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 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 collage quilts 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 exactly the right gift for that special person.

Opening Reception

Friday Nov 24

6-9

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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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Earthworks

 

Chris Graebner

My paintings fall into two general categories, botanicals and landscapes. My landscapes are drawn from my travels and are based on photos often taken out of a car window using a cell phone. Because I’m handicapped I don’t do a lot of walking, but you’d be surprised what a lot of wonderful things can be seen from the driver’s seat of an automobile! In fact, sometimes I just drive around Orange County back roads taking pictures of old barns and fields.

The paintings in this show were all done from photos taken between January 2016 and February 2017 in places as disparate as Florida, Iowa and Michigan. Three of the paintings, “At Anchor,” “Dock at the Pines” and “Deer on the Runway” are of an island in Lake Huron we’ve been going to each summer for the last few years. The Nebraska, Kansas and Iowa paintings were done from photos taken on the way back from a family wedding in South Dakota.

One of the fun things about cellphone photos is that they include GPS data allowing you to find the exact place they were taken. And, if you need more visual information from a different angle than you’ve captured in your photo you can often find it on Google street view. That doesn’t mean that my paintings are exact representations of what is in the photo, or even of what is actually in the location. I do a fair amount of editing – adding or deleting, moving things around, changing colors etc. – but you would certainly be able to match up the paintings with the photos that inspired them.

 

EARTHworks

blog-header-earthworks

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Garry Childs describes his technique, “All of my work is formed on the potters wheel from terra-cotta clay. I apply glazes and pigments to my pots when they have reached a state potters call “leather-hard” which is when the clay has stiffened up enough to handle, but is not completely dry. I usually do this by spraying, but sometimes also with a brush. I then carve through the glaze into the still damp clay to achieve the various patterns seen on my work.”

Chris Graebner describes her inspiration for the show, “I love to drive, especially on long trips. Every summer we go to Northern Michigan – to Lake Huron. It’s a trip I love, two days up and two days back, driving through gorgeous scenery, forests and farms. (It’s amazing how many different types of barns there are!) Last summer, in addition to the trip to Michigan, we made a 3700 mile trip to South Dakota, returning home by way of Texas and Louisiana. As usual, I did most of the driving. Driving forces me to pay attention to everything around me and I’m always amazed by the beauty. Painting is my way of possessing that beauty so I want to paint it all!  My husband is patient about taking photos with the cell phone as we sail past interesting things on the highway. My paintings in this show are all of places observed from the car, in our travels over the last year.”

Jude Lobe’s work presented in Earthworks reflects her love and respect of nature. “For this show I’m still using the method of building and deconstructing, but concentrating on the connectedness between earth, man, fauna, plants and everything else making  up the universe, and the loss that may occur if we don’t become more mindful. I like mixing mediums and love textures, which becomes a metaphor for how all things in the universe are interwoven and intertwined. My paintings in cold wax & oil, encaustics and collage are a journey to articulate on a surface an emotion I have difficulty in articulating in words.”

“Sometimes I’m on an archaeological excursion. From building up layers of colors and textures, to scraping away, scratching and uncovering what is beneath, the process leads me to new places I discover.”

Opening Reception
May 26th, 2017, 6 – 9 pm

Earth Wind and Fire

unspecifiedJude's image
JUDE LOBE
 
When I was a child, one might have called me a tom-boy. I spent endless days exploring the woods and parks, climbing trees and building forts near our home in Maryland. I continued my exploration of  wild and natural environments as an adult. Luckily, I lived equal distance from the Shenandoah and the Blue Ridge Mountains to Assateague and Chincoteague Islands. In these places I felt at home, peaceful, serene and wistful. 
These natural habitats give me a connection to a past, a history of bygone times. Being in these beautiful endangered landscapes gives me solace from stress and hope for a future. In this exhibit I revisit some of these places in my mind and attempt to capture the emotion I felt there and being captivated by the play of light on a rock cliff, or swaying grass in the wind.
 
My medium of choice for these landscapes is Cold Wax & Oil. The cold wax is a consistency of a paste wax. It is made of beeswax and resins. I mix it 50:50 with oil paints or earth pigments. It has the advantage of giving me the opportunity to show a history of the painting by building up layers of colors, then scratching through to reveal some of the obscured colored layers. To me it is a metaphor of the history of the landscape and how it has evolved over time. 
 
My paintings, rather than being a photographic likeness of the landscape, are rather an emotional interpretation of it with an abstract quality. My hope is that the viewer either gains a feeling of peace and hope I feel when in nature, or reminds them of a similar special place in their memory. 
 

Branching out

Branching Out

By Chris Graebner

January-Moon-(web)

When Eric Saunders, Pat Lloyd and I first talked about this show last fall and came up with a title, we thought that Branching Out would speak to the subject matter of all three of us in some way. Pat is a wood turner, Eric often photographs natural settings – trees and woods, and I was planning that my work for this show would all be botanical subjects. However, life intervened. Pat dropped out of the show, and Michael Salemi, also a wood turner, came on board. The title still worked. Then life intervened again. In December I discovered that I had cancer and that the next several months would be filled with 2 major surgeries and a lot of slow recovery. The few pieces that I had underway were not botanicals, so that connection to the show title was out. I would not have the time or considerable energy it takes to do a whole show of new botanical work.

The-Night-&-The-Moon-(web)

As I was slowly recovering from surgery I became fascinated with clouds and decided to make them the focus of a small group of paintings. Usually, clouds are just a sort of backdrop, making the sky a little more lively and realistic. They provide a bit of movement in a landscape. But in these paintings I wanted the clouds to take center stage and do all the talking – a little bit of “branching out,” if you will. I enjoy painting night scenes, so clouds at night became a natural progression – another bit of branching out.

Light-Up-the-Night-(web)

When plants get trimmed or blocked, they send out branches and move in a different direction so they can continue to grow. In similar fashion, these paintings have been a way of trimming my expectations – of moving in another direction and continuing to grow. I hope you enjoy them!

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ART from shows

Branching Out

April postcard RGB Branching out

Eric Saunders, Chris Graebner, and Mike Salemi are “Branching Out” with their new work.

Eric Saunders is a photographer who uses many techniques to digitally enhance his photographs. For Saunders [branching out] “can mean branches growing on a tree, or it can mean exploring new directions in technique and content.” He explains, “In the past few years, I have made photographic images that are literally of branches on a tree, and images that pursue new directions from outdoor landscapes using various digital enhancements, and images that feature man-made subjects.”

Saunders will have 15-20 new images in the show.

Appropriate for Branching Out, wood is Mike Salemi’s medium. The newest member of The Hillsborough Gallery of Arts, Salemi describes his love of wood and his process as a backdrop for the pieces he will present at the April show. Salemi says, “I have always liked working with wood. While a graduate student, I would escape to the campus woodcraft studio each day to find peace and a sense of satisfaction. After I retired, I decided to make a serious effort to develop as a wood turner. In my work, I attempt to strike a balance between classic design prescriptions and my belief that many blocks of wood have something to say. The former leads me to create pleasing proportions in my spindles and pleasing curves in my bowls. The latter leads me to look to the wood for suggestions of shape and texture. I am particularly attracted to blocks of wood that have started to decay. A partially decayed piece of wood can reward the turner with dramatic color and pattern but requires that the turner navigate voids. Handling the negative space in a funky block of wood is a challenge worth taking.”

Chris Graebner is a painter whose work is often inspired by nature. Graebner refects, “One of my earliest memories is watching in awe as my mother painted the oak tree in our front yard. Instead of a brown stick with a green blob on top, her tree had bark, branches, and individual leaves. I was so amazed; I wanted to do that too!”

Working primarily in oil, Graebner will introduce new paintings this April in Branching Out.

Opening Reception

April 29

6-9

 

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