Tag Archives: Landscape

Inside the Artist’s Studio with Phyllis Bryce Ely: Not My Father’s Iceberg

Joseph Loder Bryce

Joseph Loder Bryce

I began painting this series after the loss of my father, Joseph Loder Bryce, in 2015.

Loder served in the US Navy as a photographer aboard the Icebreaker USS Edisto in the early 1950s during the cold war era. His ship supported the installation of the Distant Early Warning Line (DEW Line) in the Arctic region with a mission to dramatically reduce the warning time of possible Soviet attack. The DEW Line, along the 69th parallel, was the northernmost radar system, taking my father into the Arctic region with his camera to photograph sea and air missions, life aboard the ship, and the extreme beauty of the Arctic landscape and its inhabitants.

Photographs by Joseph Loder Bryce. Caption of lower left photo reads, "Aerial view of the Edito, note the paths we made by circling about in the ice. Sondrestrom, Greenland. 5/18/54."

Photographs by Joseph Loder Bryce. Caption of lower left photo reads, “Aerial view of the Edisto, note the paths we made by circling about in the ice. Sondrestrom, Greenland. 5/18/54.”

I grew up with boxes of these photographs in my life; they were a perennial choice for “show and tell” in grammar school and I loved to share the exotic icebergs, people, polar bears, and frozen ships with my friends.

The images, shapes, places and people I “knew” but never met became a visual foundation for me. I now know I was influenced by my father’s eye for composition, shapes, and light as well as his interest in telling stories that come from landscape. These attributes have become the very context of my nearly 40 years of art-making.

"On my easel: ice formation off Greenland with kayaker, working from my Dad's photos." July 26, 2017

“On my easel: ice formation off Greenland with kayaker, working from my Dad’s photos.” July 26, 2017

After Loder’s death, I found myself engaging with his photos yet again and was struck and inspired by the old familiar shapes and simple colorless format. No longer able to hear my father’s stories about the pictures, I started a new conversation with my paintbrush. I began with no plan in mind as I painted one iceberg, then some polar bears, and then a ship…one by one the photos found their way into my studio. Working on these paintings was a form of meditation for me.

Detail of painting "Exodus"

Detail of painting “Exodus”

My first paintings were in oil on a vivid red ground I typically use when painting en plein air. The vibration of the limited, cool palette against the red quickly appealed to me; I connected with the raw edges of color as I worked, excited by how the colors created an emotional response and competing feeling of calm and urgency. I also chose to work in encaustic wax because of the rich texture and intimate scale made possible in that medium.

Photograph by Joseph Loder Bryce (left) and detail of encaustic painting "Ice Journey" by Phyllis Bryce Ely.

Photograph by Joseph Loder Bryce (left) and detail of encaustic painting “Ice Journey” by Phyllis Bryce Ely.

As I finished each painting I tucked the work away with no particular plan for sharing them,  but knew I wanted them to be together. On New Year’s Eve, I set a goal of pulling the photographs and paintings together for a show, which ultimately led to this exhibit.

"Not My Father's Iceberg" exhibition at Main Street Arts

“Not My Father’s Iceberg” exhibition at Main Street Arts

"Not My Father's Iceberg" exhibition at Main Street Arts

“Not My Father’s Iceberg” exhibition at Main Street Arts

I am grateful to gallery director Brad Butler for his early interest in these paintings, which he first saw when my first iceberg painting was juried into the Utopia/Dystopia exhibit at Main Street Arts in 2017 and was awarded “Best in Show.”

Phyllis Bryce Ely with her painting from "Utopia/Dystopia" (left); Joseph Loder Bryce (1930–2015) at an exhibition of his photographs in 2014

Phyllis Bryce Ely with her painting from “Utopia/Dystopia” (left); Joseph Loder Bryce (1930–2015) at an exhibition of his photographs in 2014

Please enjoy my contemporary consideration of a decades-old Arctic landscape that once was my father’s place in the world. 


Not My Father’s Iceberg, a solo exhibition on the second floor at Main Street Arts, presents paintings by Phyllis Bryce Ely made in response to photographs taken by her father, Joseph Loder Bryce. The exhibition runs August 3 through September 15, 2018 and can be viewed on the gallery’s Artsy page.

 

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 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 Victoria Connors: Fiber Art

Growing up in the Finger Lakes, the regional terrain has shown me the peace and beauty of nature. I have always enjoyed the process of creating, using landscape and surrealism as my main passions for expression.

I was first introduced to fiber arts and needle felting in June 2014 while volunteering in Rochester.  I saw an inspiring felting demonstration, and from there I began creating my own needle felt paintings and pushing myself to new limits with this medium.

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Needle felting is the process of taking wool and slight stabbing it with felting needles to make felt. I first lay down the dyed wool into the design I want over a piece of prefelt (often wet felted wool), then with the felting needles I begin to slight stab and push the wool down in the felt which flattens it.

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I use layers of wool and wet felting to give more dimension to my pieces. My  fiber art creations combine the skills I’ve learned from oil landscape painting and creating felt hats.

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These different techniques have led me to use fiber as a painting medium that combines texture in 2-D and 3-D dimensional forms, giving my arts its own unique appearance.

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I’m inspired by the landscapes in my local community, mostly scenes from Cayuga, Seneca, and Canandaigua Lake. Hay bales, country atmospheres and my own life experiences, have all influenced my artwork.

winter hay bales, lodi

Nature is my center and capturing the beauty of nature is my mediation. I do as much of my landscape outside in the very environment that I am capturing. I plan to keep pushing my boundaries of needle felting by doing more large scale felts that highlight 3-d relief aspects with striking details.

Follow Victoria’s artwork on Facebook. Stop by Main Street Arts to see her artwork in our current exhibition, Fifty Landscapes (runs through May 13). Take a look at our previous Inside the Artist’s Studio blog post by KaKeART Collaborations.

Inside the Artist’s Studio with Phyllis Bryce Ely: Look Out the Window

“Look out the window.” My mother said that to me again and again. If I was bored, she would say, “Look out the window, what do you see? Make something to tell me about.” If I complained of long trips in the car she would say, “Look out the window.” Over time we drove and we drove and I looked and looked, and in my head I practiced drawing lines and shapes. I tried to count the different kinds of blues and greens I could see. I thought about how I could mix colors of paint to match what I saw. I wondered about the bright and dark places in clouds, and I wondered why the full moon followed our car so perfectly. That’s when I began to feel the need to move the images in my head onto paper and canvas.

Me and the Moon, pastel, Canandaigua nocturne

Me and the Moon, pastel, Canandaigua nocturne

Becoming an Artist
I have a distinct memory of deciding I was an artist while sitting on the dull brown carpet of our living room floor in front of our black and white television watching Captain Kangaroo and waiting for the “Magic Drawing Board” segment. Every morning I waited with oatmeal cartons, crayons, paper, scissors, and glue—anything the Captain may tell us we needed for the day’s project. My mother kept me stocked and ready. When Magic Drawing Board finally appeared, I loved watching the dark lines appear out of nowhere on a white board. In moments, a complete drawing would emerge. To me, that was truly magical. I clearly remember deciding I would be just like magic drawing board and I set about the business of making art.

Uncle Deek and the Endless Paper
My Uncle Deek worked at the Democrat & Chronicle and would bring my sister and me endless reams of fresh, plain newsprint for drawing. I loved when a new pile would arrive. I was small and the paper was large—more magic. Today, I get the same thrill when I visit the astounding paper room at Rochester Art Supply.

My First Studio
My parents built a new house when I was six. Many of the rooms remained empty as they saved money to buy furniture. I thought the empty rooms were great, so many places to make things! I remember my “64 ounce Welch’s Grape Juice can period” when I built giant sculptures and rockets snaking throughout the house (this was the Apollo space era). I had important projects and paintings in every room. That was about the same time my friend and I made “Jackson Pollock art” in her family’s newly finished basement. Without a strong grasp of physics, we weren’t paying attention to the paint flying off our brushes on our backstrokes as we hurled paint at a canvases shouting “Jackson Pollock!” I was sent home, and she was left to clean the basement walls and ceiling. As I remember, the paintings were pretty good.

Getting Serious
Throughout school, my teachers encouraged my artwork (“Phyllis’ creativity should be encouraged”). In high school, I began to think seriously about developing a portfolio and applying to art school. My art teachers coached me through the process and I ended up at RIT with a degree in painting and printmaking in 1981. I still recall conversations, critiques, and ideas that inform my work today. Friendships have endured, certain colors remind me of certain people, and challenges from gifted teachers like Bob Heischman, Bob Cole, Judd Williams, Phil Bornarth, and Ed Miller still resonate.

On My Own
After my RIT years focused on figure painting, I popped into the world ready to make art. I had relied so heavily on the figure that I floundered alone in my studio. Eventually I realized my mother had already told me what to do—I only needed to look out the window. I found myself sitting in Ellison Park, learning that the hills, trees and sky offered me the familiar shapes of the human body. More magic! My favorite place to make art is sitting on the ground in a beautiful place trying to describe my experience with paint and pastel.

Painting at Durand Eastman Park

Painting at Durand Eastman Park

Painting at Durand Eastman Park

Painting at Durand Eastman Park

Today
I have been painting landscapes en plein air in the Rochester/Finger Lakes region for more than 30 years. My paintings offer a narrative of color, movement, shape, light, and pattern through rolling fields, moving water, and dramatic skies. Features of the landscape become characters in the story as I paint the places I love to be. In the studio, I work from still life compositions and use my plein air work as source material to further explore and indulge in the shapes and colors I enjoyed in the field. Whether in the field or studio, my paintings simply explore the idea of place. I feel I am successful when viewers feel a connection to the place I offer or remember a favorite place of their own.

After the Storm, acrylic, Philbrick Park, Penfield

After the Storm, acrylic, Philbrick Park, Penfield

"Little Pine Between, Adirondacks", Acrylic on panel, 8" x 10", 2012

Little Pine Between, Adirondacks, Acrylic on panel, 8″ x 10″, 2012

Small is BIG
My mom wasn’t an artist but I believe an artist’s spirit was in her somewhere. She died of Alzheimer’s in 2012. It occurred to me while writing this blog that in her final months I would draw pictures of the view out her window while she watched. I just made that connection. Watching me draw soothed her.

Artists’ work is always changing, but our small beginnings are fixed. I’m grateful to the people in my life who knew my need to make art was big.

You can see more of Phyllis’s work at her website, www.behance.net/phyllis_bryce_ely. Or stop by Main Street Arts through December 29, 2014 to see two of her landscape paintings in person.

Check out our previous Inside the Artist’s Studio blog post by encaustic artist, Virginia Cassetta.

“Paintings, Made Outdoors” by Terry Oakden

Terry Oakden currently has a solo exhibition Upstairs at Main Street Arts. “Painting, Made Outdoors” includes expressive oil and acrylic paintings on paper and board made outside and in the Finger Lakes region.

Terry Oakden, "Through the Vineyard 'Seneca'", Acrylic on board

Terry Oakden, “Through the Vineyard ‘Seneca’”, Acrylic on board

These paintings are full of vivd and sometimes unexpected colors. Splashes of bright pink contrast with bright green grass, swaths of red, blue, and yellow create deep, beautiful skies.

Terry Oakden, "Addison", Acrylic & oil on board

Terry Oakden, “Addison”, Acrylic & oil on board

Terry Oakden, "St. Mary's 'Corning'", Acrylic on board

Terry Oakden, “St. Mary’s ‘Corning’”, Acrylic on board

The exhibition combines paintings on paper with paintings on panel, emphasizing the spontaneity of Oakden’s work. His brushstrokes have a loose quality that add so much emotion to what would otherwise be a simple landscape.

Terry Oakden, "Paintings, Made Outdoors"

Terry Oakden, “Paintings, Made Outdoors”

Stop by to see Terry Oakden’s solo exhibition Upstairs at Main Street! His work will be here through September 27, 2014. You can see more information about exhibitions at Main Street Arts here.

Exhibition Dates: August 5–September 27, 2014