Misery loves company
That's right -- there's a new ethnic supermarket in town! Couldn't take many pix because The Boy was melting down, but here are a few more I like.
If I could just land a job doing nothing but correcting ad copy like this, I'd come home every night giggling into my handfuls of money.
Blister
Our house is neat enough to see carpet -- whoo-hoo! -- but there's still the random shoe or unidentified crap in my path as I walk through our dimly lit house. Might as well be stones, so I painted/created some. They're all bumpy because I deliberately blistered the paint with a heat gun.
What do you call those plastic things that clamp bread or produce bags closed?
Whatever they are, they're free, and they're everywhere. I started collecting these thingamabobs this past summer, figuring I could use them in something. And they just kept piling up as we bought bread for The Boy's sandwiches. 
I guess 21st century childrearing brings a lot of plastic into my life. On behalf of my art, I thank The Boy and TwoBoo for their contributions. 
The stones will go on the bottom of this page. I think I'll add a few more elements before everything gets pasted down.
Whistling in the dark
I'm working on a page about shadows and darkness. It was triggered by one of my weird habits: I like to walk through the house in the dark. Which is handy when checking on a baby you don't want to wake up at 3am.
I stamped a transparency with iridescent black ink, then backed it with a translucent, patterned paper that feels kinda like plastic film. Circles overlap each other like a Spanish/Moorish-style window.
The background is iridescent black script on Golden paints: Phthalo Green (Blue Shade) topped with Dioxazine Purple and then muddied to bring down the brightness. It was originally a mistake I made on an ATC; I was shooting for a verdigris color but missed. The result grew on me, though.
The darkness and shadows notion partly arose from when I was a kid reading the Helen Keller Story, junior version. I was fascinated by the idea of knowing a place well enough to navigate in the dark or very dim light. I still have a tendency to use the fewest lights possible. Which irritates my mother-in-law, who says we keep the house too dark. (I'm never going to open another window blind!) But then again, she lives in L.A. so she gets more sunlight in the morning than we do all day.
The stamping next to the face is from this plastic thingy that holds a baby formula scoop in an unopened can. I popped the scoop out and thought, "hey, that has possibilities." Going to bring down the color on those too, but it'll have to wait for another free moment.
I stamped a transparency with iridescent black ink, then backed it with a translucent, patterned paper that feels kinda like plastic film. Circles overlap each other like a Spanish/Moorish-style window. The background is iridescent black script on Golden paints: Phthalo Green (Blue Shade) topped with Dioxazine Purple and then muddied to bring down the brightness. It was originally a mistake I made on an ATC; I was shooting for a verdigris color but missed. The result grew on me, though.
The darkness and shadows notion partly arose from when I was a kid reading the Helen Keller Story, junior version. I was fascinated by the idea of knowing a place well enough to navigate in the dark or very dim light. I still have a tendency to use the fewest lights possible. Which irritates my mother-in-law, who says we keep the house too dark. (I'm never going to open another window blind!) But then again, she lives in L.A. so she gets more sunlight in the morning than we do all day.The stamping next to the face is from this plastic thingy that holds a baby formula scoop in an unopened can. I popped the scoop out and thought, "hey, that has possibilities." Going to bring down the color on those too, but it'll have to wait for another free moment.