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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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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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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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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Swaying in the Summer Sun, a Leafless Tree


Michele Yellin

In life, one of the things that 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, we can connect with others and share what we have in common – our dreams, our hopes, our values and lives.

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.


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Evelyn Ward

What I really love about working with clay is that there seems to be an endless amount to be learned. One idea leads to another and there is a constant evolution of the work, slow as it may be. Sometimes these ideas lead nowhere but sometimes they can lead to something beautiful.

This winter I attended a workshop that focused on silkscreening on clay.  I came away from that workshop thinking about all of the possibilities this opened up.

I experimented a bunch and ended up making silkscreens with images of patterns that I had already been using in my work. I then used those screens to apply underglaze on leather hard pots and later glazed them with my turquoise glaze which is transparent so you could see the patterns once the piece was fired. I really love the layered effect this gives the pots and the way the glaze changes across the piece in combination with the underglaze pattern, giving the pot a more dynamic surface. Several pots in our show “Common Ground” are the result of these experiments.


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Linda Carmel

This has been a year of upheaval. Many values and causes that I hold dear are being pushed aside . It sometimes feels like I don’t know which way to turn. Thank goodness for friends, partners and fellow artists. Michele, Nell, Evelyn and I had fun presenting this show. Although some of my subjects this year are quite emotionally charged I have tried to present them in a positive way. I want to look forward toward a solution or at least the next step.


The painting Again and Again was inspired by the rally in Washington, DC earlier this year. The whole event was organized by young victims of gun violence. All of the speakers were passionate and eloquent. I found myself very happy to follow their leadership. Long ago Joan of Arc had that same sense of conviction and leadership about a very different issue. It is time for the young to lead us forward in the matter of gun control.


Me Too is my response to the movement of the same name. I am struck, but not surprised, by the number of victims now coming forward and telling the stories that they have kept secret for so long. Hopefully the sharing process can help healing to happen for them. Stitching the individual profiles together creates a kind of bonding. The more we come together and speak out on issues the more likely it is that change will happen.


Another theme for me in this show is caring for the Earth. I have painted larger than life women picking up and carrying the Earth to protect it.

In my work I hope to convey messages of community and coming together and of hope for the future. I believe that women will have an important say in how the next chapter of our lives unfold.


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