The Art of Giving

holiday-rgbEach holiday season the members of the Hillsborough Gallery of Arts transform the gallery to showcase original ornaments and hand-made gifts. The gallery’s 21 members work in a variety of media, providing a wide array of art and fine craft for holiday shoppers.

The glass art includes hand-blown vessels, ornaments, solar lights, paperweights, and jewelry. Fiber art on display includes framed collage quilts and hand dyed stitched cloth, knitted scarves; and fabric handbags. The jewelry in the show covers a variety of styles and techniques, from copper and bronze to sterling and fine silver necklaces, earrings, bracelets and rings, some with gold accents and stones.  Visitors will also find metal sculpture, pottery, turned wood, enamels, and carved ironwood with turquoise and silver inlay. Fine art photography, oil and acrylic painting, encaustics, scratchboard, and mixed media work festively surround the three dimensional pieces on pedestals.

Explore the wonderful art exhibited at the Hillsborough Gallery of Arts to find a special gift for that special person.

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Grounded

 

Ellie Reinhold

Asked at Grounded’s opening reception what I was thinking when I created a particular painting, I admitted that the creative process behind my new work is fairly nonverbal. Those familiar with my figurative pieces know that words are integral to their birth; they are filled with narrative, metaphor, poetry, emotion and dreams. Not so with my abstracts/landscapes.

This isn’t to say that my landscapes are quiet paintings, usually quite the opposite. Years ago they began as, and often remain, an exercise in intensity: Color! Mark! Texture! Pattern! Mayhem and fray! However, with some of my new work, I feel as though I am finally beginning to step back and see the forest instead of just the trees.

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Certain pieces in Grounded have a quiet about them that is new to my landscapes. I’m still obsessively working with circle and tree forms, still focusing on texture, surface, and mark, but with the exhibit’s larger paintings and my work in progress, I find I’m continually paring back my complex, intense compositions. It plays out as a give and take. I build the imagery, take it away. Build again, take it away. Struggling on the canvas to find a particular balance, to reveal what the painting wants to be.

This struggle can yield an intense surface, but, with the end note of taking away,  a quieter painting, one presenting a more meditative vision. I am pleased to find that by playing at the line between abstraction and representation, these paintings hint at the moving complexity and depth of our experience in nature.
    Ellie Reinhold_NIGHT CYCLE_Grounded_Publicity_P1090722 copy

 

 

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ART from shows

 

Not Alone

Marcy Lansman

I started the “Not Alone” series two years ago. Looking at an abstract landscape I had painted, I saw, in my mind’s eye, people walking up a hill. In the painting based on that image, the background was light at the top fading to almost black at the bottom, and the figures were silhouetted against that background. Painting it, I started with the figures at the bottom with the idea that this was some kind of forced march. They hung their heads as though burdened with grief. But as I moved upwards, the figures became less beaten down. The last figure I painted was a little girl gesturing to an old man as if to say, “Come on! Let’s go.” That little girl always brought tears to my eyes. She appears in many paintings in the series.

Not Alone

Several other paintings in the “Not Alone” series have similar themes: people move upwards across the page, sometimes alone, sometimes in groups, but always following in each other’s footsteps.

In “Moving on,” the figures seem to be carrying their belongings with them. They appear against a background of bombed out buildings, suggesting that they are refugees fleeing a war zone.

Moving On

In “Help Along the Way” groups of dark figures are guided by lighter figures, as though the memory of a friend or family member or some kind of spirit were guiding them.

Help Along the Way

More than with other work I’ve done, the ideas for these paintings have come to me unbidden. The series title “Not Alone” alludes to the idea that we are all on the same journey. In some ways we are alone, but in many other ways we are accompanied by others and guided by those who have gone before.

 

 

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Our Art Is…

May postcard RGB

Exploring What Art Is At The Hillsborough Gallery Of Arts

Three very different artists are featured this month at the Hillsborough Gallery of Arts. Painters Pat Merriman and Eduardo Lapetina and sculptor Lynn Wartski present their newest work in a show they call OUR ART IS…..
 
Pat Merriman, a founding member of the gallery, says “When I paint it is always with my favorite themes…this time I have revisited Koi on long 10”x30” panels that allow them to swim up or downstream. ” They shine with glints of gold, unusual colors and playful acrylic textures. There will also be one or two Hillsborough or NC scenes, and I am honoring my love of cooking by painting vegetables, fruits, and cooking scenes from my kitchen.”

Eduardo Lapetina paints large colorful canvases. Describing his creative method, Lapetina says “I strive to produce paintings that exhibit the powerful emotions embodied in the process. That is much more important to me than making images that are necessarily pleasing or objectively beautiful. An image arrived at through such a slow, deliberative set of processes appears fresh and immediate by maintaining spontaneity at every turn. The destination is unknown until I finally get there.”

Lynn Wartski adds whimsy to the show with the unique doll sculptures for which she is increasingly well-known. Says Wartski “My art doll sculptures test the limits of expression that can be achieved with unconventional material choices of forged copper, and other metal work, for faces, hands, and various elements of design. The result is a collection of pieces with a cohesive sculptural style despite the incorporation of widely varied materials and experimentation. The dolls I have been working on for this year’s show have an additional dimension beyond capturing gesture and interesting costuming. With these sculptures I introduce more of an element of narrative into each piece. I’ve worked to capture a moment of movement, or the figure caught somewhere mid-stride. I hope the viewer finds him or herself looking at that single captured static moment and wondering or imagining what the next moment would hold.”

 

Please join us for the Opening Reception
Friday May29th
6-9

 

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what I came here for

April postcard RGBPlease join us

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Uncharted

Ellie Reinhold

CITY STRUCTURE_scaled4web_P1080214Ellie Reinhold

Back in graduate school a respected visiting artist came to my studio. She took in my digs in a single panoramic sweep, locked eyes with me and intoned gravely, “You have got to focus.” I was scared straight. In the years since I’ve stayed pretty faithfully inside the rails of what has become my oeuvre: iconic figurative paintings with a story.

In 2010, 2 decades later, my dedication failed. I was knocked right off my tracks by the simplest of events: a vibrant fall leaf season. Each day I would walk to my studio through the glowing woods and arrive with a head full of staggering color. Apparently, being a couple years out from cancer treatment, the timing was just right for me to say to hell with the rails and have an unfettered fling with color. Break the rules! Meander! Play!

I continue to have all sorts of fun in my new category, as well as my old. But that small permission 5 years ago opened a veritable Pandora’s box and a whole slew of “problems” arrived. I now have two totally different bodies of work—and often two totally different audiences. (Are you interested in the figurative or the landscape?) For each show I need to choose one sort of work, or the other, for focus within the exhibit.

But it seems that inside the “new” category I am continually diverging. That one Inspiring Fall faded. “Landscape” became “abstract/landscape”, then became “pattern/abstract/landscape” or “conceptual landscape” or textural exploration ignoring landscape altogether, then became…ROSE WOOD_scaled4web_P1080258

This show. Which has developed into a veritable study in divergence.

Still, there are several threads I’m following (swinging around on, tying in knots, weaving then unraveling, flinging to the wind):

Surface quality and surface depth: I prefer (for now) to remain within the limits of acrylics, but I jealously admire the surface qualities of cold wax, encaustic and oil. Occasionally I see an acrylic surface I can truly love and several pieces here, or parts of them, come close to that pinnacle.

Palette: Color play! This is how I ended up off the rails to begin with.

Title/theme: Some pieces here were completed before our theme was conceived. But the concept uncharted has had a direct influence on others. I must confess that in my divergent mind the “un” fell away and I kept thinking charted… data graphing, grids and patterns. How about a bubble chart of a forest? Or a bar graph of a city? This is how Forest Grid, Big Cheese and related pieces arrived.

At the show you can let me know if you notice other threads I’ve left off my list.FALL FOREST GRID_scaled4web_P1080087

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