But Not BrokenRegular price $995.00
RANSOM & MITCHELLE
But Not Broken, © 2020
Encaustic, Pastels & Print on Panel
12 x 12 x 1 in
Signed on Back
ABOUT THE WORK
This work was included in the "Through the Looking-Glass" group exhibition at Voss Gallery (August 5 - September 5, 2020).
"While grappling with an unprecedented pandemic that has grotesquely effected Black, Latino, Indigenous, and communities in financial peril, our nation is reeling from massive unemployment, and unrelenting white supremacist brutality that has been laid bare in our police departments and fellow citizens in all 50 states. Our ongoing series Kintsugi explores the concept of subjective damage. For our piece, But Not Broken, we examine the essence of injury and resilience, as well as pose the question, 'Can beauty and strength emerge from being broken and imperfect?'
We have long admired the Japanese art of Kintsugi which uses a precious metal to mend the pieces of a broken pottery item and at the same time enhance the breaks. If instead of hiding our scars, we can allow ourselves to reimagine them as poignant reminders of our inner strength and ability to overcome, we can instead manifest feelings of pride, compassion and perseverance. Kintsugi is the demonstration of "that which does not break us, makes us stronger," and in fact, we become all the more cherished, unique, and ultimately unbreakable." —Ransom & Mitchell
ABOUT THE ARTIST
Ransom & Mitchell is a still + motion creative team in San Francisco featuring the combined talents of director - photographer Jason Mitchell and set designer - digital artist Stacey Ransom. Together they create highly-detailed and visually-lush photographic-based digital art scenarios and portraits. Their work is narrative in nature and draws upon the darker undercurrent that exists within all aspects of society.
HANGING & CARE
Artwork is ready to hang on the wall (nail needed). Hang your piece in normal room temperatures and avoid direct sunlight or extreme temperatures. Though encaustic beeswax is extremely archival, care should be taken to avoid extreme heat or cold (encaustic wax can melt at 150°F).
When packing encaustic art for transport, cover the face of the wax with smooth parchment or wax paper. Do not put bubble wrap or any other textured material directly on the face as it can leave an impression.
As the wax cures, an encaustic painting may develop 'bloom,' a naturally occurring hazy white reside from the beeswax. If a high-gloss is preferred, bloom can be removed by gently buffing the surface with a smooth, clean chamois or a lint-free buffing cloth. Care should be taken to make sure the surface is dust free before buffing and remove all jewelry that might scratch the surface during buffing.
Encaustics can be buffed to a beautiful high gloss finish that will last. Once an encaustic has fully cured (typically one year) it will repel dust. We like to buff our works to a high gloss every 6 months, though you may prefer the milkiness that develops over time. Either choice is fine and up to you.
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