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"Art is what I do to understand the world and and my place in it."

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Amber is a multi-passionate artist. She started at the University of MN as a Theatre major/Dance minor but left for a more concentrated education in Dublin, Ireland at the Gaiety School of Acting. She went on to study in Reggio Emilia, Italy at ArsComica in commedia d'elle Arte. She has performed as an actress, dancer and singer around Europe from Greece to Northern Ireland, Mexico, and various places in the US. Truth be told, becoming a painter or sculptor was never considered to be part of her career path for two reasons: 1) in high school, a teacher (whom she didn't particularly care for) said to her when she picked up a history project which she had included a drawing for and the teacher said as Amber left the room, "You know, that's a really good project. You should be an artist." Amber snapped back, "Don't tell me what to do!" 2) she didn't feel she belonged with the "artsy" crowd. So in her stubbornness to not listen to her teacher and naive association of who belongs where, she kept non-performing art as an amusement to pass the time.

 

The result today is that in her paintings, masks and sculptures all have a theatricality. Although not usually about theatre, there's a story being told in each image. She spends special attention to detail of what colors are used where, and why. The "life" in each piece is like an actor having studied their character so thoroughly that they become indistinguishable from each other.

She still works as an actress, dancer and singer and is the Artistic Director of Asylum Theatre based in the Twin Cities, MN. Additionally, she has been teaching yoga since 2008, traveling since she got her first passport when she was 17, and has the funniest and objectively most awesome dog, lab-pit mix, Signora Babbling "Brooke." Amber has a love for nature and all things wild.

Raw Pigment Oil

What is Raw Pigment Oil?

“Raw pigment” is basically a fancy way of saying “natural.” Before oil paint was mass produced in tubes it was meticulously made by the artist (or their apprentice). The basic recipe is ground up colored dirt with a drying oil like linseed, walnut, poppy, etc. The process of making paint is simple, but takes a longer time to dry than our society has patience for. Oil paint also has a reputation of being extremely toxic, from back in the early days using pigments like lead and predator snails to today a variety of toxic ingredients for fillers, stabilizers, drying agents, and synthetic color.

 

Working in a non-toxic environment is good enough reason for me to compromise the amount of time it takes to make one raw pigment oil painting. The pigments I use are from quarries predominantly in France, as well as the Blue Ridge Mountains in the USA. I choose to mix the minerals and sands (no lead or snails) with walnut oil. Although walnut oil takes over twice as long to dry as linseed, the more popular oil, it doesn’t yellow over time to the extent linseed oil does.

 

Turpentine is a common oil painter’s ingredient to not only clean brushes but also as a paint thinner. I’ve never used turpentine and never will. I use a soy bean based brush cleaner/paint thinner, no toxic fumes, non-pollutant, non-irritant.

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Papier-mâché

Inspired by Venice

I became interested in papier-mâché sculpting when I was a company member with a theatre company in Chicago, IL that specialized in large scale papier-mâché puppetry. The strength and stability of the puppets we created was surprising to me, nothing like elementary school days of balloons and strips of newspaper covered in flour glue. The art of papier-mâché turned out to have more dimension than my grade school assumption. 

Having done a little research on papier-mâché I learned that the famed Venetian masks were made of paper, glue and plaster, and mask makers in Venice today create masks using the original methods of sculpting a positive sculpture and making a negative mold so the mask shape can be reproduced and then painted. 

The step I remove from my mask making process is creating the negative mold. No face is reproduced, once the positive clay sculpture has been plastered that's it. Beyond masks, the puppets and wall sculptures I create are by nature light weight, light enough to hang on a wall without need for special bracing.