Spirit Quest

poems by Bob MacKenziepaintings and charcoal drawings by Sharlena Wood

In Canada’s Rocky Mountains and the ranges to the west, toward the Pacific coast, there is a palpable spirit that’s impossible to resist. In these places, one cannot help but feel the presence of a greater power that need not be named. Those who travel here return changed to the far places from whence they came. Some never return. Enthralled by the beauty and power of these mountains, they settle in for the remainder of their lives. Though it hadn’t been their plan, others return again and again. Those born in their shadow carry in their hearts the mountain spirit and never forget, no matter where their lives may take them. The poems in this book explore a boy’s experience of this spirit as recalled a half-century later by the man he had become. Created by an artist who has also been among these mountains and felt their spirit around her, the accompanying images express her own experience of these places.

Glazing is by far my favourite technique. Glazing with any paints - Acrylics, Oils or Watercolours - is magical. However, acrylics do allow for a slightly different approach with the technique as with some unique results - from the range of pigments and mediums available, to the permanency, control and speed (although even acrylics test my patience sometimes!) that produces extraordinary luminous layers.I will use any kind of Polymer Medium as I find there is little shift in viscosity from a specifically marketed 'Glazing Medium' to a 'Polymer Medium' (sometimes I add a little water if thinner is preferable). Using a medium instead of water only is important as it maintains the integrity of the paint, adhesion, and permanency between layers - all of which offers more control, from smoother brushstroke applications, to the forgiving 'wipe-off' of an area or a layer, as well as choice in the sheen and finish (I use gloss as it is best for highest chroma and clarity).One of my favourite acrylic mediums can be seen drying in the second step of this process image - Dry Media Ground/Pastel Ground - where I decided the trees would be drawn in with charcoal and soft pastel (consistent with much of my work). It's an invaluable medium when using acrylics when I wish to bring in dry media, and can apply it selectively.My colour palette for this piece consisted mostly of transparent pigments using Liquid/Fluid Acrylics: Quinacridone Violet, Quinacridone Magenta, Indian Yellow and Interference Violet, along with Paynes Grey (Opaque). The secret weapon for the suns glow is a base of 'Liquid Mirror' - an (Opaque) acrylic colour that looks and acts like platinum, so the results when glazing with transparent colours over top is much like painting on a mirror. I also dig using Semi-Opaque and Opaque colours as well, either using a lot of medium (I'm just mindful about the shift in colour as it dries) or as is to cover certain areas.Glazing always tickles my curiosity and wonder - as layers gently build up there are awe inspired moments when brushstrokes and shapes melt, colours shift and magic happens!