Up Close

Alice Levinson will be presenting her contemporary sewn textiles.  Levinson says, “There is an old saying, ‘the devil is in the detail’.  In the case of my artwork, detail is at the heart my work. Viewing from the usual gallery distance one sees a total composition. Hopefully the work is visually interesting and pleasing to the eye. The overall effect is important in my work. The compositional schema hints to narrative as the palatte suggests mood. The true hallmark of my work, however, is in the attention to detail. I encourage the viewer to approach and come UP CLOSE.”

Approaching Levinson’s work reveals the variety of materials she incorporates into complex compositions. With closer scrutiny one can appreciate the dense variety of stitching which embellishes and elaborates each work.

Of her process Levinson writes, “Starting with white cloth, I experiment freely with dye, pigments, and printing techniques to create cloth which is complex in texture and rich in visual interest. This cloth is the primary prompt to my work. It’s variations in tone, color, and texture inspire me, prompting a creative response.The fabric is cut or torn and pieces are mixed and melded as I assemble my work. Each composition is built of successive layering of fabric and thread. My intuitive work process encourages spontaneity and experimentation.  I live and work in a quiet wood. My work is infused with the lines of the trees, movement of wildlife, and the seasonal changes of form, color, and light.”

For Up Close painter Linda Carmel focuses on women and how they work together. Many of her images involve women helping each other. Carmel’s paintings of women are a perfect illustration of the campaign slogan, ‘stronger together’.

Carmel writes, “I hope that my images will remind us to treat ALL people equally regardless of gender or race. My work strives to speak directly to women, to acknowledge their inner strength and celebrate their power. These themes are especially significant in the present moment as women have been forced to re-engage in fights for rights that they thought were won long ago. Women are massing, marching, and protesting.”

Carmel builds up her canvases with acrylic modeling paste. She creates interesting background textures and then sculpts her figures. Carmel’s paintings are durable: she encourages people to touch them. Get up close and enjoy!

Sculptor Lynn Wartski writes,  “I see our title, Up Close as in invitation to our viewers to take a focused look at our new work.  ‘Athena Sharpening Her Spear’  was the first piece I specifically created for Up Close.  The seated goddess is clad in elements of knowledge, wisdom, and learning, as well as her gleaming armor. Athena is intently sharpening her spear as she prepares for an intense battle.”

Wartski reflects, “This entire year I’ve been experimenting with other surprises that allow some dolls to tell even more of their story.  While continuing to refine gesture and expression, I’ve also incorporated text and images into some surfaces creating collage elements within the sculpture.  In this way an Alice in Wonderland doll became a piece about questions and questioning, and a butterfly figure emerging from its chrysalis about giving flight to dreams and imagination. The scale of my art doll sculptures bids one to take a more intimate look. I try to reward this level of scrutiny with the details that I work into each figure.  I admit that I love creating little elements for each doll, especially the shoes.”

Opening Reception

6-9

June 30


 

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

Connections

JUDE LOBE

This year for the show Earthworks I’m continuing to use the method of building and deconstructing in the medium of cold wax & oil. However, I’m 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.

The idea of us not just being a part of nature, but connected in some way through a primal web of energy intrigues me and feels calming. It makes such sense to me. How else can one explain how we feel the same awe when watching a sunset, or feel anguish when we see someone in pain, or get teary-eyed at a wedding.

2nd try Jude's image

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, leads me to new places I discover.

In this show I am also exploring working with rust on silk and combining it with copper which I fold and torch fire to bring out the colors.

 
I have been involved with art in one way or another throughout my life. Presently, I work in my studio built by my husband. The studio has easels, enameling kiln, pottery kiln, pottery wheel, slab roller, encaustic equipment, an assortment of paints and mediums, and many other items that inspire me to create.

CopperBowl&inside

Earthworks

Garry Childs

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.

Some of the pieces in the show utilize a combination of glazes and a metallic slip coating areas on the pot. I particularly like the way the slip gets a slightly bronze tone on some pieces.

I also have several pots that are a continuation of my “Red Clay” series that use local clays dug straight from the ground to develop texture. These pieces are much heavier textured than I have done in the past and incorporate some additional colors.

It is Springtime so naturally there will be planters included in the show. I make planters in three general sizes. The smallest are approximately twelve inches wide and tall measured on the outside, the medium 15″ x 15″ and the large are 18″ x 18″.  The 12″ size fit nicely on most steps and are the perfect size for growing herbs on your deck or patio. Larger sizes are available on a custom basis.  All have two drainage holes in the bottom of the pot and are suitable for use both indoors and outside in moderate climates.

EARTHworks

blog-header-earthworks

Click on Artist’s name to visit their website

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

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.

Parallel Play

Ellie Reinhold

Serendipity Brought Me Here…

Since my earliest days of art-making I’ve been attracted to, and my process and work driven by, serendipity.

In school the discovery of a yard full of snaky seed pods (catalpa, I learned) drove the creation of a series of 3D paintings which spilled piles of pods from their interiors. Later, a love for the texture of Spanish moss combined with a visual fascination with shredded tire debris along the interstate to yield a series of small (but big enough to enter) house installations lined, or covered, by one or the other.

The objects that populate my canvases and interact with my figures are dictated by serendipity as well. Planks of wood appear, triggered by visuals of boards piled at my house during construction (Cobble). Dilapidated houses and barns translate from the real world into surreal environments for figures (Fledge).

Serendipity even split the direction of my painting. I had been working figuratively for years when the beauty of a particularly awesome fall initiated a parallel body of landscape paintings.As with my figurative work, my landscape paintings have been prone to change and shift serendipitously.

My impulse to inject geometric shapes and pattern into my landscapes was driven by contemplating an exhibit theme, Uncharted. Admiration for the work of a colleague led to experiments with surface quality and changes in how I use my painting tools. Thus, my semi-realistic landscapes became abstracted landscapes, or abstract paintings with landscape elements.

In this show you can find semi-realistic landscapes, like View With Four Trees or Stepping Out. You can find landscapes that hearken to the emotional qualities of my figurative work, like Gesture. There are also several abstracted landscapes, such as Night and Day. Then there are four pieces that play with the forest as a unit, e.g. Forest Fortress, which are a little different from all of the above.

Though the show holds together well, and perhaps the differences are more subtle than I think, that’s quite a mix of approaches! I believe change may be afoot, and I’m wondering where serendipity will take me next…