• WELCOME to GAYLE REICHELT ART
  • ARTWORK BY GOLD COAST ARTIST GAYLE REICHELT
  • Workshops with Gayle Reichelt in the Gold Coast, Queensland
    • GOLD COAST RESIN WORKSHOPS
    • ACRYLIC POUR WORKSHOPS GOLD COAST, QUEENSLAND
  • Early Work by Gayle Reichelt (formerly Gayle Hebbard)
  • CURRICULUM VITAE for Gayle Reichelt, Australian Artist
  • CONTACT GAYLE REICHELT
GAYLE REICHELT ART
  • WELCOME to GAYLE REICHELT ART
  • ARTWORK BY GOLD COAST ARTIST GAYLE REICHELT
  • Workshops with Gayle Reichelt in the Gold Coast, Queensland
    • GOLD COAST RESIN WORKSHOPS
    • ACRYLIC POUR WORKSHOPS GOLD COAST, QUEENSLAND
  • Early Work by Gayle Reichelt (formerly Gayle Hebbard)
  • CURRICULUM VITAE for Gayle Reichelt, Australian Artist
  • CONTACT GAYLE REICHELT
GAYLE REICHELT ART

Gayle Reichelt 
​Blog & Newsletters

Hot off my easel

27/9/2015
Five new abstract paintings have been added to my Serendipity gallery.  They are all synthetic polymer paint offered at a very affordable price.   Check them out by clicking on the image.
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Life of the Party - Synthetic polymer paint on Arches Paper - unframed. 55cm x 75cm
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What Lies Beneath - Synthetic polymer paint on Canvas - 92cm x 62cm
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Emotion with Joy - Synthetic polymer paint on Canvas - 92cm x 62cm

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Secret Rendezvous - Synthetic polymer paint on Arches Paper - unframed - 50cm x 70cm

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Data Chips - Acrylic on Canvas - 30cm x 30cm
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Data Chips - Hot off my easel.  

26/9/2015
See my latest blog in my blogspot on to see how I created this artwork.
http://gaylereicheltart.blogspot.com.au/2015/09/data-chips-add-more-paint-series.html
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Gayle Reichelt Art Newsletter No. 7

20/9/2015
Click on this link to see my latest newsletter    http://eepurl.com/bzeuSH
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Organic Alchemy: with Alicia Tormey

19/9/2015
https://www.facebook.com/alicia.tormey/videos/10206832827892186/
Click on the link above to take you to an excellent video by Alicia Tormey that looks into this artists creative process with Encaustic.   It is an excellent video and well worth a look for those that want to see some of the ways in which Encaustic is applied. 

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30 day challenge

16/9/2015
On September 2, I joined a Facebook challenge called #judyschallenge.  For this challenge, there are no set rules beyond starting with a blank canvas, and using acrylic paints deciding on the time-frame (it doesn't necessarily have to be 30 days - just whatever you choose), then each day add a little then photograph and post the result.   You can spend 30 seconds or half an hour each day, or whatever amount of time you choose each day.   Just make sure you add some and then photograph and post the result.
In this post, I will add my progress daily of my first effort and see how far I get.
Note: I got as far as 7 days.   This is my final painting.
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Beneath the Surface. Day 7 Final image. My final touches are just a little dark and light turquoise paint splattered across the surface. I decided to stop here - as I really like this painting as is. I am going to call this painting "Beneath the Surface" The painting is for sale at a very reasonable price. Check out my Serendipity folder in my Galleries tab.
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Day 1 #judyschallenge. Because I like texture, I started my blank canvas by randomly applying modelling paste, then went for a walk whilst this dried. I decided that today I would use blues, greens and white acrylic paint. I began by applying colours with a brayer in random directions then splashed or dribbled colour.
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Day 2 ‪#‎judyschallenge‬. I started today by taking a line for a walk in black. Didn't like the result much so next I mixed a nice orange and poured it on. Then the same with red. I let it drip down a little on the canvas. The red and orange bring it to life I think. I wonder what I will do tomorrow.
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Day 3. ‪#‎judyschallenge‬ Added some pale yellow today. Not liking it much yet.
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Day 4 ‪#‎judyschallenge‬ Not sure that I like today's effort, but it is all part of the process - the good, the bad and the ugly. lol. What will tomorrow bring.
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Day 5 ‪#‎judyschallenge‬ Added some red and white using the brayer in random strokes, then some blue and white, also with the brayer. I like today's effort. I am almost tempted to leave it as is. Will decide tomorrow.
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Day 6 ‪#‎judyschallenge‬ Felt very reluctant to make any changes today, as I really like Day 5, but decided that I must push on. Having made the decision, I chose a dark blue and using 2 stencils and very thick paint, made a very subtle change.
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DAILY CHALLENGE

13/9/2015
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This is my 2nd Challenge exercise, starting with a blank canvas and adding some paint every day.  I am aiming for 30 days, but if I reach a point where I absolutely love the painting, I will stop there.  I wonder how far I will get.  
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#1 Challenge 2 Started this one with completely different colours to what I usually choose. I chose a burgundy colour, orange, red and pink to start with. Also approached it in a completely different way, using a paintbrush and brayer to lay in the first colours. Don't like it much yet.
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#2 Challenge 2 Introduced some grey green, and just worked on defining some shapes. A very new approach to the start of a painting for me. Still not liking it much.
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#3 Challenge 2 Added more colours to lighten some areas. It is looking a little brighter but not sure at all that I like this approach - although it is good to challenge myself. This one might prove to be a very interesting challenge. The good thing about this way of painting, is that I know that I can always paint over it with different colours and completely change it at any time.
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#4 Challenge 2 Took the canvas outside and used the brayer with yellow, orange and a different green. Then spattered the whole painting with the same colour paints. Looking a little more interesting so not quite as unhappy as my previous stopping point. I wonder what my next step will be. Will have to contemplate for a while.
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#5 Challenge 2 It was screaming out for some blue.
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#6 Challenge 2. I think I will call it finished now. The colours have grown on me and I really like it now.
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GAYUNDAH: ON THE BEACH

12/9/2015
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My latest painting in "The Last Fleet" project is this huge painting of Gayundah.   The canvas is 2 metres x 1.5 metres.   
I had the canvas made up for me by Eckersleys and initially, when I saw the size of the canvas, I panicked, thinking how am I ever going to do justice to this painting on such a large canvas.  
But, having purchased the canvas, I had no choice but to push on, so bit the bullet.
Step 1.  I made a pencil drawing.   Step 2.  Took a photo of my drawing and uploaded it to my computer.
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Step 1, pencil drawing
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Step 2. Photographing the drawing and uploading to my computer.
Step 3.  Transferring the pencil drawing to my canvas by projection.
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Step 3. Computer, projector and canvas with projected image.
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Drawing the image onto the canvas with pencil.
Step 4.  Securing the canvas to my easel ready to paint.  My dear husband secured the canvas to my easel for me but forgot to look at the front to make sure it was the right way up, which I thought extremely funny.   But we righted it, and it is now ready to paint.
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Back of the canvas secured to easel
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Oops, it's upside down
Step 5.  The painting begins.
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Underpainting
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Even more progress - getting close
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Some progress - more underpainting
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Nearly there
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Here I am with my finished work, and the drawing on the right. All I need to do now is sign it.
A smaller version of this painting can be commissioned.   Contact Gayle for a quote.
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    ​For as long as I can remember, I have been able to effortlessly and accurately sketch or draw an object or persons likeness.   I had an innate ability to look at a person or object, and accurately gauge the size, shape and colour, and distance, memorise that information and put it down on paper.  As a child and teenager, I particularly loved to draw faces to obtain a realistic likeness to that person.  This love also extended to drawing animals, and a lot of my teen years was spent drawing both from magazine photographs and from life.  This expanded both to drawing from life and using my own photographs as reference.
     
    Later, when I wanted to paint a landscape, building, or portrait of a person, I would complete a charcoal or pencil work as a preliminary study to work out composition, light and shade, and get a feeling for the subject.   This enabled me to see things as they really are.   Most of the time, my drawings were complete artworks in themselves.
     
    Drawing dates back to pre-history and was the earliest form of non-verbal communication between humans.  Drawing is a way to communicate thoughts and feelings, and enables us to see the world as it really is.   
     
    As Leonardo da Vinci once said,
    “Painting embraces all the ten functions of the eyes, that is to say, darkness, light, body and colour, shape and location, distance and closeness, motion and rest.”
    ​Some artists live in one part of the Universe of Art and explore a theme or themes. I have been strongly attracted to the exploration of different mediums, across the whole Universe of Art.
     
    My early years involved mostly oil and charcoal, with forays into watercolour, pastel and acrylic. With these mediums, I explored landscapes, portraits, abstracts and surreal.
     
    Recently, my life changed to allow more time for art, leading me into vigorous exploration of new areas of art. My two major new areas are encaustic art using hot beeswax and resin art using epoxy resin. At the same time, my life also changed with my marriage to a scientist with an interest in astrophotography and, with him, I have explored combining star images with charcoal drawings to convey the meaning of the Universe of Stars.
     
    Painting with hot beeswax:
    The ancient Greek art of encaustic painting with hot beeswax is another major realm in the Universe of Art.  Moving into a new house with a new husband gave me the opportunity to explore this exciting new art realm, since this form of art needs considerable work in establishing a dedicated studio and developing new and unusual art techniques.
     
    From 2014 to 2016, I developed abstract, image transfer and realist works, the latter focussing on a shipwreck series, which culminated in a solo exhibition called “The Last Fleet” at the Gold Coast City gallery in 2016. 
     
    I have also used the image transfer variation of encaustic painting to produce a series based on Australian native birds.
     
    Painting with resin:
    Over the last year, I entered yet another new realm of the Universe of Art: painting with epoxy resin. Like encaustic painting, this art form needs a dedicated studio, specific equipment, new techniques and a new approach to art. I am still exploring new variations of this exciting new realm of the Universe of Art but this exciting new area has already led to another solo exhibition called “New Beginnings”, at the One Arts Gallery, Isle of Capri, Gold Coast Queensland in the month of May 2017.
     
    What is resin?:
    Epoxy Resin used in art is an adhesive, plastic material made from synthetic polymers and mixed with a hardener in a specific ratio which varies for different brands.  Coloured pigments are added, and the mixture is generally poured onto a surface, mostly MDF, but sometimes other surfaces.   When cured, it becomes a very tough and hard surface.
     
    When resin, hardener and coloured pigments are mixed, it is in a fluid form and extremely sticky – a bit like honey.  An artist has to work very quickly to achieve their art with resin as it starts to cure after about 40 minutes – although it is possible to work a little longer before it becomes more like toffee.  Then it must be left undisturbed until at least the next day before progressing further with it. 
     
    Frequently I work with multiple layers to achieve incredible depth, so depending upon how many layers I use, a good artwork can take several days to develop.  The affects achieved with resin depend upon various ways that it is applied to the surface, and each artist develops their own techniques for manipulating the fluid medium to get the effects they want.  There is much more involved than just “throwing coloured resin onto a surface”.  An artist needs to develop a lot of skill to develop a unique and beautiful work.
     
    Applying heat either with a torch or heat gun is an important step for proper curing of the resin and hardener mix.  Proper mixing and exact volumes of resin and hardener are required for adequate curing.  Whilst it becomes quite solid to touch within 5 to 7 hours, it requires up to 48 hours for a complete cure. 
     
    Epoxy Resin requires a moderate level of safety precautions to avoid contact with the skin and eyes as well as avoiding the accumulation of vapours in the room. I wear protective clothing, nitrate gloves, and work in a room with cross-flow ventilation and when using solvents, a carbon mask.
     

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My artwork can be purchased in my Gallery page, or through #bluethumb

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I publish a newsletter from time to time, advising when and where I am exhibiting, and other interesting art news.
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Copyright

(c)Gayle Reichelt:    ALL images contained in this site are under automatic copyright to the artist.  Apart from fair dealing for the purposes of private study, research or review, as permitted under the Copyright Act, no part of any image may be reproduced by any process without write permission of the artist.  Enquiries should be addressed to the artist.