Flights of Fancy

Bear Island Eric Saunders - Orb263 digital photo Image Image

Eric Saunders

My subject matter is outdoor landscapes, natural and urban, usually in color. Sometimes I experiment with other subjects (artifacts and architecture), and digital enhancement or manipulation of images.

There is no particular story line to my work. I am trying to communicate the beauty of abstract art, and the beauty or intrigue of transient moments in nature and life.

In this show, I have emphasized “orbs” – images which are remapped to a two-dimensional representation of a sphere.

I am mostly self-taught as a photographer. Previously I studied classical piano, and then worked as a corporate computer programmer. My work is oriented to “seeing” effective abstract compositions, and communicating these compositions through precise technical control.

All work had been using 35mm film using a NIKON 6006 and NIKON lenses (with a tripod most of the time). In April, 2010 I purchased my first digital SLR, a NIKON D700 (which uses the same lenses as my old film SLR).

Images are printed on paper archival to at least 100 years. I prefer Epson velvet fine art paper.

Flights of Fancy

Eduardo Lpetina too

Eduardo Lapetina

Perhaps because of my scientific background and my lack of formal art training, I have taken a lot of risks and explored new techniques. My textural surfaces are built with paint, many layers of paint, built up one over the other. I don’t use modeling paste or other fillers, just paint, straight from the containers, mixed right on the canvas. It’s a physical process. I apply paint in various ways, sometimes unusual ways – pouring, splashing, dripping, scratching, and so on – until I get what I am after.

I strive to produce paintings that exhibit the powerful emotions embodied in the process. That is much more important to me than making images that are necessarily pleasing or objectively beautiful. My work is guided through its material operations by intuitive processing of my moods, feelings, and flights of fancy. An image arrived at through such a slow, deliberative set of processes appears fresh and immediate by maintaining spontaneity at every turn. The destination is unknown until I finally get there.

The title of each painting, then, ideally hints at both its physical appearance and the poetic ambiguity of the long journey that brings it into being.

Adam Narcross recently wrote the following about my paintings: “They say that paintings are the mute art, but I say in the case of Eduardo’s works his paintings are far from mute, all you have to do is listen, and the whisper you hear is the music that comes from the hand of one of the gentlest souls to grace canvas with the loving caress of a brush or palette knife”

Eduardo Lapetina

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Flights of Fancy



Susan Hope

Sometimes pressure can be a good thing…

I would not have agreed a few months ago as I stared at an empty sheet of glass…a blank canvas, shall we say. All I felt was …empty… and then panic.

My life of drawing, illustrating, glass making flashed before me and I saw from whence I had come. I really enjoyed drawing…watching the lines flow from the pencil or pen. I began recording history of ‘old’ places way back in my youth. I really thrilled at the sight of old buildings as my imaginings filled in stories of those who had gone on before us. They had dreams, visions and so many ideas. Somehow, they also had the physical fortitude to follow through and actually build all those old barns and houses…without the help of air guns and pre-cut lumber. They had a passion for their vision that propelled them to create. They saw the future.

That’s it…passion that propels one to create the vision…to bring an idea into the material world…

So I started at the beginning. I began drawing one of the old houses I had visited as a child. Again I remembered how it felt to stand in the doorway and envision the families who lived there…their joys and hardships and the extreme lifestyle of what we so lightly now call ‘homesteading’.

And so it continued. One drawing led to another and the house wasn’t done with me so I drew it from many sides. It had been built of American Chestnut, a wood so hard and strong that it repelled pests and parasites and continued to shelter families long after some other wooden buildings had vanished into the earth. I wanted to honor the trees and the builders and the lovers of the home the house made.

All drawing done, the glass had to be melted in the kiln to fuse the glass ‘ink’ to the glass. I won’t pretend this is all so easy…there was a (my) mistake in the program and broken glass… and an ice storm with no power for days… stuff that gets in the way. But in the end, in the kiln the intensity of passion in the form of heat caused a bunch of sharp, broken, scraps of glass to become something beautiful. There it was…

And the sheep? She is one of my little friends here on the farm… Her name is Joy!


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Flights of Fancy

Three members of the Hillsborough Gallery of Arts have let their imaginations go with a show entitled Flights of Fancy. Each with a different medium – glass, photography and acrylic painting – they have created a magical experience of color and form.

Glass artist SUSAN HOPE describes her ideas as “fanciful, eccentric, radical, resonant”  and says that “glass in its many variations and forms gives joy to the viewer with or without understanding the intentional or implied meaning of the creator. The movement of light through the palette of colored glass sends waves of energy through the viewer and causes an emotional response that comes from the depths of one’s being.”

Says Hope “This is why I play with glass. It is an intentional effort to elicit a response in the one who is strolling by or who seems to have no connection to the world of ‘art’. I find great joy in encouraging, even startling a response out of someone… this is what we are about…energy, emotion, electricity, elation. If there is anything to pull one out of the doldrums and complacency of our modern world it is color. Better yet, it is rainbows of color in glass with light sparkling, caressing, shooting… perhaps blasting through the pieces, to bring life and radiance to a very stiff, hard and harsh reality.”

Flights of fancy is the expression of joy and abandonment to the abstract flow of color and light through glass.  Every color has a wavelength and the energy of light through it causes additional excitement that washes over the weary and refreshes the weak. Relax, enjoy…Be enlightened.”

Painter EDUARDO LAPETINA, known for his colorful abstract paintings with imaginative titles, says of his process: “Perhaps because of my scientific background and my lack of formal art training, I have taken a lot of risks and explored new techniques. My textural surfaces are built with paint, many layers of paint, built up one over the other. I don’t use modeling paste or other fillers, just paint, straight from the containers, mixed right on the canvas. It’s a physical process. I apply paint in various ways, sometimes unusual ways – pouring, splashing, dripping, scratching, and so on – until I get what I am after. An image arrived at through such a slow, deliberative set of processes appears as fresh and immediate by maintaining spontaneity at every turn. My work is guided through its material operations by intuitive processing of my moods, feelings, and flights of fancy. The destination is unknown until I finally get there. The title of each painting, then, ideally hints at both its physical appearance and the poetic ambiguity of the long journey that brings it into being.”

According to Photographer ERIC SAUNDERSFlights of Fancy, in relation to my work as an art photographer, means looking for the unusual and whimsical in both the natural, urban, and digital worlds in which I make photographs. In a sense, every image I produce is a flight of fancy.”

Flights of Fancy promises to be a visual fantasy of color and light, an opportunity to leave the every day world behind and ponder on a world of possibilities.

Opening Reception

March 28


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it’s all about the story



In “It’s All About the Story,” local gallery presents second annual exhibit of art inspired by the work of a local writer. Feb. 24 – March 23. Opening reception February 28th, 6-9 pm. Reading by the author March 2nd 2-4 pm..

The members of the Hillsborough Gallery of Arts are presenting the second annual “IT’S ALL ABOUT THE STORY” show, celebrating a local author. This year they have selected award-winning Hillsborough writer Jill McCorkle to be their muse.

For It’s All About the Story, gallery members have created art inspired by McCorkle’s 2009 short story collection “Going Away Shoes,” published by Algonquin Books of Chapel Hill.

“In honeymoon shoes, mud-covered hunting boots, or glass slippers, all of the women in these stories march to a place of new awareness, in one way or another, transforming their lives. They make mistakes, but they don’t waste time hiding behind them. They move on. They are strong. And they’re funny, even when they are sad.”

“Jill’s writing is quite visual,” says painter Chris Graebner “however, I’ve chosen to paint my response to the emotions in her story, Surrender, instead of illustrating the plot. I’ve read the story many times and it always makes me tearful. The Nursing Chair is my interpretation of the need to nurture and the need to be nurtured that the grandmother, daughter-in-law and granddaughter in the story are dealing with.”

Fabric artist Alice Levinson says of her work “the written word often provides the initial impetus for my artwork. And so it was with the works I’ve produced in response to Jill McCorkle’s volume of stories. Each piece is built on a base embedded with text from a story. This verbal motif provides the context and subtext for the cloth construction, as well as determining my method of working the cloth in the piece in question.”

Levinson has produced two pieces for the show. The first, Read Between the Lines, “is built of layer upon layer stitched down and then cut back to reveal in a reverse appliqué  method. The theme of constriction, and repression of underlying feelings and unspoken wishes which I felt in many of the stories inspired this way of working. The overall book-like form is a visual homage to the author and her work.”

A second piece, Thirty Odd Years, was inspired by McCorkle’s story Driving to the Moon, a narrative of the arc of a relationship over the course of thirty years. Says Levinson “the text I choose describes each phase. I chose to build this piece of organza, fragile, transparent. I sculpted the fabric into soft undulating folds, stitching by hand throughout. In this manner I built the piece gradually, incrementally, as a relationship evolves between two people, day by day, word by word, promise by promise, from hopes to reality. Little in life between two people is linear, hence the mandala motif.”

Sculptor Lynn Wartski was also inspired by Driving to the Moon. Her piece, Driving in Reverse, is a mixed media art doll. “The story simultaneously looked forward to a trip, and backwards in the life of the main character …  It highlighted individuals, like an old boyfriend, and objects, like an old car, that may serve as major mileposts in one’s life.  My figure “Driving in Reverse” is driving ahead while keeping one eye on her rear view.  She is keenly aware of time passing in her head, and seems to have something locked up in her heart.”

Jill McCorkle will be reading from her stories at a reception for the author on Sunday, March 2nd from 2 – 4pm at the Gallery.

About Jill McCorkle

Jill Collins McCorkle is an American short story writer and novelist. She graduated from University of North Carolina in 1980, where she studied with Max Steele, Lee Smith, and Louis D. Rubin – and from Hollins College with an MA. She has been awarded the  Dos Passos Prize for Excellence in Literature, the North Carolina Award for Literature and the New England Booksellers Award.

Opening Reception

Feb 28


121 N Churton St

Twenty Two Squared

Art Gets Squared At The Hillsborough Gallery Of Arts 22squaredpostcard “Any medium, any size – but it must be square” is the challenge that the Gallery’s artists set themselves. The first two shows each year are “group shows” at the Hillsborough Gallery of Arts. And every year the 22 members of the Gallery come up with new themes. “TWENTY TWOSQUARED” is the first show of 2014. Their work ranges from paintings in oil, watercolor and acrylic, to photography, mixed media, fabric, glass, clay, metal, wood and jewelry. Every artist had to create something square. For some artists, like painters and photographers, creating square pieces is quite normal. For others, not so much. The assignment created quite a challenge for glass blower Pringle Teetor. “When blowing glass, it’s a bit like blowing bubble gum. It tends to want to be somewhat round. With the subject matter as ‘square,’ I had to manipulate the glass to be a square. Instead of using my wet newspaper pad to round out the shape of a piece, I used it to flatten the sides as I blew the glass into a square. The neck of the piece would also be round but instead I squared it up, offsetting it from the squared body. I left a pointed bottom so the piece would sit at an angle and not flat on it’s bottom.” Squared was also a challenge for metal artist, Lynn Wartski. “I began with thinking about what a square is from a 3D perspective… It’s a box or a cube if you’re going to make all sides square. So, I decided to first create a box. Next, I considered all the things we use boxes for: to store, safeguard, ship, carry, hide, etc. I decided that my box would be the type that protects, and maybe hides just a bit as well, so I made an art glass front that appears locked, and only gives an obscured glimpse within. At first I was going to put one of my dolls inside the box, and played with the ideas of fairytale clichés, but didn’t quite like how cramped she appeared. Instead, I went with the ‘Steampunk’ feel I had worked into the glass front, and played with the idea of clockworks, our biological pacemaker, and the now obsolete vocation of the Clock Keeper, which is also the title of the piece.” The results of the Gallery members work will be on display from January 27th to February 23rd, in this first group show of the new year.

Opening Reception

January 31st


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January 13th-25th

“The river that each of us sees in our minds’ eye is different. It may be a long, lazy ribbon of dark water, or a sparkling, clear torrent down a mountainside.”  36 artists interpret the meaning of rivers in this first show of the season.

Hillsborough Gallery of Arts presents original artwork from the book River, published by Paintbrush Forest.  Sales of the book help protect the Haw River.

The gallery will kick off its 2014 season by hosting a show entitled RIVER. Thirty-six artists from the Orange County Artists Guild ( have come together under the direction of Shelly Hehenberger to create a book. Artwork for the book includes different mediums; oil and acrylic painting, photography, watercolor, drawing and mixed media. Hehenberger and Chapel Hill writer Garrison Somers wrote text that describes different concepts of a river. Each artist was given a line of the text to illustrate, and was requested to include that text in their illustration. All the images were then compiled into a hardback book, published in November. River includes work from seven members of the Hillsborough Gallery of Arts.

River is a sequel to the popular book Tree, published in 2010. Proceeds from the sale of both River and Tree go to the Haw River Assembly, a non-profit organization founded in 1982 to protect the Haw River and its tributaries, including Jordan Lake.

The original artwork for the book, River is for sale and will be on display at the Hillsborough Gallery of Arts. Copies of the book, priced at $25, will be available as well. The show will be up from January 13th through January 25th.

Opening Reception

Hillsborough Gallery of Arts

121 N Churton St

January 17th


OCAG River

River Show

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