THE ART OF GIVING

Each holiday season the members of the Hillsborough Gallery of Arts transform the gallery to showcase original ornaments and hand-made gifts. The gallery’s 22 members work in a variety of media, providing a wide array of fine art and fine craft for holiday shoppers. The glass art includes hand-blown vessels, ornaments, solar lights, paperweights, and jewelry. Fiber art on display includes framed fabric collages and hand dyed stitched cloth. The jewelry in the show covers a variety of styles and techniques, from copper and bronze to sterling and fine silver necklaces, earrings, bracelets and rings, some with gold accents and stones. Visitors will also find metal sculpture, handmade art dolls, pottery, turned wood, and carved ironwood with turquoise and silver inlay. Fine art photography, oil and acrylic painting, scratchboard, and mixed media work festively surround the three dimensional pieces on pedestals.

Come explore the wonderful art exhibited at the Hillsborough Gallery of Arts; you will find a perfect gift for that special person.

 

Opening Reception

Nov 30

6-9

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ColorFull

Chris Graebner


St John’s Cathedral

After finishing college I spent 14 years running research labs, first in neuroscience and then in cardiology. It was a career that I loved, but when my son was born I returned to my first love, art. Art allowed me to work at home with more family-friendly hours. However, I think that much of my approach to painting has been influenced by my years in the lab. I love detail, and I love to find new ways to approach an old problem. When I see things I want to paint I’m constantly thinking about how I might do it. What technical problems are presented by that scene or that plant, and how should I handle those problems? What is the best medium – oil, cold wax, acrylic, ink, metalpoint, etc., then what is the best surface for it: canvas, linen, panel, paper, clayboard, scratchboard… Each image is a puzzle to be solved and assembled.

Colorful Portugal

Some artists paint from their memories or from their imaginations. I paint because I see something that moves me, something ephemeral, and I want to capture it and make it last. The places I paint are real places, the plants are real plants. Each is an individual experience. The process of painting internalizes that individual experience and makes it forever mine. And I’m at my happiest when the finished painting does the same thing for the viewer.

 

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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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ColorFull

Chris Graebner‘s paintings are often based on images gathered while traveling. The paintings in ColorFull are drawn from trips, foreign and domestic, taken over the last ten years. Says Graebner, “In the past few months I’ve spent hours going through my photo files choosing images that speak me – images that carry me back to a specific place and time. Once I’ve selected the images, I must choose the size, surface and medium best suited for each.” Graebner generally works on 4-6 paintings simultaneously so that the layers of each painting have time to dry while working on others. “Due to the back to back transitions of my son’s wedding, my husband’s retirement and our move to Elon last fall, I was out of the studio from August through January. Now, as we settle into our new home, I am again beginning to feel the grounding that being in the studio provides in my life. I hope that tranquility is manifest to the viewer in these new paintings.”

The majority of Pringle Teetor‘s pieces for this show are cane work, a centuries old Venetian technique of putting stripes of color and patterns into blown glass. “I’ve always had a broad color palette and here I am able to explore endless combinations of color patterns in clean lines.” The cane used in these pieces have either a colored core with clear on the outside, or veil cane, which has color on the outside with a clear core. Teetor made her veil cane with a variety of transparent or translucent colors, noting that as you look through the piece, the density of the color changes, causing interesting variations of color. Some pieces mix both types of cane, while others used strictly one or the other. In addition, several use varying size lines of contrasting colors to resemble plaids.

Lolette Guthrie is primarily a landscape painter. “Since I mostly paint from memory, my paintings are depictions of my recollections of the colors and the quality of light I experienced at a particular place and at a particular moment in time. For ColorFull, I thought about marveling at sunsets at the coast, remembering a pink and soft orange sky over Lake Jordan, the explosion of color when the sun shines through a stormy sky, the beauty of a broom straw field on a cloudy day.”

 

 

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COMMON GROUND

Evelyn Ward

What I really love about working with clay is that there seems to be an endless amount to be learned. One idea leads to another and there is a constant evolution of the work, slow as it may be. Sometimes these ideas lead nowhere but sometimes they can lead to something beautiful.

This winter I attended a workshop that focused on silkscreening on clay.  I came away from that workshop thinking about all of the possibilities this opened up.

I experimented a bunch and ended up making silkscreens with images of patterns that I had already been using in my work. I then used those screens to apply underglaze on leather hard pots and later glazed them with my turquoise glaze which is transparent so you could see the patterns once the piece was fired. I really love the layered effect this gives the pots and the way the glaze changes across the piece in combination with the underglaze pattern, giving the pot a more dynamic surface. Several pots in our show “Common Ground” are the result of these experiments.

 

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COMMON GROUND

 

 

The paintings of Linda Carmel celebrate women and what they do every day to stabilize and support family and community. Her work points us toward a world in which women can take the lead in finding common ground, moving us away from this time of polarization, peril and uncertainty.

Carmel writes, “We can see things happening that might point the way for our country.  Record numbers of women are running for office in this year’s elections. The most effective challenge to the NRA is being led by adolescents who are furious at the adult world’s valuing assault rifles over their lives.”

Linda Carmel’s paintings in this show reflect her thoughts on the current predicament American society is facing. “My work illuminates how women can help heal a torn community. This series points toward a time of compassion for all of humanity and a respect for the Earth.  With a positive attitude and with humor, I offer my perspective to the viewer.”

Carmel adds, “My paintings have sculpted surfaces. You can actually feel the peaks and valleys that add nuance to the imagery.  I encourage people to touch these canvasses so that they can connect with the themes on a deeper level.”

Jewerly artist, Nell Chandler writes, “When we first decided to call our show Common Ground, I associated the title with us: four women.  As artists we definitely share a common sensibility. We are kindred spirits.

I then turned to the work that I would create for our show and I felt inspired by my friends to dig deeper into new techniques that I’d learned last year such as teaching myself torch enamels I learned from You tube tutorials, books, magazines and well just talking with other artist jewelers at the shows. I realized that I wanted to push myself to try to master some of these techniques to make jewelry that reflected the common ground between my established and my new love of torch enamels.

Painter, Michele Yellin writes, “In life, what 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, it is easy to connect with others and share what we have in common – our dreams, our hopes, our lives and our values.

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.”

For Common Ground Evelyn Ward is showing a selection of her twice-fired stoneware pottery; the decoration integrates representations of local native plants. Ward writes,”I enjoy making good, useful pots that someone will enjoy using every day.” Her process for creating them is far from simple. Each piece passes through a labor intensive salt firing, and then a second electric kiln firing, which fastens ceramic decals of delicate plant drawings or photographs into place, and results in sepia-toned studies of seed pods or leaves contrasted against a rich, salt-glazed background.

Opening Reception

6-9

July 27

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MINDFULNESS

Jason Smith

Metal sculpture allows me to push the limits on my creative freedom. When I bend a piece of steel, or shape a piece of copper, I feel no boundaries. The process of my work may come from an idea or a concept, but most of the time, the process develops and unfolds as I begin a new project. For me, it allows my art to come from my heart, and not from my head. My sculptures are a combination of abstract and Asian inspired. The abstract manipulation of form in space to create visual balance, using rhythm, action and movement, combine to create compositions that convey the implied energy found in my work.

My recent work includes two large commissions for the regional cancer care center in Berlin, MD. The project was a year in the making and I feel so honored to be able to create sculptures to help symbolize this disease and be a source of strength for the patients and caregivers.

 

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