ColorFull

Pringle Teetor

I dearly miss those hot and sultry summers with five minute rainstorms in the afternoon that turn the streets into steaming ribbons of asphalt and bring rainbows all over the city. I especially love the bright colors of pastel madras clothing that, to me, are summers in New Orleans, where I was born. When I started working on cane pieces this winter, these memories were my biggest inspirations in my work. Patterns of lines in different colors are most easily produced by a complicated ancient Italian technique called cane work.

Cane refers to rods of glass with color that can be simple, containing a single color on the inside (core cane) or complex with strands of one or several colors in pattern. Veil cane is where you have a color on the outside over a clear core, or at times a core of another color. Pulling cane takes a lot of time, especially if you want different types of cane in many different colors.

My partner, Dana, and I spent a good bit of time this year pulling a lot of cane in many different colors. We would take a large a “gather” of colored or clear glass, heat it and shape it a number of times. For veil cane, we first make a “cup” of color, then stuffing it with a mass of clear glass. With a metal rod at each end, we would stretch the glass to a length of 30 to 50 feet. Once it is cooled, it is broken into pieces anywhere from 5 to 8 inches long. These pieces are carefully laid out on a kiln shelf and heated in the reheating furnace until fused, then rolled up on the end of a pipe. Finally we begin to blow glass! It is a long process but the outcome is amazing. With many colors and types of cane, the possibilities are endless, which you an see in the show Colorful!

 

 

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COMMON GROUND

Swaying in the Summer Sun, a Leafless Tree

 

Michele Yellin

In life, one of the things that interests me most is finding a space where I can have a meeting of the minds and hearts with others. Sometimes I think that it is not unusual to feel isolated and alienated. With a little effort, we can connect with others and share what we have in common – our dreams, our hopes, our values and lives.

The same is true for my artwork. I create work as an expression of my own inner and outer life. Once I put it out in the world, I am interested in other people connecting with, and finding that what I paint, is part of their lives as well.

My paintings evolve organically. I start by laying down texture and color to create a loose abstract field. The textures and colors suggest shapes and spaces, much like clouds creating shapes in the sky. Everything and anything is on that canvas, waiting to be found. I draw what I see, and begin painting. Some things stay, others are painted over, developing paintings that have many layers. Through this process, the painting begins to tell a story. It is how I discover and reveal my inner life.

 

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COMMON GROUND

Nell Chandler

Earrings for Mary Ann

Last year when I had my featured artist show I learned how to work with torch enamels. Throughout the year I had other obligations and have not had a chance to work with them since. I decided this year that I still had a lot to learn about torch enamels so I decided to feature them again for our show.

I took a couple of kiln fired enamel classes years ago but never really connected with it. But then one day I found myself mesmerized by torch enamel tutorials I would find on You Tube when I would have a few slow moments working at the gallery. I couldn’t stop watching them and then I  got a couple of books on the subject.  It seemed like I had most of the things I needed to get started and I knew I had left over enamels from those classes.

So last year I discovered that I absolutely loved the process of laying layer after layer of enamels and watching each color emerge after being red hot and then cooled down. That’s what I was missing when I tried kiln enameling! I loved being with the piece the whole process instead of putting it in a kiln and waiting to see what happened.

So this year I learned a few new techniques and bought myself some new colors and got to work. This was one of my most favorite times getting ready for our show.

And on a personal note it was a wonderful opening reception for all four of us. And my best friend from the 5th grade came to our opening from Alabama and we have kept in touch but we haven’t seen each other in years and years so that was a special treat. And my sister from Tennessee came and we relaxed on tubes in the Eno River Saturday. All in all it was a wonderful time.

 

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MINDFULNESS

The Hillsborough Gallery of Arts continues its Featured Artist series with new works by two painters, Jude Lobe and Eduardo Lapetina, and one sculptor, Jason Smith.

Eduardo Lapetina writes, “The creation of my abstract paintings requires a state of active attention, being open to my thoughts and feelings. I tend to work in total isolation to discover the mysteries of my subconscious mind that are part of my own personal history. My abstractions hold the promise of dreams, visions, fears, intangibles and will. They are the result of a collaboration of my mind and spirit.

Titles of some of the paintings that I have produced for the Mindfulness are: ‘Back to Wonder,’  ‘The Trail is Now Visible,’ and “In the Forest of the Heart’. The title of each painting hints at both the physical appearance and the poetic ambiguity of the long journey that brings it into being.”

Jason Smith creates abstract sculptures with steel. Smith writes about his process: “I enjoy the manipulation of form in space to create visual balance. For Mindfulness I have combined pieces of steel and other metals to create compositions that convey rhythm, action and movement.”

Jude Lobe describes her inspiration for the art she produced for this exhibit: “We have all heard of mindfulness, but do we really understand it? I believe mindfulness is living in the moment and appreciating what is around us without judgment. I try not to interpret what is there – just to experience it.”


Lobe continues, “I walked outside and breathed the sweet air and listened to birds. Then returned to the studio and picked up a panel on which to paint. Choosing colors randomly from my palette, I applied them to the panel, layer after layer with no preconceived idea. Now and then I’d scratch the surface to reveal what was below.  A landscape emerged, almost as if the painting had a mind of its own. When I gazed at this new series of painted panels, I realized they all moved me in different ways. Sitting and viewing a blue painting made me feel relaxed, red made me feel excitement. After a while my left brain began to engage and I started to see what I wanted to add to the image to take it to its final stage.

I have always found creating art roots me in the present, in a peaceful space. Whether I am working in cold wax, metal, or clay, my expectation is that creating art with a calm mindset will translate those same feelings to the viewer.

Opening Reception

June 29

6-9

 

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TREES BY THREE

Happy Accidents

Ellie Reinhold

At the Trees By Three opening last Friday many visitors asked me about my process. Observing some of the painterly details in Rose Hill, one commented, no one would be able to reproduce that.
It’s true, I said in reply, not even me!

Rose Hill (detail)

 

Rose Hill (detail)

Much in my painting relies on happy accidents. While I’ve developed a set of tools and methods, a certain touch and approach over practice, I rarely have a detailed plan when I begin a piece. I may, however, have a guiding notion—such as a technique I want to use, or a color combination I’ve seen in the woods and want to celebrate. Or perhaps I might be spurred on by a loose compositional concept suggested by one or more scenes or details in nature that I’d like to explore. Sometime a more metaphorical impulse initiates the piece.

Despite this, at a basic level most of my paintings are found through the process of painting. The guiding notion combined with the marks and hues that initiate the piece define a puzzle I have to solve. The act of painting is a search.

To find resolution I follow an intuitive path. I work the whole composition at once with a process that’s both subtractive and additive. I create, shift, alter and recreate the composition, sometimes many times, sometimes radically. I use brushes and painting knives to apply paint, as well as tools to either apply or scratch away lines. Since I use opaque paint, acrylic heavy body straight up, it’s easy to erase by painting over, but what I like best is to paint over incompletely. The more I work, the more inevitable this incomplete coverage is since I am working on a surface that has become irregular; textured in a way that is informed by previous compositional details and informs future ones. The gifts of this process are many, multi-layered hues and ghost images among them.

 

Emerging Warmth

I build my pieces both quickly and slowly. I’m most fond of working with a loose and quick paint application, one that is heavy on physicality but can manage fine detail through the give and take of many happy accidents over time. This approach eschews an overly precious process—so it’s more fun for me as a painter—yet can achieve a dense surface and interesting details. With broad, then more delicate, pulling, pushing and tweaking the painting is eventually revealed… if I’m lucky. This is not guaranteed!

The completed piece is the resolution to the puzzle—regardless of whether the painting has achieved the guiding notion with which I began. For, as I told one viewer who asked how I decided to paint a particular piece, many paintings don’t go where I expect. At some level every painting is a surprise to me. Each one holds the key to it’s own final state. Paintings can demand to be something else altogether, giving me no choice but to follow the happy accidents.

 

Autumn Pocket

 

 

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PAPER ROCK SCISSORS

Lynn Wartzki
I decided this year to fully embrace my role as the “paper” in our featured artist show “Rock, Paper, Scissors.” All of the art doll sculptures I created for this show have their mix-media roots planted in a figure executed in some combination of papier-mâché and paperclay.  These materials are highly versatile and allow me to really play with such a playfully themed show.
I love the fact that we at HGA get the chance to experience the satisfaction of creating twice.  There is the solitary experience when, as an artist, you decide that a piece is complete.  It is extremely exciting when what you see on the worktable embodies exactly what you had sketched in a notebook, or held in your mind’s eye while working.  The second, even more enjoyable experience, occurs during our gallery opening when we get the chance to see the work through the eyes of the viewer.  It is so very interesting to hear what draws another to my sculpture, hear the questions they evoke, or, my personal favorite, when you see that spark of agreement when they hear or read my description of each piece.
I also played with the paper theme beyond just materials used, it is also included in the inspiration for many of my sculptures.  I find a number of my art dolls residing in the space somewhere between figurative sculpture and book sculpture.  Three pieces in this show are drawn from works of fiction.  For two of these, “Boleyn’s Ghost” and “Tinkerbell Never Lost Her Shadow”, I utilize selected text from paperback copies of books as part of their surface design.  An additional sculpture, “Local Star” utilizes a different definition of the word paper, as in the news.  “Local Star” is a dancer positioned in the same pose as one of Degas’ well known works, but wigged and clad in a costume created from in the pages of the local newspaper.
 
The last piece I created before installation of the show is titled “Hope”.  My inspiration for this art doll was color and a smile.  I started not with my figure, but with brightly colored tissue paper used to make papier-mâché balloons.  “Hope” is a seated doll that starts with black feet and gradually lightens as you move up the figure ending in an explosion of rainbow “hair”.  Completely conceived to bring a smile, I was rewarded at the opening when the viewer who eventually purchased her exclaimed, “That’s my kid!”

Rock Paper Scissors

Rock: Arianna Bara writes of her new work, “As a jeweler, stones are often the focus of what I am creating. Boulder opals, drusy quartz, labradorite, fossils and gemstones inspire me with their flashes of color and movement. I am intrigued by the stories our ancestors told about the origins of rocks and their properties. My new work incorporates many different stones into textured sterling silver settings in ways that help relay these ancient stories.”

Paper: Lynn Wartski describes her process for this show, “My creative adventure with art doll sculptures continues to lead me in new and interesting directions. Paper has become the most prominent material in my new work: from paper clay to sculpt faces and hands, to adding a tissue paper crinoline as an accent under a skirt, to drawing inspiration drawn from the pages of printed word. I find myself flipping pages of books, and scouring the internet for images to stretch the ideas I am trying to convey within a piece. I enjoy incorporating small details into each art doll that the viewer can only discover upon close inspection. These items pulled from texts often add surprises to the surfaces of the sculptures. One example of this blending of book and doll is my latest look at Lewis Carroll’s Alice Adventures in Wonderland. My sculpture portrays Alice’s inspection of the small bottle labeled “drink me” and the curiously small door she finds in the wall. Vintage playing card images adorn this figure’s dress, floor of the room, and the back of the sculpture. I am excited for my ‘paper’ works to play alongside Arianna Bara’s beautiful ‘rock’ and silver jewelry designs, and the colorful ‘scissors’ play found in Ali Givens delightful textile works.”

Scissors:s Ali Given writes, “The fabric collages in this show depict details of things I see as I explore new places. A building, a person, a vase of flowers– these are all subjects that I like to illustrate with fabric. Often while I wander in new cities, certain things, like a hummingbird painted on an old building, are so wonderful to me that I come home and begin cutting and stitching fabric to capture my initial excitement.”

 

Opening Reception

March 30

6-9

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