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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Trilogy

Alice Levinson

In TRILOGY, as in each Featured Artist show, three artists come together, based upon the coincidence of calendars. We choose a title, and then each go our own way, working independently with our particular medium, responding to the theme literally, metaphorically, or ignoring it completely. Typically with no prior collaboration, we arrive at the Gallery on the date of installation and the magic begins. Month after month, a conversation becomes a melody in harmony as three visual ‘voices’ blend and an integrated exhibit is woven from disparate works that vary in material, size, and subject matter.

In TRILOGY, the voices of three artists tell a story of creativity across three mediums.

In creating my sewn textiles, I use three key components: cloth, thread, and needle.

My textiles always find their start in the cloth.

Alice’s palette

Starting with white cloth experiment freely with dye, pigments, and printing techniques to created cloth which is complex in texture and rich in visual interest.

Over the past several years, I have set aside lengths of cloth I found to be too interesting to cut up and use in assemblage work. This Spring I found I was drawn to these cloths. Monochromatic, they are notable for their subtle shadings and tones.

Working with whole lengths of dyed cloth, I’ve layered stitching with multi-hued threads to articulate visual motifs, and highlight the nuanced shading and tonality in the cloth. Cotton and silk threads of varying weights add texture, and depth to the work. Hand and machine embroidery, further enhance texture and add tactile and visual interest. The hand work is particularly satisfying. It proceeds slowly, a meditation of the rhythymic, repeated movement. Each line of stitching, each short length of thread has defines and pointed the way to what follows. The first series of three works feature a common motif of stitched lines of dancing tree-like figures, a frequent visual element in my work.

 

The second series, again of three, are also composed entirely of stitching. Working with whole lengths of dyed cloth, I’ve layered stitching with multi-hued threads to articulate visual motifs, and highlight the nuanced shading and tonality in the cloth. Cotton and silk threads of varying weights add texture, and depth to the work. Hand and machine embroidery, further enhance texture and add tactile and visual interest. The hand work is particularly satisfying. It proceeds slowly, a meditation of the rhythmic, repeated movement. Each line of stitching, each short length of thread has defines and pointed the way to what follows. Floral motifs dance across the panels of tapestry, inspired by my study of Italian and Indian tapestry

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The third series is an effort to compose using color as a primary compositional element.

They are bright and multi-colored. Spontaneity ruled their composition and underlies their playful, whimsical aspect. This proved a good balance to the meditative, labor intensity of the other works. I was having so much fun making them that I ended up with a whole slew of these pieces. All in all the work for TRILOGY has allowed an evolution to new ways of working which always invigorates and energizes my creative ‘engine.’ The accompanying photos give a hint to the work in progress and a look at my ‘palette’, in my case, a table full of colorful dyed cloth, the true inspiration for all of my work.

 

Not quite there

 

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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

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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