Marin Magazine - SPACES January 2018

says. “But I also like working on quirky, mysti-
cal, dark subjects.”
Meanwhile, Weiss, still a faux painter and
also a textile artist, typically makes abstract mir-
ror-like églomisé back panels for small objects,
such as the lighting sconces at Croworks Lumi-
nosity, her San Anselmo studio. Yet the larger
commissions she creates with Richardson-Mack
for Eglomisé-Atelier give her a welcome
opportunity to be experimental. For example,
the unique “Golden Landscapes” panels the
duo created for an elevator inside a 2017 San
Francisco Decorator Showcase house — works
composed of Weiss’s painted silk panels embed-
ded within Richardson-Mack’s “sandwiches” —
signal a beautiful new direction for both artists.

“We developed the idea, after several false starts, of making the negative space around trees and other elements solid gold leaf,” Weiss says of the landscapes they painted on silks in the style of California landscape artists Lucia and Arthur Mathews. She had begun to incorporate a similar technique in her own highly burnished églomisé sconces, but in the large Showcase panels, the effect is subtler. The painted silk behind glass, with unburnished gold leaf for the sky and water in the landscape, is less reflective than in the sconces and glows like a sunset.

“We wanted to do something completely unexpected,” Richardson-Mack says. “I thought of the images and the concept of collaging painted canvas behind silver leaf, but Victoria suggested hand-painted silk and gold. We altered our burnishing style and the collaboration was pure alchemy.” janerichardsonmack.com, croworks.com, eglomiseatelier.com n

A set of contemporary verre églomisé panels with an art deco flavor by Jane Richardson-Mack, who plays with stripes and basic shapes achieved with paint and copper leaf behind glass.

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