QC Exclusive...Finding Joy In Each Day: Thoughts From Charlotte Artist Amanda Moody

My favorites, QC Exclusive, have recently been doing a thought-provoking series on local Charlotteans and how to navigate the issues we are all facing today with the Coronavirus pandemic. When they approached me and asked me to contribute, I was so honored to be included once again in their quintessentially beautiful and thoughtfully curated publication. QC Exclusive, thank you, as always, for your support and including me.

Words by Charlotte artist Amanda Moody, of Bombshelves

Notes from the QCE Team: In moments of changes, disruption, and confusion, we are always moved to see the connections, big and small, amongst and between people. In this series, we will feature the thoughts of Charlotteans: How they’re navigating these times, what’s hard, what’s easy, and what’s next in their own words.

Charlotte artist Amanda Moody is an endlessly talented abstract fine artist who creates bold, colorful, fluid mixed media textural and resin art, along with custom textile and wallpaper. We are honored to share her thoughts below.

“How can a person move forward, while at the same time, seemingly at a standstill? Even though our worlds have come to this abrupt halt in so many ways because of Covid-19, life still goes on… it must. But what exactly will that look like? It is difficult to think of any facet of life that has not changed in some way. But truthfully, even with all the unknowns, I do have hope that whatever life is going to look like on the other side is going to be beautiful. It has to be… the way humans have been living in excess and abusing our planet just was not sustainable. “Bigger, Better, Faster, More” must now be a way of the past.

Connectivity

I have always been a homebody by nature. I always work from my home studio instead of the city. Yet I am still feeling the major effects of the quarantine and of the uncertainties that lie before us all. There are definitely days where I feel that incoming wave of panic about one of the elements of modern life that are currently the most vulnerable…be it health or environment related, finance or business related, or simple lifestyle and routine stir-craziness related.

The fact of the matter is, there is little that we can do as individuals to change that there is a global pandemic. There is probably not one person on the planet at this moment not affected in some way by this virus. That’s quite profound, if you think about it, and is proof of our connectivity. We can each do our individual part in staying home and practicing proper protocols, but ultimately as civilians, we have to have patience and wait it all out until our environment is “safe” again, whatever that may look like.

Learn To Let Go

Life is now teaching us to really LET GO in so many ways and not focus on the outcome. Contentedness is highly underrated, in my opinion. One of my favorite quotes of all time is by Eckhart Tolle: “Being at ease with not knowing is crucial for the answers to come to you.”

It is being satisfied with NOT being able to see the end of the road that allows for a healthy and peaceful state of mind. At this moment, and really every moment, I’m not supposed to know where I will be in one day, one week, one year… you get my drift. Finding joy in each day adds to my contentedness. However, please don’t mistake it for complacency. There is a huge difference. I do have goals that I want to achieve both short term and long term; Now I just have the blessing of being able to approach them with a softer agenda.

Be Grateful

What tangible, active things do I practice to find joy, and stay sane and positive? First, and always first, I find gratitude in small things. I have never been a complainer… it’s just not in my bones to focus on the negative if at all possible. There is always someone out there who would trade places with me in a heartbeat. Gratitude is such a trite word, used by every pseudo-“woke” person on the internet these days. But practicing it truly works!

Whenever I feel the worry creeping up on me (and it does for all of us), I find one small thing to be grateful for and focus intentionally on that. This brings me back to earth, and it always tends to multiply. I never take for granted that I am the luckiest girl in the world that I get to support myself and my family by working from my home. I get to be creative daily and able to keep my mind sharp that way. With a shift in business pace lately, instead of letting these sudden changes cause me any anxiety, I take a deep breath. I hold on to my faith in the universe, taking the time to try something new, or fine-tuning something that was further down my priority list prior to this Virus Age.

Embracing The Lifestyle

Currently, I am continuing to hone my photography and digital art skills for future textile and wallpaper design patterns, exploring new methods and mediums in painting as always, and staying connected with those both in the industry and personally whom I respect and trust. On particularly cagey days, I will drag my easel outside to shake off any mental dust, so to speak. Business aside, my family and I have been relishing the reformation of living on less in a much more edited lifestyle. We are cooking up a storm in the kitchen and making time for plenty of sunshine and exercise. We’re even growing our own food. There’s actually no place or better time of year for a quarantine than spring in my Carolinas!

Dare I say that once the chips fall where they may, there will be things about this era of our lives that we will miss. I am choosing to embrace all of it while I am able.”

Vishion Artist Spotlight: Amanda Moody

Recently Vishion interviewed me for a feature on their beautiful blog. Here it is in full, or head over to their site to read even more features on other creators, download their fantastic design App, and more!

Amanda Moody is a Charlotte artist whose work is making a big impact nationwide. We love how artwork can bring emotion to interior design and Amanda’s work does this in incredibly bold ways. Recently, we sat down to talk with her about inspiration and her color sense.

Image source Amanda Moody

As an artist, tell us about your brand.

It’s hard for me to think of my work as a BRAND per-say since right now I am a one-woman show, but it definitely has been taking on a life of its own lately! The name Bombshelves came about several years ago when my best friend and I owned a vintage furniture-slinging business. We would scour flea markets, estate sales, and thrift stores and then stage them at places like Slate Interiors and Sleepy Poet Antique Mall. Occasionally for Bombshelves, I would whip up an acrylic or oil painting for staging purposes, and over time, they started to sell. My partner Amy told me…”Girl, you don’t need to be painting dressers for a living! You have something else here.” And she was right. My art is now evolving and expanding into realms that I had only dreamed about in the past. I have kept the name for sentimental reasons…it may not make sense to some, but then again I have never really cared about who I make sense to or not!

Image source Amanda Moody

Your wallpaper and art is so beautiful, tell us what inspires you?

Thank you! My inspiration can come from literally anywhere. Obviously I love color and movement. I tend to lean toward organic forms such as what you can see in nature.  Sometimes while I am painting I can envision cloud formations, patterns in the sand, waves, or a coral reef. And sometimes it’s tree lines and the linear movement of a mountain range against the sky, or the macro details of a flower’s structure. The geometry, symmetry, and asymmetry that occurs literally everywhere in nature just blows my mind sometimes. On the other hand, my personal energy at the other end of the paintbrush can be inspired by rock ‘n roll, unique fashion, eclectic interior design, and, of course, traveling. Getting out of my comfort zone almost always guarantees some fresh inspiration. Right now I am at a moment in my career where I feel as if my brain is constantly downloading new ideas, I can barely keep up with it! It seems as if the more I create, the more that ideas keep showing up. I know it may not always feel this way, so I’m just riding the wave and enjoying it every second I can for now.

Image source Amanda Moody

What is your current favorite color trend?

I adore a good 80s combo of mauve, peach and dusty blue, as well as 70s harvest gold, or a perfect Wedgwood Blue…shall I continue? I am crazy for color and if it’s a color combo done right, then I think anything can be timeless.

Image source Amanda Moody

What inspires you when you’re creating your wallpaper designs?

To make my wallpaper and textile patterns, I have two methods. I either take a photograph of a section of a completed original painting and then alter it into a pattern, or I blow up the entire image large scale into a macro wall mural. I have always had favorite sections of each of my paintings, and I get totally juiced when I am able to create something completely different as an extension of a single painting. Even after I have to say goodbye to a piece as I ship it off to its new owner, I know that I can still enjoy a part of it “immortalized” in print. To see my work completely changing an environment is always a full-circle kind of moment for me.

Image source Amanda Moody

What is the most challenging thing about what you do or any color challenges you run into? 

The day I am not challenged is the day I need to go find something else to do! I definitely have challenges with technology, especially. I am a 98% right brain person through and through, so teaching myself how to use a camera, Photoshop, web design, and all the techie stuff has been a major personal accomplishment for me. Overcoming fear of failure is another challenge.  I will often create paintings that need to go immediately in the trash bin! I used to freak out at that stage and question my self-worth. But over time, I have realized that right after one goes in the clinker, something REALLY great is manifested. That motivates me to have faith, keep pushing through and let the art tell me where it wants to go. My art may not be for the faint of heart, but I am more than ok with it not appealing to everyone. I do what I do to contribute some joy to the universe, and if my work generates any kind of reaction from someone, that’s the life force and I feel that my job is done.

Thinking about bringing emotion to interior design: what has been your favorite project so far?

It may be impossible to answer that question! Every one of my “successful” paintings has a story behind it, from the title, to where I was personally in my life while creating it, to any technical challenges that came up in the process. I can even still tell you what music I was listening to while painting each one; They are all so personal to me! That being said, I am currently REALLY enjoying creating custom murals out of paintings, specifically site-designed for space. I have several that are going to be unveiled very soon that will be able to be enjoyed by way more people than I ever thought would be possible. It’s a really good feeling for me to see that my work has extended that far to uplift people whom I will never even meet!

Image source Miranda Reger

What are your favorite colors to work with or around as an artist?

Any and all! Of course, I get a little extra jazzed if a client says they want gold leaf plus every color in the rainbow, plus resin and glitter. But even monochromatic matte blues or grays can have spectacular depth and movement. My work will never be boring, I can tell you that!

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The Magic of Alcohol...Inks, That Is

I am a mixed media artist, and by that, I mean there are any number of materials included in each of my paintings…and no, I don’t mean dog hair! If you have been following my work for a while, you probably have noticed that my style is very fluid for the most part. One of my favorite mediums to use is alcohol ink. Although it is not a classical material and I do not use it in every single painting of mine, I have included it in hundreds of pieces to date. To this day, it remains one of my all-time favorites. Alcohol inks have the capability of producing the most hypnotic and trippy effects IF you have the patience to manipulate them and allow them to do their own thing, simultaneously. Confusing?

I would say that some of the most common questions that I am asked by other artists are those that involve my technique and process on using these finicky little inks. They can certainly be overwhelming and create a giant muddy mess if you aren’t familiar with how they work. Here are a few pointers that I have discovered that may help you along your way in figuring out your own style while using this unique medium. 

Alcohol inks literally behave as if they have a mind of their own. It is this lack of control on my part as an artist that I had to learn to embrace. I have always been an acrylic, watercolor and oil artist historically speaking, but when I discovered these inks a few years ago, I was immediately intrigued by their flow and swirly, ever-changing effects. Alcohol inks are just that: pigment suspended in isopropyl alcohol. The thinning medium that needs to be used to stretch out their volume is also isopropyl alcohol, specifically with a percentage of 70% or higher. The higher the percentage, the slower the inks take to dry, which is wonderful from a workability standpoint, but can be challenging in the patience department (cue Guns N Roses now).

The inks that I choose to use are Tim Holtz Ranger inks by Ranger. Their range of color is right up my rainbow-loving alley; They offer the widest color palette of any alcohol inks I have found to date. Ranger’s inks also are the smoothest and most non-separating I have found as well. Please note that I am not affiliated with Ranger…I just really, really dig their product! 

Waiting. And waiting.

Alcohol inks need to be used on a non-porous surface to maximize their fluidity. That being said, in my mind, art doesn’t really have any rules…BUT I am speaking here from the assumption that I am giving pointers based on my own technique, which is highly fluid. Some wonderful non-porous surfaces I have used are Ampersand’s Claybord, which is my absolute favorite surface to paint on regardless of medium. You can read more of my glowing recommendation of this fabulous product HERE in my Holy Grail Art Supply List (again…no official affiliation, I just like to spread the love for my fave materials!). I have also used alcohol ink successfully on ceramic, polypropylene paper, sheet metal such as aluminum or copper, plexiglass, and glass.

Would you believe this tiny lil’ thing was my first completed alcohol ink piece? Circa 2014…there has been a lot of trial and error since then. READ: LOTS of error!

One important factor that I need to point out is that these inks change drastically in their behavior as they begin to dry. For instance, if you add a drop of 70% alcohol to a drying puddle of thinned ink at the beginning, it will produce a completely different effect if you do the same after the ink congeals a while. It will also produce a different effect if you use an even higher percentage of alcohol.

Once the alcohol medium begins to evaporate, the pigment that’s left gels and can become almost sculptural. It is because of this factor that alcohol inks truly require a ton of patience…you will have to experiment tirelessly to figure out which techniques and timing work best for you as an artist. Start small, and be prepared for lots and lots of waiting. And waiting. And restraint. This is one of the reasons why I am usually working on more than one painting simultaneously…to keep myself from overworking one painting at any given time.

Varying effects are achieved at different stages in the drying process. Hands off, Mandy!

Each different combination of ink colors will produce varying effects as well. For instance, one blue shade mixed with a specific yellow shade might make green, but as the ink dries and separates from the alcohol, it may ALSO produce a third color such as pink or orange “laced” around the edges or in a halo beneath the surface. This may or may not be a good thing depending on what is your desired effect. When I am painting a commission, I always ask my clients if there are any colors they do NOT want to see…that way there are no unwanted surprises after I mix my inks and complete their color study. 

First layers of alcohol ink in progress, including Cobalt Blue!

In that same vein, some lighter pigments can be “erased” simply by pouring alcohol on them, even once dry. Yet still, there are others that will almost immediately stain your surface permanently once they are applied. Ranger ink makes a shade of Indigo that my daughter has nicknamed “Takeover Blue,” because it does exactly that! You have to either use it super sparingly, or really be totally confident about where you want Indigo to appear. It’s simply gorgeous, but it ain’t going anywhere once it’s down. So, get to know your shades of ink and how each of them “behave” as well…each has its own personality!

“Sojourn” a completed mixed media and resin piece with alcohol inks as the initial layer.

If you are going to use other mediums along with your alcohol ink, it is important which order you place them in. If I am using alcohol inks, I always complete that portion of my paintings first. Then I might add thinner acrylic or ink washes, and finally thicker mediums and oil. If you use alcohol based mediums on TOP of any of the other materials, it can certainly create a gunky, flaky mess. So again…no rules, if you are hankering for a gunky/flaky painting, then have at it! 

For archival purposes, always please please check your lightfastness levels in any materials you use. Always paint on an acid free surface, and ALWAYS use a UV protectant you want your work to stand the test of time. These little inks will then be a part of your art arsenal for ages to come! 

Enjoy!

xoxo,

Mandy

The Scatterbrained Entrepreneur Artist, or Things I've Learned So Far Along the Way

I’m what you would say a right-brained person. In fact, I took one of those tests a while back and it claimed that I am 98% right-brained…so 2% logic (if i did that math right? lol). That feels quite accurate to me! I would venture to say that many aspiring professional artists face the same challenges as I do. Time management, motivation, inspiration, execution, and all of the behind-the-scenes requirements can feel overwhelming at times.

I have been creating professionally for several years now. Within that time frame, I was finally able to quit my day job and focus 100% on my art in order to make a sustainable living. I still pinch myself when I get to say that…please don’t think for a minute that I take it for granted! I know how rare it is that someone gets to work for themselves, doing something that they absolutely adore and couldn’t live without. However, it took a ton of hard work, frustration with many obstacles, and perseverance in order for me to get to the point that I am now. Here are some of the things that I have learned along the way so far in my journey as a professional artist that may help some of you out there, whether you are starting out or at a stalling point. 

1. Make yourself a general schedule, and stick to it. My studio is at home, and it is sooooo easy for me to get distracted by other things (Look! There’s a squirrel in my bird feeder!). Find your peak creative and working times, and build your schedule around that. I am definitely much sharper in the morning, plus I have a nine year old daughter who is out of the house until about 3pm, so that in itself is a huge consideration for my schedule. Most weekdays, I wake up, haul her off to school, and run to the gym directly afterward to get that necessary evil out of the way for the day (the gym being evil…not my kid. She’s awesome.). Afterward, I head home and tackle whatever tasks I have for my work that day, be it painting, admin, website updates, supply orders, social media, etc. (More on THAT catch-22 later). 

A few of my pieces at a past show, “Reverie” at AVA Gallery in Davidson, NC.

2. I also attempt to have a designated chunk of time for everything outside of painting, which I try to do in some fashion every single day. Painting is like breathing to me, and I get a little cagey if I don’t do it on the regular. I am currently a one-woman show over here, so that means everything else…all of my photo editing, web maintenance, installations, client correspondence, supply ordering, appointment setting/consultations, marketing and networking…it’s ALL me. That means that there is ALWAYS something that needs to be done! I keep a journal and calendar with me at all times (the actual paper kind, it helps me to remember things more, and keeps me from staring at a screen any more than absolutely necessary). It may be a jumble of chicken scratch ideas and scatterbrained mishmash to some, but it works for me and my right-hemisphered brain!

Cricket the studio dog, not amused with the size of the current week’s supply order.

3. I also save one block of time per week for things that are not work related but need attention…the nuts and bolts of life such as bill paying, meal planning, car maintenance, doctor and vet visits, house and yard maintenance, etc. Sometimes it’s not realistic for those things to fall on a specific day, but for me, there’s a better chance of them getting done if I have a few of them clumped together. That way, I can look forward to more uninterrupted active studio time on most other days. 

4. I typically have two or three projects going at once. It helps me to step away and avoid getting tunnel vision on one piece. In between commissions, it is also important for me to leave some wiggle room for studies and experimentation. Although I appreciate artistic consistency, I’m not the kind of artist that likes to do the exact same thing over and over and over again…I like to mix things up a little, which is evident in my portfolio. That leads me to giving some advice that has been of the utmost importance to me. You WILL experience “failure” and “mistakes” along the way. They are imperative to growing as an artist, almost more imperative than creating an actual masterpiece. For every painting that I feel is a success, there might be two or three or more that wind up in my “time out” pile, or the trash, to be frank. It has happened enough to me now that I almost get excited when I have a failure…it means a breakthrough is right around the corner, and it actually encourages me to keep going. 

Stepping back to avoid the dreaded tunnel vision.

5. Rest is just as important as work. I’m not just talking physical sleep, here, although Mama does love her sleep, don’t get me wrong. I’ll sometimes have a period of time where things are flowing along, I’m cranking out numerous paintings, jiving with the energy in the studio, and then WHAM! All of a sudden it seems as if either inspiration comes to a screeching halt, or some life circumstance happens that forces me to step away from actively painting or producing for a few days. Awhile back, I would get really frustrated and panicky at these times, but now I see that stepping back is absolutely necessary for my creative process, and I try to set aside time for travel, rest, exercise, and things that inspire and rejuvenate me. I now think of these times as incubation periods…time to take a break, get my bearings, maybe have a complete chunk of time off to get away and renew, go see something inspiring, or even handle some mundane factors in life that are weighing on me…whatever it is that isn’t directly related to my work calendar. Then I can step back into the studio with fresh eyes. 

You don’t always have to go as far as Versailles for inspiration…but damn, it sure does help!

6. Networking. I used to absolutely cringe at the mere thought of that word; I’m actually hearing ominous music in my head right now as I type this. My personality is pretty bubbly and happy in general, but meeting new people for the first time on my own gives me heart palpitations, and not the good kind. In the past, it has also been difficult for me to talk about myself. During my first couple of solo shows, I probably seemed like a deer in headlights, making self-deprecating comments and blushing. I am much better about it now, but only because I literally HAD to face my fear of public speaking if I wanted to make a living doing this. And boy, did I ever. Every time I took even a small leap forward, putting myself out there, it became a little bit easier. I still struggle sometimes, and probably always will in the back of my mind, but it has helped to see that people DO respond to what I am doing and DO genuinely seem interested and uplifted by my work. That’s exactly why I do what I do for a living, right there. I just try to focus on that when I feel like sticking my head in the sand, and the anxiety then tends to melt away. The upside of all this is that in putting myself out there more, I have met some truly interesting kindred spirits and professional connections as a bonus. 

Noelle Muñoz and Whitley Adkins Hamlin, two of my newer-found kindred spirits in my life!

7. That leads me to everyone’s favorite topic: Social Media. Boy, what a double edged sword it is, right? I am truly grateful for Instagram especially…I know people complain, but it’s FREE marketing, man…or so far it has been at least. Instagram and Facebook have given me 77% of my business in the past six years, which I feel is quite incredible. All the algorithm ups and downs can be frustrating and confusing and downright annoying at times, but what has worked for me the most is just not caring too much about all that. I do try to post something relevant or (hopefully)inspiring every day, and if I don’t have anything particular to share, I just don’t force it. I also make a huge effort to respond to everyone who takes the time to interact with me on my posts. There is so much fake-ness out there in the virtual world, and that just is not who I am. Who wants fake followers, anyway? The whole point of social media is connection. I would rather share things about my work and myself that are true to me, than perform whatever dog-and-pony-show happens to be popular in the virtual world at any given moment just to book a commission. My best advice: Do whatever works for YOU, and what feels like YOUR truth. If that means posting nineteen selfies a week and buying followers, then more power to you! You just won’t see that from this girl here…I would just rather be painting. Slow and steady really does win the race after all!

Me and one of my bigger babies at Herron and Smith Dentistry in Charlotte, NC.

Amanda's Holy Grail Art Supply List

I’ve been asked quite frequently what supplies I use for certain techniques in my art. While I highly encourage any artist to simply experiment on their own to find what works for them, I am happy to share the materials and tools that I have come across that are now standbys for my work. So here are some of my absolute essential mediums and tools that I currently rely on in my studio.

MEDIUMS

1 Golden Wetting Agent. Formerly called Acrylic Flow Release, Golden changed the name when they updated their packaging. I freaked out when I thought it had been discontinued…clearly it’s one of my necessities if I’m listing it here first (Thanks for punking me, Golden)! I add a few drops of this to my brush water to increase the flow of acrylics and watercolors, and extend drying time for workability. Experimenting with effects during different stages of the drying process is one of my favorite ways to develop a painting. When used in the correct ratio, Wetting Agent also prevents crazing once dry, and a very little goes a long way. 

2 Golden Clear Leveling Gel. Not only do I use this as a medium for paint, I also apply a clear coat of this over my paintings right before I pour the first layer of resin. It helps to minimize that pesky bubble formation, and saves innumerable hours and dollars in the process.

3 Gamblin Cold Wax Medium. For creating texture, dimension and adding translucency on panels that will not be coated in resin (one of the very few things to which epoxy resin does not adhere). 

4 Golden Soft Gel Gloss, Molding Paste, Glazing Medium….really any of Golden’s mediums are my texture-makers, and most, if not all can be resined over.  I swear I’m not affiliated with this phenomenal company; Their products just always seem to be in the range of exactly what I need. My best advice to you is to experiment, experiment, experiment.

5 Golden GAC 100. My go-to for mixing up pigments. Also used as a coating when I paint an unprimed wooden panel to prevent support induced discoloration and warping. 

6 Gamblin Gamvar Varnish. Used when I need a varnish for a mixed media painting that contains oil paint. 

7 Gamblin Gamsol. My first choice for archival odorless mineral spirits when oil painting, to adjust fluidity. 

8 Krylon UV Resistant Clear Acrylic Coating. For archival UV protecting acrylic/alcohol inks that will not have a resin coating, when I want to minimize varnish brush marks. 

9 Winsor & Newton Gloss or Satin Varnish. Used occasionally as a spray varnish in place of brush-on Gamvar. 

10 Dux Quick-Dry Gilding Size. Adhesive for gilding metallic veins throughout my paintings.

11 ArtResin. The epoxy resin to end all others. Crystal clear application, UV resistant and non-yellowing, and as low VOC as an epoxy can be. Plus, their customer service is top notch to boot. It’s difficult to find, but ArtResin’s shipping is lightning fast.

TOOLS

12 Royal and Langnickel Aqualon brushes. I try to steer away from plastic in my studio as much as possible, but these brushes are one exception. Since I use so many fluid materials, my brushes take a beating by soaking all day. These gorgeous, clear acrylic brushes have synthetic hair (I also refuse to use any animal hair brushes in my studio) and have a great resilient springback. The handle will not crack or split even if left ignored in a jar of alcohol or water for days (guilty). Plus, they are super economical.

13 Daler Rowney Simply Simmons Size 50 Brush. I feel like I need to do a Before and After makeover shoot for this brush. Since it has a wooden handle and I have the tendency to ignore it, I have bought it several times (my bad…NOT DR’s)…I abuse it so much but keep coming back to this shape and size. Luckily, it’s another budget-friendly choice. 

14 Purdy paint brushes. A basic hardware store find, but they are a general workhorse in my studio for initial washes, backgrounds, and applying varnish. It’s difficult to find a large, inexpensive multi-purpose brush that doesn’t shed…and Purdy fits the bill for me.

15 Stainless palette knives. I buy these cheaply in bulk from Amazon, as my palette knife technique is highly abstract and not precise in the slightest. All that I ask in a palette knife is a certain amount of give and thickness for scooping out heavier paint, mediums and gessos. 

16 Metal butcher pans. Another non-plastic tool that I use for mixing heavier bodied pigments and paint. I need a palette with a decent lip for encouraging mess making, and something that is simple to scrub clean.

17 Porcelain palettes. Easier to clean and easier on the environment than plastic, these are the Le Creuset pot of my art studio. Nothing sticks to them or stains them.

18 Mason jars and recycled kitchen jars. Glass only for brush fluids and mixing individual colors of paint. Only drawback to these is that I also use these for drinking glasses, and sometimes mistake my paint water for a smoothie or kombucha. Or vice versa.

19 Porter Cable 1500-Watt Heat Gun. For popping resin bubbles and speeding the drying time of paint. I’ve had this particular inexpensive guy for six years now i think, and it’s still going strong with weekly use.

20 Badger TC Aspire Pro air compressor/Badger 150-7 Airbrush Gun. This is my smaller indoor airbrush setup. I also have a larger oil-based compressor for larger spray areas, but I find myself using this one more frequently for detail work, my fave stage of the process.

21 Glass eye droppers. For rationing out pigment and mediums and splatter paint techniques. And sometimes I might just like to pretend I’m a mad scientist.

22 Respirator mask and filters. I have been blessed with asthma, but even if you don’t have health issues, a mask is essential for preventing the inhalation of sawdust, airborne paint, and higher-VOC mediums. 

23 Kobalt 42in steel Collapsible/Adjustable Saw Horse. I had a set of heavy plastic saw horses for a while, but my paintings were getting larger and larger and one day, they finally collapsed under the weight and nearly flattened my dog. So, I invested in these steel bad daddies. They fold up easily when I travel with my work, and can withstand the weight of even my largest pieces. 

PAINT, INK AND OTHER COLOR-BLOB MAKERS

24 Golden Acrylic Paints. Again with the Golden, you say? Yes. The pigment concentration, intensity and color range is unsurpassed in my opinion, as far as acrylics are concerned. Whatever consistency I choose, be it High Flow, Fluid, or Heavy Body, I can intermix endlessly and get whatever color and texture I have in my brain down onto a surface without fail. Y’all know I am not afraid of color, and Golden’s gorgeous hues will forever be right alongside me at work.

25 Ranger Tim Holtz Alcohol Inks. I don’t use alcohol inks in all of my paintings, but when I do, these are the only one I use. Ranger inks are acid free, and the hues are spot on in my preferred color palette. Most shades are highly concentrated, so they allow for an even larger range of colors and textures in my work.

26 Daler Rowney FW Water-Resistant Acrylic Inks. I am finding myself turning to FW acrylic inks more and more these days. I use them both in a watercolor application and as a more concentrated fluid acrylic. They have a very high level of lightfastness, which is so important to me in producing fine archival work.

27 Jacquard Pearl-Ex Pearlescent Pigments. I love to use these mixed with GAC-100 to create my own paint. They have a stunning range of metallic colors that I would bling all over everything if I could.

28 Sennelier Oil Pastels. Oh, Sennelier, where do I start? These are the most heavenly pastels to use. Buttery, almost paint-like consistency that is unsurpassed. I adore their tactile quality and my hands are usually stained with their phenomenal range of colors. Side note: I was able to visit the Sennelier shop in Paris this year…the exact one across from the Louvre where Picasso used to buy his supplies. Le sigh…

28 Dr. Ph. Martin’s Black Star India Ink. The blackest of all black inks that is the complete absence of color, black as night, black as a cat, black as your ex’s heart…I wish they made this in a black liquid eyeliner. I practically buy this stuff by the case.

So there you have it…my holy grail art supply list. Throw me a line and let me know if I am missing out on something absolutely incredible…I’m always testing out new materials and expanding my repertoire. What are YOUR go-to’s in your studio?

Au Revoir!

Amanda

Understanding the ArtResin Process

What effect does resin have on a painting of mine? I don't use it on each and every piece (although usually I am tempted to because I adore the results of a resin application), but when I do it adds such dimension and depth that I feel it draws you in to the piece even more. Keep in mind that epoxy resin will add a considerable amount of weight to a painting...this is something that clients need to factor in for shipping and also displaying a piece. Another factor to think about will be the high gloss finish...if the piece is to be hung in an area with direct or bright light, it may be a better idea to forego the resin and simply have a matte varnish applied instead. These are all things that I go over with clients in advance before a piece is commissioned. 

Why do I use ArtResin and not any other brand of epoxy resin? There are several reasons why. I have used other brands in the past, and they each seemed to have their own issues. Either they cured too quickly or didn't self-level, and therefore the resin was uneven and lumpy, or bubbles would not dissipate, or there would be a yellowish cast over time as the painting aged. None of these were acceptable to me, so thankfully I discovered my holy grail epoxy...ArtResin! It is a conservation grade material that remains crystal clear since it has an anti-yellowing agent added in addition to a UV stabilizer. My art takes a lot of time, heart and soul to create, so the last thing I want included in my work is something that will diminish its effect or its value. 

Below is an detail of an alcohol ink diptych I created before and after adding several coats of ArtResin. You can see that the edges of the ink were softened and give off a more ethereal quality once the resin has cured. 

TOP: Alcohol ink before resin application. BOTTOM: Full resin coating over alcohol ink.

The process of applying ArtResin itself is not overly complicated, but it does take quite a bit of time and attention to detail. You will need to have a space where the piece can remain undisturbed for a minimum of 24 hours. By undisturbed, I mean...no dust, no bugs flying around, no curiously creative children, no hairy husky dogs (I have learned all of these the hard way). The temperature in the space needs to be average room temperature with low humidity. Since I live and work in the armpit of the South, I typically run a dehumidifier in my studio several hours before I begin resining a piece in the summer. In the winter, I run a space heater to make sure the immediate curing space stays a proper temperature as well.

To prepare the panels themselves, I create a barrier with painters tape around the edges of my panels. This creates a sharp edge once the resin has cured. Some artists pour the resin over the edge of their canvases and panels, which is also an option. With ArtResin, you simply pour a 1:1 ratio mix of the resin and the hardener. ArtResin's website has an awesome lil calculator so you know exactly the minimum product you will need to mix. Then, you set a timer for three minutes and stir the whole concoction up until you think your elbow will dislocate. Then you are ready for the fun part!

Please ignore the scruffy-looking artist in the background.

ArtResin offers an awesome spreader that enables you to spread the resin around quickly and evenly. I blew through my own pack of spreaders, so I improvised in the photo here and just used my stirring stick. Wear gloves for this! Now it's power tool time. ArtResin has a cool butane torch that will efficiently remove all the bubbles that rise up within the resin. I currently use a heat gun to achieve this, but the torch is on my list because I keep hearing that it is so much more effective. 

poppin' bubbles...oddly satisfying.

Once all the bubbles have been popped and i have ensured that there are no dust particles or debris floating in the resin, it's time to pray to the resin gods and let it rest. ArtResin takes 8 hours to cure to the touch, but I don't even look at it, breathe on it, or think about it (ok fine, I think about it) for 12 hours minimum. Very rarely and usually due to my own impatience and/or error, if after it cures there are any rogue bubbles, dents, debris or ripples, I can always apply another coat after lightly sanding the surface down. Sometimes I do this anyway and paint in between layers to give an even more layered dimensional effect. Once complete, I sand down the sides of the panels and admire that ArtResin bling!

"And the heavens opened and beamed rays of light unto thine abstract resined painting"...sanding resin always makes me nervous but it is soooo worth it!

If there are any issues at all, however, one of my favorite features of ArtResin's website is their FAQ's page. It has the answers to all of the bajillion questions you may have about their product and process, so you don't have to lose any more sleep at night if they aren't covered them here in my humble blog post. Happy resining! I think that's a verb, right?

intro to me

I was recently challenged with a little Q&A for an interview, and once I responded, I thought it might be a decent read for my followers as well. SO here goes, if you’d like to know a little more about me and what makes me tick as an artist:

Are you from CLT? If not, how did you end up here?

I think I am one of the last living handful of natives in Charlotte. I studied Studio Art at UNC-Greensboro and Appalachian State, so even then I never strayed too far from my hometown. Although I adore travel, I’m quite the homebody by nature, although if I’m not careful, my hermit tendencies will manifest!

Have you always aspired to live as an artist? What drew you to the life initially? What other careers have you done in your life?

I have always been creative, ever since I was little, and I always said I wanted to be an artist for a profession. I grew up very poor, but it never stopped me from constantly making something out of nothing. For instance, we didn’t have the money for a real dollhouse when I was 6, so I just made an entire condo out of shoeboxes that covered the floor of my closet. I would spend hours making lamps out of marbles, buttons and toothpaste caps. And I ALWAYS painted. My mom still has a tiny canvas that I painted of violets on her mantel at her house.  I think I painted it when I was 8.  As I grew up, I just always had an appreciation for things that were well designed. I think even the most mundane object can and should be aesthetically pleasing…and I have carried this belief throughout the curation of my own homes over the years. After college, I felt forced to make a living in a “real” job, so I did everything from makeup artistry to retail to legal assisting to data entry, to a ten-year stint in real estate that was actually really lucrative but also very unfulfilling. I never played the corporate game vey well; I was such a square peg in a round hole.  I’m a rebel at heart, and I found myself in hot water more times than one over dress codes and my lack of the ability to placate the agendas of my higher-ups. I still lack that ability to this day.  After I had my daughter, I was able to take a few years off to raise her, and I also found the time to gradually begin practicing again as an artist. I started by refinishing vintage furniture and scouring flea markets and thrift stores and reselling art and decor at a few different local antique malls, dragging my then-toddler in tow with me the entire time.  That’s where the name Bombshelves came from…I’m still so attached to it that I kept it for my website and social media handles, although I only occasionally redo furniture anymore.  I didn’t start REALLY painting again until about 5 years ago, at the beginning of a long separation in my marriage.  It was a pivotal point at a very tenuous period in my life.  Finding myself simultaneously unemployed, on the brink of divorce and at a true spiritual crossroads, I devoted myself to rekindling my love of creating art.  Dedicating this extensive amount of time to trial and error(lots of error!) and developing my own processes of painting virtually saved my life.  It became cathartic, and for the first time in decades I began to feel alive, worthy and vulnerable again.  Painting gave me a sense of purpose and gratification I hadn’t felt in years, if ever.

Why painting for you, instead of another form of art?

I actually never questioned once WHY paint, and not sculpture or photography, etc…it has always been paint. The sheer range of possibility in color, movement, pattern and texture appeals so much to me.  I suppose many artists feel this way about their medium, but for me it’s the end-all-be-all in infinite possibility.

Describe your training – early on, how did you begin to learn about and practice your craft?

I adored all of my Studio Art courses in college…although some of the more technical ones frustrated me like photography(pre-digital age, I’m dating myself I think!).  I was never a really good student EXCEPT for when it was a creative subject.  Art, music, writing…all A’s.  And then conversely, I literally had a 12 average in Accounting 101.  Other than those few years, I have had no formal training, I am all self taught and practiced.  I learn every day simply by trial and error, and the errors tend to be my greatest teachers.  Kind of how life is, too.

How did you successfully turn your passion for art into an actual career?

During the initial separation of my marriage, one of the few blessings I had was the gift of time.  I poured every ounce of energy I had into raising my daughter, healing myself and perfecting my craft.  I also spent countless hours in therapy, meditation, yoga…it was a virtual midlife crisis, but somehow deep down I knew I was about to turn the page in my life and be on the other side, if I just kept going and just kept doing the actual process of getting up every day and painting.  I gradually began to see the reactions of a few people close to me who were astounded when they saw my work.  And then, even more gradually, I began to become astounded, too.  I realized that there weren’t any other artists doing what I was doing, and then I got an idea, “what if?”  What if I COULD actually make a living at this?  What did I have to lose at this point? So I began seriously marketing myself, which I had never taken the time to do in the past.  Social media is a godsend for self-marketers! One commission led to another, which led to one opportunity which led to another and so on, and my calendar began to fill up bit by bit to the point of where I am actually able to turn down some projects if I feel they are not a good fit for me or my work.

Describe your typical process in the creation of one of your pieces from start to finish.

I am asked this question on almost a daily basis at this point, and it is so hard to answer. When I begin a painting, I almost never have a plan. I may have a concept or perhaps a color scheme but that’s about it until I begin…and then the flow and interaction of the medium tells me where to go from there. It’s very freeing, and very meditative.  There is a fine balance between what I can control in a painting and what comes out naturally as my artistic process evolves. The most difficult part to me is to know when to stop. I am challenged in that sometimes I will completely overwork a painting because I get so lost in the medium!  The fluid materials I use also take some time to react with each other.  What I see one moment may look completely different or even be nonexistent the next, so sitting back and watching and waiting are a huge necessity in my process. Sometimes that can be excruciating when I am really in my groove and wanting to add more and more and more, but being patient almost always produces more mesmerizing effects. Another life lesson, I suppose?

How would you describe your technique and aesthetic?

I have been told on a few occasions that experiencing my art in person imparts a trance-like effect in the viewer.  Much like cloud watching or meditation, the observer’s eye sees different shapes and effects that I would like to think are brought forth from their subconscious to their conscious mind.  It’s actually what happens to me while I am creating each one. Each of my paintings has layers upon transparent layers that each react with what lies underneath to create the varying depths that you see.

Who are some of your personal favorite artists? Who or what are your biggest inspirations?

I have always been attracted to more abstract or impressionistic artists. Marc Chagall was my very first artistic love as a child. My grandmother had a print of a detail of one of his paintings mounted on an old piece of wood that I still have. His dreamlike subject matter always appealed to the child in me, and still does. Gustav Klimt is another favorite because of the fine detail; you literally could look at one of his pieces for hours and not mentally absorb everything. Andy Goldsworthy’s natural sculptures are a phenomenal example to me of the interconnectedness in the universe. His artistic vision is otherworldly to me, expressed in this earthly world’s materials. Contemporary artist Bruce Riley is a current favorite…he is an absolute sorcerer of resin and pattern.  Personally in my art, I am primarily inspired by the vividness and imagination of nature.  The organic colors, textures, and intricate patterns that appear in even the simplest of forms speaks to the universe’s very complexity.  Much of my creativity comes from observing nature…clouds and their motion and metamorphosis; mineral and rock formations; the natural geometry and symmetry of plant life; ocean waves and their nebulous ebb and flow; the texture of sand; the cosmos…all mesmerize and inspire me. They are evidence of the symbiosis and shared diversity and connection between all energetic beings. I try to imbue the same inter-connected complexity in my paintings.

What would be your advice to other artists?

Try everything yourself. Figure out what your materials want to do for YOU. Don’t attempt to imitate anyone. Every artist should be their own kind of rebel and figure out what THEIR message, technique, and style is. I could tell you all day long what ratio of medium-to-pigment I use for a particular effect, but the trial and error of finding out what resonates within your own soul is what is going to make it art. The artistic process itself is truly where your answers lie.