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E. Melinda Morrison
A Days Work is Done 10" x 10" Gouache on Illustrated Board Renaissance Wax

2024

About the Item

A Day's Work is Done 10" x 10" (Yellow lab with bird) “A Day’s work is done,” 10 x 10, gouache on Aquabord, sealed with Renaissance Wax. Also shown are other animal paintings in this series of gouache . Gouache (/ɡuˈɑːʃ, ɡwɑːʃ/; French: [ɡwaʃ]), body color,[a] or opaque watercolor is a water-medium paint consisting of natural pigment, water, a binding agent (usually gum arabic or dextrin),[1] and sometimes additional inert material. Gouache is designed to be opaque. Gouache has a long history, having been used for at least twelve centuries. It is used most consistently by commercial artists for posters, illustrations, comics, and other design work. Gouache is similar to watercolor in that it can be rewetted and dried to a matte finish, and the paint can become infused into its paper support. It is similar to acrylic or oil paints in that it is normally used in an opaque painting style and it can form a superficial layer. Many manufacturers of watercolor paints also produce gouache, and the two can easily be used together. Renaissance Wax is a brand of microcrystalline wax polish used in antique restoration and museum conservation around the world. Commonly used to polish and conserve metal objects, it is also used on gemstones and such organic materials as wood, ivory, and tortoiseshell. The product is sometimes used by reenactors to protect armor and weapons. Waxes are more protective and longer-lasting than oil, especially for swords and helmets that are frequently touched by human hands.[1] It has recently been introduced in the world of guitar building, as a finish that protects and gives colour to the wood. Artist Statement: Painting for any artist is a combination of chaos, design, purpose, meditation, insecurity, achievement and fear of failure, all at the same time! Most artists will tell you while they might have an idea in mind prior to putting paint on a canvas, they try to move forward with a concrete idea. However, many things can happen that changes the best intentions. Those mistakes can make or break a painting and if used to the artist's advantage can create lovely idiosyncrasies in a painting. Alas, not all paintings are successful in the eyes of a painter. I have scraped many a painting after working diligently on it for hours, but the scraping is to the betterment of the creative process. The aftermath of a painting is filled with many levels of emotions from celebration of a successful painting to disappointment. It is those emotions that can still leave an artist wanting more. I believe its the thirst for wanting more that is the fulcrum that lifts an artist to another level, always wanting for the next painting to be better than their last. The elusiveness of creative masterpieces is what keeps me working towards the next one in hopes I can say, ok, that is a good painting! As a young woman, her B.A. in fine arts from the University of Texas at Tyler took a backseat to the corporate world for many years: advertising exec; graphic designer and art director of her own company; and later corporate and executive recruiter. Not surprisingly, she was recognized in national competitions for her print design and annual reports, but shortly after her move to Denver in 1994, the satisfied extrovert began to hear from the starving artist. She says she “felt like her soul was drying up”. An oil-painting class at the Art Students’ League of Denver rained water on that desert ground. Over the next five years, Melinda studied painting at the League under the guidance of master painters like, Quang Ho, Kim English, Kevin Weckbach, and Ron Hicks. As her passion and skill grew, so did her dream to paint full-time. She made the leap in 2003 and brought years of corporate skills into the new and intricate dance of a full-time professional art career. She hasn’t looked back. Since that decision, Melinda has participated in over 8 one woman shows in Santa Fe and national and regional shows in the Southwest and Southeast gaining recognition for her figurative paintings. Her work is collected among collectors across the US and internationally. Melinda has been featured in major articles in national and regional magazines and newspapers such as Southwest Art, American Art Collector, The South African Artist Magazine, the Santa Fean Magazine, and the Albuquerque Journal (where she received a three, full-page article on her work). She has been chosen several times as a finalist in the national Bold brush art contest and over 20 times as FAV 15%. As a sought out teacher, she offers professional studies courses as well as offering workshop instruction from other nationally known artists. She is a member of Oil Painters of America and the Portrait Society of America. She has won awards of excellence and honorable mention in OPA online and regional shows and recently Best People, Award of Excellence in NOAPS online showcase.

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