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

Larry Favorite

I have been an artist for more than 40 years, yet I still find it difficult to describe my art. Put simply, I create boxes, bowls, small sculptures and wall hangings out of desert ironwood. I inlay sterling silver and turquoise into the surface of each piece. My inlays are most often images drawn from nature.

Like most artists, I have had to overcome a variety of challenges in order to create my art. The wood that I use in my work is found only in the Sonoran Desert in Arizona. Each year, I drive cross-country and spend long, hot days in the desert, searching out downed ironwood trees. (I never cut a living tree.) I rough-cut the trees in the desert, load the massive chunks onto my truck, and haul literally over a ton of ironwood to my studio in Mebane on each trip. The physical and logistical challenges of these annual treks to gather ironwood can be daunting.

Desert ironwood is exceptionally dense and heavy, in many ways more like stone than wood. It is nearly impossible to cut into ironwood using traditional woodworking tools and methods. But I was a mechanical engineer before becoming an artist, and I’ve always enjoyed solving technical problems. Still, it has taken me years to adapt tools and to refine the techniques that I use today to transform rough-cut desert ironwood into highly polished, elegant pieces of finished art.

On my journey as an artist, I have overcome many challenges, but I have also received many gifts. Physically, I am healthier than I ever was when I was an engineer. At 79 years of age, my hands are still rock steady. When I was in the business world, I was not a patient person; ironwood has taught me patience. I no longer receive a regular paycheck, but I have learned to trust that the Divine Intelligence of the Universe will reward me for my efforts (hopefully in time for me to pay my bills). I don’t have to punch a time clock, yet I still show up in my studio (almost) every day, and I work longer hours than I ever did before. I do this not because I have to, but because being in my studio and creating art continues to bring me joy.

 

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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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Beneath the Surface

Acrylic artist Marcy Lansman writes of her new work, “I have turned to my imagination for inspiration, rather than to the real world. I began by doodling in my favorite color combination: blue-green and orange. The doodles evolved into a series of paintings in which layers of cool blues and greens alternate with layers of warm oranges, yellows, pinks, and reds.  In these paintings the warm colors often appear to be shining through a cool film. The title Beyond the Surface refers to the fact that earlier layers interact with surface layers to produce the end result. In this series, I have also experimented with combinations of controlled brush strokes and less controlled drips and spatters. The paintings often evoke scenes from outer space.”

Ironwood sculptor Larry writes, “The title Beyond the Surface is especially appropriate for my work. We often think of what is beneath a surface – the elements that are hidden from view.  But equally important is the contrast between a surface and what is above and beyond it.  A feathered heron stands one-legged, next to a smooth-as-glass pool of blue water, mesmerized by his reflection in the water’s surface.  A soaring bird flies with its wings extended, using the surface of the earth below as his only compass for a long journey.  A lone wolf sits on the hard, cold surface of a rock, howling at a moon that is light-years away.”

“Each piece of wood is my canvas, whether it is only four inches long or as large as fourteen. Within these small spaces, I am able to inlay an image that includes both a surface and an object that is above and beyond that surface, like the heron standing in the pool.  Other times I inlay a single image or object – a horse, for example – and the surface is only suggested by the position of the horse’s galloping legs. Either way, I strive to understand and accurately depict how that object is positioned in relation to a specific surface, whether seen or unseen.”

“Ironwood trees grow out of the hot sands of the desert, a surface that is constantly changing, continually shaped and reshaped by desert windstorms. The contrast between the shifting sands of the desert, and the solid, almost rock-like ironwood that emerges from the desert’s surface never ceases to amaze me. I see this contrast in the striking grain of the wood, grain that varies from almost blond to deep brown. Ironwood is the surface upon which I have built my life’s work.”

Founding member Pat Merriman writes nostalgically of her new work, “In my 80th year, one of transition, I am trying a variety of themes, from baby animals to flowers. Some of the elements are inspired by Georgia O’Keefe, while others are inspired by everyday objects– even the designs on a Kleenex box. In addition to these new subjects, I will also have several paintings of koi and barns, as well as collages focusing on the lives of women.

 

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Three Perspectives

Eric Saunders, Fine Art Photographer

Artist Statement

My subject matter is outdoor landscapes, natural and urban, in color or black and white. I sometimes explore other subjects (artifacts and architecture), and digital enhancement or manipulation of images.

There is no particular story line to my work. I am trying to communicate the beauty of abstract art, and the beauty or intrigue of transient moments in nature and life.

I am mostly self-taught as a photographer. This makes my progress slower than I would like at times, because I listen to all advice, regardless of its merit.

Previously I studied classical piano, and then worked as a corporate computer programmer. I find inspiration for my images in music of all styles and eras; my work experience in computers has enabled me to learn digital darkroom techniques more easily.

All work had been using 35mm film using a NIKON 6006 and NIKON lenses (with a tripod most of the time). In April, 2010 I purchased my first digital SLR, a NIKON D700 (which uses the same lenses as my old film SLR).

I print my images using an Epson 3880 printer, using paper and inks archival to at least 100 years.

 

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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

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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