Production Method:I lay a screen door on two saw horses and spread raw (unprimed), unpainted canvas across it. Then I put several live coals on it. I decide where to lay the coals in a somewhat random but informed arrangement across it. Depending on the desired size of the canvas fragments, I let the fire slowly creep out into the canvas. Once the canvas has burned into shapes that I want, I put the flames out with a spray bottle. This part of the process requires finesse because I have to find a balance between burning enough canvas to get an organic and interesting shape, but not burning so much that I'm left without enough canvas to work with. Once the fires are all extinguished, using the holes left behind from the burning I cut the canvas into the desired size for that burn session. I then lay the damp pieces out in the sun to dry. Once dry, I use a crème brûlée torch to finish the edges of each piece. The torch gives me more control over the burning process. Once again I put them out in the sun to dry. Then I use a can of compressed air to clean off the ash. Once I have enough variety of sizes and shapes of burned canvas, I start on the individual paintings. First I move and pin different pieces around on the back of a stretched canvas to explore different compositions. After finding a satisfying arrangement, I affix the burned pieces with Elmer's wood glue.
Burned canvas collage on 42" x 54" unprimed canvas. The composition is inspired by the forms brought about by the controlled burning of canvas fragments, which are incorporated as collage elements in the finished work. Some of the burned canvas elements are on the back of the piece. Work needs to be displayed in front of a light source. The canvas is stapled to a wooden stretcher with a wire on the back, ready to be displayed. This is an original work, not a print or reproduction.
“Pouncing on Pomeranian” – 42" x 54" Burned Canvas Collage by Stephanie Freeman- B07BF31V3N