Tag Archives: Main Street Arts

Inside the Artist’s Studio with Colleen Griffin-Underhill

It is such a treat to be asked to write about my work!  It’s always been somewhat secretive and secondary in my life but I’m thrilled to be letting it shine a bit in the exhibit at Main Street Arts.

silo w orange in process

Silo with orange in process

After 15 years as the buyer and manager of the lovely Gallery Store at MAG, I am now the GM of Hart’s Local Grocers—plus the mom of 2 boys and a compulsive furniture re-arranger.  Sometimes I joke that I run the grocery store in my free time but the reality of course is that it is typically the other way around. I’ve learned to take good notes when inspiration comes flying at me and to allow the whole process to ebb and flow as time and life allows.

Making things and playing with color makes me tick.  Putting paint on a brush and playing with how it flows and mixes with other hues is just heart-racing exciting for me.

brushes

Brushes

When my boys were very little, the paintings and collages I had been making for many years became too time (and space) consuming.  Around that time I started making polymer clay shapes and beads to paint. Working in small chunks of time moving back and forth between just painting and then composing the finished pieces later, gave me the time to focus on what I wanted; mixing patterns, pushing color play and finding a rhythm to the way shapes work together.

pallettes

Pallettes

About 4 years ago I started learning to work with metals and integrating sterling silver components into the work. I’ll continue to explore where this goes as I practice more metal-smithing.  Adding something new—a tool, material or a thing in my head that kicks in and gives me a new way of working, feeds my creative process.

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My new studio space

This body of work is the most I ever made in one burst.  Early this year we moved our 11 year old up to the attic and this spare room became my studio space.  It has been such a luxury to start and stop freely and to sneak in there before work or late at night when everyone sleeps.  Keeping the work breathing and spread out before me each day allowed me to push into new realms and build off of earlier concepts to fully enjoy the design process.

studio sketch

Studio sketch

So much of what was in my sketchbooks came to life this year including the “drills” pattern featured on many items.  In planning our summer garden I found myself thinking about rows of holes for seeds… the boys probably dropping two in here and 12 in there and the dots kept creeping into my sketchbook, some larger, some smaller for seed size.  The dots wander around this work I’ve made and the garden never happened…so it goes.

drills brooch in process

Drills brooch in process

I’m always fascinated and eager to see the artist’s hand in their work.  I try to celebrate that and I never worry too much about the imperfections that happen along the way.   The process of creating plus the thrill of seeing my work worn and worked into a someone’s personal style is what keeps me making it.

My work is sold at Main Street Arts, MAG, Andrea Geer Designs and occasionally on my website — ceegeeu.com.


Stop by Main Street Arts to see Colleen’s work in our current exhibition “Multifaceted: An Exhibition of Fine Jewelry” through August 18, 2017. Colleen’s work from the exhibition is also available for purchase in our online gallery shop: store.mainstreetartsgallery.com

Inside The Artist’s Studio: Erica Bapst

Erica Bapst Profile

I consider myself a bit of a plate spinner. I always have a great multitude of projects in the air. It is a precarious balancing act I perform on a daily basis while running my boutique, Adorn Jewelry and Accessories, in Canandaigua NY. I always laugh and apologize to my customers because my workspace rarely stays confined to the actual designated studio behind the curtain. The designing process, works in progress, tools, random bits and pieces, all spill over into checkout area. I’m sure to many, it looks as though those “plates” I like to spin have all dropped and smashed to bits. More often than not the customers seem to love having the chance to see all the different projects I have going on in their various states. (Or perhaps they only like to peek behind the counter to say “hi” to my constant companion Penny, my shop dog —I am never entirely sure…;)

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Ok, let’s rewind a bit — how did it all start? I have an AAS in Graphic Design from Finger Lakes Community College (1998) and a BFA in Metalsmithing from Syracuse University (2001). I honestly have to say that my time in graphic design has always influenced my work, particularly during the initial layout process. I tend to create most of my layouts and templates using Adobe Illustrator. Because my jewelry is what stocks my store, I am often very focused on creating elements that have a consistency people depend on. Creating the templates allows me to easily reproduce, for example, a specific set of Ginkgo leaves.

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I hand form these ginkgo leaves from brass sheet in bulk.

The invite to this wonderful exhibit at Main Street Arts has given me the chance to step back from the day-to-day routine of creating jewelry for the retail world. I was able to expand upon my favorite body of work and experiment with the form and structure. It was so much fun having a reason to push my boundaries slightly. I am the type of person that often feels guilty if I take time to experiment. I fear that if the piece did not work out,  those precious moments would have been wasted. Running the shop leaves no minute of the day unaccounted for. Being a part of this show was such a luxury to be able to hit pause on my overly sensible brain and create with a sense of freedom!

Here are some progress shots of the piece I had the most fun with.

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I really wanted to design something that felt as ancient as the Ginkgo itself. So I dug into my memories of the historical jewelry I have seen over the years in different museums. Gazing at jewelry that is thousands of years old always mesmerizes me. I could stare at the ancient pieces for hours, puzzling over the stories of how they were made, who they adorned, and how they came to be in front of my eyes. I wanted to take this opportunity to pay homage to those works — jewelry created impossibly long ago from a single ingot, with rudimentary tools  and incorporated rough stone, clay or glass elements.

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While I was not interested in starting from my own cast ingot of brass, I opted to start with a pre-formed sheet…the advantages of our age. Then I searched my vast collection of stones (seriously, my family thinks I am a hoarder when it comes to stones and beads…I am beginning to agree with them) and came across this great slab of seriphinite that I have been hanging on to for a few years waiting for the right moment.  This was the time.

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My favorite shot of this piece.

Some of you may be asking at this point,  “What is with the Ginkgo theme?”  I have had the store for 13 years and have heard a lot of personal stories — stories of bravery,  heartbreak, of illness and also of the people who heal and comfort those who have been through it all.  I would listen to these stories and later think to myself, “ugh…and what do I do? — sit here and make jewelry, what good is that to anyone?”  Then little by little I began to notice that the reason I was hearing these stories was because my customers were often coming in to purchase my pieces to lift the spirits of someone going through a tough time, or to celebrate overcoming a difficult situation. I knew I was not a person that truly helps or heals, but if there was some small way I could contribute to others through my work, I wanted to with all my heart.

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I searched for a theme that carried with it a powerful sentiment and could be translated in many ways. So I looked to nature which I love so dearly, for inspiration. I was walking to work and pouring over my thoughts on the subject, and a leaf dropped off of my neighbor’s tree in front of me. I realized right then that the Ginkgo would be my symbol. It fit perfectly.

With every jewelry piece I include the words:

“The Ginkgo has existed for 250 million years, unwavering in its uniqueness and beauty. They naturally resist the negative and are survivors against all odds.

May we be like the ginkgo and carry with us the strength, resilience and natural beauty that resides within. “

It is not much in the grand scheme of things, but I create each and every leaf with as much love as possible in hopes that the love will carry through to the wearer.

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Sterling silver, aquamarine and quartz branch earrings

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A little surprise on the back.

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This Labradorite is what dreams are made of.

This Labradorite is what dreams are made of.

After the show at Main Street Arts, you can find me at AdornJewelryAndAccessories.com,  on Instagram @EricaBapst or on Facebook.

PS—If you get the chance after visiting Main Street Arts, head east up Main and visit the grand Ginkgo Grove that are a little piece of Clifton Springs History!

My Daughter and I visited the trees after the opening of the exhibit.

My Daughter and I visited the trees after the opening of the exhibit.


Stop by Main Street Arts to see Erica’s work in our current exhibition “Multifaceted: An Exhibition of Fine Jewelry” through August 18, 2017. Erica’s work from the exhibition is also available for purchase in our online gallery shop: store.mainstreetartsgallery.com

Inside the Artist’s Studio with Karen Tretiak

Jewelry designer Karen Tretiak is one of eight artists in our current exhibition, “Multifaceted: An Exhibition of Fine Jewelry”. We asked her a few questions about her background and the work that can be found in the exhibition.

Karen Tretiak

Karen Tretiak

Q: What influences you? What themes or symbols appear throughout your work?
A: My jewelry exemplifies the visual excitement I find in layering textures, colors, values and materials. I gather imagery and inspiration from the natural world around me; in particular the sea and forest. Moss greens, autumn coppers, silken leaves, woven shadows, luminescent waves, and polished stones appear and reappear throughout my work.

Green Soutache Necklace

Green Soutache Necklace

River Jasper Cabochon Necklace

River Jasper Cabochon Necklace

Q: Tell us a little bit about your background. How long have you been making art?
A: Creativity has guided my life from as far back as I can remember. Mud, paint, crayons, yarn…so many possibilities as a child. As is true of most artists, that child-like joy has never left me but has been guided and nurtured through skill development and life-long learning.

Traveling!

Traveling!

I am an artist and a teacher; each influencing the other. Professionally I have taught in a wide variety of venues from public high school to colleges to workshops and lectures. My paintings, jewelry and ceramic sculptures have been displayed and marketed throughout the world. I have earned a Bachelor of Science degree in Art Education from Skidmore College and a Master of Fine Arts from Rochester Institute of Technology.

Roxie helping to take pictures

Roxie helping to take pictures

Q: Where else can we see your work?
A: I live and work in the Finger Lakes area of Western New York State as well as in “Maxine the Wonder Bus” when I’m on the road. I market my work at many venues across the country which gives me the opportunity to travel and meet many of my customers.

Maxine The Wonder Bus in Maine

“Maxine The Wonder Bus” in Maine

See more of my work on my website: www.karentretiak.com and my Etsy page WonderBusCreations. 


Stop by Main Street Arts to see Karen’s work in our current exhibition “Multifaceted: An Exhibition of Fine Jewelry” through August 18, 2017. Karen’s work from the exhibition is also available for purchase in our online gallery shop: store.mainstreetartsgallery.com

Inside the Artist’s Studio with Francesca Vitali

Francesca Vitali

Francesca Vitali

I was born and raised in Italy. My formal education is in science, having earned a B.Sc. and MS degree in chemistry from the University ‘La Sapienza’ in Rome. I then received my Ph.D from the University of Zurich in Switzerland. 

Even though my love for paper probably started way before my love for chemistry, I only started seeing my passion for paper not just as a hobby after moving to the US.  And more precisely when I took my first jewelry class 10 years ago at Penland school of craft in North Carolina. I am now a full-time studio artist (ok, I’m lying here I still work in the chemistry lab once a week) and I travel for craft shows all over the country.

But enough about me, lets step into the studio!

A few places where I store paper

A few places where I store paper

I use many different kind of paper for my jewelry—sometimes it is the paper that informs my work, sometimes I start with a design idea and then I have to find the proper paper that will translate into the design. 

I have shopping bags, books, magazine, maps, paint chips, patterned paper, money, yellow pages, newspaper, movie posters and the list goes on! (P.S. if you have some paper that is special to you and you want to make it into something wearable now you know who to ask!)

Once the right paper for a piece is selected, it needs to be reduced into strips, and that’s when the floor gets messy.

Strips of paper waiting to be made into jewelry

Strips of paper waiting to be made into jewelry

Next comes the weaving. The paper strips are handwoven into three-dimensional shapes by repeating the same movement over and over. 

If you are wondering if this stage of the process is a little monotonous, absolutely not! It is definitively very labor intensive but it is also very rhythmic, almost meditative, and therefore my favorite part of my studio time.

Once a piece is done, it needs to be coated. Every piece is protected with an acrylic layer that prevents weather or wearing problems.

The bracelet in the show  air drying after a first coat of acrylic medium

The bracelet in the show air drying after a first coat of acrylic medium

The tour has come to an end but if you want to know more about my work and my daily studio adventures, follow me on Instagram @francrscavitali.paperjelry. It has been a pleasure to have you in my studio!


Stop by Main Street Arts to see Francesca’s work in our current exhibition “Multifaceted: An Exhibition of Fine Jewelry” through August 18, 2017. Francesca’s work from the exhibition is also available for purchase in our online gallery shop: store.mainstreetartsgallery.com

Inside The Artist’s Studio with Mandi Antonucci

I like to think of myself as a crafter of visual stories.  I attempt to create drawings that provide more questions than answers, more ambiguity than certainty.  My intention is to leave the viewer with an open ended narrative that allows one to fill in the blanks from their own personal experiences.  

"Swarm"

“Swarm”

I grew up in Syracuse, New York with an unconventional family that instilled in me an appreciation for bird watching, collecting antique typewriters, and art.  My relationship with art was formed inside the walls of the Everson Museum where my grandfather served on the Board of Directors, and by watching my grandmother create ornate pieces with needlepoint.  These two factors served to inspire my great love for art history and attention to detail.  

"Family Tree"

“Family Tree”

I received my Bachelor’s degree in Studio in Art and Art History from Nazareth College, and my Masters in Art Education from Rochester Institute of Technology.  For the past 13 years, I have been an Art Teacher at Batavia High School.  I love my job.  It’s a unique opportunity that enables me to be constantly in the company of other artists.  I love the give and take of ideas, and the constant progression of concepts and materials that come with being an educator.  My students keep me on my toes, pushing me with their talent and insight to become a better artist while I help them to find their own artistic voice.  Nearly everyday, they give me hope for the next generation of creative thinkers.

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I like to invite my students into my creative process.  Aside from talking through my concepts and symbolism, many of them have become my subjects for my portraits.  They never seem to mind when I ask them to make weird faces or pose in a certain way.

"Queen of Crows"

“Queen of Crows”

My work as a whole is best described as Pop Surrealism, though I try my best not to label myself too strictly as I don’t want the identification to become a limitation.  While I will use a variety of materials, I generally use mostly colored pencil and graphite.  I love the control and versatility of my colored pencils; I love the feel of a sharp pencil and the look of a sharp edge. However, I also love the way in which colored pencil allows me to build subtle layers, like a recipe for the perfect color.

I generally don’t have a finished concept in my mind when I start a piece.  Rather, I like to start with a story in mind, or a picture I have taken, and let the creative process dictate my direction.  My best ideas come from the act of making, so it’s not uncommon for me to have five or six drawings in various states of completion as I work.

In progress

In progress

My work explores the themes of mental illness, loss, and the fragility of life.  I like to think of my drawings as a visual memoir of the struggles and achievements of myself and the others I share my life with.   My drawings often include the human form in some way, whether it’s with portraits or hands.  I am drawn to the automatic sense of emotion that comes with portraying the human form.  I want my work to tell a symbolic story of the strength of the individual while still leaving the details to the interpretation of the observer. My drawings attempt to show the vulnerability of my subject, their precarious and fantastical reality, and the effects their mental state has made in their lives.  

"The Future is Female"

“The Future is Female”

I tend to use a lot of pattern in my work as a design and symbolic element.  I am particularly drawn to the honeycomb pattern because it stands as a reminder that beauty can be born from chaos.  I feel like I’m just scratching the surface as to where I am headed in terms of my use of pattern; I’m excited to see where the process will take me.

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"Daydream Believer"

“Daydream Believer”

When I’m not at school or in my studio, I can be found at home in Geneseo with my husband and two children, surrounded by cornfields and distant horizon lines.  

"Boy Wonder"

“Boy Wonder”

My work can be found at www.mandiantonucci.com or on Instagram @skywardagain


Stop by Main Street Arts to see Mandi’s work in our current exhibition “Utopia/Dystopia” (juried by John Massier, curator at Hallwalls Contemporary Art Center in Buffalo, NY). The exhibition runs through June 30, 2017. Mandi’s piece, “Boy Wonder”, is also available for purchase in our online gallery shop: store.mainstreetartsgallery.com

Inside The Artist’s Studio with Neil Marcello

I was born in Bombay, India, before I moved to Dubai, where I spent my childhood years. Dubai exposed me to the various industrial landscapes, like oil and natural gas production, large-scale infrastructure construction, and shipping ports that helped transform this desert city into the thriving manufactured oasis it has become today. These industrial scenes also left a lasting impression on me that continue to inform the imagery I produce today.

Photo Credit: Joanna Kula, 2015

Photo Credit: Joanna Kula, 2015

I have been making photographs for the past 10 years, during which time my focus and approach to creating images evolved from casual snapshots, towards images that are research based and might take on a critical role that can raise questions.

I graduated with a Bachelor’s degree from the Indiana State University, where my studies were concentrated in conceptual design and urban architecture. As a photographer I am self-taught, though computer technology, Hollywood films, and filmmaking factored heavily in my understanding of the aspects of image-making, as have the works of Caspar David Friedrich, Charles Sheeler and Edward Burtynsky that influenced me at pivotal junctures in my development as an artist

My body of work takes on an abstract quality without losing the sight of its origins. This is not a deliberate effort in which I go looking to create an abstracted view instead I find it to be inherent in the evidence left behind by our highly evolved consumer society.

CA #014, Coincidental Accretion, 2015

CA #014, Coincidental Accretion, 2015

To record my images I use a medium format, analog camera and film stock that best compliment the subject matter. I print using large format digital printers. This hybrid approach offers me the best of what the analog and digital formats have to offer, while continuing to challenge my sensibilities as a photographer and an artist.

My projects focus on conceptual ideas derived from industrial solutions, often created in the name of progress, that I now view as having become problems that bear examination. When I approach a specific idea, it is usually with the mindset that the viewer needs to be visually captivated before there is any chance of my idea being accepted. If the resulting image holds this type of interest, then it might draw the viewer into further discussion and thought on the perspective about the subject matter. Overall I think my work communicates a contemporary view more than it does any kind of popular view or trend in art.

#1JKS, Beyond the Heliopause, 2012

#1JKS, Beyond the Heliopause, 2012

With my most recent project, titled “Sweet Tooth”, the focus is on synthetic dyes derived from crude oil, and their role in the mass production of candy.

Sweet Tooth Series, 2014-2016

Sweet Tooth Series, 2014-2016

The project’s concept touches on themes of industry, mass production, consumerism and some of the resulting negative effects which may be seen in the piece, titled “Good and Plenty”, featured in the “Utopia/Dystopia” exhibition at Main Street Arts.

The idea for “Sweet Tooth” was born out of a need to find healthy candy for kids trick-or-treating on Halloween in my neighborhood when I was living in Los Angeles. I discovered news articles and a radio show on National Public Radio, that discussed the topic of synthetic dyes being used by candy companies in the US for their production of candy, while using natural dyes in the same candies in Europe.

Having just completed my work on “Mulholland’s Gold”, a project that dealt with the industrialization of water in Los Angeles, I was exposed to the various facets of the oil industry in California. So the connection between crude oil and synthetic dyes only became more apparent in my idea.

Oil #001, Mulholland's Gold, 2011-2014

Oil #001, Mulholland’s Gold, 2011-2014

The process behind “Sweet Tooth” was to place the candy that I was familiar with as a child and young adult, into an industrial backdrop. So I began with making rough sketches on paper to get the initial ideas down.

Good and Plenty Sketch, Pen on Paper, 2014

Good and Plenty Sketch, Pen on Paper, 2014

I would then scan and enhance these sketches in Photoshop to figure out the composition and color schemes.

Good and Plenty Schematic, Digital Rendering, 2014

Good and Plenty Schematic, Digital Rendering, 2014

Once I have finalized the schematic I set about building and painting the dioramas using household goods, broken or used model kits, architectural model building materials and synthetic paints mostly derived from crude oil.

Good and Plenty Diorama, 2015

Good and Plenty Diorama, 2015

Some of these dioramas measured up to 4 to 5 feet in height, width and/or depth, before I photographed them and progressed into post-production to create the final image and print.

Good and Plenty, Sweet Tooth Series, 2014-2016

Good and Plenty, Sweet Tooth Series, 2014-2016

The most challenging aspect to making my art is in how to rethink my fascination with the sublime in contemporary society, and translate this into a unique visual that can continue to attract and engage the viewer in a necessary dialogue about our time.

If you are interested in learning more about my works and background please visit my website www.neilmarcello.com. You can also connect with me on Instagram @neilmarcello and Facebook https://www.facebook.com/neil.marcello/


Stop by Main Street Arts to see Neil’s work in our current exhibition “Utopia/Dystopia” (juried by John Massier, curator at Hallwalls Contemporary Art Center in Buffalo, NY). The exhibition runs through June 30, 2017. Neil’s piece, “Good and Plenty, The Sweet Tooth Series”, is also available for purchase in our online gallery shop:
store.mainstreetartsgallery.com

From The Director: Re-Emerging Artists

Installation shot from the exhibition

Installation shot from the exhibition

Our current exhibition, Re-Emerging Artists features two painters who have both been making art for longer than I have been alive. Considering this fact as a painter myself, I find it so encouraging and inspiring to see two artists making such fascinating work after more than six decades of making art.

John Greene and Robert Marx met each other around the year 2000 but their history goes back to the 1950s when John purchased a print of Robert’s in a gallery on Madison Avenue in New York. Over the years, John acquired more of Robert’s work and was delighted to find out that he lived and worked in Rochester when he was in town for a meeting at the Memorial Art Gallery. The two met in Robert’s studio and immediately became friends.

Fast forward to 2017 and we have the first showing of their work together in an exhibition at Main Street Arts!

In Robert's studio at Anderson Alley. An early, in-progress shot of the painting "Solana" that is in the exhibition.

In Robert’s studio at Anderson Alley including an early, in-progress shot of the painting “Solana” that is in the exhibition.

I had the pleasure of visiting both artists in their studios multiple times in preparation for this show. With Robert, both in his studio at Anderson Alley and in his current basement studio in his home. He spent almost 30 years in the Anderson Arts building on Goodman Street in Rochester. He now has the convenience of not having to commute to and from the studio—unless you count the walk from the kitchen to the basement steps.

Making the initial selection of work for the show back in May of 2016

John and I in his studio, making the initial selection of work for the show back in May, 2016

I visit artist’s studios frequently and going to see Robert was a quick trip to Rochester. However, visiting John’s studio meant going on a bit of a road trip—he lives in the Hudson region about four hours southeast of Main Street Arts. During our first visit in May of 2016, I was thrilled to be welcomed into his home studio to see his encaustic paintings in person for the first time. I was particularly drawn to the “Dimensional Landscapes”, four of which are included in the exhibition. I had never seen a painting stick straight out from the wall before!

Dimensional Landscape, oil and encaustic on wood—John Greene

Dimensional Landscape, oil and encaustic on wood by John Greene (two views)

The seeds of this exhibition were sown in September, 2015 at an opening reception at Main Street Arts. Grant Holcomb, former director of MAG and Marcia Lowry, on the board of managers at MAG, approached me with the idea of having a show with Robert and John. Already being a Robert Marx fan—and soon to become a fan of John Greene—I quickly obliged and we set the date of April, 2017 for the show. All of us thought that 2017 sounded so far away, but here we are!

One of the sections of the show where John and Robert's work is paired together as one

One of the sections of the exhibition where John and Robert’s work is paired together as one

One of the things I looked forward to the most, besides seeing all of this work in person, was being able to curate it together in one space. I am always drawn to the idea mixing things up. Rather than have John’s work in one room and Robert’s in the other, we have sections like the one shown above, where pieces by each artist are hung as a cohesive singular installation. Other areas of the show allow for specific pieces to be highlighted on their own but for the most part the exhibition is a unification of both artist’s work.

Pictured from left to right: Marcia Lowry, John Greene, Gwen Greene, Bradley Butler, Francie Marx, Robert Marx, Grant Holcomb

Pictured from left to right: Marcia Lowry, John Greene, Gwen Greene, Bradley Butler, Francie Marx, Robert Marx, Grant Holcomb


Re-Emerging Artists runs through May 12th, 2017. On Saturday, April 29th, from 10:30 a.m. to 1 p.m., John and Robert will be discussing their work in the gallery (discussion begins promptly at 11 a.m.) RSVP by calling or emailing the gallery. More info: Artist Discussion Facebook Event

Purchase work from the Exhibition in our online store.
See photos from the exhibition and opening reception on Flickr.

Meet the Artist in Residence: Stacey Rowe

Stacey Rowe is one of our current artists in residence, she’s working in one of our two studio spaces during the month of April 2017. We asked her a few questions about her work, life, and more:

Stacey Rowe in her studio at Main Street Arts

Stacey Rowe in her studio at Main Street Arts

Q: Tell us about your background.

A: I moved from the Syracuse area to Rochester to attend college at Nazareth. I have a B.S. in Studio Art and an M.S. in Art Therapy. I think I started painting on canvas around the age of fourteen. I work as a freelance writer and public relations/ marketing consultant. I’m also the editor-at-large at (585) magazine. The flexibility allows me to do a residency like this.

Q: How would you describe your work?

A: I paint in acrylic and I’d describe my work as colorful, humorous, and often layered with symbolism.

Q: What is your process for creating a work of art? 

A: I’m very cerebral about it. Meaning: I tend to think more than sketch when I’m planning a piece. I’ll jot down lists of ideas and go about researching. Then, I’ll sketch right on the canvas and start painting. There are usually one or two improvisational items that happen once I get into it, so it’s good that paint is such a forgiving medium!

Some of the Pantone People Series

Some of the Pantone People Series

Q: What are your goals for this residency?  

A: I currently have three pages of ideas for the Pantone People series. These are smaller square works (6” x 6”) typically featuring a celebrity with some sort of creative play on the Pantone color swatch name. I’d like to put a dent in that list and also work on some larger pieces that will feature some of the funny animal characters I have created. I’m also going to teach a workshop on April 15. We’re going to have fun!

Q: What is the most useful tool in your studio? 

A: I’ve been using “The Masters Brush Cleaner and Preserver” for years and it really is the best. I once left paint on a relatively new brush overnight and this totally saved it. It’s also great for reshaping and conditioning brushes.

Q: Do you collect anything? 

A: Now that I’m older, I’m reducing my “Hoarders-Lite” tendencies. It’s tough because as an artsy person, it’s very easy to accumulate a lot of useless stuff! When I was a kid, I collected anything and everything – rocks, coins, different kinds of toys, and stuffed animals. I had a run on snowglobes for a bit. They’ve been in a few of my paintings. Since my father relocated, I only have one left and it’s kind of a relief. I still grab shells on beach trips and display them in a nice jar upon my return. I do have a few coins I’ve saved from my travels. I’d eventually like to see those in some form of jewelry. French Polynesian currency is particularly eye-catching.

"Goodbye Special Friend" is a painting I did for my graduate thesis in 2000. It features the only snowglobe I have left from the collection.

“Goodbye Special Friend” is a painting I did for my graduate thesis in 2000. It features the only snowglobe I have left from the collection.

Q: Who is your favorite artist and why? 

A: It’s so hard to pick just one here. I love Gustav Klimt for his gorgeous pattern work and all of that gold leaf. I love Andy Warhol for his pop sensibility. I love Frida Kahlo for her ability to tell a story through imagery. And, of course, there’s the king of color – Henri Matisse.

Q: Who are your favorite local artists? 

A: I was incredibly happy that my college painting and illustration professor, Kathy Calderwood, had a show at RoCo last spring. It was great to see so many of her new paintings in a show. Lately, I’ve been interested in the work of Edie Small (Edith Lunt Small). She had a very intriguing piece in the RoCo member show in December. I’m always interested in what Sarah Rutherford and Andrea Durfee are doing because they are such incredibly skilled and powerful artists. I like what Shawn Dunwoody has done with street art and neighborhood beautification the past several years. He has fantastic energy and an ability to engage young artists and the general public. I’m also drawn to some abstract artists because their work is so different from my own – Brian O’Neill (who also does hyper-realistic work), Nate Hodge, and Bill Judkins – to name a few.

Nena Sanchez Gallery in Curaçao

Nena Sanchez Gallery in Curaçao

Q: Where are your favorite places to see artwork? 

A: Anytime I travel, I seem to wind up in a museum. I also love seeing the street art in other countries. Aside from the obvious choice (France), one of my favorite art destinations was Curaçao. In addition to the Kura Hulanda Slave Museum, I visited the Nena Sanchez and Serena Janet Israel galleries. The art community is very strong there. The architecture, floating market, and beach drinks aren’t too shabby, either!

Inside my studio at Main Street Arts

Inside my studio at Main Street Arts

Q: What advice would you give to other artists? 

A: There are going to be people who tell you to grow up and get a real job. Don’t listen to that noise. Yes, find something to pay your bills, but don’t give up on your passion.

Q: Who inspires you and why? 

A: I consider myself to be pretty fortunate that a very strong, intelligent, creative, and independent mother raised me. Naturally, I’m drawn to likeminded individuals. Many people inspire me and I’m very lucky to know such a diverse group of creatives in both my personal and professional life.

Q: How do you promote your artwork? 

A: I look for show opportunities and I use social media (primarily Instagram and my personal Facebook account) to get the word out. I’m often following up with people (a.k.a. nagging them) who express interest in a piece after a show comes down. I’m also planning on getting an Etsy or some kind of online shop going soon. I set an account up years ago but never had the time to figure it all out.

Stacey Rowe working in her studio at Main Street Arts as Snappy the turtle supervises.

Stacey Rowe working in her studio at Main Street Arts as Snappy the turtle supervises.

Q: What type of music do you listen to? How does music affect your artwork? 

A: I will listen to pretty much anything except country, but I have to be careful that it’s not too funky – I’ll get distracted and won’t get anything done!

Q: What’s next for you? 

I’m working on getting some work in a few galleries outside of New York because I have family in Florida and several friends who have moved out of state. I figure it might make for a good excuse to visit!

Q: Where else can we find you?

A: My websiteTwitter & Instagram


Are you an artist looking for new opportunities? Apply for a residency at Main Street Arts. Artists in residence will have 24-hour access to a large studio on our second floor (with great natural light), the option to show work in the gallery, and the opportunity to teach paid workshops. Housing is available. Submissions are reviewed and residencies awarded quarterly. Upcoming deadline: May 31, 2017 for a residency in July, August, September 2017.

 

Inside the Artist’s Studio with Rachel Cordaro

“Leave room for inspiration and the mood to create will present itself.”

~Rachel Cordaro

Artist Rachel Cordaro Photography by Katie Finnerty

Artist Rachel Cordaro Photography by Katie Finnerty

Hi! I’m Rachel Cordaro, a Rochester NY native- born and raised. I grew up with great encouraging artistic parents. I am the youngest of three hilariously endearing siblings. I have been an artist my whole life. Dabbling in art shows I decided to make it a permanent career in 2010. I am best known for my vibrant and cheerful floral paintings using acrylics on canvas as well as my hand crochet neck ruffs! Most recently I am taking my career to the next level as I have been pursuing the textile world! Putting my floral prints on pillows, tablecloths and other home fabrics!

My home studio! Photography by Kate Finnerty

My home studio! Photography by Kate Finnerty

What makes me tick!??
I am extremely passionate about what I do. I have a super supportive husband and family. Rochester makes me feel inspired to do what I do. It is truly a platform for entrepreneurs and a rich art community. Painting and textile work for me is therapeutic and fulfilling. There is no better feeling than expressing what is inside of me onto canvas and creating for the world to see.

My favorite part of what I do is having the luxury to be the BOSS!! I work best that way. I can create at my leisure and it is fantastic. Also I love that my husband Cordell and I are both artists so we can be on the same page.

Magnolias are one of my favorite flowers to paint. "Flower Market" Original Painting by Rachel Cordaro. Photography by Katie Finnerty

Magnolias are one of my favorite flowers to paint. “Flower Market” Original Painting by Rachel Cordaro. Photography by Katie Finnerty

Artist Rachel Cordaro Photography by Hannah Betts

Artist Rachel Cordaro Photography by Hannah Betts


Stop by Main Street Arts to see Rachel Cordaro’s paintings and neck ruff in the gallery. Visit Rachel’s website at www.rachelcordaro.com and follow her on Instagram @rachelcordaroart

Take a look at our previous Inside the Artist’s Studio blog post by Jessie Marianacci Valone of jmv ceramics.

Meet the Artist in Residence: Jacquelyn O’Brien

Jacquelyn O’Brien is an artist in residence at Main Street Arts. She’s working in one of our two studio spaces during the months of January–February 2017 (you can stop by the gallery to see her studio and works in progress). We asked Jacquelyn a few questions about her artwork, life, and more:

Jacquelyn O'Brien in her residency studio

Jacquelyn O’Brien in her residency studio

Q: To start this off, tell us a little about your background.

A: I’ve always been a visual person and art appreciator. I’m in love with the visual world and the work it produces. I got my undergraduate degree at the University at Buffalo State College in Sculpture, did a residency in Belle, MO between degrees, and then went to graduate school at the Rochester Institute of Technology, earning a degree in Studio Arts Sculpture. I am the oldest of five children and grew up in a single parent home with my mom. I think this is what made me a feminist. Being my mothers daughter has made me the way I am, being raised by a strong, independent woman.

Jacquelyn O'Brien, "Glitter Queen", cedar, glitter, yarn, 3' x 4', 2016.

Jacquelyn O’Brien, “Glitter Queen”, cedar, glitter, yarn, 3′ x 4′, 2016.

Jacquelyn O'Brien, "Influence Each Other", 3' x 3', cedar, yarn, fiber, 2016.

Jacquelyn O’Brien, “Influence Each Other”, 3′ x 3′, cedar, yarn, fiber, 2016.

Q: How would you describe your work?

A: I would describe my work as being a blending and multiplicity of materials. I combine materials that are traditionally “masculine” or “feminine”, harkening to the mixing of gender identifications in our current culture. My work uses the influence of color, weight, scale, gesture, politics, and materiality.

Cunt Cushions by Jacquelyn O'Brien

Cunt Cushions by Jacquelyn O’Brien

Fabrics in Jacquelyn's residency studio

Fabrics in Jacquelyn’s residency studio

Materials for Jacquelyn's embroidered hoops

Materials for Jacquelyn’s embroidered hoops

Q: What is your process for creating a work of art?

A: My process varies depending on what I’m working on to fulfill the individual needs of each piece. If I’m casting concrete, my process requires more planning in the way of mold making, supplies, armatures, and calculating weight. As a result, I would sketch in a very detailed way, with schematics and details that would help me efficiently create a piece. If I’m making a fabric work, like an embroidery or cunt cushion, I can take more risks and employ more off-the-cuff choices. I always do a small, messy sketch of what I’m thinking about and where I want the work to go before any piece is made. I also like to pin samples of materials on my cork board to see them all together.

Preparatory materials in Jacquelyn's residency studio

Preparatory materials in Jacquelyn’s residency studio

Preparatory materials in Jacquelyn's residency studio

Preparatory materials in Jacquelyn’s residency studio

Q: What are your goals for this residency? 

A: My goal for this residency is to focus on the more time consuming, lighter work that contributes to my heavier, bigger work. I’m working on three large embroideries that have political content stitched upon them. I am in process of constructing a 4×4 foot embroidery that requires me to build out a custom hoop, so that will be an interesting new endeavor!

Jacquelyn at work in her residency studio

Jacquelyn at work in her residency studio

Q: What’s next for you?

A: I’m the founder of a group called the Politits Art Coalition and we have a lot coming up in the next few months. In March, the PAC is showing their work at Gallery Q on College Street in Rochester. Then we’re curating a Women’s Work show in the same month at The Yards Collaborative Art Space. We’re having a show at The Yards featuring work by the six members of the PAC in April as well. Also, I will have a solo show this summer! Stay tuned for dates and locations.

Jacquelyn and Carolina

Jacquelyn and her studio helper Carolina

Q: Where can we find you?

A: You can find my work on my website www.jacquelynmarieobrien.com. You can also find me on Facebook at Jacquelyn O’Brien : Art, on Etsy as AFeministKillJoy, and on Instagram @dogmomm. If you’re looking to see my work in person it is always up at Dichotomy Rochester, located at The Yards. There is a changing display with work for sale. You can email me at jacquelynmarieobrien@gmail.com.


Embroidered hoops by Jacquelyn O'Brien

Embroidered hoops by Jacquelyn O’Brien

Rude Embroidery Workshop with Jacquelyn O’Brien
Saturday, February 18th, 12pm–3pm | $35 per person

Create your own sassy embroideries with fiber artist Jacquelyn O’Brien! In this workshop you’ll play with colored embroidery floss, funky beads, fun fabrics, and fringe to make four-inch “rude embroideries”. 

No need to be polite in this workshop, your rude embroidery can say what you really want to say! Laugh and have a good time while stitching out your innermost thoughts and feelings. 

Call, email, or visit our website to reserve your spot.
(315) 462-0210 | mstreetarts@gmail.com


Are you an artist looking for new opportunities? Apply for a residency at Main Street Arts! Artists in residence will have 24-hour access to a large studio on our second floor (with great natural light), the option to show work in the gallery, and the opportunity to teach paid workshops. Housing is available. Submissions are reviewed and residencies awarded quarterly.