Pines and Maples

2010-09-13T20:35:00.001-07:00

How I created this mural…

One of the most interesting parts of making a large scale work is figuring out just how are you going to approach it? Each mural had its own set of challenges which can make each job interesting and rewarding. In the case of murals, existing architecture is one of the biggest considerations, along with lighting,materials, and of course the overall design. I have decided to break down this wonderful project from several years ago. So many people have asked me the question of where do I start a project? I will begin by explaining this mural, a replica of Sho Fu Den which translates to “The Palace of Pine and Maple."

In order to make this work, I had to teach myself how to gild, an ancient and nearly lost art that is making a comeback in recent decades. Gold Leaf is not easy to apply, nor is it a forgiving surface to paint on, but the end result is so breathtaking that you can never substitute anything else. When I made my proposal for this project, I was fresh off the plane from Kyoto. It could not have been better timing, for all I had done in the previous weeks was study temple art. The eleventh century original work was grand with exposed wood beams and in the tradition of Japanese architecture. I was recreating this work in an equally beautiful, but very American home that was on the Historic Preservation List. In other words, all wood and most main walls must stay. So that was challenge number 1-the interior architecture of the room was completely different.

I began by painting the walls a rich iron red to prepare them as a base for the gold leaf that was to follow. Secondly, I drafted a workable and stately framework of “beams” that I would later paint in to look like cherry wood. I designed the frame of beams to work with the wainscoting, windows and doorways that were there. Then I sealed the room of all drafts and I began working at night to apply 3600sq ft of composition gold leaf, one sheet at a time. The process itself is perhaps the biggest challenge that I have ever faced as an artist. The nature of the leaf is heartbreaking in nature,as it will shatter or tear with the slightest breath or distrbance of any kind. Just getting it to the wall that is covered in sizing means holding your breath and concentrating square by square. The ones I used were 5"x5"sq. sheets of composition gold which is larger (by 1" in each direction) and far less fragile than the 24k variety. For a work of this scale, I laid the sheets like tile. I started at eye level so that any potential half sheets would be above or below the center of the composition.

The glow is like stepping into a jewelry box. After the gold or composition gold is applied, it was time to “antique” it. In other words, you must scrub rich golden orange and brown tones into the perfect gold surface. You hold your breath when you first do it, but just think uniform, but not consistent. In other words, walls age with different imperfections here and there. Think of it as character building for your wall. When you have a nice base of ageing, it is time to transfer your sketches onto the wall. Scale is the most important aspect of a mural. A projector is a great help if you are working alone, like I do. That way you can step back and look at the proportion and adjust it over and over again until it is right and then draw. There are no acceptable mistakes with leaf. No bubbles or brush marks in the glue sizing, no erasing, no painting over, it is one shot and one shot only. If you make a mistake, you have to sand down to the plaster and start all over again, so you plan a lot.

But the planning works and the design takes shape. Then, the painting begins…

And now, the palace takes shape. This is about week number three, so I am half way to meeting my timeline, and more than a little relieved that the most difficult week is behind me. The other construction workers have returned and we begin sharing the house. In a daring move, the floors were done after the mural. But before we get too comfortable, the owners have a request. They decide that it looks so good that they will go ahead with the ceiling. I am both relieved (and slightly horrified) because it will cap off the mural perfectly, but it is the most difficult place for a mural. Surround murals are my specialty. There is nothing like walking into one and being lost in the experience. But the challenges are formidable...

The painting moves along quickly now, with big changes from day to day. The construction workers reported that they enjoyed seeing the changes when we changed shifts every morning. I worked at night, they worked by day. It was an easy solution so that we each got the space that we needed.

The gold has lost its luster only temporarily. The entire work will be sealed in 4 coats of a special amber lacquer after the whole work is done. But before that, I must make the painted beams look like wood.

Then paint in all of the details before sealing the walls in the amber topcoats. The ceiling is painted rather than using leaf. We decided on this because the mural was going to be exposed to down lighting and the ceiling needed to flow with the rest, but not overwhelm the viewer. Two trees branched their way across the ceiling. Before you know it, the project is complete. It is time to take up the tarps, let the men do the floors, and bring in the furniture.

So after a quick weekend off, I began plans on the Dragon’s Lair. More on that project later….

Murals

Pines and Maples