MINDFULNESS

Eduardo Lapetina

What Memory is Made of

The process that leads to the creation of my abstract paintings requires a state of active, open attention to my thoughts and feelings. I tend to work in total isolation to discover the mysteries of the subconscious mind that are part of my own personal legend. Personality counts.

Home Mi Casa es Su Casa

My abstractions hold the promise of dreams, visions, fears, intangibles, and will. It is a collaboration of mind and spirit. It is a form of magic that may speak to you and for you with a private, secret, confidential language.

Eastern Attachment

The title of each painting hints at both the physical appearance and the poetic ambiguity of the long  journey that brings it into being. Titles of some of the paintings that I have produced for the Mindfullness Show are: “Inner beacons of life”, “Back to wonder”, “Pools of glimmer and spark”,”In the forest of the heart”, “Home, mi casa es su casa”,”What memory is made of and Allegra.

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ON THE ROAD TO MINDFULNESS

JUDE LOBE

Have you ever been in a conversation when someone was telling you their opinion and before they were even finished, you were composing how you would respond? Well, that is not Mindfulness.

 

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Sun Through the Trees, Cold Wax & Oil

“Mindfulness means paying attention in a particular way; On purpose, in the present moment, and non-judgmentally.” Think it’s easy? Just try and walk down a street and just enjoy the trees, the wind against your face, and the clouds in the sky. Instead, a hundred things pop in our minds – is the stove off, can I get the laundry done today, etc.

Or when we are going somewhere in the car. Do you enjoy the journey or are you concentrating on arriving? I decided to enjoy the journey. And so it was with this exhibit and preparing work for it.

Instead of thinking and drafting ideas and proceeding to carry out the design on a surface, I let the process just happen. In the case of the image above, I mixed colors and began covering the surface, enjoying the application of spreading the cold wax & oil medium with squeegee, scratching in it with palette knives, and applying different colors with brushes and palette knives. And it began to evolve.

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As to the piece on the left, Bird at Riverbank, I had found a piece of routed wood and thought it reminded me of a river. I then took some copper I had and torched it to bring out colors, hammered it to give it texture and molded it onto the routed wood. I found some small pieces of enamels I had done awhile ago, when I was making small little bowls and thought they kind of looked like rocks in a river, so there it was. Attached the enameled cups upside down to the copper. Each part on this artwork had already be fashioned previously. Looking around my studio in different boxes where I place completed pieces, certain pieces popped into mind they wanted to reside on this new piece of art. Thus came the fired clay pieces, leather string and feathers.

 

 

I used the title of our exhibit as my medium to create. They all came about serendipitous, mindfulness-ly, you might say. No pre-thought. Just being in the moment. Maintaining a moment-by-moment awareness of my thoughts, feelings, bodily sensations, and surrounding environment. And so it was with all the other pieces in the show. The first show in which I never had any stress when working on it.

Medicine_Being

Medicine Being

 

 

COMBINATIONS

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Garry Childs

I love the title of this show, “Combinations”.  I don’t recall which one of us suggested it other than that it wasn’t me, but as soon as it was suggested I immediately and enthusiastically said yes. Pottery is all about combinations. It begins with a combination of earth and water after all, then combine that with fire. Add a combination of glass forming materials and you have a glaze. Then there are combinations of form and surface, colors and textures.

My work for the show has been done with the title of the show in mind.

A few years ago I started doing some pots that I call the “Red Clay Series”. These pots use local clays that I dig straight from the ground applied to the surface of the pots to develop very interesting and natural textures. That process has evolved to include other materials that add additional color and texture. I have several vases in this show that utilize this technique combined with the glazing and carving seen on most of my work. Additionally there are two heavily textured large platters that are intended to be used as wall hangings. I also have some pots that use a metallic glaze with similar materials applied over the surface to develop texture along with bright, strong colors. The “Combinations L’Orb” are some that I am quite pleased with. There isn’t any carving at all on these

I have a new blue color that I am using in combination with a black glaze on a couple of pieces for the show. It also works nicely with my red glaze. And of course my usual combination of glazed and carved planters, vases, bowls and platters will be on display throughout the gallery.

 

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TREES BY THREE

Larry Favorite

Since childhood, I have had a deep fondness for trees. My mother told me that as soon as I could walk, I started climbing the trees that surrounded our house in rural Indiana. Any time day or night, if she couldn’t find me, she would walk outside and look up into the trees.

I was an engineer until my 30s, when I encountered the work of George Nakashima, a Japanese architect turned woodworker. His book, “The Soul of a Tree,” reflected my innermost thoughts about trees. I realized then that my life’s journey was going to be shaped by my mental, physical, and spiritual “communion” with trees. After another decade of searching, I found desert ironwood, and my path to becoming an artist was set.

Today, 40 years later, I look forward to going to my studio every day. Yes, there are orders to be filled and deadlines to be met. But when I step into my studio, I pass through a “bubble of light,” and leave any stress or worries outside. I approach each new day with a clear mind and an open heart.

With a cup of hot coffee close by and (on most days) the sunshine on my face, I begin having a conversation with my wood pile. I sort through piece-by-piece, until something stirs within me and a piece of wood speaks to me. I listen to the wood for guidance, and let the wood tell me what it wants to become.

When you hold a piece of my work in your hands, I hope you can sense my reverence for the wood itself. If you can sense a bit of the soul of the tree from which that wood was taken, then, as an artist, I can feel at peace.

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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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Parallel Play

Evelyn Ward

Most of the work for this show is a continuation of my current work, salt fired functional pottery. Some of the pieces incorporate the photo decals I’ve been working with the last couple of years. I make the decals from my own photographs of botanical subjects, usually plants I encounter on morning walk. The resulting images are sepia toned and hopefully they invoke a quiet mood.
I did branch out a little for this show and made some earthenware wall pieces. I normally salt fire and these are fired in the electric kiln at a lower temperature.  I had an idea that the different type of firing would result in a brighter image and I was right. I really enjoyed constructing the boxes and thought of the group as a whole, although I also wanted them to hold their own.

HEALING BENEFITS OF ART

You walk into a gallery, store or even restaurant, and see a painting that grabs your attention. You relate to it. It takes you somewhere else. It makes you feel. But did you also know art has healing benefits.

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Keep it Simple, Cold Wax & Oil, 36X36, by Jude Lobe

Scientific studies have shown that art heals by changing a person’s physiology and attitude. By looking at artworks or listening to music, a person’s brain wave pattern changes. One becomes less stressed and moves into relaxation. Think about the last time you were at an art gallery. How refreshed and calmed did you feel?
Also effected is our nervous system, our hormonal balance and our brain neurotransmitters. With all of our cells in our body instantly reacting to the art or music, our body’s physiology is altered and the immune system and blood flow to our organs is increased. After you walked out of that gallery, or spent time in the morning drinking your coffee while gazing at the picture you have hanging on the wall, ask yourself, “do you feel better and ready to face the day with a positive attitude?”
The next time you are having a stressed day, take some time off and go to a local art gallery and enjoy the art. When you walk back out the door, I bet you will find yourself in much better spirits and able to handle whatever it is you need to do.
Our physiology is deeply effected by feelings and emotion. Try to keep a balance of good feelings in close proximity to yourself during the day. Perhaps a small painting on  your desk, or larger one on the wall. Maybe a piece of art at home in your kitchen to look at before you walk out the door. Or a calming artwork on the wall of your bedroom to send you off to a peaceful night’s rest.