Although there’s a lot to still unpack and sort, I’m happy to report that the new studio is now in a functional state. But, of course, each and every part of the process involved in painting will now require further planning or building of the space’s details. To begin, I’ll need to make a panel,
Although many boxes are yet to unpack here in the studio, the chapel has come far enough along that it can be used for daily prayer. As an artist, the clutter of things yet unplaced doesn’t bother me. More importantly, the presence afforded by the unpacked icons, which have been hung on the wall, is
Creating pigment colours from the earth, either from local rocks and clay or semi-precious minerals from afar, is a part of the painting process that is a meditative joy to me. Having my grinding table set up (along with all the beautiful glass mullers I’ve collected over the years) gives me a sense of something
One of the exciting architectural bits I found in the local Restore was a set of 8-foot doors made of solid wood. Hanging such beasts took a lot of effort (and ordering special ball-bearing hinges to hold them!), but I like having them for this new space as they give me a sense of having moving walls.
The white ghosting of the wall paint is where the studio’s furnace once was. As you can see, it was taking up some significant space. Now it’s in the garage and these new ducts are going to bring the heat to the studio when it gets cold here in Red Deer next month.
Amid the crazy task of cleaning out the studio’s old barn in Conestoga, I had to deal with many beautiful architectural bits I’d collected over the decades. I found it an arduous task to perform, and by the end, I was feeling pretty confused about the significance of many of the pieces. Some were gifted, some were burned, and I kept very few in the end.
One of the few bits I did pack in our shipping crate was the old 1800s wainscoting from Goderich and a set of turn-of-the-century church pillars from Cambridge. However, when I first unpacked them here in Penhold, I thought I had made a mistake as they were both too worn and dark to frame my work’s bright colours and gold. However, before discarding them, I decided to try stripping them to see what was underneath. I’m happy I did. The tone given to its century-old oak wood is quite beautiful, and I believe in this restored form, they will be a wonderful frame for the studio’s new chapel.
Finding flooring that would stand up to the unforgiving environment of the new studio was a really big challenge. After visiting many shops, it seemed clear that the only good option was industrial laminate flooring because it is stable during temperature fluctuations and durable. While I already miss walking on wooden floors, for now, this is very serviceable and looks great.
Given that the studio isn’t entirely square or level, laying this flooring well required some hard work and patience. But Adele and Emmanuel were up to the challenge and did a great job fitting everything together.