Tuesday, November 19, 2013

Bonny Leibowitz — DALLAS


My first interview with Bonny was October 29, 2012

Artist Bonny Leibowitz
Since then, she has begun working more dimensionally on an ambitious body of work that evolved from the Symbiosis series.


Rock-A-Bye
2013
48x20x20
wood, wire, foam, mulberry bark, vinyl, acrylic, fibers, and tree
photo credit: Hal Samples

This new work, Plight of the Pleasure Pods, speaks to a range of emotions, fantasies, and complexity of human relationships. Leibowitz touches on the irony of impulse and order, consciousness and surprise, sexuality, aging and the rawness of life. So let’s ask Bonny a few questions to give some context to the work.

1. Can you share a bit about your path from your two-dimensional work last year, and the newer, three-dimensional work?

The Symbiosis series of works contained some pod like forms, photography of milkweed pods, which I was collaging large scale. The pods continued to fascinate me beyond the end of the series I and decided I’d like to explore them dimensionally.  I started out by creating “pod like” forms in plaster which began to take on human qualities.


Love Sandwich
2013
10x10x6
fir wood, foam and acrylic

2. Can you speak about your references to the human psyche in this work?

Assisted Living, received its name, as did all the works in this series, as its persona appeared to me in its making. I’ve been collecting objects which have intrigued me for some time now and a large piece of burl wood was just one such object sitting on my “one day I’m going to do something with this” shelf. I was working on smashing up a plaster piece when a smooth shiny bowl like shape popped off and it instantly dawned on me to see what the big wrinkly burl wood would look like if I placed it on there. So I did, and the strong juxtaposition of youth and age became the paradox to explore. I painted the smooth plaster form pink, planted the burl wood form in it and teetered it up on a small piece of petrified wood and then the entire piece is sitting on a medical cart with surgical tubing hanging out of the drawer.


Assisted Living
2013
52x17x15 
burl wood, plaster, acrylic, petrified wood, medical cart and tubing
photo credit: Hal Samples

I’ve been thinking about age and how time has become so extraordinarily important, wanting to do and say all that can be done before I no longer have a chance to do so. Many feel this way of course, it’s universal, the desire for legacy and the doing.  Couple that passion with the natural erosion of the body and how we shift our focus while still holding onto sensuality and “beauty”, as bits slip away and you’ll find a rich dialogue to explore. Although these are serious matters, I enjoy the humor of it all and bring that element to the work in a big way.

The materials I chose to speak about these struggles and joys are plaster, foam, vinyl, acrylic, mulberry fibers, rawhide, faux fur, encaustic wax, and branches to name a few.   

Justice For All?
2013
14x34x10
plaster, tree bark, acrylic, faux fur, hinge, metal and shellac

3. Do you have particular habits that you think support your art practice?

Owning two teaching studios keeps me very busy with teaching and organizing workshops etc so I commit myself to the studio at least a day and a half per week and often times work into the wee hours. I will sometimes break away in between classes to get a few things done. I’m fortunate my personal studio is a right behind my two teaching studios. In addition, I give myself a few weeks a year for some concentrated time, a chance to really think and let the ideas flow.    

Keeper of the Flame
2013
52x25x20
plaster, wire, fiber, foam and acrylic
photo credit: Hal Samples

4. You mentioned that you moved into a new studio. Can you share a photo of it, and discuss how it may have affected your work?

It was completely serendipitous that the space behind my teaching studios became available just as I started working on large mixed media works last year.  Taking on the additional space was a bit scary financially but so far so good and I LOVE not having to take everything out and clean everything up before and after classes.  This body of work grew, in part, out of the time and space that allowed me to work large and see the work as a whole. 





5. Tell us about the talk and video you'll be producing and how you are tying the work into venues where it will take on a life of it's own?

I wanted to tie the work into a bigger, more far reaching endeavor. Seeing the pieces as archetypes, I decided to look for a writer from the Jung society here in Dallas to write and speak about the work and see where that connection might take the work. I went on the Jung Society of Dallas site to find yet another wonderful piece of serendipity. Listed on the site was one of my painting students, Donna Cozort, a Ph.D. analyst, Diplomate C.G.Jung Institute, Zurich. Since that time, Donna has been documenting her insights on the work and we’ll be doing a video of our gallery talk speaking on richness of meaning behind the works.  I have published a book containing the writings and images along with a review by Todd Camplin.


6. You seem to have given a lot of thought to planning for this show and potential future venues. What is your vision and why?  

I have made some connections already in L.A., Laguna and another space in Texas in the hopes of bringing the work to a wider audience. Those connections have been really exciting and it’s just the beginning. I will see where it all goes. My intent is a dialogue on how we reflect on our personal histories and the subject of aging which is often taboo. I love the aspect of humor as well, an aspect which is healing and binds us.  



Queen For A Day
2013
23 x 12 x 12
foam, brass, acrylic, sheep fur, velvet and cast iron 


“Archetypes cannot be truly known, but we catch glimpses through images which take on symbolic significance when they become activated within our psyches. When this occurs, their dynamic energy fuels the different reactions, processes, and patterns that inspire and move us. Like all aspects of life, archetypes have two opposing poles or sides, one positive and the other negative, or we might say one is light while the other is dark, one good and one evil. As a Jungian Analyst, I have seen the tremendous power of archetypes both for destruction as well as for healing. Because of their universal significance, archetypes have the potential to startle, seduce, fascinate and even rule us. Sensuousness, pleasure and depth of experience are expounded in the Plight of the Pleasure Pods works”.
— Donna Cozort, Ph.D, Diplomate C.G.Jung Institute, Zurich

You can see this new work in “Pleasure Tempest”, at the Cohn Drennan Gallery, http://cohndrennancontemporary.com/  


Pleasure Tempest 
Bonny Leibowitz and Winter Rusiloski
Opening Reception November 23, 2013, 6:00 – 8:00pm
Exhibition Dates, November 23, 2013 – January 4, 2014

Bonny, Thank you and congratulations on the show!

And more of Bonny's work here: www.bonnyleibowitz.com

Thank you Lynette, for creating this platform. I appreciate your great questions the opportunity to share my experiences here. — Bonny


Tuesday, October 1, 2013

Christine Shannon Aaron:
Larchmont, New York


Christine Shannon Aaron
1. Please share a little about yourself. Where did you grow up and what (if any) were any early influences on your work?

I grew up on Long Island in New York.  My parents always encouraged creativity and free play. My Mom made sure we went to museums and international restaurants in New York City.  My Dad played the trumpet (and still does) and my Mom was very creative design-wise.  I am one of four children. We never went to summer camp and there were few afternoon activities until we reached high school. As a result, my younger sister and I entertained ourselves by creating games, making forts, creating secret hideaways, sewing costumes and imagining entire other worlds. I think that experience of creating something out of ideas in our minds fostered both a vivd imagination and self reliance. I currently live in Larchmont, New York.

Tree Muse IIlithographic monoprint, asian paper, rust print
encaustic on panel 24 x 18

2. Did you receive any formal art training? If yes where and what did you major in?

I did not receive any formal art training. My Mom was diagnosed with a chronic illness when I was 14 and she died when I was 23. I think this had a significant impact on my career choice. It was no coincidence that I chose to pursue social work, and my younger sister became a nurse. I received a B.S. in Education from Cornell University and my Master's degree in social work from Hunter College in New York City. I practiced social work for more than 10 years. I think these experiences find their way into and directly impact the themes I explore in my artwork today.

Forest Muse
lithograph, asian paper, encaustic on patinated copper, 24 x 24

I sketched and painted with watercolor throughout high school and took a few drawing classes in college. I was always interested in creative writing and art, but felt neither were "viable" career options.  When my youngest daughter was about one-year-old, I started taking an evening watercolor class. Within a year I was experimenting with mixed media. I took my first printmaking class a couple of years later, and my first workshop in encaustic with Laura Moriarty in 2003. Since then, I've taken many workshops at the Center for Contemporary Printmaking (CCP) in Norwalk (e.g., a fantastic mark making class with Lori Glessner), one at RF Paints (with Lisa Pressman), as well as one-on-one tutorials with artists whose professionalism and teaching skills I respect. Somewhere in that first couple of years I realized that I was challenged intellectually, and creatively and actively engaged in the process of art making and started to work towards becoming a full-time artist. I do feel that I am constantly trying to "get up to speed" with learning and filling in all I missed by not having a degree in art.


Evening II
lithograph on aged mirror 16x24

3. What is your current work about? 

My work focuses on themes of memory, loss, the inexorable passage of time and the fragility of human connection. The imagery of trees drives these themes. Trees mark time; they serve as a metaphor for the cycle of life, symbols of dormancy and growth, strength and renewal. Trees hold the record of their lives in their rings. These inner marks remain hidden from view--the way that humans hold within the physical, mental and emotional marks of personal experience.
This intellectual and emotional content directly guides my selection of materials and use of technique and imagery.



Storm
lithographic monoprint 24 x 18

I choose media where traces of the process remain in the work. Printmaking and encaustic allow me to develop through layering much the way human perception and memories are formed, and convey a visual sense of the archeological act of recollection. I embed, layer, deconstruct and reconstruct images approximating the way in which we revisit, and reevaluate our memories and experiences. For instance, I rust and oxidize metal substrates so that time itself becomes an integral part of the completed work. I work on mirror because the perception of the piece by the viewer shifts depending upon the vantage point at which it's viewed. My current solo exhibit marks my first foray into installation work. The concept for the installation grew out of my desire to enable the viewer to become immersed physically and experientially in the work and contains an audio piece as well as the ability to walk through the piece itself. Hopefully the viewer becomes engaged in this world and is encouraged to delve into the work and their own experience of it more deeply.



4. What is your workspace like?

For many years I worked in my dining room. About 7 or 8 years ago, I moved to a studio in Port Chester, New York. There are a number of artists in the building though unfortunately we are scattered across many floors and corners as the building takes up an entire block. I shared a studio with 3 other artists for 5 years. Two and half years ago I moved into my own space. I really enjoy spreading out, and having the luxury of working on many things at once. I found that as my space expanded, so did my ability to think more "largely." I am primarily a mixed media artist, with my current mediums of choice being printmaking and encaustic. I have a full size Charles Brand Press, and a set up of encaustic palettes and professional venting system in the studio. As well as many other 'tools of the trade" so to speak! I am now greedily craving more space.


Aaron's studio in Port Chester (above and below)




5. Are you involved with any arts groups or communities? If yes, what do you gain from that affiliation and what do you contribute to it?

I belong to a number of really terrific art organizations. The Center for Contemporary Printmaking (CCP), Silvermine Art Guild, Mamaroneck Artists Guild (MAG) and the National Association of Woman Artists (NAWA). Additionally I attended the International Encaustic Conference (created by Joanne Mattera and now co-run with Cherie Mittenthal) a few years ago (and every year since). The conference has proved for me to be a rich ground for meeting and interacting with a great many professional artists, and has led to online supportive artist groups where we are able (across the country) to share issues concerning our art practice as well as discuss many topics including professional standards, marketing, content, current exhibits, and all other things art.



Presence
lithographic monoprint 18x18

I have held various positions in or volunteered for each organization. For example, I created and co-chaired MAG's (now) annual Open Juried Small Works Show for the first 7 of its 8 years. I have been on the MAG Board of Directors for over 15 years. I've participated in a number of fundraisers at both Silvermine and CCP.
I feel very privileged to be involved with such vibrant artistic communities. My involvement with them all has grown exponentially. Constant exposure to the art, ideas, curiosity, challenge, investigation and creativity of those around me encourage my own artistic voice.


6. How do you develop a sense of community with other artists, and how do you support your colleagues?

It's important to me to be an active participant in the artistic communities of which I am a part. To me, that means not only volunteering within the organizations and groups, but also being honest and open in sharing my own work, while supporting my fellow artists. I purchase art when I am able, share opportunities of which I'm aware, and introduce artists to one another. I donate work to a select few art organizations' fundraisers, go to openings, post about these, and participate in Facebook forums about art, professional standards, techniques, concept and many other art related topics. I really do feel that supporting fellow artists, actually ends up feeding me.

And speaking of "feeding"...one of my favorite methods of support involves "feeding" quite literally. Larchmont has several incredible shops that make a variety of cakes and chocolate, etc. So, I ...umm...have a propensity to bring/send really delicious treats (cake, chocolate, pastry, breads) whenever there is the slightest excuse to do so. And really, who doesn't benefit from and enjoy a little something sweet?

Vestige II
lithograph,encaustic on oxidized steel_18x18_

7. Do you have other jobs other than making art? If so, please give us some details.

After leaving the practice of social work, and psychological testing, I worked in a friend's high end jewelry store. This supported my studio practice for about 6 years. I also got to meet some very wonderful jewelry designers, learn about their vision, process and hand creation of their work. About 18 months ago, I stopped working there to commit myself to my art full time. I am extremely fortunate to have a husband and family (three children, two of which are out of college and living on their own, and a third currently in college) that are incredibly supportive of me.

I am constantly grateful that at this point in my life I do not have to support myself with my art. That has been a huge gift, and has given me an incredible freedom to pursue what I wish to without the constraint of needing to make a living. I am acutely aware that it is a luxury that few artists enjoy. That being said, my desire is to develop my work and my practice to the point where I could actually support myself if necessary, and to pursue the highest standards of integrity and professionalism in my art practice.



One view of Aaron's "Liminal States" exhibit
now on view at Silvermine Arts
(and 2 more photos, below)







8. Anything else?

I have a solo exhibit now at Silvermine Art Guild called "Liminal States: Beneath the Surface". It's up through October 26th. I hope to have installation views and a video loop with audio on my website soon. I also have an accompanying catalog for the exhibit.

Thank you so much for the opportunity to be part of your artist interview series.
Thank you, Christine for this glimpse into you and your creative world!

website: www.christineaaron.com

Tuesday, September 10, 2013

R&F Handmade Paints, Color with Intent

I haven't posted on my blog for the summer. Been busy and doing some exploring with my work. But tonight I just viewed this video from Richard Frumess at RF Paints. It's so inspirational on both an entrepreneurial and artistic level. Couldn't resist sharing. Enjoy!



R&F Handmade Paints - Color with Intent from R&F Handmade Paints on Vimeo.

Thursday, May 30, 2013

The Elephant in the Room

UPDATE: This show got a review in Art New England, and it has just been extended through the 4'th of July weekend. There's still time to see it!


Click image above to enlarge and read it (from Art New England, July/August, review by David Raymond)





Click here to view the catalog.

My work is included in this upcoming show on display Laconia Gallery.

Timbre No. 9, 2013
encaustic and oil stick on braced birch panel, 24" x 24"

Timbre No. 11, 2013
encaustic and oil stick on braced birch panel, 24" x 24"





All of the artists in this show have been involved at some point, with the International Encaustic Conference, founded by Joanne Mattera

Show Dates: 5/30/13 -  6/30/13
Reception: Friday, 6/7, 5:30 PM
Gallery Address: 433 Harrison Avenue, Boston, Massachusetts 02118


Sunday, May 12, 2013

Presenting and Teaching at the 7th International Encaustic Conference



Each summer for the past 6 years I have been revved up about this time, because I'm getting ready to attend the Encaustic Conference, which is planned and presented by Joanne Mattera and Truro Center for the Arts at Castle Hill. This marks the 7th conference I will attend, and my 5th conference as a presenter.

This is such an energized and well organized professional event for artists. Each year I learn more, network, make new friendships, see work by artist professionals I admire, and well, just have a terrific time.

During this conference, I will be presenting a demonstration on Friday, May 31: Comparison of Tools for Fusing. This will be part of the conference at the Provincetown Inn. After the conference, I am teaching a day long workshop at Truro Center for the Arts at Castle Hill; also about Comparison of Tools for Fusing. This is a great opportunity to come and investigate hot tools, from heat guns to torches to irons. You can still register for the conference and/or my post conference workshop. So take a look at the conference website.


http://www.castlehill.org/


Sunday, March 31, 2013

My First Museum Acquisition...

I'm very pleased to announce that 
has acquired my painting
Timbre No. 5 (below)

Timbre No.5
36" x 36"
encaustic and oil stick on braced panel

Tuesday, March 26, 2013

Reflections and Plans for My Blog


It's almost April, 2013 and I'm one quarter into my fourth year of producing this blog. A heeeuge thank you to all my viewers, readers, subscribers, and interviewees. 

In 2010 I began this blog with a couple of intentions. I didn't want to start a blog and post randomly. I wanted consistency in posting, and I've achieved that. My first intent was to use the blog as a vehicle to promote my work as an artist, my news, my ideas. The second intent was to post brief interviews with other artists whose work and ideas interest me. In both cases, the plan was to share information, create dialogue, and promote artwork. 

Truth is, this blog posting does not come naturally or spontaneously for me. But the dialog and positive energy from readership have proven most rewarding. I've interviewed over 80 artists and learned through each interview. I plan to continue the interviews, but will decrease the frequency. 

In 2013 I hope to touch base with some artists who have been interviewed and see how their work is evolving. If you are an artist who has been interviewed and would like to reconnect for a follow up interview, please let me know.

Moving forward: in 2013 I will post more news about myself, my intentions, my work and news. This part is much more difficult for me, on a few levels. All the more reason to commit and keep moving! So I'll begin with part one of an interview with myself. (stay tuned)

Wednesday, February 27, 2013

Elena De La Ville: Sarasota

Artist De La Ville with Totems

Please share a little about yourself. Where did you grow up and what were any early influences on your work? Where do you live now?

I was born in Caracas, Venezuela. Caracas, where I grew up as a child, was a city known for it’s public art, artists, and museums. That experience has stayed with me my whole life and inspired my appreciation of art. My heroes then were Calder, Gego, Vasarely and Matisse. Later on it was Rothko, Agnes Martin, Klee, Helen Frankenthaler and Anselm Kiefer. My colleagues also inspire me.

I started traveling from very early on, came to the states (Oklahoma) in my teens, left for London in the early 70’s to study at Chelsea School of Art and Design. I traveled all through Europe at that time and in the early 80’s came to Boston on a full scholarship to study photography. After graduation, I worked as a color printer at Spectrum Color Labs on Summer St. in Boston and then became a photographer for the Secretary of State in Massachusetts. That was about the time when I decided that if I was going to make it as an artist I needed to dedicate myself full-time to that. So I moved to Martha’s Vineyard and made my mark. After 10 or so years, I felt the need for the warmth and color of the tropics and traveled south not knowing where I was going to end. That ended up being Sarasota.



Zebra Butterflies close up



Butterfly Installation
Provincetown Inn (Int'l Encaustic Conference)


Did you receive any formal art training? If yes, where and what did you major in?

I have studied with many teachers and artists that have inspired me since I was young; I formally studied Textile Design in London in the 70’s and photography at the Art Institute in Boston in the 80’s.



Bee Habitat

What is your current work about?

As a photographer and painter, I am always looking for ways to add dimension to my work, I photograph nudes, earth, and rusted steel. I combine them by using layers of wax, paint, printed images and other alternative processes. Central to my work is the concern of how the human body merges its inner essence to the physical world around us. We are interconnected in a way that we cannot totally explain but that guides us. In the Torso series I deal with the change and transformation that occur in our bodies as we age.



Torso Trees, 16 x 16

I have also been more and more interested in installations, I produced a small one: Bee Habitat, several years ago that was juried into the Kobalt Gallery show in Provincetown, and that has gone through several transformations since then. It is currently showing at the Clothesline Gallery in Sarasota, it has expanded in size and components and now occupies a bigger space. I produced a whole room installation at the 6th International Encaustic Conference I added epiphytes and spanish moss, while swamp sounds filled the room.


Torso II, 22 x 22"


I am currently working on a proposal with a choreographer and dancer for an
installation/performance for the Ringling Museum of Art. This will involve dance, movement, sound and light.



From Within

For the last months, I have been experimenting with old cyanotype techniques and incorporating large negatives with wax, indigo and rust. Not yet ready for showing.

(click on photo to enlarge)


The office area of De La Ville's studio

De La Ville in her workspace

What is your workspace like?

I live and work in an old carriage house by the bay in Sarasota, FL, I have a small gallery and a darkroom in the bottom floor, with living space in the bottom floor, with living space and painting studio on the second floor. I get to see the shimmering water through out the day, and luscious tropical shrubbery all around; it is a comfortable space where I spend most of my time, when I am not teaching. I live only a few blocks away from Ringling College.



Torso Feathers 24 x 24"


Are you involved with any arts groups or communities? If yes, what do you gain from that affiliation and what do you contribute to it?

I have been part of the Ringling College community for the past 15 years. It has provided me with a stimulating atmosphere, with training, equipment and the ability to hear talks and meet interesting and by well-known visiting artists. I am also part of the exhibition committee at the Art Center Sarasota where we just finishing the planning of shows for the 2014 season.

I am part of a wonderful and supportive group of artists that I have met through the International Encaustic Conference, I have attended almost every single conference, I was part of the Saturday panel in 2010 and I look forward to this every year. I will be giving a talk on: Preparing Your Images with Photoshop on Sat June 1st at 3 pm and will also be teaching a Post Conference workshop at Castle Hill on June 4th, on Photo Encaustic, 10 to 4 pm.

Do you have other jobs other than making art? If so, please give us some details.

I work in my studio, and I teach. I have been a self-supporting artist for some 30 years. I could not do it any other way.

Thank you, Elena! You can view more of her work here: http://www.edelaville.com/
and read her blog here: http://elenadelaville.blogspot.com/

Saturday, February 2, 2013

Christine Kyle: Lexington, Massachusetts


Maybe 1
I've been miniaturized to fit 
"in" a 24" x 14" x 2.5" inches
encaustic on Baltic Birch plywood piece 

Please share a little about yourself. Where did you grow up and what (if any) were any early influences on your work? Where do you live now?

I grew up moving around in the New England area, now live in Lexington, and am moving to Cambridge, MA. As a child, art and craft supplies were readily available outside and at home. We never had coloring books because my mother didn’t like the idea of coloring inside someone else’s lines. We always made our own Halloween costumes and were encouraged to play with found props. My elementary school best friend’s mother was an artist and I still have an oil painting I did at their house when I was ten. I went to a Waldorf School my last 2 years of high school where art classes were plentiful and creativity revered. I didn’t feel especially talented but enjoyed drawing, painting, weaving and pottery.


Maybe 3
Encaustic Baltic Birch plywood 14" x 24" x 2.5"

Did you receive any formal art training? If yes where and what did you major in?

I wanted to major in Studio Art in college but felt it was impractical so I majored in Sociology (practical?).  I took as many art classes as a non-major could take then decided to double major, adding Art. After about 10 years in the world of work, I went back to school for 2 years to study graphic design. I’ve taken too many workshops and classes in art to list here. At the ripe age of 54 I finished an MFA at The Art Institute of Boston. It wasn’t until then that I called myself an artist although I’ve been an artist my whole life.

Shell Grid
Encaustic and egg shells on ceramic

What is your current work about?

I am fascinated by the way we make order. We recently moved (and are moving again!) and I feel it is a huge piece of performance art, figuring out what should be given away and what should go in what box. We all strive for consistency in order to gain an understanding of what is around us. We make up taxonomies, patterns and judgments to feel in control and safe. I don’t believe in complete understanding or control or truth, only the seeking and trying to trust in doubt.


Kyle's studio in Waltham, Mass.

What is your workspace like?

For about 8 years, I had a great, little studio in the back yard of our home in Lexington, MA. I’m just getting settled into a studio in Waltham, MA. It was the storage room for my husband’s woodworking shop. The room has been cleared, lighting, ventilation and heat have been installed and I’ve made some order of my things. I’m working on a couple of large pieces that I set up before moving. I had laid down layers of wax, darker to lighter. Now I’m scraping wax, the deeper I scrape, the darker the value. I’m looking forward to settling in there. Right now, I’m performing in our basement and around the house in Lexington in anticipation of hauling our stuff to our new home in Cambridge.


Waves
Encaustic, egg shells and Velum
 on Baltic Birch plywood 30" x 23" x 3"


Are you involved with any arts groups or communities? If yes, what do you gain from that affiliation and what do you contribute to it? How do you develop a sense of community with other artists, and how do you support your art colleagues?

I have a few different art communities and some friends who are artists. I’m a member of the Cambridge Art Association, MassWax, the Art Institute of Boston alumni, Lexington Council for the Arts and have attended many International Encaustic conferences. I have met with other artists for critiques but would love to be part of a cohesive but diverse art crit group that meets regularly.

Rectangular Bang (2 views)
Encaustic and egg shells on ceramic 8" x 13.25" x 2"



Do you have other jobs other than making art? 
If so, please give us some details.

I have many loose ends to gather as my other job. I’m a mother, a wife, a citizen and fellow human. I pay bills, do the errands, provide healthy meals, keep order in the house, volunteer and live a rich and diverse life. Much of this feeds my art.

Weeny Creation
Encaustic and egg shells on ceramic 4" x 5.5" x 2.5"


You can see more of Christine's work on her website: www.christinekyle.com
Thank you, Christine!

Thursday, January 10, 2013

Jane Guthridge: Denver

LYNETTE HAGGARD'S ARTIST INTERVIEW SERIES 

Artist Jane Guthridge
Please share a little about yourself. Where did you grow up and what (if any) were any early influences on your work? Where do you live now?

I was born outside NYC, but moved to the Midwest when I was five years old. I grew up in Rockford, Illinois. My parents bought an old resort on a lake in Northern Wisconsin with three other couples when I was in grade school. My mother was a teacher, so after school was out we would spend our summers there. The “dads” would come up on weekends. It was idyllic. Between the families there were twelve kids. We spent our summers, swimming, boating, water skiing, making forts and exploring the woods. It rains a lot in Wisconsin, so we also spent a lot of time creating art and crafts. We collected objects, and painted and repurposed them to create our own worlds. Spending so much time in the outdoors had a tremendous influence on me. My work is inspired by the natural world.  I live in Colorado now. The abundance of natural beauty, the incredibly vast skies and the light are what brought me here and inspire me to this day.


Translucence show
Space Gallery, Denver 2012
Standing work (back): Changing Light
14” x 14” image size
Duralar, encaustic on asian paper

Did you receive any formal art training?

I graduated with a degree in Fine and Professional Arts with a major in Graphic Design from Kent State University. My first years I studied the basics of a Fine Arts degree, drawing, painting, visual organization, color theory, art history, etc. The last years I concentrated on Graphic Design, which included typography, photography, illustration, design and layout. I’ve always had a love of type, the grace of a curve, the beauty in shapes. After graduation I studied with my design idols Armin Hoffman and Paul Rand in Switzerland. From them I learned not just about design, but also how to approach and think about my work in general. These practices still resonate with me still today.


The Space Between
6” 19” x 19” image sizearchival pigment print and encaustic on
translucent asian papers



Light Triptych
36"h x 12”w image size each panel,
archival pigment print and encaustic 
on translucent asian papers



Translucence show
Space Gallery, Denver 2012
Standing work (front):“Changing Light” 
14” x 14” image size, Duralar, encaustic on asian paper



The Space Between
13” 19” x 36” image size
archival pigment print and encaustic 
on translucent asian papers


What is your current work about?

My work is inspired by the natural world—the rich colors of the land, the play of light on water and the varied plant life that surrounds us. It is about taking the time to slow down, to look closely and reflect on the world around us. It is about seeing the beauty in simple things that may be overlooked, the elegance in shadows, the allure of the spaces in between objects.  My current work explores light. I am moved by its transcendent qualities—its ability to conceal and reveal, its rhythms, patterns and ever-changing nature.





What is your workspace like?

My studio is near downtown Denver in what was a hotel 100 years ago. I like the bit of character from its former life. I have two rooms, one in which I paint and make prints, and the other where I cut, compose, frame and store my work. I work mainly in encaustic monotypes so I have a 40” x 60” heated table where I create my prints. I have a wall painted with “Magically Magnetic” paint where I attach paper works with magnets allowing me to study and photograph my work. I find that as my ideas expand, the space seems to contract. It is not a large space, but I make it work.





How do you develop a sense of community with other artists? Are you involved in any arts groups or communities? What do you gain from this and what do you contribute?

I have many friends in Denver who are artists. We talk frequently, go to art openings, civic events and career development seminars. I have made an effort in recent years to become more involved. I curated a show last year that led to other opportunities for many of the exhibiting artists.


Dancing Light 
24” 19” x 19” image sizearchival pigment print and encaustic
on translucent asian papers


Attending the International Encaustic Conference and presenting at the Conference last year allowed me to meet and become friends with many wonderful artists from around the world. I find it a warm and welcoming community. We help each other by passing on information, opportunities and encouragement. Being a part of a community of artists makes my life infinitely richer. I am constantly inspired by the artists I meet. Their incredible work, their ability to articulate their thoughts, and their outstanding achievements push me to work harder. I hope that I can return the favor.

A Haiku Moment
a show I curated at the Canyon Gallery,
Boulder Public Library—where work that embodied
the simplicity and empathy of haiku
was paired haiku poems

Do you have other jobs, other than making art?
I have owned and worked at my graphic design company Jane Guthridge Design for more than 25 years.

Thank-you, Jane!
You can see more of her work on her website:
www.janeguthridge.com