Deadline Sept. 15 !

HGA ImageResolutions 2015

Calling all North Carolina Artists!

The deadline to enter your artwork in the inaugural Hillsborough Gallery of Arts juried art show, Resolutions 2015, is September 15th.  North Carolina artists 18 and over working in 2D an 3D media are encouraged to apply.

The show will display in the Hillsborough Gallery of Arts featured exhibit gallery from January 5th through 25th of January 2015. An opening reception will be Friday, January 9th from 6-9 pm.

Awards juror for Resolutions 2015 will be Timothy Riggs, the Curator of Collections at the Ackland Art Museum in Chapel Hill, NC.

This is an opportunity to share your work in an established and welcoming gallery and connect with new collectors and fellow artists.

Complete prospectus and application can be found at
 http://www.onlinejuriedshows.com/Default.aspx?OJSID=299 

Artists can also find a link from our website, 
http://HillsboroughGallery.com/juriedshow.html

Kindred

Kindred P and A

Kindred Sisters In Complexity and Technique

Alice Levinson and Pringle Teetor are masters of fabric and glass.

In the show KINDRED, Alice Levinson and Pringle Teetor introduce complex and colorful new work.

Pringle Teetor is introducing a new line of blown glass which she calls “Bubbleware.” Rolling wine glasses and matching rolling decanters as well as larger bowls are part of this year’s show “Kindred.” Bubbleware is made using a glass blower’s tool known as a diamond or pineapple mold. A challenging tool to use, the mold has diamond shaped points on the inside. When molten glass is blown into it, diamond shaped dents are produced in the glass. Another layer of glass is blown over these dents, leaving perfectly placed air bubbles in the bowl or decanter being formed. The trick is getting the piece out of the mold again. “It’s very easy to get the molten glass on the end of your pipe stuck in this mold,” says Teetor. “Getting it right takes practice.”

Alice Levinson describes the complexity of her work, “I am drawn to the tactile nature of fabric, finding delight in its ‘hand.’ I experiment freely with dye, and pigments to create cloth which is complex in texture and rich in visual interest. Each composition is built of successive layering of fabric and thread.” Her work process is intuitive and encourages spontaneity and experimentation. “The studio is a joyful place, says Levinson. “In both process and form, my abstract compositions are guided by content and conceptual intention.” Daily journaling is an important step in her process. Work on a piece begins with a thought, a feeling, a mood, or narrative. “Next I experiment with visual motifs that embody the content. Then I gather my ‘palette’ from my stash of cloth and thread. In a final step I select a construction method that is consistent with, and extends, the metaphor of the theme of the piece. Working each piece becomes a meditation on its central theme. My working process is slow and labor-intensive. Stitch by stitch, layer by layer the piece evolves.”

Considering the theme, “kindred,” Levinson found herself focused on the feeling of belonging that comes in particular places where one feels at home because of familiarity, or friendship, or shared experience. The works presented are varied in content and means of construction, but all represent aspects of her experience in which she has experienced this kindred sense. “I was interested to see as I worked that I was drawn to some of my oldest materials. Building some pieces from the remnants of others. Similarly, in working several pieces I returned to some early ways of working. The subconscious is a mysterious and marvelous driver of creative effort. As I worked, a mantra whispered, ‘Nothing of value is lost – just waiting to be reclaimed.’ As I integrate these older elements with the new, I experience a profound sense of continuity with growth, finding new ways of working, while retaining and building on what I’ve done before. Finding new solutions to old, core questions is the hallmark of creative work for me.”

Opening Reception

Aug 29

6-9

 

To receive Hillsborough Gallery of Arts Newsletter please complete the form below with your name and email address.

Please visit our website

 

 

 

 

Attention to Detail

Marcy Lansman

Unlike much of my previous work, many of the pieces in this show are non-representational. The unifying element is palette, which ranges from orange/rust/brown on the one hand through neutral warm gray to blue/blue-green/green on the other. My process has been to lay down a “first draft” quickly, in one sitting, restraining myself from any fussing or revising.   (Inevitably, at the end of this session I feel that I have created a masterpiece.) I let this draft sit for a day or so. When I go back, I discover that my masterpiece is not as flawlessly marvelous as it first seemed. Then I begin the long process of revising. The challenge now is to clean up the problems without sacrificing the freshness of the original. Here is where “attention to detail” comes in.

Free to Dream

I have been surprised to discover that I spend just as much time adjusting the details of non-representational as representational work. What’s different is the timing and the goal. When I am painting a flower or a face, I concern myself with details right from the start when I create the original drawing. In my more abstract work, I focus on major compositional issues at the beginning and deal with the details later. In the representational work, the goal of the details is to capture the appearance and the spirit of the thing I’m painting. In the non–representational work the goal is to create a piece that will be satisfying both to me and to the viewer, something that will please or stimulate or in some way enlighten.

To receive Hillsborough Gallery of Arts Newsletter please complete the form below with your name and email address.

Please visit our website

Attention to Detail

Linda Carmel

Having a Featured Artist show at the Hillsborough Gallery of Arts is an opportunity to present a body of work. I love to work in series using different themes. For this show I have continued with my theme of Women in the World, using idioms as inspirations.

pillar-of-strength

This year I have bought more global influences into the mix. I have looked at style design details from around the world and have used them in each of the paintings in this series.   In some of the paintings you will see tartans and in some I have used designs based on African kuba cloth.   Some of the paintings were inspired by molas from Panama and some by Aboriginal dream paintings. Another is based on Asian silkscreen painting. These are the puzzle pieces I began with in each piece, women, cultural designs and idioms.

someone elses shoes

Even though I started each painting with this set of information it is the attention to the detail in the actual painting as it progresses that becomes dominant. My work is in finding the balance of color and form with the puzzle pieces that began the piece. Sometimes the women become the dominant part of the painting and in one case there are no women. In other paintings it is the design that dominates the piece.

I work with acrylic modeling paste that I form on canvas to create three-dimensional paintings. I want viewers to become intimate with the painting by feeling the contours of the surface.

cut-from-same-cloth

To receive Hillsborough Gallery of Arts Newsletter please complete the form below with your name and email address.

Please visit our website

Attention to Detail

 

Reader

Reader

Lynn Wartski

It has been interesting letting my work lead me in a direction I had not really considered.  A single mixed media figure sculpture for a group show has led to the creation of several dozen “art dolls”, and introduction of my work to a whole new audience. The intimate scale of these pieces invites the viewer in to take a closer look.  By their very nature these sculptures require that viewer and artist both pay “Attention to Detail”, the title of our newest feature show.

Ever present in all of my sculpture has been hand forged copper raised from flat stock. My art dolls pay homage to this with the face I create for each. Each doll’s face begins as a flat disk that I cut, anneal, hammer, shape and polish. The hands for each art doll are also formed in my metal studio, as are glass eyes created by torch firing enamels on to copper or brass tacks and nail heads. The addition of a wooden head and wire skeleton round out the basic form of these small figure sculptures and adds to the mixed media slightly steampunk flavor of my work.

doll with stick
The sources of inspiration for “who each doll will be”, are endless.  They have come into being both fully formed as a concept and design in my sketchbook, and formed wholly on the work table.

I enjoy the reactions they and their details draw from viewers.  These art dolls bring together so much that I have developed in my work over the years, and I look forward to where they lead me next.

 

To receive Hillsborough Gallery of Arts Newsletter please complete the form below with your name and email address.

Please visit our website

Attention to Detail

july postcard
There is a saying that artists know only too well, “the devil is in the details.” The smallest detail can sometimes totally transform a work of art. Although the approaches of artists Linda Carmel, Marcy Lansman and Lynn Wartski are very different, for each of them details are crucial.

Marcy Lansman, whose previous work included very detailed representational paintings, decided to go in a different direction. “Most of the pieces in this show are non-representational. The unifying element is their color palette, which ranges from orange/rust/brown on the one hand through neutral warm gray to blue/blue-green/green on the other. My process has been to lay down a “first draft” quickly in one sitting, restraining myself from any fussing or revising. Inevitably, at the end of this session I feel that I have created a masterpiece! I let this draft sit for a day or so. When I go back, I discover that my masterpiece is not as flawlessly marvelous as it first seemed. Then I begin the process of revising. The challenge then is to clean up the problems without sacrificing the freshness of the original. This is where ‘attention to detail’ comes in.”

Says Lansman, “I have been surprised to discover that I spend just as much time adjusting the details of non-representational as representational work. What is different is the timing and the goal. When I create a drawing, whether it is a flower or a face, I concern myself with details right from the start. In my more abstract work, I focus on major compositional issues at the beginning and deal with the details later. In the representational work, the goal of the details is to capture the appearance and the spirit of the thing I’m painting. In the non–representational work the goal is to create a piece that will be satisfying both to me and to the viewer, something that will please or stimulate or in some way enlighten.”

Lynn Wartski describes the use of detail in her figure sculptures: “For the past couple of years I have concentrated my efforts on small, mixed media figure sculptures that are referred to as ‘sculptural art dolls.’ The intimate scale of these pieces invites the viewer to take a closer look. By their very nature these sculptures require that I pay “attention to detail.”

“Some dolls start as sketches in a book and others are conceived entirely in the studio, but all begin construction with a bit of metalsmithing. Each doll’s face begins as a flat disk cut from copper stock that I anneal, hammer, cut and shape into a face. Eyes are created by torch firing glass enamels on copper or brass nails and tacks. I form the rest of my basic figure from a wooden sphere head atop a twisted wire skeleton. It is at this point that details start to emerge. What will the figure be doing? How will he or she be dressed? Will this be a doll that can live outside? The answers to these and other questions lead to the details that emerge for each figure. One may be simply dressed and seated with a book, another dressed in an ornate costume complete with jewels, and a third riding a bike made just for her.” Wartski enjoys the reactions they and their details draw from viewers. “These figures bring together so much that I have developed in my work over the years.”

Either women or idioms – or sometimes both – are common threads in much of Linda Carmel’s work. However, this year she has brought more global influences into the mix. “I have looked at style and design details from around the world and have used them in each of the paintings in this series,” says Carmel. “Women, cultural designs and idioms are the puzzle pieces I began with in each painting. Even though I started each one with a set of details in mind, it is the “attention to the detail” of the actual painting as it progresses that becomes central. My work is in finding a balance of color and form using those ‘puzzle pieces’ I began with.”

Carmel works with acrylic modeling paste to form three-dimensional paintings on canvas. “I want viewers to become intimate with the painting by feeling the contours of the surface” she says.

Opening Reception

July 25

6-9

Please visit our website

To receive Hillsborough Gallery of Arts Newsletter please complete the form below with your name and email address.

INTERSECTIONS – A Potter’s View

Garry'a vase

I am a Potter. A Craftsman. My art comes from a long term relationship between my materials, my tools and my heart.

My primary material is clay, Red Clay in particular. I got serious about red clay while throwing at a Pottery in Vass NC somewhere around 1980. At that time we were making a lot of large unglazed redware jardinieres, strawberry jars and such. Thick pots made fast from soft clay, not much refinement of shape there but I loved the way that clay felt running through my fingers and the earthy, almost swampy smell of it. Taking that most common of muds and learning what I can do with it is a process that began for me then and continues now.

All of my work is formed on a Potter’s Wheel. Potters have all manner of tools. Sticks, wires, cutters of all kinds, almost anything can be used for something in working with clay. The Wheel however, is another matter. It is an instrument. And like a musical one it takes many, many hours of daily practice and repetition to become proficient. I first sat down at a kick wheel in a high school art class in 1972 or maybe ’71, it’s getting hard to recall. I got hooked right away and have been trying to get good at it ever since.Garry at the wheel

It is very important to me that my work be accessible to people. I don’t make pots for art galleries or museums, I make them for people’s homes. My bowls and platters look best on tables with food being shared by families and friends, planters and vases with someones favorite herb or fresh flowers. Some pieces certainly are more decorative in nature. Those are an expression of my joy in the process and hopefully become a part of someones day to day life.

In my thinking “Intersections” is about the intersection of form and surface. Form or shape that grows and expands from within is the essence of all my pieces. Glazes and carving are used to emphasize the shapes and bring color and texture to the surface.

Garry Childs

garry@gcpots.com

919-724-1626

To sign up for the Hillsborough Gallery newsletter, please complete form below with your name and email address.

Please visit our website