Without Restraint

Adrienne Circelli-Silversmith

Being a person that does not want to conform or be predictable has its disadvantages in the art world.

For one, it’s difcult for me to paint a cohesive series because I’m always looking to experiment and try new things, which can make finding a gallery difcult: Galleries prefer to associate with artists that can deliver those “themed” paintings. Needless to say, I am not represented by any galleries.

To me the true meaning of being an artist is to be able to explore, experiment, and create work that is meaningful to oneself without restraints.

For the longest time, I thought this was a negative, a character fault. Usually I have several paintings going at the same time in diferent mediums, subject matter, and stages of development.

One advantage of this process is when I get stuck on one painting I move to another. This allows me to get some distance (literally) and solve the problem mentally and then come back with a fresh eye.

I also do this when I sense I’m about to overwork and ruin a perfectly good painting. When I feel this happening I force myself to put down the brush and walk away.

Wave Encaustic 4 x 4 x 2 in

Example of “flattened accretion” Caged Encaustic mixed media 10 x 10 x 1.5 in

My paintings could never be described as “pretty little pictures." They have always reflected my emotions, my circumstances, and my feelings.

My senior project in art school was based on the emotional efects of my divorce. In some of my encaustic pieces, I’ve added shredded pieces of my divorce decree.

Love Poems and Divorce Decrees Encaustic, found objects 12 x 12 x 1.5 in

Example of “flattened accretion” Frozen Encaustic 10 x 10 x 1.5 in

During quarantine, I created an encaustic series called Visceral. These works express my emotions and feelings while being in shutdown.

While creating the Visceral series, I developed two techniques.

One technique I refer to as “flattened accretion.”

Diferent colors embedded with papers and other objects are used to develop the base layers. When enough layers are developed I start “dry brushing” the surface which creates texture called “accretion”. I then scrap the surface and fuse with an iron to “flatten” the top layer so that it is somewhat smooth. With this technique, the texture becomes more “implied” rather than having any surface texture.

Since encaustics can be very translucent, the final product gives the sense of looking through layers of ice as in a frozen pond. You can see through to the deeper levels, showing diferent colors, patterns, and embedded objects.

Caged and Frozen are examples of “flattened accretion.”

The second technique, “deconstructed accretion” is similar in that dry brushing is used to build up texture.

Top layers are repeatedly built up and slightly scraped down, thereby allowing ridges and crevices to develop. Diferent colors may be added to the top layer or incised which creates more character to the surface layer. In this technique the texture is palpable. This construct/destruct method looks something similar to the type of erosion that is created by water when it carves its way through the earth.

Floating and Forgotten are examples of “deconstructed accretion.”

Recently a fellow artist visited my studio. When she looked around at my artwork she commented about the many techniques and styles I'd mastered and how talented I was. I don't think she was aware of how her comment afected me, how it changed my perception of myself and my artistic abilities.

Success for an artist is often measured by solo and museum exhibitions, being held in collections, and gallery representation. Artists who haven't achieved those goals often find it hard to know how their art is perceived by other artists. Or how to measure success.

Her comment reminded me that the true meaning of being an artist is to be able to explore, experiment, and create work that is meaningful to oneself without restraints.

And I felt validated.

Example of “deconstructed accretion” Floating Encaustic, found objects 10 x 10 x 1.5 in

Example of “deconstructed accretion” Forgotten Encaustic, found objects 10 x 10 x 1.5 in

About the Author Adrienne Circelli-Silversmith is a contemporary artist who works in oils, encaustics, and mixed media. Her subject matter includes figurative, landscapes, abstracts, and anything else that draws her interest.

She graduated from New Hampshire Institute of Art in 2011, with a BFA in painting at the age of 54.

Before studying art, Adrienne received a Master of Science in nursing (MSN) and, as a RN, worked in the ICU with trauma victims, critical medical illness, and post-open heart surgery patients. She also taught nursing at a local college.

Adrienne lives in the beautiful coastal New England city of Newburyport, is active in the Newburyport arts community, is on the Local Cultural Council (Ma), and a member and volunteer of the Newburyport Artist Association. She has a wonderful studio in an old mill building that once made horse drawn carriages.

You can view Adrienne’s work at asfineart.net www.facebook.com/asfineart.net www.instagram.com/adriennefineart