In The Deep End

©Lynn Nafey. "In The Deep End". Mixed media. 12 x 12 in.

I titled this piece “In The Deep End,” not only because its aquatic feel reminds me of floating in a pool, but also because it reflects the increasing depth within my mixed media pieces. That added depth allows me to embed small sculptural figures in the space between the top and base layers.

I also feel as though I’m entering “the deep end” with every new construction as I push the boundaries of my materials. At the center of this exploration is my beloved Dura-Lar matte film and all the many ways I’ve layered, drawn, colored, and distressed it. Throughout the process, I’m driven by a hunger for greater depth, ambiguity, and mystery.

As for the sculptural elements, I’m using Paper Clay, which is a mix of paper fibers and clay. My introduction to this medium came many moons ago, when I saw an artist demonstrating it at an open studio. She was bursting with enthusiasm about all of its qualities: it was easy to use, air-dried without a kiln, and didn’t shrink or crack. I was fascinated. Back when I was a sculpture major at Boston University, there was nothing like it. Water-based clay either had to be fired or it cracked as it dried, while oil-based clay never hardened at all.

That encounter planted a seed, though it took more than ten years before I finally tried it myself. I’ve only just begun experimenting with the myriad ways of working the clay – creating different shapes, applying color, impressing textures, and embedding other materials. It has opened up a whole new world of possibilities for me.

Of course, adding more dimension to my constructions also brings new challenges. Each piece becomes a technical puzzle, particularly when it comes to making the work structurally sound and archival while still having the freedom to change things until the very end. Often, resolving these hurdles is just as creative as making the artwork itself.

When it comes to working with the visual elements themselves, it’s as if I’m working on three pieces at once: the top surface, the base surface, and then the piece they become when brought together. There’s a lot of trial and error involved, but in the end, the effort and complexity are worth it. Below, you can see the layers separated: the hazy Dura-Lar film, which has been distressed to vary the opacity, and the underlying collage with added sculptural elements.

the layers separated

I am endlessly intrigued by the serendipitous magic that emerges as the layers come together. The hazy quality of the Dura-Lar, along with the transparent “windows,” forms a mysterious veil. Looking through it, parts of the sublayer emerge while others recede. I love that uncertain space where you can’t quite see everything at once. It feels a little like memory or a dream.

detail of "In The Deep End"

That same sense of discovery applies to how the subject or narrative takes shape. I typically don’t have a specific idea in mind at the outset. Instead, I move the elements around until something starts to catch my attention. It takes a while to sense what the piece might be about. Throughout the process, color, composition, and movement become the guideposts that strengthen whatever narrative is emerging.

I also like inserting found objects, such as keys, metal scraps, or other bits and pieces that can add an unexpected element to the composition. In this piece, a vintage marble adds a playful touch while hinting at childhood mysteries.

detail of the sublayer with vintage marble

With so much happening on both layers, I decided to add the bright red eye to anchor the piece. I’m a big fan of incorporating alternative printmaking and digital processes whenever they serve my purpose. The process is a bit complicated to explain, but in this case, the eye was first drawn by hand in ink, then digitally processed, which allowed me to create all sorts of variations. It was then printed onto a special film and transferred to the surface with a solvent.

detail of "In The Deep End"

I’m excited to see where this more dimensional direction leads. Right now, it feels like I’ve only scratched the surface of what’s possible. Finishing “In The Deep End” feels less like arriving somewhere and more like opening a new door. I’m looking forward to seeing where this combination of sculpture and layered mixed media takes me next.

sculptures awaiting their turn for inclusion in future mixed media works

To see a larger view of "In The Deep End", click here.

Thanks for reading!
________________________________

To keep up-to-date on my latest work and musings, please Join My Newsletter