Inside the Artist’s Studio with Bill Finger

 

"Self Portrait" 2012

“Self Portrait” 2012

For many years, I worked on various motion picture productions as an Assistant Cameraman. My artwork and the process of it’s creation is very influenced and reflective of that time spent working on movies. Each photograph that I create begins with the construction of a miniature diorama. In a sense, the dioramas are like miniature film sets.

"After Psycho," 2006

“After Psycho,” 2006

"Watch," 2009

“Watch,” 2009

Each photograph begins with an empty work table and a camera on a tripod. The perspective of the camera’s lens is key. Everything is built to that point of view. This process comes in part out of economical necessity as well as limitations brought about by depth of field. When working with a wide angle lens in very close proximity there is often issue of degrees of visual distortion as well as a limited plane of focus. By varying the scale of objects, a deeper sense of depth and space can be created.

The work featured in Dream State comes from two different projects. However, both series play off of and look to ideas of space exploration.

LEM

“L.E.M.” 2013

Ground Control evolved out of an NPR interview with a scientist discussing the most economical way to send humans to Mars. The proposal centers around making it a one way trip. The prospect of traveling to Mars while leaving everything and everyone you know behind, was fascinating. Especially since the age parameter that they set, made me a prime candidate. But what stuck with me was the shear number of people asking to volunteer. People with no skill set for space exploration but who truly believe that it is their life calling. That was whose mind I wanted to play within and explore. I wanted to imagine how that obsession for space could manifest itself.

"Floating in a Most Peculiar Way"

“Floating in a Most Peculiar Way,” 2012

Hotwheels

“Hot Wheels,” 2012

One of my photographs included in the Dream State exhibit is the title image for Ground Control. It makes reference to a well known NASA photo of Neil Armstrong descending to the surface of the moon. Looking to and referencing images from photo history has been an element that I work with, and has resurfaced in my work many times. I originally began referencing other photos as a Graduate Student at RIT.  Other examples of photographs that I have referenced include Death of a Rebel Sharpshooter by Alexander Gardner as well as, Frederick Church’s snapshot of George Eastman on the deck of the S.S. Gallia. To me, all of my photographs are in part about photography. This is one way that I chose to reflect upon it.

Eastman01cr

“Eastman I,” 2016

 

Eastman02cr

“Eastman II,” 2016

 

Photo by Frederick Church, 1890.

Photo by Frederick Church, 1890.

 

VoyagerVI

“Voyager VI”, 2012

With the second series, Voyager, I continue to use Space as an inspiration and touchstone. Where Ground Control can be brash and border on the fantastical, Voyager is intimate, quiet, and introspective. Focusing on perceptions of the passage of time, Voyager looks to exploration as a quiet and introspective form of drifting. Where Ground Control uses memories of the past to construct the desire for a future in space, Voyager uses memories on a more personal and grounding manner.  Floating and drifting through the landscape, time can seem to slow as space appears to expand. Time becomes more introspective as the explorer turns inward. A sense of longing surfaces and holds the explorer in orbit. It is this ebb and flow of past and present that brings out discoveries for the traveller.

 

"Voyager IV," 2012

“Voyager IV,” 2012

 

"Day Passing I," 2016

“Day Passing I,” 2016

 

Eastman process shot.

Eastman process shot.

More of my work can be viewed at BillFingerPhoto.com as well as on Instagram. You can see the photographs included in this exhibition on Artsy.


Nine of Bill Finger’s photographs can be seen in Dream State, on display through February 16, 2018. The exhibition also features paintings by Matt Duquette (Buffalo, NY), sculpture by Carrianne Hendrickson (Rochester, NY), and paintings by Lin Price (Ithaca, NY)Work from the exhibition can be previewed and purchased online. 

Inside the Artist’s Studio with Lin Price

In Lin's studio with her dog, Cherry

In Lin’s studio with her dog, Cherry

Originally I am from Ann Arbor Michigan, but have spent most of my adult life in New York State, near Ithaca. I had an unconventional and circuitous path toward the arts. After the birth of my second child I decided to return to college and became completely smitten with painting, earning a BFA from Ithaca College and an MFA in painting from Bard College/Milton Avery Graduate School for the Arts. I am drawn to painting because it is a non-verbal language with limitless expressive possibilities.

Isle of Wight, oil on cradled panel, 24" x 18", 2017

Isle of Wight, oil on cradled panel, 24″ x 18″, 2017

Looking at art, especially painting, from all historical eras and styles, gives me new insights and pleasure. Over time, this ‘looking’ is condensing into my own specific vocabulary. My paintings are dream-like and non-linear and explore themes and symbols I believe are universal to most humans; desire, regret, isolation, and joy. Water often plays an important role.

Lover's Knot, oil on cradled panel, 48" x 40", 2017

Lover’s Knot, oil on cradled panel, 48″ x 40″, 2017

The Jetty, oil on cradled panel, 28" x 34", 2017

The Jetty, oil on cradled panel, 28″ x 34″, 2017

I use all kinds of painting media, although lately, oil paint is the medium of choice, which I find challenging and forgiving.

Paint box

Paint box

Lin Price's studio in Danby, NY

Lin Price’s studio in Danby, NY

The landscapes in my work are invented and abstracted, sometimes inhabited by single miniature figures, completely self-contained, creating a sense of aloneness and quiet as they focus on the task at hand. I enjoy surrounding the figures with unusual, unexpected, and mysterious events. The perspective is voyeuristic, one has the sense of peering in at someone’s private obsessions.

Sunrise, oil on canvas, 48" x 60", 2016

Sunrise, oil on canvas, 48″ x 60″, 2016

Fountain Maker, oil on canvas, 44" x 54", 2017

Fountain Maker, oil on canvas, 44″ x 54″, 2017

Margaret, oil on cradled panel, , 21" x 28 1/2", 2017

Margaret, oil on cradled panel, , 21″ x 28 1/2″, 2017

Corona, oil on canvas, 42" x 50", 2017

Corona, oil on canvas, 42″ x 50″, 2017

The paintings evolve with experience and accident, creating areas of texture and intimacy of touch, building a psychology into each environment. This is a challenging and fluid experience. One has to pay close attention when a painting starts to speak.

More of my work can be found at linprice.com


Six of Lin Price’s paintings can be seen in Dream State, on display through February 16, 2018. The exhibition also features photographs by Bill Finger (Seattle, WA), sculpture by Carrianne Hendrickson (Rochester, NY), and paintings by Matt Duquette (Buffalo, NY). Work from the exhibition can be previewed and purchased online. 

Inside The Artist’s Studio with Carrianne Hendrickson

Carrianne_ThenAndNow2

Left: Me when I was 10 years old, holding my cat (photo credit – Betty Rooker); Right: Working in my studio a few years later

My name is Carrianne Hendrickson and I have been practicing ceramics for 22 years. My main focus in clay is figurative and narrative based imagery that gravitates toward the unusual.

Graveyard near my childhood home

Graveyard near my childhood home

I believe my childhood experiences have had a pretty significant impact on the imagery I covet. Growing up living next to an old graveyard, and early exposure to Bosch and Bruegel paintings, may have also guided me toward developing an admiration for some of my more unusual image combinations.

This needs a caption

Box of my collected objects

I grew up in a rural community near Seneca Lake. I moved to Buffalo at age 17 for college, and lived there on the west side most of my young adult life. It was quite a drastic change from where I grew up. I didn’t own a car for a handful years so I traveled mainly by foot, by bike, or by bus (both day and night). A lot of unusual experiences were had because of this direct connection to the city that might not have occurred had I been in the driver’s seat of a car whizzing by everything. Eventually I had my “fill” of such experiences and bought a car.

I moved to Rochester, NY four years ago and my life is quite different now again, for unexpectedly wonderful reasons.

Work in progress and a curious studio assistant

Work in progress (including two pieces in this exhibition) and a curious studio assistant

My work in ceramics is primarily hand-built. My clay choice is usually low fire, however recently I have been working with cone 6 clay bodies and glazes.

Work in progress

Work in progress on “Child with Rabbit Ears”

I don’t usually have a completely concrete vision of what I am making when I start, but instead prefer to begin figures when the concept is more of a vague form in my mind.

The Dream (left) and The Cloud (right), two non-functional teapots included in the Dream State exhibition

The Dream (left) and The Cloud (right), two non-functional teapots included in the Dream State exhibition

You can see more of my work on my website: www.carriannehendrickson.com


Twenty-two sculptures by Carrianne Hendrickson can be seen in Dream State, on display through February 16, 2018. The exhibition also features paintings by Matt Duquette (Buffalo, NY), photographs by Bill Finger (Seattle, WA), and paintings by Lin Price (Ithaca, NY). Work from the exhibition can be previewed and purchased on Artsy.

Inside the Artist’s Studio with Matt Duquette

Matt Duquette

Matt Duquette

Being a 40-year-old commercial artist and graphic designer, gallery work has always been an idea in the back of my mind. I haven’t dedicated much effort to painting and showing because most of my creative energies are spent in the day-to-day of a design and illustration studio in Buffalo, NY. The gallery seems to be an allusive place where I’m required to be extroverted and share my thoughts and experiences. It does, however, offer an opportunity to create something purely for my own, with materials that allow for exploration.

While in school at RIT, I began to develop a loose, painterly style because I liked to convey action or even emotion of the moment. I was leaning more towards candid portraiture since most of my interests laid in music and sports. In 2000 I attended The School of Visual Art (SVA) in New York City to further develop my visual storytelling. Here, I began to include collaged elements—paper, photos, notes—to help explain the storyline and add visual texture.

Mixed media work from early 2000's

Mixed media work from early 2000′s

Many of my older paintings focused on personal life experiences or at least followed a surreal storytelling approach and almost always involved a figure. I was exploring concepts of home and family, along with the stresses of caring for an ill parent.

Matt Duquette

Figurative work “A New Day” & “Homesick”

A few years ago, after taking some time off from painting, I began drawing the chickens we raising on our small farm. It started merely as an exercise in making art, but I rather enjoyed it because there wasn’t much thought involved. I just drew pictures that I wanted to draw. That experiment has since sparked a number of paintings and drawings, and a new excitement which has allowed me to focus on style. I also get to talk about my chickens.

Matt Duquette

Chicken portraits

The series I worked on for the Dream State show a came at a time when my wife had just experienced a guided meditation dream involving an owl. Even before the show I knew that I wanted to do some type of bird interaction so it was perfect timing. Owl dreams have so many interpretations, but I did the best I could to remain close to her experience. The focus, of course, was the majestic owl guide in a outer space-like atmosphere.

Matt Duquette

Process detail

I’m most comfortable with acrylic paint because it’s fast drying, easy to control, and easy to clean up. It works well with collaged elements and layering of drawings. I typically work with washes of color to build the forms but quickly move to a dry brush technique to layer on the paint. I like to mix the color on the surface, so many times I’ll just use paint straight from the tube. For sometime I’ve used basically the same 6 colors: black, raw umber, burnt sienna, yellow ochre, pthalo blue, and gesso as my white. I only have 3–4 brushes that I’m comfortable using so I try to make it work with what little I have. Again, I would not classify myself as a fine artist.

Matt Duquette

Materials used for painting

You can view more of my personal artwork at mattduquette.com or follow my art and farming adventures on the Instagrams @matt12grain. Thanks for looking!


Five paintings by Matt Duquette can be seen in Dream State, on display through February 16, 2018. The exhibition also features photographs by Bill Finger (Seattle, WA), sculpture by Carrianne Hendrickson (Rochester, NY), and paintings by Lin Price (Ithaca, NY). Work from the exhibition can be previewed and purchased online. 

Meet the Artist in Residence: Kelly Clare

Kelly Clare is one of the current artists in residence at Main Street Arts. She will be working out one of the studio spaces in the gallery during the months of January and February 2018. We asked Kelly a few questions about her work and studio practice. 

Kelly Clare

Kelly Clare

Q: Tell us about your background
Right now I live in Benzie County, the smallest county in Michigan. It has only one full stoplight. Midwinter, there’s a frozen turkey bowling tournament on the ice, right out on the lake. I studied both creative writing and art at Knox College in Galesburg, Illinois, where there is also a lot of ice, but more stoplights, and an incredibly generous group of faculty and students. I spent the last year there as a Post Baccalaureate Fellow managing a letterpress shop.

tork, woodblock, 2 x 3, 2017

tork, woodblock, 2 x 3, 2017

Q: How would you describe your work?
Most of my work pursues a longer predicament. In thinking about language, for example, I often struggle with its collective nature—how can I use “carpet” when senators are suggesting “carpet bombing”; what do I do when the thing I love is used in both impossibly kind and impossibly cruel ways, and what is my responsibility as a participant in this human project.

from RAW DREADFUL CRAZE, 2016, an installation. Each word of a speech given by then potential Republican nominee Ted Cruz was affixed to a pin. Over the course of a few days, participants were asked to reorder words, allowed to reinstall and possibly salvage the language anywhere they’d like.

from RAW DREADFUL CRAZE, 2016, an installation. Each word of a speech given by then potential Republican nominee Ted Cruz was affixed to a pin. Over the course of a few days, participants were asked to reorder words, allowed to reinstall and possibly salvage the language anywhere they’d like.

08_Clare

At the same time, words have a physical, tangible echo to them when they’re spoken, drawn, molded out of lead, poured out in pancake batter. We absorb their vibrations, eat them as crackers, rearrange them so please gets to be elapse and asleep. There’s something playful there, but also almost holy. A pile of pretzels gets to be wheat and salt—miraculously harvested, ground up, cooked in giant ovens, packaged and shipped worldwide—but at the same time spells out I was and I was / whirling feathers, either bird — / Every hunger / is first century, lines from “Keats is Coughing” by Marianne Boruch. The shape gets to be two things, many things, at once.

Thank you, Grace Paley, installation, 2017

Thank you, Grace Paley, installation, 2017

To my mind, a lot of my work is built on a sort of serious play. Often, even when I’m not thinking about language, about the anagram, I’m invoking that sort of endless possible undo and redo in whatever medium I’m holding onto—printmaking, the essay, installations, sculpture, fibers, drawing, the poem. And I think, as an artist, I’m still getting my legs. I hope to spend most of my life getting my hands dirty like this.

here’s to you, charlotte the sky, 2017

here’s to you, charlotte the sky, 2017

Q: What is your process for creating a work of art?
I don’t know if I have a single, stable process. I show up, I think, mostly, or I try to. Some of my work functions in response to some long, articulable thought, something I can point to and say this anchorable fact is what I’ve been circling around all this time. Some of my work, especially more recent sculptures and drawings, come from impulse. Which isn’t to say they’re not deeply grounded in experience and gathered thought, but they’re much harder to talk about. I can tell you what paint, what sweater, what piece of wood, where the dirt came from, and I could sit with you for a very long time sorting through what the piece is doing successfully or unsuccessfully. I think there is more than one way to cross a river, and sometimes you’re tunneling underneath.

you wouldn't stop glowing, 2017

you wouldn’t stop glowing, 2017

Q: Who are your favorite artists and why?
The list is very long, and includes just as many writers as artists. Mary Ruefle, Eula Biss, and Marilynne Robinson have all been essential in shaping how I think of the world—there’s this thoroughness, integrity, and sometimes delight there in those essays and novels. And I have loved too many poets to name. Ralph Angel, Marianne Boruch, Heather Christle, Carl Phillips. James Tate. C.D. Wright. I feel like I’m writing a thank you note and forgetting everyone. I mean, I wouldn’t be myself without a whole summer of just reading Carole Maso. Or the time I’ve spent listening to Lorrie Moore, Don Delilo, Grace Paley. Not to mention my incredible friends and the faculty I’ve worked with.

straggler, 2016

straggler, 2016

It’s the same with artists. I’ve spent a lot of time thinking about Jen Bervin and Ann Hamilton’s respective bodies of work, their longer thoughts. I love Nina Katchadourian, Sarah Sze, Jessica Stockholder. I love Pedro Reyes piece, Palas por Pistolas, which I think is a brilliant instance of material transformation. The Fluxus movement and Rirkrit Tiravanija’s pad thai. Doris Salcedo, and Cathy Park Hong’s essay responding to her retrospective.

Everyone I gravitate towards thinks along different lines, but throughout there’s a longer, insistent pressure in their work, even when it’s incredibly playful. And I often think of them speaking to each other, across discipline, time, distance, movement. If you asked, I would draw you a little map.

The Work Is / The New York Times, 2015. Print project encompassing the entirety of one copy of the October 11, 2015 edition of the New York Times. After blackout poems were made from the news articles, the newspaper itself was shredded and remade into over 90 small booklets. Each booklet was printed with the blackout poems.

The Work Is / The New York Times, 2015. Print project encompassing the entirety of one copy of the October 11, 2015 edition of the New York Times. After blackout poems were made from the news articles, the newspaper itself was shredded and remade into over 90 small booklets. Each booklet was printed with the blackout poems.

Q: What are your goals for this residency?
I have a few threads I’ve been working on lately, playing with tactility and language, and I hope to stage an installation or two. I would like to continue my reading, drawing, and writing practices, but more than anything else I’m going to try to give myself permission to throw my efforts into serious play, into following the idea, the object, wherever it takes me. To listen in, and hard.

sprint / spring, 2017

sprint / spring, 2017

Q: What’s next for you?
After another summer in Northern Michigan, I hope to settle into an MFA program, fingers crossed.

 Q: Where else can we find you?
kellyclare.weebly.com


Kelly is leading two workshops during her residency at Main Street Arts: paper marbling on Saturday, January 20  and Japanese stab binding on Saturday, February 17. Sign up through the online gallery shop

Meet the Artist in Residence: Jane Waggoner Deschner 

Jane Waggoner Deschner

Q: Tell us about your background.
I grew up in Lawrence, Kansas, and moved to Montana 40 years ago. At the University of Kansas I studied urban geography (the only spatially-based social science). All my life I’d made things but being an artist scared me. After a few years in Montana I enrolled in an art class at the university. Over the next 7 years and through a divorce, I earned a second BA, this time in art. Photomontage emerged as my medium. In 2000 I decided I wanted to make “better” art so applied to and was accepted at Vermont College of Fine Arts, a low residency MFA program. Though it was a challenge to get from one obscure location to another twice a year, it was the perfect program for me. I earned my MFA in 2002 and my medium became the vernacular photograph.

Q: How would you describe your work?
When vernacular photographs became my medium at the end of grad school, I made large archival photo prints from scanned snapshots (anonymous family photographs) manipulated in Photoshop.

"from the underneath series (beach, sailboat)" 2007, 17 x 28 inches, archival print

“from the underneath series (beach, sailboat)”
2007, 17 x 28 inches, archival print

In 2007, fatigued by hours at the keyboard, I began hand-embroidering quotes into studio portraits. Adding famous persons’ words to vernacular images, I could ventriloquize thoughts my aging, maternal (increasingly opinionated) self wanted to express.

"from the maxim series (Wayne, pony, girl)" 2007, 7 x 5 inches, hand-embroidered found photograph collection of Marcie Rae McDade

“from the maxim series (Wayne, pony, girl)”
2007, 7 x 5 inches, hand-embroidered found photograph
collection of Marcie Rae McDade

Later I also added illustrative drawings and collaged images to my work.

"from the symbol series (Superman, goofy boy)" 2009, 11 x 12 inches, hand-embroidered found photographs

“from the symbol series (Superman, goofy boy)”
2009, 11 x 12 inches, hand-embroidered found photographs

"from the resilience series (Horne, I'm me)" 2011, 17 x 23 inches, hand-embroidered found photographs

“from the resilience series (Horne, I’m me)”
2011, 17 x 23 inches, hand-embroidered found photographs
collection of Tom Jones

Stitching by hand is a laborious, time-consuming process that provides me a satisfying, meditative intimacy with these mechanically-captured moments of unknown people’s lives.

"from the maxim series (Leger, beautiful)" front & back views 2011, 10 x 8 inches, hand-embroidered found studio portrait

“from the maxim series (Leger, beautiful)”
front & back views
2011, 10 x 8 inches, hand-embroidered found studio portrait

"from the vanitas series (Madonna)" 2016, 18 x 25 inches, hand-embroidered found photographs

“from the vanitas series (Madonna)”
2016, 18 x 25 inches, hand-embroidered found photographs, glass beads and holy cards

Q: What is your process for creating a work of art?
I’ve amassed an archive of ±65,000 vernacular photos, mostly snapshots and studio portraits, but some news photos and movie promo shots. I collect quotes from famous and ordinary people. I start with either a photo I’m attracted to or a quotation (or image) that resonates with me, then find its counterpart. I scan the photo then typeset the words or make a drawing in Photoshop. I tape the printed pattern over the photo; then poke holes that I later stitch through. 

Q: Do you have a job other than making art? 
I have lots of jobs and all are art-related. I also work as an exhibition installer, graphic designer, photographer, instructor, curator and picture framer.

Q: What are your goals for this residency?
WHAT: Since fall 2015 the primary thing I’ve been working on is a combinatorial project, “Remember me: a collective narrative in found words and photographs.”  “Remember me” integrates vernacular photographs with statements culled from family/friend-written obituaries.

To date, I’ve completed over #350 separate anecdotal pieces,

"Remember me: a collective narrative in found words and photogrphs" 2015–2017, sampling of pieces

“Remember me: a collective narrative in found words and photogrphs”
2015–2017, sampling of anecdotal pieces

a dozen group “motto” pieces,

"Remember me: motto (Golden Rule, Mike, Isabel, Jose, Ruth)" 2017, 14 x 20 inches, hand-embroidered Muralcraft Studios proofs

“Remember me: motto (Golden Rule, Mike, Isabel, Jose, Ruth)”
2017, 14 x 20 inches, hand-embroidered Muralcraft Studios proofs

and an “avid” diptych.

"Remember me (avid)" diptych 2017, each piece 25 x 31 inches, hand-embroidered studio proofs

“Remember me (avid)” diptych
2017, each piece 25 x 31 inches, hand-embroidered studio proofs

"Remember me (avid)" detail

“Remember me (avid)” detail

I’m currently working on a new piece to add to my “garment series,” an adult-size bowling shirt of stitched together snapshots that will be embroidered with #300 nicknames.

"from the garment series (t-shirt, school kids)" 2012, 19 x 22 x 2 inches, hand-embroidered found school portraits

“from the garment series (t-shirt, school kids)”
2012, 19 x 25 x 2 inches, hand-embroidered found school portraits

WHY: Obituaries and vernacular photographs have much in common. Both synopsize universal human experiences — loving, living, making and keeping memories ­— and were created for personal use. While each is unique, they are generic as virtually everyone has the same life goals, aspirations, accomplishments, hopes, dreams, desires.  Hand-embroidering text into photos intimately merges the two. The photos “read” the texts and vice versa, teasing pretension, tragi-comedy and profound truths about the human condition from sentimental artifacts.

"Remember me (JMT [MA])" 2017, 9 x 7 inches, hand-embroidered found studio portrait

“Remember me (JMT [MA])”
2017, 9 x 7 inches, hand-embroidered found studio portrait
“She was a woman who had seen 98 years of changes, but a woman becoming President was the one change she realized she would never be able to witness.”

This project, ultimately, intimately, illustrates our collective narrative. And in so doing, importantly reminds us, in this acrimonious age, of our commonalities. 

GOAL: To continue exploring the possibilities—following the tangents—I keep discovering as I expand this project (which continues to bring me joy everyday). 

Q: Who inspires you and why?
I’m continually inspired (and heartened) by the anonymous people I see in the photos I’ve collected and whose anecdotes I’ve found in obituaries.

Q: What type of music do you listen to? How does music affect your artwork?
I don’t listen to music when I work. When I made photomontages, I would distract my conscious mind by listening to TV soap operas (“General Hospital” and “One Life to Live”). These days while I poke holes or stitch, I find serial shows to stream. Having ongoing characters and story lines allows me to follow the “action” by only occasionally looking up at the screen. Also I’m still in the story when my mind wanders. I’m down to the last three episodes of “Prisoner in Cell Block H,” a 692-episode Australian soap opera from the early 1980s that takes place in a women’s prison. It’s wonderful!

H

Q: What was your experience like at art school?
Grad school changed my art life. The Montana city I live in just recently exceeded 100,000 inhabitants and continues to be the largest city for 500 miles in any direction. For art and culture, it’s an isolating place to be from. VCFA is a low-residency, self-directed program in which both the faculty and the students come from across the US twice a year for an intense week. My horizons expanded, both personally and professionally. I learned to think more critically and, as a result, came out making better art. The ways I was taught to think and learn continue to serve me well. “Remember me” in many ways circles back to the combinatorial collaborative project I did as my senior thesis exhibit, “The Anchor Project.”

Q: Do you collect anything?
My most extensive collection is found photographs. They sit around my studio in ±100 6 qt. plastic storage boxes; ±50 3” looseleaf notebooks; 34 4” x 6” photo albums; and various stacks, piles and boxes. Every day I write anecdotes I find in obits on 3 x 5 inch index cards. I now have some great ones from all 50 US states and most Canadian provinces.

I also collect found pencils, poultry wishbones, Dia de los Muertos artifacts, desiccant packets, run-over bottle caps, pressed souvenir pennies, McDonald’s collectable glass mugs (Batman Forever and Flintstones) and have a growing number of my own artworks in the storage closet.

Dia

Dia de los Muertos collection

Q: What is the most useful tool in your studio?
My two pairs of eyeglasses (trifocals and computer glasses). But I couldn’t make art without my 27” iMac, photo scanner, laser printer, Scotch Magic tape and homemade hole poker.

Q: What advice would you give to other artists?
The best advice I ever received was midway through grad school when one of my advisors said, “When you know why you choose the images you choose, you can choose more and better.”

Q: What’s next for you?
“Remember me” will be the centerpiece in a solo exhibition of my work with found photos at the University of Michigan–Dearborn in 2018. I’m exploring book possibilities and looking for other exhibition opportunities.

Q: Where else can we find you?
www.janedeschner.com www.facebook.com/jane.deschner www.facebook.com/janewaggonerdeschner/ www.instagram.com/janedeschner1/

Inside The Artist’s Studio with Colleen Pendry: What it means to be a Hybrid Artist

For the artist, the process of “making” may appear aloof. We are independent thinkers, and for the most part are reserved. We pride ourselves in our separateness, however, we, or at least I, find great energy in the overall closeness we have with others through the sharing of our work.

Over the past 50 years, my work has taken on many forms. From copying “how to be an artist” matchbook covers when I was kid, to watercolor painting in the early seventies to oils and pastels in the eighties. In those early years my work was primarily seated in a two-dimensional realm, but, I always thought there was something missing. My aesthetic conversation seemed to be stifled…nothing more to say on a flat surface. The pretty pictures were simply that…pretty…lacking content and an extended dialogue.

Little did I know how growing up in the 1960′s, would truly impact my work. As history continued to repeat itself in the art world, I could see the same happening in my own work. The regurgitation of memory and materials, over and over again, began emerging as a relentless new discourse. Multiplicity, multiplicity, multiplicity.

Testimonial IV (2011) mixed media on acrylic panel

Testimonial IV (2011) mixed media on acrylic panel

Testimonial I (2011) mixed media on acrylic panel

Testimonial I (2011) mixed media on acrylic panel

My work made a significant departure from painting throughout the nineties when I began to merge genres and combine disparate materials and techniques. From a metaphorical standpoint this was the perfect path in pushing not only the making process, but  content as well. “There is a story to be told”, my mother always reminded me, and “you just need to find a way to tell it.”

As painting began to be pushed off the wall and then stripped totally from a traditional gallery installation, the dialogue changed, becoming compelling in both form and intent.

If This Wall Could Talk (2012) mixed media and light

If This Wall Could Talk  (2012) mixed media and light

 A Room with a View (2012) mixed media installation

A Room with a View (2012) mixed media installation

If you visit my studio you will find a great deal of stuff as I continue to embrace this new identity. I have found these collections of nothing a relevant source of material in most of my work and an endless reflection of the stuff in my head. This following series of small narratives, which had been brewing for quite some time, emerged from the studio in a most unexpected way.

In this series titled Where Have All the Flowers Gone, my intent was not to reveal any conclusions, but, force an inquisition, and open ended conversation about concepts relating to objectivity, political correctness, preciousness, humility and humanity. Underlying themes are complex and uncomfortable and meaning is uncertain. This particular work can be described as an intellectual layering by way of circumstance. Captured on shelves and in pristine plastic boxes familiar objects appear tangible yet illusive. Juxtaposed with the silhouette, memory becomes a source of meaning, albeit complicated and skewed. This circumstantial evidence, left to its own devices, has the potential to elicit from viewers the unexpected.

Because You're Worth It (2017) Gelatin capsules, silhouette, Barbie, wire, acrylic

Because You’re Worth It (2017)
Gelatin capsules, silhouette, Barbie, wire, acrylic

In a Heartbeat (2017) Shell casings, pedestal, silhouette, American Flag, toy gun,barbed wire, acrylic

In a Heartbeat (2017)
Shell casings, pedestal, silhouette, American Flag, toy gun, barbed wire, acrylic

First Responders (2017) Ashes, silhouette, Bible, Koran, ribbon, acrylic

First Responders (2017)
Ashes, silhouette, Bible, Koran, ribbon, acrylic

See Jane Run (2017) Doll parts, silhouette, Mary Jane shoes, acrylic *Where Have All the Flowers Gone – photography by Jeremy Leadbetter

See Jane Run (2017)
Doll parts, silhouette, Mary Jane shoes, acrylic
*Where Have All the Flowers Gone – photography by Jeremy Leadbetter

From this series came the work currently in the Small Works Exhibition at Main Street Arts.

Nature/Nurture (2017) Cicadidae shell, paper, beeswax, pedestal, silhouette, gold bands, string, acrylic

Nature/Nurture (2017)
Cicadidae shell, paper, beeswax, pedestal, silhouette, gold bands, string, acrylic

Nature/Nurture - detail

Nature/Nurture – detail

Nature:Nurture (2017) Cicadidae shells, handmade paper, crushed wasp next, baling twine, Swarovski crystal, synthetic pearl (collectively)

Nature:Nurture (2017)
Cicadidae shells, handmade paper, crushed wasp next, baling twine, Swarovski crystal, synthetic pearl (collectively)

As an homage to the wondrous images of Robert Mapplethorpe and the eternal debate of nature vs nurture, these works continue. The juxtaposition of form and content seem contradictory…makes sense I think.

Nature:Nurture IV Cicadidae shell, handmade paper, silver thread, silver beads

Nature:Nurture IV (2017)
Cicadidae shell, handmade paper, silver thread, silver beads

Nature:Nurture V (2017) Cicadidae shell, handmade paper, snakeskin

Nature:Nurture V (2017)
Cicadidae shell, handmade paper, snakeskin

Nature:Nurture VI (2017) Cicadidae shell, handmade paper, snake skin head

Nature:Nurture VI (2017)
Cicadidae shell, handmade paper, snake skin head

Thank you to Main Street Arts for the opportunity to share this work. I am truly grateful.

Colleen Pendry


Three of Colleen’s “Nature:Nurture” pieces are currently on display in Main Street Arts’ fourth annual “Small Works” exhibition (juried by Cory E. Card, former curator at View Arts Center in Old Forge, NY). The exhibition runs through January 4, 2018 and can be previewed onlinestore.mainstreetartsgallery.com

 

Inside the Artist’s Studio with Hedy Yang

I am a 21 year old artist at Michigan State University, majoring in ceramics and minoring in entrepreneurship. I started a small business in college, and plan on growing it after I graduate in May of 2018.

Photo

Photo credit: Mackenzie Bogema

Believe it or not, my career as an artist started pretty unintentionally. My high school required that we take a certain number of art classes in order to graduate, so I decided that ceramics seemed like the most interesting of the available options. Little did I know, I would fall in love and it would become my passion.

IMG_4737

IMG_6136

It was the summer before my junior year that I really found my niche. I had always been interested in elements of nature; marble, crystals, rocks and the endless interesting textures you can find. It seemed like in the last year or two, marble has become a very glamorous material. It’s often associated with class and luxury, due to it’s high price.

Every girl at school had a marble laptop case, phone case, or something to that effect. I was definitely one of those people as well, and I wanted to figure out how to make classy, chic looking pottery that imitated marble. I discovered the bubble glazing technique through a fellow artist, Robert Crisp, at the studio I attended. After a few rounds of testing, I started posting pictures and videos of my process and results online that became somewhat viral. My work has been shared by major Facebook accounts such as InsiderArt, Buzzfeed, Elle Décor, and many more.

IMG_4893  IMG_4904

Here is a photo of my process; I use a small container filled with glaze, drizzle a few drops of dish soap in it, and blow with a straw. When that mixture bubbles up over the edge of the container and pops against the piece, you are left with a crisp outline of those glaze bubbles, which mimic the veining in marble.

4

All my pieces are thrown and textured with precision, while the glazing part of my process brings a lot of uncertainty in the color and shapes. It took me over a year to finally feel like I was close to getting the hang of “bubbleglazing”, where I could feel consistently pleased with the results I was getting. With a lot of trial and error I was able to introduce other colors to create an entirely different style, and I plan to continue innovating and growing my style.

You can find more information about me and my work on Instagram , Facebook , or at my website


Two of Hedy’s cups are included in our national juried exhibition of drinking vessels, “The Cup, The Mug” (juried by Peter Pincus, educator and ceramic artist from Rochester, N.Y. Preview and purchase work from the exhibition through January 4, 2018: store.mainstreetartsgallery.com