Tag Archives: land and sea exhibition

Inside the Artist’s Studio with Adam LaPorta

In 2001 I was given a Pentax k1000 camera as a gift from my parents. It was a send off gift as I was headed to art school that year.

Little did I know that I would always be drawn to the lens.

Over the past eight months I have realized the gift I was given was too far removed from my life, and in January 2018 I stepped back into my role as an artist.

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Artist Adam LaPorta

I wanted to reignite an idea I had from 2006. The idea related to my earlier macro works, which I always wanted to take it to an elevated level.

Capturing patterns and shape at macro and microscopic magnifications distorted the placement or recognition of something someone so commonly understood, to becoming unfamiliar with it.

Below are images shot from my years at the Cleveland Institute of Art, 2004 – 2006.

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Earlier work by Adam LaPorta

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Earlier work by Adam LaPorta

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Earlier work by Adam LaPorta

I have always been intrigued by the repetitious and structured patterns life so beautifully creates. We pass by so many places/items daily and never think to give something a different look…a new perspective.

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Earlier work by Adam LaPorta

In taking my process to an elevated level I began to explore life from new heights. Turning a path someone so commonly walks on, into something graphic and different, giving them a new perspective.

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The artist getting a new perspective

What makes this process so exciting to me is the ability to remove our awareness of place, taking a viewer’s eye into patterns and shapes by abstracting space.

The surroundings of color, objects, weather, and seasons all play an important role influencing my canvas.

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“Unknown #3″ by Adam LaPorta, included in the Land & Sea exhibition

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There is still so much to learn about my process, especially finding out how different seasons will influence what I capture and why I want to capture an area.

Right now I am just grateful to be creating once again. I have many ideas I would like to bring to fruition. If I continue to be consistent with my work then my ideas will continue to consistently grow into stronger creations!


Adam LaPorta is one of 28 artists featured in “Land & Sea”, a national juried exhibition of landscapes and seascapes juried by Deirdre Aureden, director of programs and special projects at the Schweinfurth Art Center in Auburn, NY. His photographs “Unknown #1–3″ won a juror’s choice award. The exhibition runs through June 29, 2018.

Inside the Artist’s Studio with June Szabo

Most of my work begins with the natural world, often in a particular landscape. Sometimes a place finds me and sometimes I look for a location that illustrates the idea I am working on. I spend many hours exploring and researching the history and geology that formed the place I have chosen. I find myself making comparisons and creating metaphors between the events that shaped the land and the actions that shape our lives.

Artist June Szabo

Artist June Szabo

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Inspiration

To understand what each place has to teach me, I write about the connections I make in poetry and prose. The following contemplation on the purpose of scars was a comparison between glacial formations (scars on the land) and the scars that we carry.

Relics of Our Story – Mendon
June B W Szabo

Considering the damage we do to ourselves and others;
I looked to the landscape to ponder the purpose of scars.
Above and below the surface is a record of events that have left a lasting impression:
Kettles, kames and eskers, are divots, knobs and welts,
caverns, caves and sinkholes are mania and despair.
Forgotten and remembered these marks and inklings are the relics of our story,
scars and impressions resolved and unresolved.
When we stop scratching, scraping and digging like a glacier,
our wounds begin to heal.

"Relics of our Story – Mendon"

“Relics of our Story – Mendon”

The process I use to create my sculpture is also a metaphor for a connection between nature and human behavior. The layers of wood, which give my forms depth and dimension, reflect growth in nature and the layering of the earth. Wood sculptures are formed by cutting and stacking lumber, which is joined with glue, clamps and wooden dowels. Each layer in a landscape sculpture represents an elevation on a topographical map.

Work in progress

Work in progress

Work in progress

Work in progress

In addition to wood sculptures, such as the one seen in Land & Sea, I also weave. Weaving creates thousands of connections and intersections. I warp my loom with copper wire and weave panels that are folded, pleated and bent into three dimensional forms. These bonds are sometimes unseen, but necessary for the final woven product to exist. They are a metaphor for the connections that hold our earth together.

Weaving

Weaving

Weaving

Weaving

For me each process has come to represent and illustrate the interrelated, interdependence of all things.

Comparison is the estimation of similarities and differences. Metaphor suggests a likeness as we speak about one thing as if it were another. My sculptures are reflections on questions that occur to me as I consider our place in the world. They take the shape of landscapes and natural forms. They may include an area that covers inches or hundreds of miles. The sculptures are not exact replicas of a particular place or thing, but partial abstractions representing ideas that surface as I consider each place and how it was created. They are comparisons between the forces and forms found in nature to human inclination and behavior.


June Szabo is one of 28 artists featured in “Land & Sea”, a national juried exhibition of landscapes and seascapes juried by Deirdre Aureden, director of programs and special projects at the Schweinfurth Art Center in Auburn, NY. The exhibition runs through June 29, 2018.

Inside the Artist’s Studio with Jim DeLucia

I have always been creative as far back as I can remember. It wasn’t until I went to college that I began to paint. I mean really paint. I earned my BFA in 2002 and didn’t officially become a full-time artist until 2013.  Soon after, I shifted into the role of stay-at-home dad and nighttime painter. And here we are.

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My current studio set up, my basement.

These are my favorite brush sizes and palette knife shape.

These are my favorite brush sizes and palette knife shape.

My painting Salt Life is a loose representation based off a photo from a mini vacation to Florida. I was visiting a friend who moved there from Rochester. He would always say “It’s the salt life, Jim.” I don’t really venture out into water, but there is something about the ocean that just gets me. Always changing. That’s attractive to me.

Salt Life, Oil on paper.

Salt Life, Oil on paper.

All my work is oil paint and graphite on canvas or paper. My style and subject matter has seemed to change over the years but the materials have remained. Landscapes , dogs, patterns and pink are the usual suspects in my work. I’m kind of all over the place.

Stella, Oil and colored pencil on canvas. Current pet portrait work in progress.

Stella, Oil and colored pencil on canvas. Current pet portrait work in progress.

I am currently painting pet portraits, figuring out Adobe Illustrator, and trying to finish a children’s book influenced by my daughter’s pink boots.

Pink Boots #14, graphite and colored pencil on paper. A page from children's book project.

Pink Boots #14, graphite and colored pencil on paper. A page from children’s book project.

You can see more of my work at  www.jimdelucia.com or @jimdelucia on Instagram.


Jim DeLucia is one of 28 artists featured in “Land & Sea”, a national juried exhibition of landscapes and seascapes juried by Deirdre Aureden, director of programs and special projects at the Schweinfurth Art Center in Auburn, NY. The exhibition runs through June 29, 2018.

Inside the Artist’s Studio with Ruth LaGue

I grew up in Alaska, awed by the incredible vastness of the wild landscape. Gazing at the expansive skies and majestic mountains as a girl, I recognized that I was a small part of something much larger than myself.

"Migration" by Ruth LaGue, Best In Show winner in Land and Sea at Main Street Arts.

“Migration” by Ruth LaGue, Best In Show winner in Land and Sea at Main Street Arts.

Traveling through India in my twenties, I became consumed by the landscape of the spirit — that limitless interior universe that lives in each of us. The marriage of the two experiences ignited a lifelong quest to connect the outer and inner within my paintings.

To me, landscapes represent fragments of time that will never be again; intimate moments of communion with something greater than myself; quiet meditations to which I bear witness.

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Work by Ruth LaGue

The most exciting part of the creative process is observing the juxtaposition of colors and textures as they form a depth of field — how a simple dark line next to a light field of color can come alive.

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Ruth in her studio

I use palette knives, mixing colors on the surface of the canvas and using visual economy in my work, reducing the landscape to its barest form.

I rarely come to the studio with an idea of what I’m going to paint but rather listen for the inspiration from within.

I always wanted to go to art school. I applied and was accepted to the Rhode Island School of Design to study graphic design; after graduation I began a career as a graphic designer and later as a web designer. Ten years ago, I found a studio space at the Gorse Mill Studios in Needham, MA and began painting. I’m grateful I’ve had the opportunity to explore two very different aspects of my professional life.

I can be found online at www.laguewax.com, on Instagram: @ruthlague and on Facebook: @Laguewax


Ruth LaGue is one of 28 artists featured in “Land & Sea”, a national juried exhibition of landscapes and seascapes juried by Deirdre Aureden, director of programs and special projects at the Schweinfurth Art Center in Auburn, NY. Ruth’s painting “Migration” won Best In Show. The exhibition runs through June 29, 2018.

Inside the Artist’s Studio with KS Lack

I started working with letterpress almost eight years ago, when I was looking for a way to print a mixed-media piece for a gallery in Brooklyn. I fell in love with the medium:  the richness of the inks, the juxtaposition of typography and imagery, how different paper types interact with ink and pressure—the list goes on. There are so many ways to create something unique, even if you are making multiples.

I also write poetry and both facets of my work have a profound influence on one another. There is poetry in presswork. Nothing makes you understand the weight of words like laying them out by hand.

Laying out type at the London Centre for Book Arts

Laying out type at the London Centre for Book Arts

Squall and Sunset, the two pieces featured in the Land and Sea exhibition, were printed at the London Centre for Book Arts. The prints were created on a Stephenson Blake press, a manufacturer that is common in the UK but rare in the US. For a pressure print, the ink is applied to a base instead of onto the rollers. The paper is then rolled over the ink, and the weight of the press is what makes the print. The cylinder on this Stevie B is very heavy, which makes for great pressure. As for inks, the LCBA has a wonderful collection of vintage, oil-based inks that were great fun to play with.

Some of the vintage orange inks at the LCBA

Some of the vintage orange inks at the LCBA

Printers love this Stevie B model because it has a very wide bed. This let me print on 22-inch squares (I used Redeem 130gsm, a 100% recycled paper), which are quite large for a single letterpress page. I printed each piece four times; the paper became so supersaturated with ink that it took over a week to dry.

Prints drying on the racks

Prints drying on the racks

Finished prints

Finished prints

Then I took the plunge and cut each sheet into four strips.

Cut down to size

Cut down to size

While living in the UK, I was particularly struck by the vitality of the countryside. Everything seemed so lush—the sea off Cornwall, fields of grass and hay with poppies growing by the side of the road, summer sunsets and rainy days—it was all on my mind as I mixed and applied the ink.

The individual strips were getting overwhelmed when mounted with traditional matboard. I decided to use acrylic for the front and back, allowing the vibrancy of the inks to stand out. I also like how the colors seem to float within the frame when hung on a wall. 

RBR  for R&T

RBR for R&T

Green Flash

Green Flash

As a person with a long-term disability, I find there is a lot of synergy between my art and how I try to live my life. Working on a press could be all about its limitations. Instead, I find that the structure inherent in presswork grants me greater freedom by giving me something to lean on. I may not always be able to hold a pen, but I can create something beautiful by working within the constraints of the press in order to transcend them.

You can find out more about my work at my website: www.zitternpress.com.


KS Lack is one of 28 artists featured in “Land & Sea”, a national juried exhibition of landscapes and seascapes juried by Deirdre Aureden, director of programs and special projects at the Schweinfurth Art Center in Auburn, NY. The exhibition runs through June 29, 2018.