MINDFULNESS

The Hillsborough Gallery of Arts continues its Featured Artist series with new works by two painters, Jude Lobe and Eduardo Lapetina, and one sculptor, Jason Smith.

Eduardo Lapetina writes, “The creation of my abstract paintings requires a state of active attention, being open to my thoughts and feelings. I tend to work in total isolation to discover the mysteries of my subconscious mind that are part of my own personal history. My abstractions hold the promise of dreams, visions, fears, intangibles and will. They are the result of a collaboration of my mind and spirit.

Titles of some of the paintings that I have produced for the Mindfulness are: ‘Back to Wonder,’  ‘The Trail is Now Visible,’ and “In the Forest of the Heart’. The title of each painting hints at both the physical appearance and the poetic ambiguity of the long journey that brings it into being.”

Jason Smith creates abstract sculptures with steel. Smith writes about his process: “I enjoy the manipulation of form in space to create visual balance. For Mindfulness I have combined pieces of steel and other metals to create compositions that convey rhythm, action and movement.”

Jude Lobe describes her inspiration for the art she produced for this exhibit: “We have all heard of mindfulness, but do we really understand it? I believe mindfulness is living in the moment and appreciating what is around us without judgment. I try not to interpret what is there – just to experience it.”


Lobe continues, “I walked outside and breathed the sweet air and listened to birds. Then returned to the studio and picked up a panel on which to paint. Choosing colors randomly from my palette, I applied them to the panel, layer after layer with no preconceived idea. Now and then I’d scratch the surface to reveal what was below.  A landscape emerged, almost as if the painting had a mind of its own. When I gazed at this new series of painted panels, I realized they all moved me in different ways. Sitting and viewing a blue painting made me feel relaxed, red made me feel excitement. After a while my left brain began to engage and I started to see what I wanted to add to the image to take it to its final stage.

I have always found creating art roots me in the present, in a peaceful space. Whether I am working in cold wax, metal, or clay, my expectation is that creating art with a calm mindset will translate those same feelings to the viewer.

Opening Reception

June 29

6-9

 

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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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Orange County Studio Tour

This marks the 23nd year that the Orange County Artists Guild will host its Annual Open Studio Tour. During the first two weekends in November, more than eighty artists located throughout Orange County, including Chapel Hill, Carrboro, Hillsborough, and surrounding areas will be participating in this juried event and opening their studios to visitors who will discover where the creative design happens!

For the seventh year, Pringle Teetor and Linda Carmel will be showing together at Carmel’s home studio, 101 Huntington Drive, Chapel Hill, #45 on the tour. Pringle’s blown glass and Linda’s textured paintings complement each other perfectly. There will be plenty to see and touch.

Ali Givens joins the studio tour for her first year. Ali creates fabric collages that are landscapes, cityscapes and still lifes sewn from colorful batiks and other natural fibers. Her studio is #12 on the tour located at 3611 Mijos Lane, Chapel Hill.

Lolette Guthrie paints primarily with oil. She builds up her canvases layer by layer. Each piece begins with a loose idea that explores the beauty of the natural world. Her studio, #67, is located in Chapel Hill at 113 Rhododendron Drive.

Marcy Lansman returns to the tour for her 12th year. Her new studio, #35, is located at 750 Weaver Dairy Road, Apt. 198, Chapel Hill. Marcy paints with acrylics and her work has evolved from realistic to more abstract, expressive of personal insights and emotions.

Eduardo Lapetina’s studio is located at 318 North Estes Drive, Chapel Hill, #55 on the tour map. This is his ninth year participating on the tour. Lapetina will show new abstract paintings with vibrant colors and in various sizes including very large pieces. His paintings are worked in complete solitude. They represent the discoveries of the unconscious mind. In the artist’s words, “They hold the promise of dreams, visions, fears, and the magic of a private, secret language.”

Ellie Reinhold is joining the tour for the fifth year. She is #60 on the tour and will welcome you at her studio off Roosevelt Drive in Chapel Hill, in the neighborhood across from Cafe Driade. Reinhold’s explores vibrant landscapes using color, brushwork, and iconic imagery.

Michael Salemi is a woodturner who is showing jointly with Miriam Sagasti at her studio (#22). Michael’s work includes both traditional woodturning forms: bowls, plates and platters, and unusual pieces such as ikebanas.

Alice Levinson will be exhibiting her contemporary wall-hung textile pieces. Each is rich in color and texture, and composed of hand-dyed fabric, densely sewn. Her studio is #15 on the map, 3604 Pasture Road, Hillsborough.

Jason Smith creates one of a kind metal sculptures in steel and copper using reclaimed material. His sculpture is abstract. The manipulation of form in space allows the viewer to feel rhythm and movement in his compositions. Jason’s new studio is #2 on the map, 1709 NC HWY 86N, Hillsborough.

OCAG’s Open Studio Tour is a rare opportunity for art lovers from Orange County and beyond to meet artists in their places of work, to view and purchase art directly from the artist, and in many instances to watch as artists demonstrate how they create their pieces. Studio Tour brochures and maps of participants’ studios are available at the Hillsborough Gallery of Arts and other area locations or on the Guild website: http://www.OrangeCountyArtistsGuild.com

Many artists on this year’s tour will have work in the OCAG Preview Exhibit at the Hillsborough Gallery of Arts. Their work will be on display from October 23 through November 12, 2017. This preview show is a wonderful opportunity for a first look at the work on the tour and can help you plan your tour route.

Opening Reception

Friday October 27

6-9

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Up Close

Stepping Up

Linda Carmel

Being a “featured artist” at the Hillsborough Gallery of Arts gives us the opportunity to present a body of work to the public.  Alice, Lynn and my work all contain intricate details that we want viewers to explore, hence the title of our show, Up Close.  We also all use fabric in our art.   Alice creates the colors of the cloth she assembles in her work.  Lynn uses fabric and other materials to clothe her sculptures and in this series of paintings I have used lace as a stencil to add a depth to the surface of my paintings.  I encourage viewers to touch these multilayered paintings to add another dimension to the act of viewing.

At the Opening Reception the artists have the opportunity to talk about their work and I love hearing responses from viewers.   I learn a lot about how my ideas are perceived.  I am often surprised by the conversations that my paintings evoke.  My theme of women and the challenges we face at this time strikes a chord with many people.  I started this series at the beginning of the year, when many women were disappointed and feeling that their hard won freedoms were at risk.  The Women’s March brought us together to let our voices be heard.  Equality and respect are rights for everyone, regardless of gender, race or economic status.  This need for a community of equal partners is the theme of my paintings.

Family Ties

In this painting a young woman looks towards the future. The wind blows though her hair. Life seems full of possibilities and yet she is tied to her land, her culture and her family, as represented by the quilt. This was true for most women until very recently. Access to higher education is changing some women’s lives but women have yet to reach the equal status in the workplace that their education merits.

I hope that you will visit the Hillsborough Gallery of Arts and see the show.  The show will close on July 23rd.

 

it’s all about the story

story-postcard-rgb

 

“Out Of Abaton” is John Bemis‘ new interpretation of the well-loved tale of Pinocchio. Just as the wooden puppet changes into a human boy, Bemis transforms this classic story with fantastic creatures, alchemy, and the mystery of human emotion–all woven into the magical and glorious landscape of Italy. The artists of the Hillsborough Gallery of Arts depict this fantasic tale in paintings, photography, metal, fiber, glass, ceramics, and wood. It is a show for all those who appreciate rich story telling and local art.

About John Claude Bemis:

John Claude Bemis is an award-winning author and also an inspiring speaker and musician. Bemis grew up in North Carolina and became an elementary school teacher after studying Art History and Education at UNC-Chapel Hill. His experiences of reading, exploring, and teaching naturally evolved into a career of writing. He received the Exellence in Teaching Award from UNC Chapel Hill’s School of Education and was chosen as North Carolina’s Piedmont Laureate for Children’s Literature in 2013. He lives in Hillsborough, North Carolina.

Reception

Feb 24

6-9

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Go Figure

Marcy Lansman

Many of these paintings express my nostalgia for a kind of childhood play that seems rare today, nostalgia for a time when children ran around outdoors uncoached and unscheduled. I’m intrigued by the excitement and collaboration that emerges from that kind of play. Below is a painting of one young boy pouring water on another. I love the combination of concentration and curiosity on the pourer’s face

my-turn-for-blog

This and several other paintings are based on fifty-year old photos of my sons. I’ve solicited candid photos from friends and family, but often what I get back are smiling faces looking straight into the camera. So I’ve taken to lurking around public playgrounds with my camera, concerned that some parent will suspect I’m up to no good. My friends assure me that at my age I don’t need to worry, but I keep a “bio-card” in my pocket just to prove I’m a legitimate artist.

For the painting below, I photographed a group of girls cooking up a witches brew of moss and leaves at the bottom of a slide. (I’ve transformed the slide into a kettle.) No one was urging them on or encouraging them to be creative. I watched them for fifteen minutes charmed by their obliviousness and intensity.

making-magic-for-blog

 

Many of my paintings are labeled “ mixed media” because of a technique I use to create the surface. I put down layers of various kinds of rice paper and gesso, producing a random pattern. Then I use layers of watery acrylic paint to create the image. Since paper and gesso take the paint differently, the surface varies in texture and color. This technique is one way of avoiding the “plasticky” look of acrylic paint, making acrylic paint look a little like watercolor.

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Go Figure

Domain” is part of a series of paintings using hooped skirts as a metaphor for the constrictions society places on women. In this piece, I wanted to depict a woman’s life as defined by her home, which becomes the empire over which she has control.

Before starting, I decided to use the old masters’ palette of colors – Yellow Ochre, Payne’s Grey, and Burnt Umber – to which I added Mars Black and Titanium White.

I covered the entire canvas in a thin layer of modeling paste and then fashioned the skirt and figure with another layer. I built up the background with more modeling paste. Next, I drew the scene that I imagined going on under the skirt with pencil and began painting. I painted the surfaces where I applied the second layer of texture brown and then wiped away the excess, exposing the “thumbprint” of the painting.

in-progress-1

I moved through the rooms from left to right, using masking tape to help me keep the architectural lines straight. In the ballroom, I decided to apply modeling paste to the pillars and the drapes to give them more dimension. Later I added texure to the chandelier too.

 

in-progress-2

After I completed the scene under the skirt I began on the figure. I wanted her dress to have the look of polished stone, as if the woman has become a part of her home.

I played with different colors for the background, finally settling on shades of Sienna that I highlighted with Ochre and Gold to mimic the sky that you can see through the windows. I then echoed the texture and pattern of the background in the walls of the ballroom.

in-progress-3

I tried several different versions of the headdress and finally chose to add some hair to frame her face and a pendant to connect the hues of the background with those below the skirt.

Domain” was complete.

domain-4

With thanks to my husband, Harold Carmel for documenting this process.

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