WSG Gallery, located in downtown Ann Arbor, Michigan, represents contemporary regional artists and features original fine art including paintings, prints, drawings and sculpture. Special exhibits change every 6 weeks.
Two No.12 : oil, cold wax on terraskin : 29″ x 20″ : by Lynda Cole
Winter 2017/18 has been a long one so far here in Michigan. We expect this kind of thing. We are, after all, Michiganders. When there’s snow, you can convince yourself that you are living in a black and white photograph, which has its own sense of calm and beauty. The thing that turns lifelong Michiganders into Snowbirds isn’t so much the snow and winter weather as the lack of sunlight.
Lynda Cole’s newest show at WSG harnesses all of the sunlight into a gridded wall of paintings and a single painting with a grid structure. Meanwhile, her more monochromatic paintings and her suspended sculpture, ‘Future Polar Memories’ seem to capture the quiet beauty of all things winter.
I recently had the chance to ask Lynda Cole a few questions about her newest show at WSG.
Q: You’ve been traveling to some pretty interesting places the past few years. The themes to your travel have been COLD places and environmentally sensitive locations. How do you think your travel has affected your art-making?
LC: I know the colors from the polar regions have stayed in my head. These are black (water and exposed land), white (snow and ice) and the beautiful turquoise of old ice in glaciers. Then there is the stillness. Once one is past the Drake Passage in the south the water is frequently quite calm. Calm seas, quiet landscapes, black, white and blue in the eyes. This isn’t showing up in my artwork too much as yet but I feel it there, percolating.
There is also the concern for the vanishing ice. I didn’t feel this very much in the Antarctic or the Arctic because there is ice, snow and water wherever you look but the thoughts about the melting ice are there. You don’t have to be in a polar region to be concerned about what is happening. I do feel very privileged to have visited some of the iced parts of the Earth.
Two No.2 : oil, cold wax on terraskin : 20″ x 29″ : by Lynda Cole
Q. In this exhibit you’ve added a medium to your repertoire – cold wax. What prompted your interest in adding this medium?
LC: I had been going to an annual Encaustic Conference where people were experimenting with this “new” medium. I resisted for a few years but took the plunge when, in mid 2017, Rebecca Crowell and Jerry McLaughlin came out with a book titled, Cold Wax Medium: Techniques, Concepts and Conversations. I bought the book then bought some cold wax and have been using it ever since. It isn’t a new medium. Oil painters have been using it for years to extend oil paints. I use oil pigment sticks (mostly from R&F Paints) with the cold wax. If you slice off a piece of oil pigment stick and mix it with some cold wax (which has the consistency of a paste wax) you will end up with paint that has the consistency of a thick lipstick – rather luscious.
The other new media for me in this show is the substrate, Terraskin. I came to that through artists’ use of it in the Cold Wax Medium book. Terraskin is made from calcium carbonate, uses no water or trees or bleaches in the production and makes a surface good for water media, oils, encaustic, pencil, pens. It interests me as an environmentally friendly product and because of the feel of it. It claims to be archival.
Two No.11 : oil, cold wax on terraskin : 29″ x 20″ : by Lynda Cole
Q. The colors in your new paintings seem to have an essential quality – a quality that makes the viewer feel the color in her/his core, as much as see it. We understand color in our brains is one of the oldest, evolution-wise, areas of our brains. Could you speak a bit about your color choices for this show?
LC: The paintings in this color series have no subject matter that is apparent. There is subject matter but it is in the mark making and how the colors influence each other. These things create a mood. Nothing much to think about. Look at them and see how they make you feel. That is my intention for the viewer .
My color choices began with colors that were close to each other – like Indigo and Blue Ochre. I wanted to see how they would look to the eyes when the eyes were made to go back and forth between the two colors and how different when the colors were mixed. I was also playing with warm and cool colors. A color looks quite different depending on what color it is placed next to. These were some ways of investigating color. I enjoyed it so I kept on. Throughout my day I would come across color combinations to investigate and either take a photo to remind myself or make a note.
Two No.16: oil, cold wax on terraskin : 29″ x 20″ : by Lynda Cole
Q: The surfaces in your cold wax pieces are quite different from the surfaces in your encaustic pieces. Could you address that a bit?
LC: There is a major difference between cold wax/oil pigment stick and encaustic. Although both use wax, in the cold wax process no heat is used. Encaustic means ‘burning in’ and uses heat. The encaustic surface is frequently quite luminous while the cold wax/oil pigment stick surface (the way I mix them) is very matte. Each type of surface tells a different story. I love them both.
Another difference in them is timing. In an encaustic studio it takes a bit of time to get the wax melting so it can be used to paint. I can start right in with a cold wax painting. On the other hand, encaustic dries very quickly. Oil paint pigment sticks/cold wax sometimes take days or weeks to dry. I’m learning about that.
Two No.18 : oil, cold wax on terraskin : 29″ x 20″ : by Lynda Cole
Q: Could you talk a little about the grid arrangements in your pieces?
LC: I’ve always loved grids. I think it’s in my genes. Chaos is interesting too but is not usually my ‘go to’ type of organization. Repeats are very satisfying also.
Oaks in fog, Yuba County, California : platinum palladium print on handmade Japanese Gampi Torinoko paper : 4″h x 5″w : by Eli Rush
The new year is always a time for reflection and resolution in our culture. It’s a time when we settle into the winter, accepting that we’re in for several more months of cold ( at least here in Michigan) and darkness and we use our hibernation to rejuvenate and plan for great things in the spring.
How She Broke and Turned Red : fiber,double weave and hand hemmed corn silk, felting : life size : by Cassidy Moravy-Penchansky
Well, at WSG we like to do things a little differently.
January brings our ‘16+ 16’ show – a show where we double down on our resolve to bring great art to our Ann Arbor gallery. Each January for the past several years we have shown the work of artists invited by the artist-owners of WSG gallery, in addition to the 16 owners and visiting artists. Our holiday show always rounds out the busiest time of the year with a bang, but ‘16 + 16’ is a show that takes more risks, and 2018 is no exception.
Overcome(ing)No.21 : mixed media : 17″h x 25″w : by Juliet Seignious
In a month that brings us Martin Luther King Day and the Women’s March, it makes sense to show some challenging and mind-opening work – something to start the year off with some thought-provoking conversation. Art, the arts in general, but here we’re talking about visual art, should make us feel something. You might go to an exhibit and feel awe or a sense of wonder….”How did this artist make the light come through those trees?” or, ‘’How did she make that reflection on the water?”
Down the Road Apiece : pastel : 10.5″h x 14″w : by Jill Stefani Wagner
About the Line : photograph, pigment ink on rag paper : 16″h x 20″w : by John Lilley
Perhaps you see a piece of art that makes you mad or unsettled. “Why did the artist say that?” or, “Is this what the artist meant by that?”
Pussy’s Revenge : latch hook cat scratch post : 23″h x 13″ diameter : by Brenda Oelbaum
Maybe you see some work that provides solace or a sense of calm. Hopefully you see some art that makes you see something differently than you ever have before. Our time here is too short to feel nothing or not be moved in some way by the world around us.
Stewards of Creation, La Palouse, WA : iphone photograph printed on archival paper using pigment inks : 5″h x 7″w : 1/10 : by Nina Hauser
PNW II (Dune Grass) : woodblock, intaglio and watercolor on paper : 23.5″h x 35.5″w : by Helen Gotlib
Our aim with “16 + 16” is to give you a little visual jumpstart to your new year. Join us this month to see the show and give you a little mental nourishment for your hibernation. Happy New Year!
Our Holiday Show is always an exciting time at WSG gallery! We install it every year on the Sunday after Thanksgiving and it takes about 3 days for several people to get all the work hung, installed, labeled, walls patched and touched up – in short, it’s a beast to pull off! But it’s a great sampling of the abundant talented artists we have in the Ann Arbor area. This show gives us a chance to invite folks whose work we love, to bring it in to the gallery and find new collectors.
Helen Gotlib, woodcut and intaglio on paper, detail
The gallery is large, so we have lots of room to hang our regular show – that is, larger work with reasonable space between pieces – along with our Holiday Show, which is, again, an abundant amount of work, many smaller, that we hang salon style. It can be mind boggling to install! The number of pieces we hang is about double what we normally have in the gallery.
Jill Wagner, oil on canvas
The show features the work of about 46 artists and the media ranges from glass and ceramics to painting, sculpture, photography, woodcut and intaglio prints to fine jewelry and fiber wearables. WSG has gift certificates if you know someone who loves art, but don’t know the color of the couch and we also have layaway.
Mike Sivak, Cousin Eileen, mixed media on panel
The photos here give a little sneak peek, but to get the full experience, you really just need to come in to the gallery! The show is up until December 30.
Nina Hauser: The Real World is Not the Only World – India Dreams
Daughter of a wandering race :
composite photograph printed on archival paper :
6″h x 10″w :
by Nina Hauser
Q: You’ve been to India 3 times now? What is it that keeps taking you back for your art?
A. I’ve been searching to find an answer for myself for a long time and now your question pushes me to come up with it……..and here is my reply which will continue to evolve………I find a depth of experience that is unparalleled; in the chaos of the cities, in the quiet of the rural landscapes, the inexplicable happens…….I find myself small, present, self aware………and while witnessing the suffering and poverty as well as the joyful responses to life that are the essence of this mystical land and her people, I discover the same responses awakening in myself. How to be present amidst suffering without being overwhelmed by it, my work is a way to draw back when I feel like I’m at the edge and feel more stabilized and able to respond with buoyancy.
Expressing the inexpressible :
composite photograph printed on archival paper :
7″h x 10″w :
by Nina Hauser
Q. Your photos in this body of work are making the move into a dream-realm. Is it India that takes your imagination there or is there something else that has inspired this move in your image-making?
A. It has been a slowly evolving process, this movement of my work into your aptly descriptive term , ” dream realm”. Although , looking back I can see that it actually began with my first forays into a dark room and I could see the possibilities of creation….. I could create a world as I saw it, felt it,
or imagined it….. and working solely in black and white was in a sense creating a dream world for me. From the start….. my vision evolved in a radical way when my path led me down the road into the digital world and the incorporation of
color into my work….followed by my mastering Photoshop …..and then five years ago, my IPhone and all those delicious Apps which gave me the tools to accomplish even more uber reality.
It was on my second and third trips to India with a small group of like-minded artists where I discovered and mastered the tools that could help me accomplish a final leap into my fascinating realm of dreams and here I thank my muses, Karen Divine and Laurie Amerson who were so patient , inspiring and the most wonderful of teachers…… my own little Buddahs.
Joyful maybes :
composite photograph printed on archival paper :
6.5″h x 10″w :
by Nina Hauser
Q. There is some narrative happening in these pieces. There’s always been some narrative in your work….your photos are not simple still lifes, portraits or landscapes. Sometimes there’s a feeling of having come upon a scene just a minute before or after an event, and sometimes there’s a deep feeling of serenity. Will you speak a bit to that?
A. For sure, there were narratives going on in my mind with this project…….That was one of the best parts…..They all have stories……….I especially loved the little lady (Image titled “Reality transformed”) we found in Kochi who was working over a small, hot fire with her husband making starch out of some plant material in a field of weeds to sell to the laundry next door. It was especially steamy and hot in southern India and she was sweating over the fire but she was dressed in a lovely sari, with jewelry and remained smiling and hospitable while showing us how she made the starch and then cooled the heavy iron pot in a stream nearby…….working with her image, I decided she needed a break to cool off and I “relocated” her into a Mughal like garden aside a lake with birds, flowers and trees, some from my own imagery and the rest from different paintings. The birds are loving her and making her happy.
Imagining friendship :
composite photograph printed on archival paper :
9.7″h x 9.3″w :
by Nina Hauser
Q. The borders in the images are new in this body of work. The illuminated feel of them really give a sense of preciousness to the pieces overall. What made you think to use them as a design element in these pieces?
A. I have always loved Mughal miniatures and illuminated manuscripts. On my second trip to India, I stayed in a beautiful hotel that had once been a hunting lodge for a maharaja and it was located in a very small village in Rajasthan. On the door to my room was a framed vintage photograph of the maharaja himself and covering many of the walls were other images of visiting dignitaries, royalty, etc. One day, I photographed a few of these images and substituted portraits I had taken of the people in the town, thinking that perhaps their ancestors had built this magnificent edifice in the first place and should be represented as well. These remained on my iPad, not on the actual walls but that’s when I got the idea to move untouchables, animals, and all my subjects into Mughal type miniatures using my own photographed landscapes or actual ones I found in library books or through research on the internet. My subjects are far from those in the vivid scenes of Hindu epics, mystical legends and courtly life usually depicted in this type of art. But my subjects are just as deserving of lush surroundings, and my people and animals just as noble and valuable.
Q. Please speak about the processes you put your images through from start to finish.
A. Putting it simply, these images are composites of many images I’ve taken over three years with different iPhones in different places. The rest of the process depends on my mood………I may start with an individual who’s gotten my attention for one reason or another, transferred onto my iPad because they’re easier for me to see and work with, or it could be with a landscape or it could be some structure that’s interesting architecturally……….When asked about which apps I used, I often have no idea because I just go into some zone and end up having used three or four apps …….An image could be completed in a day, a week, or one that I keep returning to over a long period of time ……
Rewriting a fable :
composite photograph printed on archival paper :
10″h x 6.5″w :
by Nina Hauser
Q. So, you’ve been using the iPhone to create your work for some time now. How do you think your approach to photography has changed from when you used solely an SLR to now?
A. I’m going to make this answer very short…..I’ve always loved taking pictures…….but now, i’m having even more fun with it and it’s more immediate. It’s a way of life. I can’t imagine not doing it. It’s what feeds my soul. That was all true with my SLR and maybe that didn’t really answer your question but that’s my answer!
Outside…..Over There, the pastels of Connie Cronenwett
Hidden Pond at Pickerel Lake pastel 34 x 25″
I had the chance to sit down with Connie Cronenwett recently and ask her a few questions about her current show here at WSG gallery. What follows is a question and answer session about technique and creative choices….logistics of plein air work and inspiration.
Q: This is a show made up entirely of pastel paintings. Have you ever had a show of only pastel pieces?
A: Normally it’s a mixture of oils and pastels, but this is the first one for just pastels.
Q: What is it that makes the jump back and forth between pastels and oils an easy transition:
A: Sometimes, I just want a larger expanse in a landscape piece, and that’s when I choose oil on canvas. Miller Road, the winter pastel scene in the show, is the largest pastel piece I’ve done. With pastels, you get into all the issues with framing, so if I want to get a lot larger, like 4 x 5 feet….or maybe I want to do a 5 ft wide landscape and 2 ft. tall…that just lends itself to canvas and oils.
Q: Because the framing is such a bear for something on paper that size?
A. Yes, the framing is so costly and unwieldy for something that size on paper.
Willow at Mill Creek pastel 18 x 17″
The other thing I like about using pastels is there are 4 pieces here which are about 9 x 12″ and I can do that ‘en plein air’. I’ve tried oils in plein air and I’ve just made an ungodly mess…I get the paint everywhere! My clothes….the car…everywhere!
I have a boat called a Poke Boat with a great open cockpit, so I can pack my art supplies, dog, picnic and go paddling down the river or in a lake and it’s very stable. I have a couple of paintings I did that way.
Q: Please explain the reason pastel pieces are called ‘paintings’.
A. I have trouble with that term…paintings. There’s a pastel magazine and many organizations in the U.S., including a national organization and they all refer to them as paintings. Personally, I feel like it’s drawing with color. Why not call them pastels…instead of paintings?
The build up of layers of color is similar to painting, but the technique is so much different.
Typically people start off with harder pastels for the first layer….because they go down thinner and they don’t fill the paper. I use a paper that’s like sandpaper and if you use the real buttery soft pastels right away, it fills the tooth of the paper and the paper can’t hold the successive layers of pastel.
There are a couple of pastels I like here where they are really textured areas….that certainly seems like painting more than drawing.
For instance, Along Miller Road, the winter scene has a base layer of the pastel ground…an acrylic paint with grit in it. With pastels, you can paint on an archival substrate and get texture…..also Autumn in the Canadian Rockies and Vermillion Lakes, Banff National Park. The pastel ground on the substrate adds extra texture and it will grab those final layers of soft pastel. The textured surface allows the pastel to adhere to it.
Autumn, Canadian Rockies pastel 27 x 34″
Q: How long have you been doing pastels and how did you get into it?
A. Maybe about 15 years…and I think I picked it up because I’ve always liked to draw. There’s something so gratifying about this beautiful range of color and texture that you can buy….you can mix the colors on the page, of course, but you can also reach and get a close color of yellow, or blue, say. The immediacy of using the pastel…..there’s no tool between you and the media…your hand IS the tool.
Q: Do you have a specific piece you want to tell us about?
Evening Sky pastel 18 x 34″
A: Evening sky:
I took a few photos and was to taken with the colors! At night the sky will often have a turquoise effect to it. The photos were really complicated and I was feeling a little overwhelmed with the information in the photograph…so I put it away for a few weeks and thought about it. I realized I didn’t want all the information and I just wanted the color of that sky.
Q: What kinds of safety precautions do you have to take because of the particulates in pastels?
A: Sometimes I take a brush and take the piece outside and brush off excess. I’m in the process of looking at that issue.
Q: Tell me a bit about the framing of your pieces.
A: I feel strongly about using archival materials to frame the work…and museum glass which cuts the reflections and protects from UV rays, so that if someone buys a piece, it the colors and mat board will stay true and it will be, essentially, something that will be around for lifetimes.
“Drawing helps me get out of my outer body and into my inner body.” – Ellery H., age 9
Pushing Aesthetic Boundaries in Paint, Handmade Paper, and Mixed Media
The Personification of Mother Nature
Last night, I sneaked into the gallery to do the lighting for our new show. As I fiddled with the door lock, I could tell a real treat awaited me. Out of the corner of my eye, this gal is what I saw…..I savored the anticipation. I had the sense that I’d broken into the Mardi Gras float warehouses and was standing in awe of the theatricality of the whole thing!
I had a few questions for Ted Ramsay, so I asked away. The interview follows.
VM: So, Ted, I was immediately hit with the theatricality of the work when I went into the gallery! What can you say about that?
TR: Yes, they are a little theatrical to draw you in. The pieces each tell a story – the viewer has to look carefully to have the story unfold. It’s important that the story be told, but it is also important that the viewer bring his or her own story to the artwork and let that inform their experience of the artwork.
VM: The pieces really go back and forth between 2D and 3D and spend a fair amount of time hovering in the bas relief realm. A lot of thought has gone into the layers of depth in the pieces. How long have you been working on this body of work?
TR: I’ve been working on these off and on for a several years. I had to take a break from the project when I started dealing with macular degeneration. I have been taking treatment for the macular and can see again. The pieces allow me to bring together several of my loves, including papermaking and painting.
The House of Nature in Disequilibrium : acrylic on canvas, handmade rag paper, enamel, and wood : 3 unit composition, with bas-relief, one of a kind : 60″ h. X 158″ w “ By Ted Ramsay
VM: I’m seeing people, animals, specifically wolves, and human-made structures and landscapes. There’s a narrative in each of the pieces that serves as a warning for us in our ‘human vs. nature’ relationship. Yet the making process involved in each piece seems like a joyous celebration of human creativity. Will you speak a bit about this?
TR: The pieces really are about this love/hate relationship with nature…living as a part of nature and our need to dominate it. We are all kind of captured on this wonderful little earth…and if we don’t take care of it , we’re going to be in trouble.
I see the wolf as more than just nurturing, for example, Romulus and Remus. We have relationships with animals that give us so much…some are practical, like goats eating a lawn or giving milk. And Frida Kahlo had miniature deer in her garden. When I was in Japan, there were deer gardens….kids would be walking along eating cotton candy and the deer would come up and nibble on it!
There are times when Mother Nature stops you in your tracks! On the back of the sculpture ‘Personification of Mother Nature’ is the wolf, and this is a warning to us , because they are being hunted. We don’t want them to be extinct like the Thylacine.
Farewell to Rainbow Wolf : cast handmade rag paper, enamel, glitter, wood, and wire : 40″h x 39″ w x 3″ d : By Ted Ramsay
The work is about art, but it’s also about my feelings regarding nature. My studio is in the woods and I see deer meandering by the studio. Because of the reflection of the windows, they can’t see me, so I get to just watch them. There used to be a bobcat, but then someone down the way shot it. The chipmunk population just exploded! There’s a delicate balance in our relationship with nature.
Thylacine Escaping Extinction : laminated handmade rag paper, paint, and wood : 60″h x 48″ w x 48″ d : By Ted Ramsay
I taught workshops all over the country and the globe. One of the reasons I was so interested in doing workshops around the world, was I got to meet people from all over the world and gain an appreciation for those people. For example, I was in Australia and saw how the Aboriginal folks would go to the city and get an education, then come back to the the outback and teach the next generation. My folks instilled in me the appreciation for people from all over by traveling to a different state every time they had the opportunity to travel. My father said, “Go to the other states, then you will understand better how those people think.” He was right!
‘Land is Life’ is a saying I saw all over the place when I was in Australia. And it’s true! The Aboriginal people seemed to have a great understanding of their relationship – their balance – with Mother Nature.
Farewell to Rainbow Wolf : cast handmade rag paper, enamel, glitter, wood, and wire : 40″h x 39″ w x 3″ d : By Ted Ramsay
– Ted Ramsay’s show opens with a reception Friday, July 28, 7-9pm, Come meet the artist, see the work and ask some of your own questions!
Adrienne Kaplan’s new show at WSG, Home Range*, is a collection of acrylic paintings focusing on what surrounds Kaplan in her daily life. What follows is an interview with her about her process and ideas behind the work. Read on!
V: One of the things you notice right away with your paintings is the joyous brushwork. It’s just so loose, yet it describes something of the soul of, for instance, the person you’re painting. Or it describes the wind or the sunlight hitting the surface. Have you always worked so loosely?
A: I think so….I was looking at some of Martha’s (Keller) paintings in the back….I think we come from a similar education. Or something was similar in the way we learned to paint. She was older than me, but we have a similar loose approach. I started painting with oil….but I think I used it similarly (to how I use acrylics).
My mom had a painting I did in which I tried to be like a Renaissance painter. It was a still life, complete with candle sticks, brocade fabric, fruit, ….but that definitely wasn’t the way I painted.
I had a big interruption in painting…I painted in college, but then I studied printmaking in grad school the 1st time, and lithography in grad school the 2nd time. I got back into it in some of Ted’s (Ramsay) classes at U of M. I started painting and he just let me go!
I’ve always been looking for a workshop….and I’ve never really found one that suited me….until I found your (Valerie Mann) watercolor class!
I’ve always been looking for a critique group….but, again, never really found one.
Saturday Acrylic on canvas
EVOLUTION OF HOME RANGE PAINTINGS
A: Through this body of paintings, it’s really interesting to me how it evolved from where it started. I started sort of cautiously…..I decided to put off my hip replacement and decided to go for the show.
I had these drawings I had been making of things in my house, things that were part of my life – my rooms, chairs, flowers. I moved from the drawings into painting …and in the painting, I kept learning stuff. I kept following the lead and it became so much fun!
I was at the gym and decided that this is part of my life, too. I asked folks if I could take photos of them and do portraits of them. With the portraits, the painting changed along the way. But I became more and more certain that I love figurative work and love drawing and trying to integrate it all.
V: How do you choose your subject matter?
A: I choose from what’s around me in my life….it’s small, it’s not like the paintings are grandiose, epic thoughts. But political thoughts do come out as I’m working…for instance, I’m very aware of being an older, white middle class woman in the U.S. and the privilege that I have because of that.
One of the things I like about the gym is you meet people from all backgrounds. Pri is Nepalese, Blanca is from Madrid, Lou is African American, 95….she comes to the gym with her son, Adrian, and she walks the track. What has her life been?
I’m aware there could be controversy regarding white middle-class women painting people of color.
Every face that I’ve painted …I’ve learned about the people. I like hearing about their lives. I like humans!
V: Okay, Adrienne, what about the Roadkill series? I know people will have questions about that, too.
A: Roadkill is part of my life, too. Living in A2, I’m surrounded by living critters all the time.
Just Friday morning there was a large garter snake outside our front door. It was about 3 feet long and an inch diameter.
Saturday I was in my studio, putting the finishing touch on some paintings, and I walked over by the basement stairs and there was the snake…..in my house!
Where I live is right by the Arb, so we have a lot of wildlife –
life and death….I’m old…….and it’s close!
The road kill is part of my life too, it’s part of the reality.
V: So tell me about the large canvas – the purplish house portrait.
A: It was the last painting I did before delivering the show. Harold (husband) said you have to have something about the house. It’s titled ‘June 2017’. It’s a plein air painting. The shadows and sunlight coming across the patio and house….they changed quickly, so I would try to go out every day the same time in the morning. I started with the cube form of the lavender house and the rectangular form of chartreuse of woods. It was a new, interesting way to work and I learned so much!
June 2017 acrylic on canvas
I often ask myself, “Is it okay to paint like this …like no one else?” And the answer is YES! I don’t do the same thing over and over. They don’t all look the same because I’m learning and changing!
Vice Versa No.35 : mixed media on canvas : 70″h x 92″w : by Nora Venturelli
VM. So, I’ve known you a long time, Nora, nearly half my life now! When I first met you, I thought your work was gorgeous…your figure painting showed an understanding – not only of the human form, but of how to describe it in paint, whether it was watercolor studies or longer oil paintings. I haven’t seen your older work in quite a while, but I’m wondering what are some thoughts that go through your head as you look at your newer paintings next to your older ones.
NV: My older figurative work vs newer figurative work… not sure if there’s a difference, what I have done is merge my drawing with my painting – searching for a direction to move, searching for my own mark. I always thought that my approach to drawing the figure was very different from the way I painted the figure, so I gave myself an “assignment”: to do a series of 20 pieces where I draw with paint and try to get the same sense of immediacy and the mark with paint as I did with charcoal and erasers… this was the beginning of Vice Versa, where drawing and painting become one and then the other. Eventually…along number 15 or so… there was one figure that came to the foreground and this figure was the one I brought to the foreground and modeled it. Somewhere after I reached number 20, I started to make the layers intertwine, the past and the present, all on the same plane… some metaphor to life I’m sure! This series has found a life of it’s own, I can’t stop!
VM: Could you speak a bit about the difference between your approach the to figure in oil versus watercolor?
NV: I continue to work in charcoal and also with watercolor, I just feel these two materials are very playful and forgiving. I don’t take my watercolor seriously, I let myself “play” and I’m having a lot of fun with them.
Divided Attention : charcoal on paper : 24″h x 36″w : by Nora Venturelli
VM: Do you remember your first realization that the figure was going to be a lifelong subject matter for you? Or did you go away from it and come back to it?
NV: I’ve always been in love with drawing and painting the figure, as long as I can remember. Since the first day I drew from life, sometime in 1975, while a senior in high school I took drawing classes at Cerritos Com College in CA with my long time professor and friend Manuel De Leon. Then I continued to paint it and here I am today, still drawing and painting the figure… trying to find my way.
VM: Have you studied with other artists who’ve had a particular impact on you?
NV: My family moved back to Argentina in the late 70s and while I lived there I studied in the studio of Julio Vanzo, who (in hindsight) has had a tremendous influence in my work.
Back and forth from Argentina to LA and then lastly 25 years ago moved to MI, I finished my BFA at UM and MFA at EMU. I worked with sculptor Lou Marinaro and painters Jim Cogswell and Margaret Davis in Michigan.
Vice Versa No.41 : mixed media on canvas : 46″h x 34″w : by Nora Venturelli
VM: I always say to you, ” Do those college students know how lucky they are to have you for a professor?” You are an incredible instructor, no matter the media or subject matter.
NV: I am very fortunate to work at what I love, I work in my studio and I teach what I do, and not a day feels like work (or whatever that is) .
In Sync No.7 : acrylic on canvas : 24″h x 2w : by Nora Venturelli
VM: In Vice Versa 2017, you are exhibiting drawings, studies and massive oil paintings. I love that you have chosen to exhibit this combination of media, size and pieces in several depths of study – I think it gives gallery visitors a real glimpse into your creative and thought processes.
NV: It entertains me to hear what people see and how they interpret the paintings, I agree with all of them!
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Venturelli’s large-scale paintings in this show are canvases that struggle to contain the forms within them. That is to say,with the amount of depth she creates, along with the life-sized figurest the canvases start to become their own spaces. To use ‘magic-speak’, they almost become portals to a painted world! And, yet, she layers the figure in different states of completion and this creates the sense of transparency. Then there are the colors, which, in true color theory character, provide additional illusions of depth.
Visitors to Vice Versa 2017 will find themselves inhaling with an awed ‘wow’ when they enter the gallery……in spite of their best efforts to remain unfazed.
I recently had the chance to ask Michelle Hegyi several questions about her new show at WSG gallery. Even though I’ve interviewed her about her work several times in the past, she continues to surprise and evolve, adapting her art-making process through the new tools available to her and pushing the limits of possibility. Read on…..
Q. How did you first begin working this way and do you remember the moment that the possibilities seemed endlessly interesting to you?
A. I began using the computer as a tool in my art making in 1973 in my senior year in high school, when my computer science teacher asked his students to do a project combining computers with another area of interest of ours. Mine was art. I had always been drawing and painting since I was very young. At the time, there were no such things as interactive computers. We used punch cards to type in our computer programs on keypunch machines and then hand carried them on the bus (hoping they wouldn’t fall out of order!) to the boys technical high school where the “computer” was the size of a large room and had what would be considered today to be virtually no memory (32K — much less than the size of one jpeg image). You could wait days for the dot-matrix black and white printout. I used the output of my random number generator program to determine shapes, colors, sizes and angles, and then painted those to create my first “digital” painting. Beginning in 1984 I used the first Macintosh personal computer with MacPaint to create a dot-matrix portrait of my older son. Eventually the software improved and the first versions of Adobe Photoshop and then Metacreations, or now Corel Painter came out and I was able to create artworks using a pressure sensitive tablet. Meanwhile I was still also painting with traditional materials. Since the output (printout) possibilities on the computer were really lacking at the time, I would use the computer to instead see how to “fix” my paintings made with real paint when a problem seemed really difficult to solve. The computer made it possible to try various compositions or color combinations, and then to go back and actually solve the problem on the painting with real paint. I began to notice that with the computer I was able to create pieces I could not easily create any other way, e.g. mixing watercolor and oil, and was enjoying the endless possibilities allowing me to find just the one that helped me express what I wanted to express.
Q. You come from a math background. Did you always make art, as well? If not, what was your initiation into art making?
A. Yes, I majored in pure math in college after much debate about whether to major in art or math (my mom loved art, and my dad loved math!) I had been drawing and painting since I can remember, and also loved solving problems, but was always drawn to images of one form or another. After college I worked as a computer scientist in computer vision (analyzing images by computer to teach computers how to see). After my children were born, I concentrated on my art making and eventually started showing professionally about 23 years ago.
Q. You seem to approach your work in a way that gives a lot of respect to the white of the paper. I guess by that, I mean you fully engage the white so that it is as much of the composition as the color and marks. Can you speak a bit to that?
A. That’s interesting that you noticed that.
The computer has really made it possible for me to learn a lot about composition as I would move parts of the image around sometimes way too many times, until I got it just “right”. This makes it much easier to see the negative spaces as you are creating the piece and give them equal weight.
Q. There’s some really great color theory playing out in the pieces. For instance, Wild Forest, No. 1 (at top) – uses unconventional colors that, together create a zen visual balance. Can you speak a bit about your color choices and combinations?
A. I love color — and getting to play around with it on the computer can be addictive. Plus one can experiment endlessly. One can adjust not only the color, but also the intensity or saturation, and also the lightness or darkness or value of the color. The computer has also been really helpful in teaching me to see colors of the same value.
Believe it or not, there were a lot of gray days where I was working in California (one Pacific Storm after another of rain for weeks). So when a bit of blue sky finally peeked out of the clouds it was striking. So I did start working with color against some more neutral tones, and then sometimes I would just get happy accidents by experimenting with changing the color’s value, hue or saturation, or by combining colors from one piece that were sitting next to another piece on the computer screen, and found that it looked unusually balanced.
The transparent triangles in Wild Forest, No. 1 are based on the colors of the trees outside my studio window on the rainy days in California (they were painted with my finger on my iPad). The rest of the piece is based on a piece I made in Ann Arbor after seeing the beautiful California orange poppies on a sunny day on a previous trip.
Wild Forest, No. 9 : 1/10 : pigment ink on rag paper : edition of 10 : image size 30″h x 30″w, framed 3
Q. It’s pretty beautiful, how your mark-making starts to become confused with the branches from the photographic references in your pieces, like in the pieces Wild Forest, No. 9 and Wild Forest, No. 13. Tell me about the layering and manipulating of image/mark that you do to create this effect.
A. Using the iPad as a painting tablet has encouraged me to start using pieces of photographs in my paintings. I take literally thousands of photographs using my camera or my iPhone as everything around me seems to amaze me as the light changes over it. As I started playing with some of these photographs with my iPad, I would use the Procreate app to paint with my finger or with the Apple Pencil on the iPad. Sometimes I would create selections of bits of the photograph, and paint within those, and then would feel the need to paint over those painted selections or blur them to make them more painterly. In the end, I always bring everything into Photoshop so I can move layers around, add others, change their transparencies, add shadow layers, etc.
The little triangles of blue with bits of branches in them in Wild Forest, No. 9 came from a photograph that had a bit of blue sky over a tree in a cloud-filled sky after weeks of rain in California. I repeated that bit of blue sky several times as I’m quite partial to repeating forms. The warm greens were selections of leaves from a photograph of a birch tree next door to my yard in Ann Arbor. But I modified them so they would perhaps look a bit more painterly. But then I felt the piece needed some repeating geometry so I added the floating transparent squares with “leaves” and then wanted to try making them darker and felt they needed to be a cooler, less saturated green to contrast with the lighter warmer greens.
And since I love line, especially over atmospheric or translucent imagery, I just had to add my hand-drawn line across the top third of the piece.
WSG gallery is pleased to present our themed show “Monochrome”, on exhibit through March 18. For any of you who have lived in the upper Midwest through the winter, you will understand the idea of monochrome in a different way than art lovers living in other regions of the U.S. There are some days when you swear you are living in a black and white photograph!
Each of the WSG artists have interpreted monochrome in our own way. Some work focuses on gradations between black and white, some takes a color like blue or red and works with variations within that color family.
Lynda Cole, Tree Lines, photographic transfer to brushed acrylic, 18 x 24″
The above piece, by Lynda Cole, has a fascinating dimension that happens when the artist applies the photo to a thick layer of brushed acrylic, giving a slightly blurred effect and an added layer of depth.
Norma Penchansky Glasser, Anna, bronze, 27 x 19 x 11″
Penchansky Glasser’s bronze “Anna” may have a deep black-brown patina, but because the sculpture exists in 3-dimensional space, light does the work of creating color gradations.
Takeshi Takahara, Ten-Chi XI intaglio 38″h x 32″w, framed
Takahara’s patient build up of lines on a printing plate create subtle gradations in his large intaglio, culminating in a contemplative piece large enough to get emotionally lost in.
Valerie Mann, The Persistence of Hummingbirds, acrylic, silver leaf, steel wire, rubber, leather, eyelets; 65 x 37 x 10″
Mann’s piece is made by scanning drawings into her computer, creating vector files and cutting the detailed parts with a laser cutter. Using re-purposed inner tubes, leather pants and acrylic scrap, she created this installation piece where the hummingbirds hover as mobiles in front of the trumpet vine.
Middy Potter, The Blues found objects, made objects 47″h x 10″w x 27″d
Middy Potter approached the theme by working with blue and diving into his love of the blues for his sculpture. Each of the piano hammers has a famous blues artist’s name etched into the metal.
With 16 artists interpreting ‘monochrome’ the variations are inventive and sometimes deeply personal. At our meeting when we proposed the idea of the show, there was a small groan…..you know, artists being penned in with a theme……we usually don’t like that sort of thing. But the show that’s come out of it is thoughtful, contemplative, calm and exciting all at once!
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