it’s all about the story

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“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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Dreaming in Color

 

 

August postcard RGBAlice Levinson, a textile artist, writes of her experience preparing for the show: “In October, 2015 I participated in the X Florence Biennale in Florence, Italy, an international exhibition of contemporary art. My body of clothworks was awarded the Lorenzo di Medici Bronze Medal in Textile Arts. These works will be among those I will be showing in the DREAMING in COLOR exhibit in Hillsborough. 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. 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. I aim to create works that engage the viewer and delight the eye with movement and vibrant color. Raw edges are honored and loose threads purposefully retained. My intuitive work process encourages spontaneity and experimentation. By nature, I am an observer of people and the natural world. Musings, scribbled phrases, and gestural sketches follow. These suggest themes, visual motifs, a palette. My intention in place, I reach for the cloth and then the magic begins. Image, line, and pattern find their way though my hands into the work in a remarkable way. My task is to stay open and responsive to the ‘voice’ of the cloth. ‘Listening ‘ with my hands as well as my eyes, I work to facilitate the creative flow. This isn’t easy, but is always satisfying, and often, surprising.”

Glass artist  Pringle Teetor describes her new work for the show, “Colors, bright and bold run through my work in many variations. The combinations of different metals in some of the glass colors produce spectacular reactions. Many years ago I studied painting and the artist Morris Lewis had a huge impact on my work. Now, I’ve taken this vision into my glasswork applying colors to create bold, irregular stripes on my vessels.  Another use of color in my work is in my incalmo bowl pieces. Incalmo is fusing together multiple glass pieces to make a single vessel. These have to be done very carefully and require a great amount of precision. I’ve combined 4-6 different colors in these vessels to make wide stripes in the bowls – some colors are analogous, others are contrasting to make a bold statement.”

Lolette Guthrie writes, “I am a landscape painter.  I work largely from memory so my paintings are reflections on what I experienced at a particular time in a particular place. They are also always paintings of light and atmosphere as I continually strive to capture the ephemeral nature of the light remembered. I begin each piece with a general idea of time and place and then let the painting tell me where and how far to go. As a result, I am never sure what the end result will be because at some point each piece takes on a life of its own and I just follow along. For Dreaming In Color, I concentrated on exploring the use of color, especially in the sky, that almost alone would give the viewer a sense of space, light, time of day, temperature, and weather.  In most pieces, the foreground is the accent note.”

Opening Reception

Friday August 26

6-9

 

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ART from shows

The Art of Giving

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Giftable Art Found At The Hillsborough Gallery Of Arts Group Show, The Art Of Giving

Members of the Hillsborough Gallery of Arts present their holiday show November 16 – January 3 with an Opening Reception on November 27th from 6 – 9pm

Every holiday season the members of the Hillsborough Gallery of Arts (HGA) transform the Gallery into a wonderland of original ornaments and wonderful gifts of art of all sorts in their group show, The Art of Giving. Gallery members work in many different media and offer works of art in a wide range of prices.

To make holiday shopping easy, HGA offers gift certificates.  It also maintains a Wish List Book that allows customers to select the perfect gift for themselves and have the gallery contact the person they hope will purchase it for them. Purchases can be completed over the phone and the gift either picked up at the gallery or shipped to you directly.

The Hillsborough Gallery of Arts exhibits the work of nine painters: Linda Carmel, Chris Graebner, Lolette Guthrie, Marcy Lansman, Eduardo Lapetina, Jude Lobe, Pat Merriman, Ellie Reinhold and Michele Yellin. Their styles include representational and abstract work in a wide range of sizes, prices and media including oil, cold wax & oil, acrylic, watercolor, pastel, encaustics, enamels and mixed media. Several of these artists also create wall-mounted folk art.

The gallery also offers textile art by artists Alice Levinson, Ali Givens and Susan Hope who offer framed pieces for the wall, sewn or woven scarves, shawls, tree ornaments and unique table linens.

If you prefer photographs, at HGA you will find framed and unframed photographs by award-winning photographer Eric Saunders and versatile artist, Pat Lloyd who also makes beaded jewelry and gorgeous turned wood bowls.  Are you looking for unique prints or cards?  Many member artists offer both so there is a great variety to choose from.

Jewelry may be the perfect gift for someone on your list. HGA boasts ten artists who create a wonderful variety of jewelry.  Metal-smith, Arianna Bara, works with silver and semi-precious stones; Nell Chandler, make, painted and etched silver, copper and brass jewelry, Pringle Teetor, Susan Hope and Mark Kinsella all make variations of fused glass jewelry, Pat Lloyd creates kumihimo beadwork necklaces, and Lynn Wartski, Jude Lobe, Ali Givens and Pat Merriman create a wide variety of copper, ceramic, painted tiles and mixed media jewelry.

Four of the gallery’s members: Pringle Teetor, Susan Hope, Mark Kinsella and Christopher Burnside specialize in working with glass – blown, kiln-formed, fused and stained. Their work includes both stained and mosaic glass window hangings, lamps with stained glass shades, vases, trays, coasters, solar garden lights, glass balls and more.

Do you love ceramics?  Two of HGA’s members are potters, Garry Childs and Evelyn Ward.  Garry creates gorgeous thrown and hand carved bowls, vases and platters; Evelyn creates beautiful teapots and mugs as well as vases and glasses decorated with her own paintings. Perhaps you prefer a bowl turned from local wood by Pat Lloyd. Or maybe a collectible art doll is what you are after.  Member artist Lynn Wartski offers unique doll sculptures and other works using copper and mixed media.

Come explore the wonderful art exhibited at the Hillsborough Gallery of Arts where you will find exactly the right gift of art for that special person.

Opening Reception

Friday November 27

6-9

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Present Tense

 

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Pringle Teeter Art and Chemisty

Present Tense is the perfect title for an exhibit featuring an artist who works with a material that is a liquid at 2100° Fahrenheit.   “You can’t just stop what you are doing, put it aside and come back to it later. You have to work in the moment.” It makes glassblowing quite a challenging art form but now that I’m going on my 10th season as a full time glass blower, I feel more confidence in my work, especially since I work alone most of the time.

Sublimation $240

The bowls in this show are made using a technique I developed using two colors of glass, one containing silver particle and another color containing gold particles. For several year I have been using the same 2 colors in the same way and getting completely different results almost every time. The differences come from slight changes in the procedure and color amount and differences in heating and cooling. This spring, my studio partner, Dana Smith, suggested I step out of my comfort zone and look for some new colors to play with – so I did.

I researched the chemistry of the various glass colors produced by the two German companies who supply the glassblowing industry. I wound up choosing two colors that are undoubtedly the softest and most difficult colors to work with! When using them, it is critical that the piece be heated slowly and carefully because by the time it is hot enough to blow and manipulate, it can easily end up as a puddle on the floor. Another danger is that uncontrolled shifts in temperature can cause changes in oxidation that alter the colloidal coloring, which is created by these nanoparticles of silver and gold in the glass. If you let these colors get too hot, the tiny particles of gold will coalesce into large aggregates that take on a disagreeable ‘liver color.’ You must layer the colors in a very particular way in order to get the best results. I did a number of color tests and loved the results, learning which way to layer the colors for bowls and then differently for vases.

IMPOSSIBLE PICK UP  $875

 

I had cataract surgery in January that resulted in 2 other laser procedure over the next 2 months. Despite the complications that kept me out of the studio, I discovered, as I had been told by many people, that colors appear much brighter and more intense than before. One day I noticed the beautiful array of color rods in my supply of glass color and decided to try something I’ve wanted to do for many years – a multiple incalmo piece using all hues of the spectrum. Incalmo is the technique of or joining together, while still hot, multiple parts of separately blown glass to produce a single piece. This is usually done with a glassblower and an assistant. In order to do these by myself I made multiple blown tubes of different colors. Once they properly annealed I cut them into slices on a diamond saw. Then, the edges were polished on a flat lapidary wheel. Once back in the studio each piece was carefully measured, mapped out (colors are different once they are hot) and loaded into a kiln. The kiln slowly raises them up to the temperature of 1000 degrees so they don’t crack from thermal shock when picking up. I then picked up each slice on a pipe, stacking and melting them one at a time until every one fit. This process first practiced in the Islamic world in the Middle Ages, demands great precision because the edges of the adjoining elements must have precisely the same diameter.

 

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Present Tense

TLC

Three Hillsborough Gallery Artists Work In The Present Tense

The Hillsborough Gallery of Arts showcases the work of painters Linda Carmel and Chris Graebner and glassblower Pringle Teetor in its September Featured Artist Exhibit.

While each of these three artists has a very different style, for this exhibit they produced work focused on the “present tense.”

For painter Linda Carmel working in the present tense meant rediscovering and revising a theme that has been at the core of her work for some time. Over the last few years Carmel’s work focused on women. For Present Tense she originally planned to move her attention to other subjects that interested her, but every painting she tried was a struggle – and time was ticking by. She finally gave in and started to “play” on a blank canvas without worrying about direction or outcome. Women re-emerged as subjects but they emerged in their “present tense” as queens. Most of the women in this series are single figures who are at the “top of their game.” Although regal, some of the titles and figures have a playful element.

Carmel’s paintings are sculptural, three-dimensional works that she encourages the viewer to touch in order to fully appreciate the intricacies of the surface. She builds up her canvases with acrylic modeling paste using a variety of tools.

Painter Chris Graebner remarks that Present Tense would be an appropriate title for any current show of her art. “My work is constantly moving, changing, evolving. I try new things; some become part of my regular process, some don’t.” Her paintings for this show explore different surfaces and different methods of applying paint. Some of the paintings are on canvas or linen, some are on wood panel and some are done on clayboard. “Each of these surfaces accepts paint differently so that combining their specific properties with different types of brushes, painting knives and painting mediums produces entirely different results. A great deal of thought goes into each piece long before I actually apply paint to surface. After I select the image I want to work with, I must decide the painting’s size, the surface I want to work on, the color palette and the types of brushes and mediums I will use. I then map out a direction and begin, but I find that as I work, the painting finds its own course and often flows in channels I had not anticipated.”

Graebner is a night person. She says, half-jokingly, that the only time she sees the dawn is just before she goes to bed. “My biological clock has always tilted in that direction and my creativity doesn’t usually flow until after 6pm. It’s not surprising, therefore, that I’ve painted dozens of sunsets and night-themed paintings.” This show features a number of both. ‘Under the Moonlight,’ painted on panel, is of the ocean in moonlight. “Last winter my husband and I spent a week in a high-rise on the beach. The moon was full and watching the play of the light on the waves, simply magical. I used mop brushes and many thin layers of paint to capture my sense of that light.”

According to glassblower Pringle Teetor, Present Tense is the perfect title for an exhibit featuring an artist who works with a material that is a liquid at 2100° Fahrenheit.  She explains, “You can’t just stop what you are doing, put it aside and come back to it later. You have to work in the moment.”

“I love playing with colloids!” says Teetor “My favorites are colors containing copper, silver and gold. For years I’ve been making pieces containing gold and silver colloids that produce luscious shades of blue and red combined in just the right way to create beautiful hues. At Dana’s suggestion, I researched the chemistry of the various glass colors produced by the two German companies who supply the glassblowing industry. I wound up choosing two colors that are undoubtedly the softest and most difficult colors to work with! It is critical that the piece be heated slowly and carefully because by the time it is hot enough to blow and manipulate, it can easily end up as a puddle on the floor. Another danger is that uncontrolled shifts in temperature can cause changes in oxidation that alter the colloidal coloring. Furthermore, if you let these colors get too hot, the tiny particles of gold will coalesce into large aggregates that take on a disagreeable ‘liver color.’ You must layer the colors in a very particular way in order to get the best results. It required a lot of practice tests, but I am really amazed by the results.”

Teetor underwent cataract surgery in January. “While I had heard from many people that my color vision would be very different after surgery, I was still surprised,” she remarked. “I had no idea how much I had been missing. Since the surgery, colors appear much brighter and more intense than before. One day I noticed the beautiful array of color rods in my supply of glass and decided to try something I’ve wanted to do for many years – a multiple incalmo piece using all hues of the spectrum.” Incalmo is the technique of constructing an object, usually a vessel, by fusing two or more blown glass elements. “It was a long process of designing and blowing each section, cutting, cooling and grinding them until the edges were clean and polished, heating them back up to 1050° F in an oven, and then picking up each section one at a time and fusing them together. The results were thrilling. I made two pieces, one using twelve sections and another using eighteen!”

Opening Reception

Aug 28

6-9

 

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Preview of the Orange County Studio Tour

OCAG_postcard_RGBPlease come join us for the Opening Reception at our Last Fridays celebration.

 

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Kindred

Kindred P and A

Kindred Sisters In Complexity and Technique

Alice Levinson and Pringle Teetor are masters of fabric and glass.

In the show KINDRED, Alice Levinson and Pringle Teetor introduce complex and colorful new work.

Pringle Teetor is introducing a new line of blown glass which she calls “Bubbleware.” Rolling wine glasses and matching rolling decanters as well as larger bowls are part of this year’s show “Kindred.” Bubbleware is made using a glass blower’s tool known as a diamond or pineapple mold. A challenging tool to use, the mold has diamond shaped points on the inside. When molten glass is blown into it, diamond shaped dents are produced in the glass. Another layer of glass is blown over these dents, leaving perfectly placed air bubbles in the bowl or decanter being formed. The trick is getting the piece out of the mold again. “It’s very easy to get the molten glass on the end of your pipe stuck in this mold,” says Teetor. “Getting it right takes practice.”

Alice Levinson describes the complexity of her work, “I am drawn to the tactile nature of fabric, finding delight in its ‘hand.’ I experiment freely with dye, and pigments to create cloth which is complex in texture and rich in visual interest. Each composition is built of successive layering of fabric and thread.” Her work process is intuitive and encourages spontaneity and experimentation. “The studio is a joyful place, says Levinson. “In both process and form, my abstract compositions are guided by content and conceptual intention.” Daily journaling is an important step in her process. Work on a piece begins with a thought, a feeling, a mood, or narrative. “Next I experiment with visual motifs that embody the content. Then I gather my ‘palette’ from my stash of cloth and thread. In a final step I select a construction method that is consistent with, and extends, the metaphor of the theme of the piece. Working each piece becomes a meditation on its central theme. My working process is slow and labor-intensive. Stitch by stitch, layer by layer the piece evolves.”

Considering the theme, “kindred,” Levinson found herself focused on the feeling of belonging that comes in particular places where one feels at home because of familiarity, or friendship, or shared experience. The works presented are varied in content and means of construction, but all represent aspects of her experience in which she has experienced this kindred sense. “I was interested to see as I worked that I was drawn to some of my oldest materials. Building some pieces from the remnants of others. Similarly, in working several pieces I returned to some early ways of working. The subconscious is a mysterious and marvelous driver of creative effort. As I worked, a mantra whispered, ‘Nothing of value is lost – just waiting to be reclaimed.’ As I integrate these older elements with the new, I experience a profound sense of continuity with growth, finding new ways of working, while retaining and building on what I’ve done before. Finding new solutions to old, core questions is the hallmark of creative work for me.”

Opening Reception

Aug 29

6-9

 

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