Three Perspectives

Pringle Teetor

The pieces I created for this show came out of frustration and boredom. Seriously! When two artists work together in a glass studio for years on end but only one day a week, you tend to fall into a pattern of “normalcy”. We just get used to doing the same things, creating the same type of pieces because we want to make the most of the “bench time”.

One morning on the way to the studio, my partner Dana and I were discussing my frustration with a certain color application I had been trying to figure out how to do by myself. He mentioned watching an artist many years ago at Corning Museum of Glass layer small bits of different colors together. He had the assistant bringing each color to him one at a time, fully melted, as he piled on color on top of another, like building an ice cream cone with many layers. But instead of then blowing the piece directly from this pile of color, he then turned it on a different axis and created the piece. Since I mostly work by myself, I had not considered this!

We played with this technique that day, piling 5-10 colors together and took this one step farther by flattening the blown piece. Flattening a round glass form is something that is better done with an assistant and we had not done any flat pieces in several years. Inspiration was reborn!

The next week I came in determined to do the “color sundaes” by myself. I took it a bit farther by layering 15 -25 colors together. My interest in the chemistry of glass color took over and I would add strings of other colors here and there. I wanted to use colors that reacted differently to the one next to it to create interesting effects. Once these “sundaes” were created, they were removed from the pipe and annealed for the next time Dana and I worked together. So, before the final piece, hours of work had already gone into the creation of just the colors.

Since glass colors doesn’t always play well together, it became quite a challenge. Some colors remain stiffer when molten, while others would be so hot that they would blow thinner than the rest of the colors. During the flattening process (using large cork paddles) the glass is compressed under pressure and if there is a spot that is too thin or too hot, it could be disastrous. The colors were sandwiched to create the effect of an abstract painting, which brought me back to painting roots, many years before glass, bringing together the past and the present in a creative way. I hope you enjoy these pieces!

 

 

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Three Perspectives

Lolette Guthrie writes, “I am primarily a landscape painter, however, my viewpoint is different from plien air painters in that I paint largely from memory striving to discover the essence of the subject rather than the reality.  I want to capture the ephemeral nature of light and a mood that is timeless. This has led to increasingly simplified/spare landscapes and at times abstractions derived from them. Resonant color is the core of my process. I juxtapose passages of saturated color with more muted tones and through the application of many layers of pigment and glaze I try to create subtle color and value shifts that provide a degree of luminosity.

For this show, I concentrated on painting an interesting 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 almost an afterthought.  In a few, I explored the idea of reality and abstraction through the use of trompe l’oeil painting. When one looks at the sky, one sees refracted light and reflected colors not the reality of colorless air and moisture. Is, therefore, a painting of a recognizable object, landscape or skyscape real?  Or is it more like an abstracted memory or dream of reality?”

Photographer Eric Saunders writes of his new work, “With my photographs I try to communicate the beauty and intrique of abstract art, and transient moments in nature and life. I look to outdoor landscapes, natural and urban, and capture them in color, or black and white.

I am mostly self-taught as a photographer. Previously I studied classical piano, and then worked as a corporate computer programmer. My goal as a photographer is to “see” abstract compositions and communicate them with precise technical control. I shoot in RAW, and edit using Adobe Bridge and Photoshop CS5. I print my images using an Epson 3880 printer.”

Glass artist Pringle Teetor is constantly mesmerized by the dance of color, light, and fluidity in glass. Teetor states, “My forms are mostly functional vessels, but this year I have created pieces with a more sculptural form in mind.  My new flattened vases capture multiple colors and are like abstract paintings in glass. I like to play with the chemistry of color to produce unique effects in each piece of blown glass. Then, I incorporate copper, silver and gold to create new reactions between the glass layers.  The results are not always predictable, but the outcomes are often exciting.”

Opening Reception
Friday
August 25
6-9
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Serious Fun

 Michele Yellin

When I first considered creating work for this exhibit along the theme of SERIOUS FUN, I thought, “Serious Fun? Easy! My Artwork has a lot of joy in it. I can do this, just work in my usual way. The serious part? Well, I work hard and take my painting practice seriously so, I’ve got this.” And began…

Wheresoever You Go, Go With All Your Heart

This painting Wheresoever you go, go with all your heart, has that saying by Confucius painted into the first layer of the underpainting. That has been my process for several years now, and I love it. It’s like meditating on a mantra, and often, the final image relates to what is written in the hidden layer. This was the first  painting I completed for the exhibit.

After I finished that painting, I was given a new tool that draws thin black lines. Then, I decided to add 5 new colors to my palette. I had not changed my palette in at least 6 years, so that was an interesting change for me. I could mix those into any number of new colors. Not long after that, I learned a new painting process and purchased 2 rubber painting blades to use with that new technique. Within the space of a couple of months, I had all these new things to work with.  I incorporated all these elements and that’s when everything changed for me. The infusion of all these new components took me to a place of real play.

7 Mile Bridge

I became unattached to the final image and much more immersed in the process of playing with color, tone and shape. What came out of this experience is a result of all those new elements, as well as a feeling in me that all I needed to  do was to keep working and playing, and trust the experience. And I will tell you something for nothing, creating paintings in this way, for me, has been serious fun. Seriously.

Serious Fun-Sugar Wants to Play

www.micheleyellin.com

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Serious Fun

 

 

Nell Chandler

For our show Serious Fun I found myself in a few different modes. First I wanted to reach back to my earlier mostly narrative line but add a more light a airy feel to it. I worked with copper and my etched brass but added a hinged sterling component to it.

I also got inspired by a collaborative piece I did with Pringle Teeter when she asked me to make a chain for her Hunter’s Globe in our All about the Story Exhibit. The more the world around me seemed to becoming unhinged the more obsessed I became with hinges and I made a couple of necklaces and bracelets that were created mostly of hinges. I loved the light and airy feel they have.

Then I got in a mood to work on some of my serious work of a more tailored line. I felt like I was searching for some sort of stability.

All the while I was reading books, magazines and watching tutorials on how to fire enamel during the slow times on my shifts at the gallery. I have wanted to learn torch enameling for a long time. I began ordering the things I knew I would need and one day I sat down with my book and began experimenting. I loved it from the first firing I did! I found I could mix my light and airy component to the sturdy and stable piece of enamel and find a comfortable balance.

I loved the way my friends and family and gallery folks reacted to my newest line at our opening! I loved that so many people wanted to try it on and hold it in their hands. And having my exhibit along with Ali Givens and Michele Yellin, with all their big bold happy colors made our title Serious Fun fit perfectly into the space..

 

Up Close

Alice Levinson

There is an old saying, “the devil is in the detail”. In the case of my artwork, detail is at the heart of the work. Viewed from the usual gallery distance one sees a total composition. Hopefully the work is visually interesting and pleasing to the eye. The overall effect is important in my work. The compositional schema hints to narrative as the palatte suggests mood. The true hallmark of my work, however, is in the attention to and elaboration of detail.

Approaching the work reveals a variety of materials I incorporate into complex layered elements. With closer scrutiny one can appreciate the multitude and variety of stitching which embellishes and elaborates the work .


In preparing the work for this featured exhibit, I began by sorting through my stash of hand-dyed cloth, looking for those with the most interesting tones and textures and arranged them sequentially. The resulting color story runs through the works, with colors featured in one piece, are visual echos in others. As you look through the gallery I hope you will follow the color ‘thread’. It is a delight to exhibit my work in the company of Lynn Wartski’s beautifully wrought doll sculptures and Linda Carmel’s sculptural paintings. The Featured Artist space this month is filled with color, joy, and life. I hope you will visit our work and come UP CLOSE.

Up Close

Alice Levinson will be presenting her contemporary sewn textiles.  Levinson says, “There is an old saying, ‘the devil is in the detail’.  In the case of my artwork, detail is at the heart my work. Viewing from the usual gallery distance one sees a total composition. Hopefully the work is visually interesting and pleasing to the eye. The overall effect is important in my work. The compositional schema hints to narrative as the palatte suggests mood. The true hallmark of my work, however, is in the attention to detail. I encourage the viewer to approach and come UP CLOSE.”

Approaching Levinson’s work reveals the variety of materials she incorporates into complex compositions. With closer scrutiny one can appreciate the dense variety of stitching which embellishes and elaborates each work.

Of her process Levinson writes, “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. This cloth is the primary prompt to my work. It’s variations in tone, color, and texture inspire me, prompting a creative response.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. My intuitive work process encourages spontaneity and experimentation.  I live and work in a quiet wood. My work is infused with the lines of the trees, movement of wildlife, and the seasonal changes of form, color, and light.”

For Up Close painter Linda Carmel focuses on women and how they work together. Many of her images involve women helping each other. Carmel’s paintings of women are a perfect illustration of the campaign slogan, ‘stronger together’.

Carmel writes, “I hope that my images will remind us to treat ALL people equally regardless of gender or race. My work strives to speak directly to women, to acknowledge their inner strength and celebrate their power. These themes are especially significant in the present moment as women have been forced to re-engage in fights for rights that they thought were won long ago. Women are massing, marching, and protesting.”

Carmel builds up her canvases with acrylic modeling paste. She creates interesting background textures and then sculpts her figures. Carmel’s paintings are durable: she encourages people to touch them. Get up close and enjoy!

Sculptor Lynn Wartski writes,  “I see our title, Up Close as in invitation to our viewers to take a focused look at our new work.  ‘Athena Sharpening Her Spear’  was the first piece I specifically created for Up Close.  The seated goddess is clad in elements of knowledge, wisdom, and learning, as well as her gleaming armor. Athena is intently sharpening her spear as she prepares for an intense battle.”

Wartski reflects, “This entire year I’ve been experimenting with other surprises that allow some dolls to tell even more of their story.  While continuing to refine gesture and expression, I’ve also incorporated text and images into some surfaces creating collage elements within the sculpture.  In this way an Alice in Wonderland doll became a piece about questions and questioning, and a butterfly figure emerging from its chrysalis about giving flight to dreams and imagination. The scale of my art doll sculptures bids one to take a more intimate look. I try to reward this level of scrutiny with the details that I work into each figure.  I admit that I love creating little elements for each doll, especially the shoes.”

Opening Reception

6-9

June 30


 

Earthworks

 

Chris Graebner

My paintings fall into two general categories, botanicals and landscapes. My landscapes are drawn from my travels and are based on photos often taken out of a car window using a cell phone. Because I’m handicapped I don’t do a lot of walking, but you’d be surprised what a lot of wonderful things can be seen from the driver’s seat of an automobile! In fact, sometimes I just drive around Orange County back roads taking pictures of old barns and fields.

The paintings in this show were all done from photos taken between January 2016 and February 2017 in places as disparate as Florida, Iowa and Michigan. Three of the paintings, “At Anchor,” “Dock at the Pines” and “Deer on the Runway” are of an island in Lake Huron we’ve been going to each summer for the last few years. The Nebraska, Kansas and Iowa paintings were done from photos taken on the way back from a family wedding in South Dakota.

One of the fun things about cellphone photos is that they include GPS data allowing you to find the exact place they were taken. And, if you need more visual information from a different angle than you’ve captured in your photo you can often find it on Google street view. That doesn’t mean that my paintings are exact representations of what is in the photo, or even of what is actually in the location. I do a fair amount of editing – adding or deleting, moving things around, changing colors etc. – but you would certainly be able to match up the paintings with the photos that inspired them.