ColorFull

Autumn in the Marsh

Lolette Guthrie

As a landscape painter I paint primarily from memory. I begin each new piece by thinking about what it was like to be in a particular place at a particular time: what the sky that day was like, what the temperature was, what the weather was. Always, I  strive to discover the essence of the subject rather than the reality, I want to capture the ephermeral nature of light and a mood that is timeless.

I paint in oils,beginning each piece with a general idea of what I am interested in exploring. I am, however, never certain about where the piece will take me. At some point each painting takes over and dictates what I need to do.

Autumn in the March

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 glazes try to create subtle color and value shifts that provide a degree of luminosity.

For ColorFull I concentrated on the myriad color found in nature. In most pieces I again concentrated on painting an interesting sky that almost would give the viewer a sense of place, time of day, temperature, and weather. In a few I explored the idea of depicting a memory trough pure abstraction.

 

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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

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

 

 

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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COMBINATIONS

A Perfect Day for Koi

Pat Merriman

Mixed-media artist and founding member, Pat Merriman, describes her inspiration for Combinations: “For this show I have created several collages in response to Our State Magazine. I learned several startling facts about my birth state. One collage forcuses on Biltmore School of Forestry. Another portrays a series of old wooden windminlls that lined our coast many years ago. It’s always exciting for me to discover obscure facts about North Carolina and to then turn to my canvases to create collages with both printed material and paint.”

Prime

 

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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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ART for a C note

The 22 members of the Hillsborough Gallery of Arts come together to present work that is different in medium, but equal in price. The pieces range from paintings to glass, fabric to pottery, and metal to wood. The common thread: everything is $100.
Opening Reception
Jan 26
6-9

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