Friday, November 30, 2012

2012 Tour Reflections by OCAG Artists

Sandra Milroy at Her Studio on Tour
Most photography shot courtesy of OCAG artist, Barbara Tyroler!

Sandra Milroy -
The 2012 OCAG Open Studio Tour was an exhilarating, absorbing, and altogether enjoyable experience for me this time. I have a new studio, completed the night before the first Saturday. It's on the lower level of our house, with a private entrance and it felt like the best possible place to display my work and meet visitors in a relaxed way. There was a fairly steady flow of people who were exploring the tour, or coming as former customers, friends, and family. My sales were the best I've ever had from any show and it helped my morale that my most expensive piece sold on the first day. This experience has motivated me to be more productive in the coming year. My only regret, after seeing Barbara's photos is not to have been able to get out and see these other enticing studios.

Shelly with Art Work at Left and Luna's Art Work at Right
Shelly Hegenberger -
I enjoyed my first experience with the Studio Tour this year, and I am so thankful to Luna Lee Ray for offering to share her studio with me. My favorite part of the experience was talking with local art enthusiasts about my work and sharing ideas about art. I also enjoyed getting to know Luna better and finding that we have much common ground, and I look forward to sharing with her again next year. Here's hoping that in 2013 the weather will be just as lovely as what we were blessed with this time!


Barbara Tyroler at Her Studio on Tour
Barbara Tyroler -
I so enjoyed doing the tour this year. It enabled me to spend time discussing my work, the artistic process, and receiving feedback.
Not only was I able to sell many pieces, but I also received several commissions and requests for a series of mother-daughter photography workshops.
And let me take this opportunity to thank the many members who did a great job organizing this tour. Bravo!



Peg Bachenheimer at Her Studio on Tour
Peg Bachenheimer -
I was delighted to see so many friends and neighbors on the tour. I also love that so many people who come are very interested in the process leading to my paintings in both oil and encaustic. Some people have come all 4 of the years I've been doing the tour. Talking and listening helps me understand more about what I am doing in my work. I love that the buyers were so happy with owning one of my paintings; that is a really good feeling. I am very grateful that I have a husband who helps me set up and is there helping the whole weekend. 


Sandra Beeman at Her Studio on Tour
Sandra Beeman-
My favorite part of the Open Studio Tour is the opportunity to demonstrate hot glass techniques.  Many visitors to my studio have no idea that my glass beads and jewelry begin by melting rods of glass in the heat of a 1300+ degree torch.  When I light up my torch and start melting glass, even the most reluctant visitors to a jewelry studio gather around and ask questions.  My most curious guests are kids - I have some families who make a visit to my studio an annual event!

Susan Filley at Her Studio on Tour

Susan Filley -
It was a wonderful two weekends for the studio tour, even better weather then usual.  I love having my studio open this time of year as I live out in the country and everything looks crisp with the touch of autumn.  A regular treat at my studio is getting to greet my ever-so-friendly horse Django who hopes to say hello to everyone. I had two new kiln loads of work on display and the gorgeous copper reds were the first to go.  The studio sale is the only time I can show all my work from the functional decorated bowls and cups to the sculptural one of a kind pieces.  It also offers me a chance to exhibit some new work and new glazes and get to talk with people about these new ideas. 

Trudy Thomson on Tour
Trudy Thomson-
For those that want to wander through, I open up my studio, but as you can see from this pic, I display my arts and crafts in a natural setting -- in the library and a dining room at the back of the house. Glass is positioned on tables and ledges, scarves are draped on various hooks usually reserved for hats and jackets, and fiber work as panels or screens appear at unexpected places. Because it is a comfy setting, most folks tend to linger for quite a while. I tend to get lots of repeat collectors, neighbors, and friends who come out to see what is new and also socialize. My biggest surprise this year was an unexpected visit from a long time friend, who regularly blogs about cultural events and art -- Kate Dobbs Ariail. If you are interested in local culture you should check out her blog!

Saturday, November 17, 2012

A Calendar of Whimsical Albums offered by Louise Francke


The 2013 Calendar full of Whimsical Animals debuts this month. 

I have been creating calendars for 5 years. Each month is a  sturdy trading card which displays the versatility of my style and themes where humor prevails. Past years contained portraits of both wild and domesticated animals, birds of North Carolina, and Carolina scenes. 2013's original oil paintings of animals are placed ironically in famous art works. They will enliven your fridge or wallet. The trading card size is perfect for the Xmas stocking or a mailing envelop. Important notes can be jotted on the rear. They are delightful keepsakes for both adults and teens.

These trading card sized calendars are available locally at Frank Gallery in Chapel Hill, at the NC Crafts Gallery in Carrboro, and at The Joyful Jewel in Pittsboro. Globally they can be ordered at Amazon.



Here are details about his unique calendar. The 3.5 X 2.5 inch ARTIST TRADING CARD CALENDAR is designed for placing on a miniature easel or on the refrigerator with the enclosed magnet or carrying in your purse. An easel is not included. Each month's card stock is 16 point with a satin matte surface on both sides. Each month's back is lined for notes and the holidays per month are listed. This is a Ltd edition of 250 calendars.

Louise notes, "Once my art goes public, it frees itself from my hand and mind. It then becomes its own enigma celebrating life. Louise is a member of the Orange County Artists Guild. See Louise's artwork at her website. You can also see prints and posters here.

Thursday, November 8, 2012

Color Photograms: A New Light on an Old Technique by Jamie Hagenberger

Every art show I attend, I have people of all ages walk into my booth and ask me what effects, filters, program...insert digital media here...I use. I proudly answer "none" and watch a variety of expressions that range from delight to confusion dart across their faces. It seems that as a group, we assume anything vibrant and colorful to be digitally constructed. Never mind the signage all over the place that says it is NOT digital, or the 3 x 5 foot banner explaining my process. 
Panoramic Shot of Jamie's Booth

It's just one more chance for me to champion the awesome powers of the analog photography on my (seemingly) one woman crusade to save the endangered darkroom. But I don't really mind the questions because I enjoy watching folks realize the true nature of what they are seeing. If they start with the assumption that it is digital, it makes the look on their faces that much sweeter when they realize what they are seeing is not a realistic painting or a scan or a complete fabrication from my mind, it is a one of kind photogram. An alternative photographic image, the likes of which they have never seen before.

Fern, Cedar, and Aster #538 by Jamie Hagenberger
The basic process is placing objects directly onto the surface of a light-sensitive material (such as photographic paper), shinning a light down on it, and then developing the paper. The light filters through the object (so more transparent items are better) and the shadows are captured on the paper. The result is a negative shadow image that shows the variations of the light that filtered through the object. In my case, I use plants and color photo paper and my results look like colorful x-rays of flowers.

cyanotype photogram
made by Anna Atkins, part of her 1843 book,
Photographs of British Algae: Cyanotype Impressions
The truth is that Photograms predate cameras. In the early 1800s, at the very beginning of photography, images weren't permanent and the sun was the primary light source. The first photograms were the result of experimentation with light sensitive solutions painted on various surfaces and they were called "sunprints." Once the chemistry required to permanently affix an image was discovered, "sunprints" (which give an inverse or negative image) were then contact printed onto another surface (giving a positive image) and became the very first negatives. From there photography was born and cameras (and negatives) evolved rapidly, leaving "sunprints" quickly behind.

Man Ray, Untitled Rayograph 
(Image Through Blinds), 1926
Nearly 100 years later, Man Ray, an avant-garde american artist from the 1920s,  re-popularized "sunprints" and called them "rayograms" after himself.  He worked in a black and white darkroom and used objects like film or scissors and did strange things like letting dust collect on the surface of his paper. Since Man Ray made them famous again, there has been a constant trickle of artists creating photograms. In fact, this technique is a staple of sorts in darkroom 101 assignments. That said, most of photographers try it and then move on, like an adolescent phase. I guess I never grew out of it.

Since all things darkroom seem to be fading like a 60s Polaroid (maybe less gracefully), photograms have turned into a hidden gem that only photo nerds and five year olds know about. I say this because Sunprint Kits can be found in museum gift shops, hobby stores, and online. 

They are essentially a fun, safe and easy way to make a photogram and they look a lot like Cyanotypes (used in the first illustrated book in 1843). 
Sunkit Print Image

Judging by the number of times I'm told "Oh I did this when I was a kid with those blue papers we put in the sun," this is how most folks relate to what I do. Looking back on my own childhood, I remember playing with a Sunprint Kit and I can't help but wonder if maybe that experience planted a seed in my mind that grew over time until I came across the idea again in college.

Anyway, somewhere along my personal artistic journey I found myself totally in love with the darkroom and alternative process imagery, but not really interested in cameras. It was a strange and confusing place to be and I had no clue how to proceed. How do you call yourself a photographer if you aren't into cameras and digital just isn't your thing?

Hooked on color photograms and with no other way to build a darkroom, I turned to kickstarter to raise funds. I resigned myself to having to educate the world that the darkroom is NOT dead! To my great delight, it worked and it has been 2 years since my darkroom was funded. As part of the kickstarter platform I've been able to stay in touch with my backers and post updates so they can see my progress. Recently I made a Video About Jamie Hagenberger and Her Art Studio so those that helped make the darkroom a reality could see what I built with their with financial support. If you are interested in seeing my process in action, please take a look. I hope you enjoy getting to see what it takes to make a color photogram. I take immense pleasure in the knowledge that after 200 years the darkroom is still revealing new ways to "wow" us. All I have to do is show everyone else...

Please share this article with whomever you think might be interested.


You can see Jamie's work at her website. Also, since Jamie is part of the Orange County Artists Guild Annual Open Studio Tour, you can visit her studio this coming weekend at number 15 on the map. Find out more about this special event and all the artists participating.

Thursday, November 1, 2012

Getting the Right Curves by Jim Oleson


Design the shape, and then figure out how to make it!  This advice is frequently given to studio furniture makers and I take it seriously. Too much concern about construction details early in the design process can create unnecessary limitations, and solving the problem of “how can I possibly make this?” is one of the challenges that I enjoy in designing and making studio furniture.My furniture designing has moved from rectilinear shapes to shapes that incorporate curves using a variety of techniques. The curved shapes remind one more of shapes found in nature than do the rectilinear forms, and I find an esthetic based on natural forms to be very satisfying. Curves can be graceful, can create a sense of movement, and are visually more interesting than straight lines. Curves invite the viewer to explore a shape with tactile sensation.
Image 1 Jim Oleson
For example, the glass top table (Image 1) has a really curvy base: each face of the base is curved, so someone looking at this object will see curved faces and edges from every viewpoint.  But how can one make such a curvy base?  There are several possibilities but I prefer using a “torsion box” approach that involves cutting identically shaped ribs, then covering these with layers of bending plywood to create structures somewhat like an airplane wing. One then applies veneers to the plywood surfaces with adhesive and “clamps” the veneer within a vacuum bag to assure uniform, smooth bonding of the veneer to the plywood. Making objects like this does remind me of my boyhood when I made model airplanes.
Image 2 Jim Oleson




Another example of use of curvy shapes is the open cabinet or bookcase (Image 2). The legs on this cabinet are both curvy and angulated relative to the planes of the cabinet. Such legs are fabricated with doubly tapered, laminated pieces and adhesive, clamped onto a form with hundreds of pounds per square inch of pressure. Jere Osgood is a renowned furniture maker who has made such legs his trademark. I visited his studio in Vermont last year and was inspired by his work.





Image 3 Jim Oleson



George Nakashima (1905-1990) pioneered the use of “live edge” slabs of wood for tabletops in the late 1940’s. I occasionally also use live edge slabs, as in Image 3. The shape  and figure of the wood are given by nature and the task for the maker is to select wood with appealing grain and to allow the curvy edges – and frequently voids in the slab – to express the design. I visited the Nakashima Studio near New Hope, PA, recently; his daughter, Mira, directs the ongoing business and I was stimulated to see examples of Nakashima furniture there that had been produced during his career.





Image 4 Jim Oleson
I have been interested in using curvy legs on a variety of tables and have been exploring how to make the legs visually interesting from many viewpoints as well as having the legs appear to “float the top” as in Image 4. I like the tension created by the interplay of angles and joinery between the legs and the top of the table. 
I am participating in the OCAG Open Studio Tour both weekends this year, Nov. 3-4 and 10-11. You are invited to stop by 1421 Gray Bluff Trail, Chapel Hill 27517 (#67) to see examples of current work as well as furniture pieces made in the past for our home. I will also have some end grain cutting boards and some cheese boards available for purchase. After the tour these can also be seen at the NC Craft Gallery in Carrboro, and my furniture is exhibited at the Saxapahaw Artists Gallery in Saxapahaw, NC. See other examples of my work on my website.
I enjoy making furniture to a client’s specifications, so please contact me to discuss custom work.

For more information about my unusual background, see this article written by the N&O

At the following link find out about the upcoming  Orange County Artists Guild Annual Open Studio Tour. It is this weekend and next. And stop by my studio, I am number 67.

Friday, October 19, 2012

Beauty in the Eye Of The Beholder by Linda Carmel


“Beauty is in the eye of the beholder.”  People differ in their tastes for art forms and color palettes.  People also differ in their interpretation of a work of art’s meaning, with art critics endlessly debating over an artist’s intent.  I believe it is important for the viewer to form his or her own experience of a work of art and that there are no right answers.

When I begin a painting, I usually have some ideas in mind - a color palette, a theme, an object or an emotion.  As the painting evolves, things change:  there is a subtle interaction between my original ideas and what emerges on the canvas.  A dance develops between the two. The process of painting can be frustrating until a harmony develops and the painting begins to sing.  There comes a moment when the painting tells me that it is done. 

When it comes to the question of what the painting is about, my original inspiration may be no longer visible in the painting, as other truths have emerged.   Very often the painting leads me on a journey to a new realization that I do not recognize until months or years later.

As an example, in 2006 I had the idea to paint a line of doors that would represent alternative opportunities.   

Hollow Victory by Linda Carmel 2006
  
During the course of working on the painting, the doors became a line of incomplete figures.  I experimented with putting sand into paint for a more textural surface.  I liked the look and I was engaged with the figures, and from this a series of 25 paintings emerged.  I added different figures and other images like mountains and ladders appeared.  Each painting fed the idea for the next.

The series developed and I had a coherent story that explained the characters’ environment and existence.   I completed the series with The Big Picture in 2007.

The Big Picture by LInda Carmel 2007

This year I revisited the series in order to continue the journey of the characters I had created.  The more I contemplated them the more I questioned my original understanding of them.  Now I perceived their world a little differently.  I decided to explore the lives of one set of characters in more detail.

Sharing The Load by Linda Carmel 2012
I am happy to talk about the process of my paintings but I am unwilling to label their content definitively.   I do not want to influence a viewer’s interaction with my art with explanations and labels.  

I can tell you what I was thinking when I painted them, but you might see something totally different and that, to me, is exciting, that the work is expanded rather than misunderstood. 

I hope you enjoy the new series and take away your own interpretation of their meaning.

See more of Linda Carmel's work at her website. Also, Linda is participating in the upcoming Orange County Studio Tour. Stop by her studio to see her work, and spread out to visit any of the other artists during the two weekends of this special event.

Thursday, October 11, 2012

Grassroots fundraising for Artists Part 2 by Jamie Hagenberger

Jamie Hagenberger in her photography studio

This is a second in a series of articles about ways that artists can fund projects.

In this article I'm going to focus on USAprojects.org. This website is relatively new to me and my experience is limited to support. I’m happy to say that I was able to support a college friend of mine and help her reach her funding goal to travel for a year and participate in residencies abroad while she is creating a new series of work called House 27.

USAprojects.org caters to a more established artistic community by vetting the projects they accept. This means that the artist usually needs to have been recognized in some way but the upside is that USA Project’s success rate on funding is higher because of the caliber of projects. They are also nonprofit so your funding is tax deductible. Finances are handled by Wells Fargo and they charge your card up front, instead of waiting for the project to complete. If a project doesn't reach the goal, the donor can request a refund, or if they wish to keep the tax deduction, their donation can be transferred to the USA Open Match Fund which supports all artists in the site. Approximately 80% of the raised funds go to the artist as the fees taken do partially go back to supporting the arts as well as cover administration and processing.

Some of Jamie's subjects she photograms in the darkroom
Even if you never post a project and hang your dreams on the contributions of the public, the idea of grassroots funding has a strong foothold in funding our community. I personally visit Kickstarter at least once a month to see what new and interesting things are out there and I’ll be doing the same for USA Projects. I also make a point to like, comment, and share links via facebook (personally or professionally) to help spread the word even if I haven’t personally funded a project. I strongly encourage artists and patrons alike to explore these sites and take advantage of the opportunities they provide to enrich our community (locally or globally).

To see Jamie’s work and her event schedule please visit her website  or like her on facebook to stay updated. She will be participating in OCAG’s fall Studio Tour. To see the work of other OCAG members please visit our website.

Saturday, September 29, 2012

The 2012 International Cone Box Show by Barbara Higgin


For a number of years, I have kept my eye on a particularly interesting show for clay artists, the International Cone Box Show. The pieces for this show are small sculptures that are able to fit inside a cone box (3  x 3 x 6 inches). This year I decided to apply. 
If you are not a potter, the following explanation might help you understand why this show has universal appeal for potters, who traditionally used cones to determine the temperature inside a kiln. The cones melt at different temperatures and tell you the temperature that is being reached during the firing. Many potters today use digital kilns, but they still use cones as a backup because cones provide a failsafe. Potters are familiar with the small boxes that these cones are packaged in. And some find these boxes appropriate for storage of small pieces. The idea of the founders of the show was that this particular size -- 3 x 3 x 6 inches -- would be the size criteria for pieces in the show. 

Another important aspect of this is that it is an international show. Artists from all over the world have sent small pieces of sculpture to Kansas, because you actually have to send the piece to be juried into the show, rather than an image of the piece.

The jurors for this year were Patti Warashina, Tom Coleman, and Inge Balch. Here is a bit of background about each. Tom Coleman is a porcelain expert. Patti Warashina has always made miniature sculptures, which are absolutely beautiful.  Inge Balch, who is a professor of Art at Baker University, said “that getting a piece down to a small size but still retaining the feel of being large is part of the challenge. Artists can have some fun with it.”


Take Me for A Ride on A Toad by Barbara Higgins
The piece I submitted is a tiny porcelain sculpture, a female figure riding on the back of a toad. It's entitled Take Me for a Ride on a Toad. I like to make small figures, and often place them on lanterns, candlesticks, fish, turtles, birds and toads. So in this case I made the toad small enough so the figure and the toad would fit inside the cone box. This sculpture is made of porcelain, fired midrange in oxidation to 2175 degrees. The glazes are chun glazes and are my own colors. I was very pleased to have my work accepted in the show.
The 2012 International Cone Box Show opens on September 28 in Lawrence, Kansas, and runs from 9/14-10/31. It then travels to NCECA in Houston in March and travels further until May 30. See their website for more information.  

Barbara Higgins is owner and founder of the Clay Centre in Carrboro, and has been making clay pieces for over thirty years. The Clay Centre is made up of professional studios, classes, workshops and a small gallery. See examples of Barbara’s small sculpture at the Clay Centre website.

Tuesday, September 18, 2012

My Day in Paris and Visit to L'Orangerie by Barbi Dalton


I am an airline hostess. This August, I worked a flight from JFK to CDG, and decided to take off for a fabulous day in Paris. The nice thing about a layover is you can take your time and enjoy the ambience, because you can always return for another day. I first met up with another flight attendant and we decided to make our first stop at the Monoprix, a grocery store we return to time after time to buy our favorite delicacies.  I love purchasing a soap made with honey called Cavailles. I also have found a salt that is in a round container with a painting of the sea. This is called Le Saunier de Camargue. I have also bought wonderful olives with anchovies. Then after our purchases, it was time for art!

My fellow co-worker suggested we go to the Musee de L'OrangerieI was enthralled with this structurally beautiful museum. This is where you can view the Waterlilies by Claude Monet. Painted from 1914-1926 Monet painted these large panels with the intention of them being displayed in the architecture space of the L'Orangerie. The panels are approx. 200 x 800 cm. each totaling 4 panels per room. The panoramic effect is as looking into a deep reflective hole. This magnificent work of art takes your breath away. I especially loved them since I myself have been concentrating on a water series the past 6 yrs. The combination of colors and very loose and abstract brush stroke create a very fluid effect. The colors are a harmonious combination of blue, violets and greens. One of my favorite panel introduced a strong contrast of yellows and reds to reflect the sunset. After marveling in these two rooms I moved on to the exhibit on the lower floor and was astounded at the richness of paintings on display by Renoir, Cezanne, Monet and other artists that I had not studied before, Andre Derain, Chaim Soutine and Maurice Utrillo. Unlike Monet's Waterlilies, I was able to take photographs of paintings. Here are some of my favorites and notes and information about these paintings that I found interesting.


"Argentueil" Claude Monet 1875

Here Monet lived with his family, Argentueil was famous for it's sailing regatta's and Monet had a boat that was his studio! I'm envious!!




"Claude Renoir" Pierre Auguste Renoir 1906

This is a painting of his son, Claude playing with his toy figurines. I love the innocence of this sweet child.


"Bibemus the Red Rock" Paul Cezanne 1897
I loved this painting. It reminds me of the boulder
I have painted many times from my back yard in
Chapel Hill,NC. If only I could ask Cezanne to be my instructor. 
What inspiration,maybe this will inspire me to be bolder with my creek and water scenes.




"Dindon at Tomatoes" Chaim Sortine 1925
I was captured by the strong colors and the pleasant abstract balance of this painting.


"Tourist studying map of Orangerie"  I was interested in the contrast of the tourist and the surroundings. I also loved the repetition of shapes in the highlights of light from windows, also notice the repetition of the pattern in the texture of the walls. 


After several hours at the museum we strolled the Tuileries Gardens, which are anchored between The Louvre and The Place de la Concorde and enjoyed a beverage and absorbing the ambience of Paris. We continued our walk along the Seine and visited a favorite of mine, Shakespeare and Company.  This is a historical book shop opened in 1951 by George Whitman with rare and new books across from Notre Dame. It was a sanctuary for writers and artists to meet and rest and exchange ideas. We ended the evening with a dinner in the Latin Quarters in the Left Bank. This is a maze of streets with endless French restaurants. Our meal consisted of Escargot, Salmon, and of course Profiteroles drenched in chocolate sauce. On to our hotel for a good nights rest and dreams of the Monet Waterlilies before the next morning flight back to New York. 

See Barbi Dalton's website for many examples of her work.





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Friday, August 31, 2012

Life Decisions by Louise Francke


Life Decisions. Funny how they are made. In January of 2012 I decided to set out in a new direction and see if I  couldn't find the abstract world within myself. It remained evasive and a total mystery! I am not the type who gives up easily but my spirit quickly became disillusioned with all of my attempts. A few pieces showed a glimmer but the rest was pure junk.
Why did I want to shift direction from my life’s surreal direction to explore something new? I have always loved the world of fantasy, humor, and narrative themes; they touched on every aspect of my life and marked those moments. I had said a lot about femininity, adolescence, children, animals, and the environment’s biodiversity. But on my 69th birthday I decided to pursue a new style and enter a new room where I could express myself in color and spontaneity. The fastidious control of the brush and mind would no longer hold me in check. I would dance to the end of my days. 
What I hadn’t realized was to make this jump required more than wanting to cross over. It was an immersion in a different way of seeing. To get going I decided to enlist Pat Viles, an accomplished abstract painter. She and I had met through Robert Genn’s newsletter and started emailing each other for many weeks. Then finally this summer I decided to spent time with her, learning whatever I could that might help me start on a new path. When I finally arrived at her home, which was two hours away, it was like meeting someone I had known for years. I wanted to pursue the until now evasive “abstract”, and she was willing to convey all she knew about that type of painting. She opened my mind and in the process I abandoned the past control to explore the different colors of my parachute as it unfurled in free fall.
Pat is one tough lady who has always done things her way -- from life to art. Her vibrant mind comes through in the pearls of knowledge on technique, composition, color. In two days she built the bridge over which I would cross. I tried to copiously record every moment in my journal. She instilled in me the idea that I can really do this and I will succeed.
She asked which I would prefer to do, collage or acrylics. I chose collage because I had never really explored that media and had no preconceived notions which would block my mind. It would free me from the traditional elements of painting. First I learned about gathering possible ideas for works. She had a small journal of thumb sized clipped parts of photos and an empty slide frame. She moved the frame around until she found some detail with the angles, color, and feeling she wanted. 
So it was time for me to build my own imagery. I gathered my collected mags, and with scissors in hand I started to clip interesting views of architecture, landscapes, machinery, etc. From there we progressed to a treasure hunt in her boxes of scraps. I got a support upon which I started moving around various materials, clipping and taring paper and fabrics. My first comp was crude. My second collage was better. Then I brought out a acrylic painting which had lost direction. She said it lacked the punch. To get this punch we took a broad piece of material and ironed it onto the surface. As I worked on other smaller works learning how to make collages with paper, silk and fabric, the piece stood where I could glimpse it and think. Second day was the last full day and I had to figure out what to do with this problematic piece. 
Pat showed me how to apply the gel and using a trowel get the swerves which ran over the acrylic painted parts into and over the fabric. Using a tile makers trowels lines were made. When it dried I started to paint acrylics into the grooves to unify them even more with the collaged piece. Then I bound it together with an opaque acrylic and metallic pigments. When that dried the colors were subdued but still showed through. Once the piece was finished, two more coats of glossy acrylic was added and then finally the varnish. The second coat of varnish was added the next morning.
Before leaving, Pat gave me a goodie bag to get started doing more collages in my studio. I also took a piece of her calligraphy on silk to hang in my studio – to remind me that yes, I can do this. It is all in the mind.
To see Louise's work, check out her website.

Monday, August 20, 2012

Art Cows on the Move by Trudy Thomson

This short video -- featuring three of OCAG's artists -- was shot at the official kick off of the CowParade for North Carolina 2012 at Golden Belt in Durham. At this event,  held August 18th, one could see all 80 plus cows in the same location at the same time. Each cow was decorated in a unique way  by many different participating artists. These Artist-rendered cows will be “put out to pasture” at predetermined locations selected by various sponsors located in the Triangle. They will be on display for for the rest of this summer and this fall before going to auction -- at a gala event help as a benefit to N.C. Children’s Hospital.
The three participating Orange County Guild Artists include: Warren Hicks with his cow named The Cow is Greener on the Other Side, Emily Weinstein and her cow which she named Full Moon with Flock of Birds, and  Lynn Wartski’s steam punk cow aptly named: the Belt-less Galloway Mechani-cow. When you see the video, you will understand why they were given these unique names. 
For background information, Warren's cow  is sponsored by Johnson Lexus of DurhamEmily’s cow is sponsored by Johnson Lexus of Raleigh. Lynn's cow is among those cows the Parade is still finding a sponsor for. And, fortunately Lynn's cow will be close to home; you will find it grazing contentedly on Main Street Downtown at McCorkle Place on the UNC Campus. 
Check out all of these wonderful cows as they are distributed around the community. For more information about where these various cows will be located, visit the website for Cow Parade in NC 2012. So keep your eyes out while you moooo - move around the triangle this late summer.