Orange County Studio Tour

This marks the 23nd year that the Orange County Artists Guild will host its Annual Open Studio Tour. During the first two weekends in November, more than eighty artists located throughout Orange County, including Chapel Hill, Carrboro, Hillsborough, and surrounding areas will be participating in this juried event and opening their studios to visitors who will discover where the creative design happens!

For the seventh year, Pringle Teetor and Linda Carmel will be showing together at Carmel’s home studio, 101 Huntington Drive, Chapel Hill, #45 on the tour. Pringle’s blown glass and Linda’s textured paintings complement each other perfectly. There will be plenty to see and touch.

Ali Givens joins the studio tour for her first year. Ali creates fabric collages that are landscapes, cityscapes and still lifes sewn from colorful batiks and other natural fibers. Her studio is #12 on the tour located at 3611 Mijos Lane, Chapel Hill.

Lolette Guthrie paints primarily with oil. She builds up her canvases layer by layer. Each piece begins with a loose idea that explores the beauty of the natural world. Her studio, #67, is located in Chapel Hill at 113 Rhododendron Drive.

Marcy Lansman returns to the tour for her 12th year. Her new studio, #35, is located at 750 Weaver Dairy Road, Apt. 198, Chapel Hill. Marcy paints with acrylics and her work has evolved from realistic to more abstract, expressive of personal insights and emotions.

Eduardo Lapetina’s studio is located at 318 North Estes Drive, Chapel Hill, #55 on the tour map. This is his ninth year participating on the tour. Lapetina will show new abstract paintings with vibrant colors and in various sizes including very large pieces. His paintings are worked in complete solitude. They represent the discoveries of the unconscious mind. In the artist’s words, “They hold the promise of dreams, visions, fears, and the magic of a private, secret language.”

Ellie Reinhold is joining the tour for the fifth year. She is #60 on the tour and will welcome you at her studio off Roosevelt Drive in Chapel Hill, in the neighborhood across from Cafe Driade. Reinhold’s explores vibrant landscapes using color, brushwork, and iconic imagery.

Michael Salemi is a woodturner who is showing jointly with Miriam Sagasti at her studio (#22). Michael’s work includes both traditional woodturning forms: bowls, plates and platters, and unusual pieces such as ikebanas.

Alice Levinson will be exhibiting her contemporary wall-hung textile pieces. Each is rich in color and texture, and composed of hand-dyed fabric, densely sewn. Her studio is #15 on the map, 3604 Pasture Road, Hillsborough.

Jason Smith creates one of a kind metal sculptures in steel and copper using reclaimed material. His sculpture is abstract. The manipulation of form in space allows the viewer to feel rhythm and movement in his compositions. Jason’s new studio is #2 on the map, 1709 NC HWY 86N, Hillsborough.

OCAG’s Open Studio Tour is a rare opportunity for art lovers from Orange County and beyond to meet artists in their places of work, to view and purchase art directly from the artist, and in many instances to watch as artists demonstrate how they create their pieces. Studio Tour brochures and maps of participants’ studios are available at the Hillsborough Gallery of Arts and other area locations or on the Guild website: http://www.OrangeCountyArtistsGuild.com

Many artists on this year’s tour will have work in the OCAG Preview Exhibit at the Hillsborough Gallery of Arts. Their work will be on display from October 23 through November 12, 2017. This preview show is a wonderful opportunity for a first look at the work on the tour and can help you plan your tour route.

Opening Reception

Friday October 27

6-9

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Beyond the Surface

Pat Merriman

 

This has been a year of many twists and turns so my current art reflects colorful baby animals, even more colorful flowers; some valuing Georgia OKeefe, and 3 landscapes; two in N C.

 

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Beyond the Surface

Marcy Lansman

In January, my husband and I moved into Carol Woods, a retirement community in Chapel Hill. At our new home, we’ve made the “den” into an art studio. Now, for the first time, I have a separate room to paint in. For several months before and after the move, though, I was so distracted that I didn’t do any painting at all. When I finally sat down to paint in my new studio, I tried to make it easy. I laid out my favorite colors on the palette and began to doodle. I assumed that with time I’d move on to “real painting.” It never happened.

The doodles evolved into a series of paintings in which layers of warm oranges, yellows, pinks and reds alternated with layers of cool blue-greens. In these paintings the warm colors often appear to be shining through a cool film. For me, the title of our current featured artists show, “Beyond the Surface,” refers to the fact that earlier layers interact with surface layers to produce the end result.

As I continued to work with this idea, I experimented with dripping the cool layers over the warm layers.

And in a few cases, I was so enamored with the initial warm layers that I couldn’t bare to cover them up with the blue.

In a final variation on the warms vs. cools theme, I started out each painting by pasting torn pieces of brown paper (think grocery bags) to the canvas, creating a sort of mosaic, then painted on top of this surface. The resulting paintings were reminiscent of rocky landscapes.

To see more paintings in the warm/cool series, please go to my website, http://www.MarcyLansman.com in the gallery entitled “New Abstracts 2017.”

 

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Three Perspectives

LOLETTE GUTHRIE

Three Perspectives

I am primarily a landscape painter. 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. 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.

As Skyfire Rages Across the Atlantic

For this show, I again concentrated on painting an interesting sky that almost alone would give the viewer a sense of place, time of day, temperature, and weather. In most pieces, the foreground is almost an afterthought. In a few, I explored the idea of reality versus the abstraction of memory through the use of “trompe l’oeil” elements that focus attention on the remembered landscape within. 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 landscape or skyscape “real” or is it more like an abstracted memory or a dream of reality?

Reality is Just an Illusion

Before I started to write this statement, I spent some time looking at what I had produced. As always, I had begun each piece with a general idea of what I was interested in exploring. As usual, I was never certain about where each painting would go. To my surprise, when I looked at the whole collection, I realized that while my intention had been simply to create interesting, evocative pieces, I saw in the cloudy, stormy, tumultuous skies that I had actually been working out on canvas my feelings about these troubled times. I also noticed hopefulness since I had left in hints of clearing skies.

 

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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

 

Ali Givens

For Serious Fun I’ve worked on refining several fabric collages that I began years ago. For some pieces, such as “Orange Peacock” I removed the strongest element, the peacock, from the original quilt and built an entirely new composition. In the new collage a cityscape becomes the backdrop as the the peacock stands in front searching among the rocks.  In another work, “Long Afternoon” I simplified the colors to create a completely new feeling. The original background was bright orange, but by replacing it with a more muted gray I was able to make all of the other colors come alive. I think sometimes you have to look at something a long time to figure it out–it’s like a puzzle. Fabric is wonderfully forgiving which makes it very fun as a medium–the more I work with it, the more I’ve learned to relax during the process. For this show I’ve also revisited my favorite theme: the still life.

Especially fun and challenging for me was incorporating my own interpretations of my fellow artists’ paintings and pottery as elements in my own collages. I have a beautiful vase by Garry Childs in my living room. It sits in the corner full of curly willow branches next to a very old stained glass window. Each morning when I sit on the sofa drinking my coffee, I stare at that corner–it became a still life in my mind. I first made a drawing of these elements, the vase, the window, the brick wall and the table. I then made a small collage with fabric to work out the details. Then, from that small collage, I was able to blow it up to a much larger size. This process works well for me. I love images that are small and intimate, and also images that are very large and bold. “Ode to Garry’s Vase” was challenging collage, but one that I truly enjoyed because of personal connection (Garry is also an artist at HGA). Being inspired by my friends is always fun, serious fun.

 

 

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