technique

     The layering of silkscreened image, text, direct drawing and painting is one of the ways I weave together visual decisions and meaningful content.  I create silkscreens from drawings or photographs I've made in the field. I print the images onto transparent rice paper, and collage them into the surface of the painting, with previous layers showing through.  Layering allows for ambiguous or

dreamlike aspects of reality, and an element of time, to slip in.

     Recently, I've been glueing selected ripped-up pages of books as foundations for the paintings; the text works on two levels, visually and content-wise.

 

content

Much of my work over the past three decades has investigated sense of place.  Field research includes hiking the land with sketchbook and pencil, making drawings, taking notes and creating maps, all of which may eventually make their way into the larger paintings.  The process of orientation is essentially relationship-building with a place.

 

The deepest research of all comes from just sitting and sensing. 

Life is mysterious, and I hope some of that comes through in this work. 



              April 2020 - Christy Hengst

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artist statement



process

     The beginning of each piece is a leap of faith; an unknown and free moment.  I jump in with the first mark - with an idea or without an idea, it may feel random.  After that, the real work of listening and responding begins. 

     A meditation cushion in my studio faces the piece I'm working on.  When I'm not sure what comes next, I have a seat to look and wait.  It's a conversation.  My job is to tune in to such a degree that trust blooms -- at that level, there are no random marks!  I follow the lead of the piece to manifest its potential.

 

technique

     The layering of silkscreened image, text, direct drawing and painting is one of the ways I weave together visual decisions and meaningful content.  I create silkscreens from drawings or photographs I've made in the field. I print the images onto transparent rice paper, and collage them into the surface of the painting, with previous layers showing through.  Layering allows for ambiguous or

dreamlike aspects of reality, and an element of time, to slip in.

     Recently, I've been glueing selected ripped-up pages of books as foundations for the paintings; the text works on two levels, visually and content-wise.

 

content

Much of my work over the past three decades has investigated sense of place.  Field research includes hiking the land with sketchbook and pencil, making drawings, taking notes and creating maps, all of which may eventually make their way into the larger paintings.  The process of orientation is essentially relationship-building with a place.

 

The deepest research of all comes from just sitting and sensing. 

Life is mysterious, and I hope some of that comes through in this work. 



              April 2020 - Christy Hengst

BLOG SECTIONS