14.75 x 19.5 | 16 x 21 frame
Encaustic mixed media on panel
SOLD
14.75 x 19.5 | 16 x 21 frame
Encaustic mixed media on panel
6 x 6 | 7 x 7 frame
Encaustic on panel
SOLD
6 x 6 Encaustic mixed media on masonite
NFS
11 x 14 | 21.5 x 17.5 shadow box frame
Encaustic on raw canvas
11 x 14 | 21.5 x 17.5 shadow box frame
Encaustic on raw canvas
11 x 14 Encaustic on panel
SOLD
12 x 16 Encaustic mixed media on panel
SOLD
6 x 6 Encaustic on panel
12 x 12 Encaustic mixed media on panel
8 x 8 Encaustic mixed media on panel
NFS
24 x 30 Encaustic on panel
80 x 36 Mixed media on reclaimed interior door
(graphite, charcoal, oil pastels, soft pastels, India ink)
SOLD
80 x 36 Mixed media on reclaimed interior door
(graphite, charcoal, soft pastels, acrylic paint marker, India ink, tissue paper)
SOLD
32 x 46.5 India ink, Sharpie on reclaimed door
SOLD
32 x 48 Mixed media on panel
(weathered newsprint, tissue paper, charcoal, India ink)
SOLD
30 x 33.5 Mixed media on reclaimed interior door panel
(weathered newsprint, charcoal, soft pastels, oil pastels)
SOLD
48 x 60 Mixed media on canvas
(salvaged house paint, acrylic paint, India ink, paper copper patina)
NFS
30 x 33 Mixed media on reclaimed interior door panel
(charcoal, paper collage, India ink)
Collaboration with Lexi LeCroy
SOLD
14 x 14 Mixed media on reclaimed interior bi-fold door panel
(Charcoal, oil pastels, soft pastels)
SOLD
24 x 24 | 25 x 25 frame
Mixed media on canvas
9 x 12 Mixed medial on board
(Artist pen, oil pastels, soft pastels on board)
Music: Patrice Pike live at Kerrville Folk Festival main stage
NFS
5.5 x 8.5 Oil pastels and charcoal on paper
SOLD
5.5 x 8.5 Oil pastels and charcoal on paper
SOLD
9 x 12 Charcoal, oil pastels, soft pastels on mat board
SOLD
5.5 x 8.5 Charcoal on paper
7 x 8 Mixed media on board
8.5 x 8.75 Charcoal on mat board
4 x 8.5 Charcoal on chipboard
NFS
5.5 x 8.5 Charcoal, oil pastel, soft pastel on paper
Music: Tool, Undertow album
NFS
Preparing images for the exhibit
Preparing images for the exhibit
Making final image selections and working on layout
Teysha Vinson installing the exhibit
Installing the exhibit was part of the processing for both of us as the artists and creators of the work
On the left, Cara's images printed on canvas and chipboard using cyanotype and van dyke brown processes. On the right, Teysha's dream-like cloud images float away from the wall.
Note cards depicting select images from the Processing exhibit were offered for purchase
Note cards depicting select images from the Processing exhibit were offered for purchase
Five solemn images of my brother's home as I found it after he was killed in a violent traffic accident are the starting or ending point of the exhibit, depending upon which direction you traverse the gallery
Artists' talk during opening reception night
Artists' talk during opening reception night
Opening reception night
Opening reception night
A visitor to the gallery
As part of the exhibit, I hosted a story sharing night with the theme of Processing. Storytellers were encouraged to tell, sing, dance or express their stories through whatever creative means they wished. Here, Diego Alejandro González dances his story of Processing.
As part of the exhibit, I hosted a story sharing night with the theme of Processing. Storytellers were encouraged to tell, sing, dance or express their stories through whatever creative means they wished. Here, Gabriel Pedro Prado shares his powerful story of Processing through his spoken poetry.
Oops! Make no mistake about it. Make life art.
March 10 - May 23, 2015 / Center for Contemporary Arts, Abilene TX
This body of work was created in the form of a self-actualized ritual. They are my process of letting go of control and the pain that goes with trying to hold on to it.
Some of these works I created in part or entirely with my eyes closed without concern for what I’m imparting onto the surface. I disempower my inner perfectionist, and focus on how my body feels as it responds to music, sounds of nature, my thoughts and emotions. With eyes open, I respond to what’s in front of me, with the intention that whatever mark, smudge, rip, color or squirt I make is responding to the whole as it exists only in that moment.
I work primarily with previously discarded materials. The panels are reclaimed hollow-core doors, sanded to expose storied layers of paint and raw wood. Others are masonite, plywood, furniture, lumber, mat drops, stray pieces of paper and cardboard. I use a combination of newsprint, tissue paper, junk mail, periodicals, found objects, charcoal, soft pastels, oil pastels, India ink, artist acrylics, abandoned house paint, sandpaper, lavender water, sun, spit, tears, time, and occasionally bird droppings or wayward insects. I finish them with hand-mixed varnish, my own beeswax/linseed oil paste, or spray varnish. The frames I craft from found lumber, and are easily removed.
These artworks will change as they collude with sunlight, temperature, chemicals, and time. Nature is not static, permanent or perfect, and I do not intend these pieces to be. They are as imperfect, impermanent, and perpetually incomplete as we are.
Cara Hines
artist in process
On display in Gallery 4 at the Center for Contemporary Arts – Abilene, Texas
March 10 - May 23, 2015
Visit the gallery, and try your hand at the same process Cara uses in creating her art works. Available continuously throughout the duration of the exhibit.
Abilene Reporter News article, image #1
