Stage 3 - Revealing Complexity

The reductive work begins at this stage. Layers of transparent paint allow the prior history to be visible yet unified. Layers of opaque neutral paint allow for selective scraping. The surface must be partially dry to use solvent reductive techniques and incised marks on cold wax. If a thin layer of encaustic is used in the painting, the work would be completely dry and cured for a few months.

Stage 4 - Final Decisions to Completion

To get rid of the busyness of the marks in the lower section, I ended up adding an Indigo layer and reversed the painting on my easel. A slip of the squeegee at the top right of the painting suggested a blurred moon, reminding me of a recent total eclipse experience. The power of that moment and the awe it inspired directed me through the final tweaks as I moved the painting to a satisfying conclusion.

The Heavens Declare Oil, cold wax, and 23K gold leaf on panel, 24 x 24 x 2 in

Passages

Encaustic, pigment, cold wax, oil on panel, 12 x 12 x 1.5 in

A Solo Exhibition, Opportunity, and Challenge

Embarking on the path of creating your own solo exhibition is a profoundly transformative journey for any artist. It is marked by exhilarating highs and daunting challenges, but it is a process that goes beyond just displaying your work. It is about storytelling, introspection, and connecting with an audience on a deeper level. It is a chance to delve into personal themes, explore new techniques, and push artistic boundaries. A solo exhibition can be a turning point in your work and your career. If these motivations stir your blood and you are ready to say "yes" to your next step, here are some questions to explore.

How do I know I am truly ready for a solo exhibition?

Part of the answer is inside the question. You might need a solo exhibition if you need many paintings to tell your story, develop your content, or explore a theme. A short story makes its point briefly in a few pages. Developing characters, themes, and a plotline takes a novel with many chapters. When finished, your viewer should see more than a repetition of the same idea in diferent colors. If the show is well-hung, viewers will hear both the chorus and the verses as they see your work, understanding the depth and complexity of your artistic journey.

Part of the answer also comes from outside the question. Is your work consistent in style, medium, and subject matter? Does it feel congruent? Does your work look like it has been created by the same artist? Consistency may not matter if you submit a work to a juried show, but it will matter when many pieces of your work fill a gallery.

Where do I start my venue search for a solo exhibition?

If this is your first solo exhibition, look at smaller, easier-toaccess places to show your work. Look for places that can partner with you, meaning you bring customers or new visitors to the establishment, and they allow you to hang work. Local cofee shops, libraries, boutique hotels, or wine bars are often open to an artist show. If the trade-of is not monetary, you must provide marketing and handle sales.

How much work will I need?

Once you choose a venue and set a date, request a floor plan for the space in which you will hang the work, or if this is a retail space, go after hours to measure the wall space you will be allotted. If there has been prior art on the walls, use that as a guide for the number and size of the work you need. Inventory the number of works in your studio, subtracting from the art you will need to fill the space. If, for example, you determine you will need fifteen artworks for the show and you have eight completed then you will need to create at least seven new works by the deadline. Add 25% to your number to have options when the show is ready to hang.

Is there anything else I need to consider?

A budget is essential. Not only will you need your artist canvases and materials, but you might also need framing and hanging hardware. Be sure to check with the venue before finishing the work for hanging. Even if the venue does some marketing, you will need business and show cards and postage for mailing and reception. If the work you create in the studio is held for the exhibit's duration, your average income from sales during that time will not be available.

Tips

• Remember, the more you know about your venue, the more confident and in control you'll feel. So, visit your venue several times before you propose a show to understand the flow of trafc and the interaction with work on the walls.

• Adhere to written guidelines for writing a proposal. This structured approach will guide you through the process and instill confidence in your creative decisions.

• Solo exhibitions often mean you do everything. Bring along partners and supporters to your project.

• Remember to document your process, including stages of work in development. Your insights and choices are seeds for future work. Document the work with the best photography you can aford. Document the opening event and the exhibition. You will need those images for future marketing.

• Don't forget, you're not alone in this. Find another artist creating work for an exhibition and collaborate as accountability partners. Whether in person or over an online communication platform, this collaboration will make the often lonely experience more fun and less isolating.

Mindfulness

Encaustic and mixed media on panel 52 x 8 x 2 in (grid of 6 panels of 8 x 8 in)

Harbor Oil, cold wax, and pigment on panel 18 x 24 x 2 in

Amen, Encaustic and mixed media on panel, 24 x 24 x 1.5 in

About the Author

An artist and teacher for over 40 years, Michelle Belto has exhibited internationally and founded community arts initiatives including The Gaslight Theater in Shiner, TX, Rebarn Center for Spirituality and Art in San Antonio, and The Enso Circle, an international artist residency which she co-founded and directs with Lyn Belisle.

Her artistic focus on the interplay of time and memory is evident in her use of wax, creating complex surfaces that evoke eras of time and remembered experiences. Before stepping back to focus on her visual art practice, Belto held a 13-year position as an adjunct faculty member at Southwest School of Art, creating a complete national and international teaching schedule. Today, she works and teaches from her studio in San Antonio.

You can view Michelle’s work at www.michellebelto.com michelle@michellebelto.com www.instagram.com/michelle.michellebelto www.facebook.com/michelle.michellebelto

You can view the Exhibition Catalog on Michelle’s website. www.michellebelto.com

All works photographs are by Seale Studios sealestudios.com