Dreaming in Color

 

 

August postcard RGBAlice Levinson, a textile artist, writes of her experience preparing for the show: “In October, 2015 I participated in the X Florence Biennale in Florence, Italy, an international exhibition of contemporary art. My body of clothworks was awarded the Lorenzo di Medici Bronze Medal in Textile Arts. These works will be among those I will be showing in the DREAMING in COLOR exhibit in Hillsborough. Starting with white cloth, I experiment freely with dye, pigments, and printing techniques to create cloth which is complex in texture and rich in visual interest. The fabric is cut or torn and pieces are mixed and melded as I assemble my work. Each composition is built of successive layering of fabric and thread. I aim to create works that engage the viewer and delight the eye with movement and vibrant color. Raw edges are honored and loose threads purposefully retained. My intuitive work process encourages spontaneity and experimentation. By nature, I am an observer of people and the natural world. Musings, scribbled phrases, and gestural sketches follow. These suggest themes, visual motifs, a palette. My intention in place, I reach for the cloth and then the magic begins. Image, line, and pattern find their way though my hands into the work in a remarkable way. My task is to stay open and responsive to the ‘voice’ of the cloth. ‘Listening ‘ with my hands as well as my eyes, I work to facilitate the creative flow. This isn’t easy, but is always satisfying, and often, surprising.”

Glass artist  Pringle Teetor describes her new work for the show, “Colors, bright and bold run through my work in many variations. The combinations of different metals in some of the glass colors produce spectacular reactions. Many years ago I studied painting and the artist Morris Lewis had a huge impact on my work. Now, I’ve taken this vision into my glasswork applying colors to create bold, irregular stripes on my vessels.  Another use of color in my work is in my incalmo bowl pieces. Incalmo is fusing together multiple glass pieces to make a single vessel. These have to be done very carefully and require a great amount of precision. I’ve combined 4-6 different colors in these vessels to make wide stripes in the bowls – some colors are analogous, others are contrasting to make a bold statement.”

Lolette Guthrie writes, “I am a landscape painter.  I work largely from memory so my paintings are reflections on what I experienced at a particular time in a particular place. They are also always paintings of light and atmosphere as I continually strive to capture the ephemeral nature of the light remembered. I begin each piece with a general idea of time and place and then let the painting tell me where and how far to go. As a result, I am never sure what the end result will be because at some point each piece takes on a life of its own and I just follow along. For Dreaming In Color, I concentrated on exploring the use of color, especially in the sky, that almost alone would give the viewer a sense of space, light, time of day, temperature, and weather.  In most pieces, the foreground is the accent note.”

Opening Reception

Friday August 26

6-9

 

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Colorful Language

Ali Givens

In my new fabric collages for Colorful Language I have continued to experiment working from a small to large format. First I design a small collage that serves as a sketch for my larger pieces. I find that it’s much easier and more fun to figure out the composition on a small scale. My friend/painter Lolette Guthrie reminded me recently that designs that work well small usually translate well into larger pieces. My favorite challenge for this show was enlarging a very small collage, “The Yellow Chair,” into “Modigliani and My Yellow Chair,” which is almost 7 feet by 4 feet. It took many layers of fabric and touches of paint to get all of the angles right in the small version, which was about the size of a piece of notebook paper. The challenge then for the big piece, “Modigliani and My Yellow Chair” was sewing something so large which physically can be difficult to handle and can sometimes require an extra pair of hands (usually my sister’s or my daughter’s).

 (little one)Ali's small one
I feel happy that the fabric collages both large and small capture the feeling of a simple, intimate space–my apartment.
(big one)
Ali's big one
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Colorful Language

Michele Yellin
Several of the paintings that I created for this year’s featured artist exhibit carry a secret inside of them.They are filled with colorful language. By that I don’t mean that I have painted curse words all over them, although at times I am tempted, but rather, I have first written a phrase in paint on the surface of the canvas.This is a good way for me to get a painting going. It provides a  structure for the painting, and an interesting or profound thought to keep in mind throughout the arduous process of creating.
 Michele writing
In the painting Giving Up On Being Perfect, this is what is written in the underpainting:
“The thing that is really hard and really amazing is giving up on being perfect and beginning the work of becoming yourself.” by Anna Quindlen.
After I paint the phrase, I fill in the rest of the surface with lots of color creating an abstract
painting that eventually obliterates the words. Hopefully I have taken the time to write the phrase on the stretcher boards on the back of the painting, because if I am lucky, the title of the painting will come from that phrase and be perfectly appropriate.
 Michele underpainting
The next step for me is to look at the abstracted painting, and discover what images are hidden in the paint and texture.Using line and color, I will start to define what I see in the paint. Bit by bit, I will add to the painting until the composition is complete.
MicheleYellinGivingupOnbeingPerfect
While I don’t create every piece this way, I use many of the same practices when I am creating art. Color says the things that I can not find the words to say. It is its own language.
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Colorful Language

 

Matriarch PendentNell Chandler

This year I explored the melding of techniques from my past few Featured Artist shows. I created familiar “story bracelets” with new narratives. I became intrigued by families and ancestry and all the different kinds of families there are in this world.  My Matriarch Bracelet which I modeled after my sister Amy’s family spans  three generations. I painted one daughter with a husband and a daughter of her own and another daughter with a husband and two cats and a dog. I was just fascinated by all the different combinations.

 

flower charms

I also went back to a recent theme of mine of flowers. I would take pictures of all the wildflowers on my frequent morning walks with my friends and then paint them on my jewelry from my phone. I am always delighted by beautiful nature.

poly pendent

 

And the last line I created were ideas of pieces melded together from two of my last shows. I combined my black and white line on polymer clay with some color components. When we were throwing out titles for our show it was when Ali Givens suggested Colorful Language that Michele Yellin and I knew right off the bat that that was perfect for all three of us. It was a wonderful journey.

 

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Colorful Language

July postcard RGB

 

Jewelry artist, Nell Chandler describes her thoughts about the show:

“When we first settled on the title Colorful Language for our show I felt an immediate connection. Even way back before I ever thought of making jewelry I had been telling stories through painting and printmaking. Now I paint and etch on my jewelry and I’m still telling little narratives.”

This year Nell is exploring the melding of techniques from her past. She is creating “story bracelets” with brand new messages by using visual images to tell the story. She is presently working on a Matriarch Bracelet that she sees as a contemplation of heritage and ancestors.

Nell adds, “My new work feels playful yet intense.”

Painter and assemblage artist, Michele Yellin, often begins her work “with a quote in the underpainting as way to start the painting.” Color is the language she uses with great boldness to say the things that cannot be expressed in words.

As she layers the canvas with color she finds that figures and shapes begin to emerge. Much like a writer developing a cast of characters, she lets these shapes and figures tell her who they are.

Michele moves from the sublime to the whimsical with deftness and a strong sense of her own artistic voice.

Fabric artist Ali Givens, who creates quilted textile collages, is exploring an entirely different pallet of colors following a year of work and study in a small town in the Italian piedmont. Her first work, Ivrea Windows, was inspired by the views from her apartment, but she soon realized that a view from one window could not express the essence of the town. She began taking photographs and marrying their elements to create more holistic representations.

Ali says, “As I was combining these photographs, I had something of an epiphany and realized that my photographs of home (Hillsborough) contained much of the richness and culture that I was finding in Ivrea. It is my hope that I can bring these observations to the Colorful Language show.”

 

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Grounded

 

Ellie Reinhold

Asked at Grounded’s opening reception what I was thinking when I created a particular painting, I admitted that the creative process behind my new work is fairly nonverbal. Those familiar with my figurative pieces know that words are integral to their birth; they are filled with narrative, metaphor, poetry, emotion and dreams. Not so with my abstracts/landscapes.

This isn’t to say that my landscapes are quiet paintings, usually quite the opposite. Years ago they began as, and often remain, an exercise in intensity: Color! Mark! Texture! Pattern! Mayhem and fray! However, with some of my new work, I feel as though I am finally beginning to step back and see the forest instead of just the trees.

EllieReinhold_FOREST TOTEM_36x48_price-1325_scaled4web_4.5 tall_P1090648

Certain pieces in Grounded have a quiet about them that is new to my landscapes. I’m still obsessively working with circle and tree forms, still focusing on texture, surface, and mark, but with the exhibit’s larger paintings and my work in progress, I find I’m continually paring back my complex, intense compositions. It plays out as a give and take. I build the imagery, take it away. Build again, take it away. Struggling on the canvas to find a particular balance, to reveal what the painting wants to be.

This struggle can yield an intense surface, but, with the end note of taking away,  a quieter painting, one presenting a more meditative vision. I am pleased to find that by playing at the line between abstraction and representation, these paintings hint at the moving complexity and depth of our experience in nature.
    Ellie Reinhold_NIGHT CYCLE_Grounded_Publicity_P1090722 copy

 

 

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Grounded

butterfliesPat Merriman

Grounded  ushered in on my  80th birthday with my COURAGE series on American Women in History. The series began with a collage of women in the early 1900’s. As an academic, I  passionately researched the history of women’s acts of courage from the early settlers to the 2016 edict that the American military can be gender neutral. As an artist, I then simplified these themes to create bold, colorful collages. “There are panels of the Suffrage movement, the Daughters of Liberty, The Trail of Tears, Latina women, African American women, and 1950’s women who read the “Feminine Mystique”– all leading toward the Equal Rights Movement.”

courage Pat MerrimanThere is also a series of four profiles of North Carolina Barns, some reflecting the styles of Wolf Kahn and Milton Avery.  Barns depict the sociology of  America…styles reflect the culture of the immigrants, their life in America often began outside of the cities with the building of a barn.”

 

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