Category Archives: Paper

ANNOTHER SUNNY DAY AT CAFE PASSE

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ANOTHER SUNNY DAY IN THE DESERT | MARCH 3 – APRIL 30 | CAFE PASSE | 85705

I owe the title of this series to my sex-same partner, who often opens the shade of a morning and exclaims, “It’s another sunny day in the desert.”  The phrase can be understood as a point of fact, irony, or wonder.  In a state that votes discrimination into law with such Senate bills as the federally-disputed SB 1070, and that narrowly vetoed SB 1062, which would have legalized a faith-based right to refuse service to assumed members of the LGBTQ community, it doesn’t always feel like a sunny day.

So much behavior comes from, and makes for, heavy hearts. To oppose fear and hatred, I am compelled to expose and explore with light-heartedness and whimsy.  It is important to me to bring heavy subjects to “light.”

The master images for ANOTHER SUNNY DAY IN THE DESERT exist as light.  Reading about David Hockney’s use of iPhone technology to make art led me to explore the drawing applications available on my iPhone. I settled on Green Gar’s Whiteboard app.  I began making digital paintings in 2012 at local businesses, and outdoors at home of an evening or afternoon.

My use of color was greatly expanded by working with a digital palate.  It was a delight to match colors in encaustic and acrylic with the digital colors.  Each encaustic or acrylic corresponds to a digital fingerpainting and is one of a kind. Translating digital images into encaustic art required me to use tools in new ways. Previously I relied on incising, using paintbrushes to fill incisions, but with these pieces, I also used the brushes to paint.  Next, I used a heat gun to move and to fuse the layers that I’d painted on. The process of moving back and forth between ultra-contemporary and ancient techniques is liberating.

The prints are produced in a range of sizes, with a maximum of 5 images per size and a maximum of 25 prints per image.

All works are discounted for purchase during the exhibit. If you would like to take a piece home today, Café Passe will accept cash on my behalf. If you would like to pay with a credit card ($5.00 processing fee on purchases of $100 or less) via PayPal, please contact me.

Thank you to Betts Printing and Fred’s Custom Stretching.

ANOTHER SUNNY DAY IN THE DESERT

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Reading about David Hockney’s use of iPhone technology to create art led me on a search to explore the drawing applications available on my iPhone. I settled on Green Gar’s Whiteboard app. Many of these were drawn on the front porch in the desert of an evening, or on the back porch of an afternoon, inspired by Tucson’s green desert. Each encaustic corresponds to a digital “fingerpainting” and is one of a kind.

The images printed on glossy photo paper are available in a range of sizes, beginning at 8 1/2″x11″, limited to an edition of five archival prints.
8 ½” x 11” $100
Larger sizes (24” x 36” or 48” x 72” for example) priced upon request.

To view the images one by one go to valyntiagrenier.com

Also, CLOUDSHOW / UTOPIA (see below) is showing at Bentley’s till September 15th

SKETCH BOOK

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GARZA COMMISSION FINALE

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My final work on the Garza commission. The completed art work, acrylic on 140lb watercolor paper, measures 59″x 36″ and is prepared to be hung w/ either width at the top or bottom. If you are interested in a custom made piece of artwork I am currently accepting commissions in any of the media and series found at my website valyntinagrenier.com contact me there!

GARZA COMMISSION PHASE TWO

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GARZA COMMISSION

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ACRYLIC AND INK ON PAPER

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Autopoesis 4 Showing in Oakland Ca July 1st-31st 11:00am-Midnight 4799 Telegraph Ave

Autopoesis 4 Valyntina Grenier

To live in an autonomous way, living systems need to obtain resources from the environment in which they live. They are simultaneously autonomic and dependent. In other words, elements in an autopoetic system are, at the same time, producer and product.

I use the term “autopoesis” to illustrate that each piece is a system in itself and, in context with one another, part of a larger system. Because of the symbolic nature of the forms, they are also dependent upon a relationship with the viewer, who becomes an integral part of the production.

This is my fifth and final annual show at Lanesplitter, Temescal. Please join me for a reception on July 26th from 6-9pm.

If you would like to view more of my Artist Proofs or paintings, please contact me at lifelongpress@gmail.com .

American Marriage Triptych Encaustic each 9″ x 9″

$300 for the set  (Individually $150)

My Pager’s in My Other Pants  Encaustic 8.25″ x 5.5″ $150

My Pager’s in My Other Pants  Intaglio print 14.5″x11.5″ on Rives BFK paper

Framed $150  Unframed prints available $30

The initial sketch for this print, editioned at 100, was composed during an art history class in 1998. It is titled after a mixed tape made by the writer Lucas Champagne, which I listened to while composing Autopoesis 2, my second annual show of paintings at the Lanesplitter in July, 2007. This print is pulled from a 6″ x 4.25″ zinc plate, etched with traditional methods, using a hard ground, stylus, nitric acid, and drypoint.

Kandinsky’s Coffin  Intaglio print (Artist Proof) 20.5″x16.5″ on Rives BFK paper

Framed $200 A limited number of unframed artist proofs available $150

This Artist Proof is pulled from a 12.25″ x 9″ zinc plate. It is etched entirely with non-toxic methods. The line work and stippling were made using various dental tools, a stylus, and an irregular rotary tool. There is also engraving. Some foul bite is visible.

Che’s  Intaglio print 11.25″ x 9.25″ on Rives BFK paper

Framed $100  Unframed prints available $30

This print, editioned at 100, is pulled from a 4.75″ x 6″ zinc plate, using a traditional sugar lift through a hard ground. The etching was done in copper sulfate. Some dry point is also visible. Che’s is a bar in Tucson, Arizona. I have been working on a series of 6″x6″ drawings in color pencils of the bar’s interior since February, 2009. The line work on this plate was composed freehand from memory.

Che’s Lounge  Intaglio print (Artist Proof) 11.25″ x 9.25″ on Rives BFK paper

Framed $150  A limited number of unframed artist proofs available $100

Che’s is a bar in Tucson, Arizona. I have been working on a series of 6″x6″ drawings in color pencils of the bar’s interior since February 2009. The line work on this plate was composed freehand from memory. This Artist Proof is pulled from a 4.5″ x 6″ zinc plate. The image was made using  sugar lift and drypoint. It was etched in copper sulfate.

Shipwrecked Crystals  Intaglio print 9.25″ x 11.25″ on Rives BFK paper

Framed $100  Unframed prints available $30

This print, editioned at 100, is pulled from a 4.5″ x 6.25″ zinc plate. The etching was made with nitric acid using a soft ground technique, applying  blades of grass and recyclable produce netting.

Change Is My Savings Plan  Intaglio print (Artist Proof) 11.25″ x 9.25″ on Rives BFK paper

Framed $150 A limited number of unframed artist proofs available $100  A limited number of unframed mixed media prints w/ graphite $300

The phrase “Run Every Sense” is from Aretha Franklin’s version of “A Change is Gonna Come.” I’ve also composed a feminist anti-war poem, “Change Is My Saving Plan,” whose lexicon is derived from Act 1, Scene i of Shakespeare’s Hamlet. This Artist Proof is pulled from a 6″ x 4.75″ zinc plate, etched with traditional methods using a hard ground, stylus, and nitric acid. The aquatint was made with non-toxic methods and etched in copper sulfate.

Both And  Intaglio print (Artist Proof) 11.5″ x 14.5″ on Rives BFK paper

Framed $175 A limited number of unframed artist proofs available $130  A limited number of unframed mixed media prints w/ graphite $300

This Artist Proof is pulled from a 6″ x 7.25″ zinc plate. The title “Both And” is from Freud’s Interpretation of Dreams. The symbology in the bottom corner was made using a spit bite with nitric acid and first appeared in my acrylic series, “Subconscious Translation of the Binomial Theorem.” The line work was etched using a traditional hard ground, stylus, and nitric acid. The plate was also treated with a non-toxic reticulated wash and aquatint, both etched in copper sulfate. Some foul bite is also visible.

Inception Intaglio print (Artist Proof) 11.25″ x 9.25″ on Rives BFK paper

Framed $150 A limited number of unframed artist proofs available $100

This Artist Proof is pulled from a 6″ x 4.5″ copper plate. It is etched entirely with non-toxic methods, using the techniques of reticulated wash, drypoint, and stippling. Foul bite is also visible.

Modern Ruin  Intaglio print (Artist Proof) 9.25″ x 11.25″ on Rives BFK paper

Framed $150  A limited number of unframed artist proofs available $100

This Artist Proof,  pulled from a 4.5″ x 6.25″ zinc plate, is a result of my desire to approach a blank plate without any preconceived notion of what to do to it. Using a traditional hard ground technique, the line work was made with a stylus and various dental tools and etched in nitric acid. The gray tones are a result of a non-toxic aquatint etched in copper sulfate.

H2O, INK, ACRYLIC, PAPER