Tag Archives: New York State

Inside the Artist’s Studio with Jeanne Beck: Coming Home Through Creating

www.jeannebeck.com

Jeanne Beck at work in her studio in Rochester, NY’s Hungerford Building

It seems to me my whole life has been a slow, steady evolution of coming home to myself. I suspect a lot of women of my generation feel that way. My earlier life didn’t offer a lot of stimulation or opportunity to study music or dance or art, all of which interested me greatly, but I did read voraciously. I fantasized about writing novels and started writing short stories at age 12, but then I became absorbed in teen-age concerns. I turned to keeping a journal, which I wrote in faithfully from 7-12th grade. I’ve done personal journaling in some form for most of my life and have a storage box filled with composition notebooks and more recently, sketchbooks too.

Book of the Ancients 6, 18" x 18", mixed media collage, gold leaf, acrylic paint. Cut, collaged, screen-printed and stenciled.

Book of the Ancients 6, 18″ x 18″, mixed media collage, gold leaf, acrylic paint. Cut, collaged, screen-printed and stenciled.

When I decided at mid-life to become a visual artist, I made a total commitment to it. Lose, win or draw, I have invested myself fully in my own creative potential. And, as a result, this midlife adventure has become the most passionate, committed period of my life. Since I began exploring visual art, I have been drawn to combine more than one medium or techniques, as well as create multi-layered surfaces.

The Writing in Air pieces utilize a variety of processes and techniques to create a dimensional , cut and manipulated surface that suggests  cursive handwriting. Purchased by SUNY Geneseo for MacVittie Student Union.

The Writing in Air pieces utilize a variety of processes and techniques to create a dimensional , cut and manipulated surface that suggests cursive handwriting. Purchased by SUNY Geneseo for MacVittie Student Union.

Melding media and techniques to express a concept drives most of my choices. So I might stitch thread structures and dip them in paper pulp, for example. Layering and combining materials and methods is a fluid process and varies with each new idea. I like to envision my pieces accumulating layers over time and bearing the marks of use and age to build their own personal history.

Distressing the leafed surface with layers of acrylic paints and screen printed texts creates a patina of aging. Private collection, Boston, MA.

Distressing the leafed surface with layers of acrylic paints and screen printed texts creates a patina of aging. Private collection, Boston, MA.

Seemingly random numbers cut in fiberglass screening punctuate the aged surface of this piece. They are a list of street numbers from the houses where I've lived over the course of my life. They are as I remember them, but I have no idea whether the memories are accurate. Purchased by SUNY Geneseo for MacVittie Student Union.

Seemingly random numbers cut in fiberglass screening punctuate the aged surface of this piece. They are a list of street numbers from the houses where I’ve lived over the course of my life. They are as I remember them, but I have no idea whether the memories are accurate. Purchased by SUNY Geneseo for MacVittie Student Union.

I am drawn to aged surfaces and tend to try to and create them in whatever medium or technique I’m using. Rust, decay, and layers peeling away attract me. They also relate to my interests in memory and aging and what happens to personal histories over time.

Most of the scattered  images on this piece refer to The Palmer Method of Cursive Handwriting instruction. Once  a part of elementary school curriculum, cursive handwriting  has become almost obsolete.

Most of the scattered images on this piece refer to The Palmer Method of Cursive Handwriting instruction. Once a part of elementary school curriculum, cursive handwriting has become almost obsolete.

The earliest concept for my current series of language-inspired pieces started in 2007. I had done extensive research on Etruscan and other forms of ancient writing remnants and the marks  intrigued me as visual elements. Then my focus shifted to an interest in 19th and 20th century found journals, diaries and bits of cursive writing.

This work lists all the names of the teachers I can remember from my elementary school in Pittsburgh, PA. Book of the Ancients 9: Bethel Park Elementary, won a prestigious 2013 Niche Award.

This work lists all the names of the teachers I can remember from my elementary school in Pittsburgh, PA. Book of the Ancients 9: Bethel Park Elementary, won a prestigious 2013 Niche Award.

Green World IIMy metallic leaf series began in 2011 with the idea of “fluttering pages.” The exploration of ancient texts and languages to gather ideas for this series led me to an unexpected realization, “ancient” is a relative term. To someone entering adulthood today, the 1950’s and 60’s seem ancient. Amused by that recognition, the first works in this series focus on remembered bits from my childhood. We often refer to ‘turning a page’, ‘ getting on the same page’, ‘starting a new or closing an old chapter of our lives’ in our everyday conversations. These pieces offer a visual take on such ideas.

Green World II is a new organically-inspired, dimensional  work with layered kozo fibers over a  richly textured, painted surface.

Green World II is a new organically-inspired, dimensional work with layered kozo fibers over a richly textured, painted surface.

The pages series still doesn’t feel finished and I will continue to work on new ideas. However, I am also working on a new series of organic, two and three-dimensional works using handmade paper, pulp and wire armatures.

You can see more of Jeanne’s work in our current exhibition, Solid Gold, or visit her website: www.jeannebeck.com.

Check out our previous Inside the Artist’s Studio blog post by artist Colleen Pendry.

Five Fun Things To Do in Clifton Springs NY

Clifton Springs, the view from the gallery's balcony.

Clifton Springs, the view from the gallery balcony.

Main Street Arts is fortunate to have such a picturesque home in Clifton Springs, New York. It’s a beautiful spot, surrounded by parks and fun shops; the perfect place to spend a quiet afternoon.

One of Clifton Springs' many beautiful parks.

One of Clifton Springs’ many beautiful parks.

There are quite a few gems in Clifton Springs, and we’d like to share with you a few of our favorites…

1. Nima’s Pizzeria
Nima's Pizzeria, Clifton Springs NY

Nima’s Pizzeria, Clifton Springs NY

Nima’s Pizzeria is the best spot for a slice of pizza in town. The staff at Main Street Arts eat there on a weekly basis (At a minimum, possibly more if we’re being honest). Nima’s has been a member of the Clifton Springs community for the past twenty years and is well-deserving of their great reputation for high quality slices at low prices. Stop by for a quick lunch, or just grab a soda or snack for your walk down Main Street. After your lunch drop by Clifton Springs Hardware to pick up an ice cream bar or frozen treat!

18 W Main St, Clifton Springs, NY 14432

2. Explore! The Book Store
Explore! The Book Store. The spot for all of your reading needs in Clifton Springs!

Explore! The Book Store. The spot for all of your reading needs in Clifton Springs!

If you’re a bookworm you’ll want to make a stop in Explore! The Book Store. Selling both new and used books, this Clifton Springs favorite carries contemporary and classic titles. Pick up a book and camp out at one of Clifton Springs’ many beautiful parks. A good book on a sunny bench can be one of the best ways to spend a summer day.

A good book on a sunny day is the best combination.

A good book on a sunny day is the best combination.

18 East Main Street, Clifton Springs, NY 14432

3. The Foster Cottage Museum
The Foster Cottage Museum in Clifton Springs

The Foster Cottage Museum in Clifton Springs

The Foster Cottage Museum is run by the Clifton Springs Historical Society, a group dedicated to preserving community memory and sharing the story of Clifton Springs. Stop by the museum to learn about the village’s origins, the Clifton Springs’ Water Cure, and to see historical images and artifacts. And while you’re in the area, make sure to stop by the Hospital Labyrinth next door.

The Foster Cottage Museum in Clifton Springs, NY

The Foster Cottage Museum in Clifton Springs, NY

9 East Main Street, Clifton Springs, NY 14432

4. Warfield’s Restaurant
Warfield's Restaurant in Clifton Springs

Warfield’s Restaurant in Clifton Springs

One of the most well-known attractions in Clifton Springs, Warfield’s Restaurant is home to some of the most delicious food we’ve ever tasted.

Stop by the Warfield's Bakery for some of their famous freshly baked bread.

Stop by the Warfield’s Bakery for some of their famous freshly baked bread.

Directly across from the gallery, Warfield’s features “a seasonal menu of elegant country fare with Asian and European influences”. Stop by to enjoy a cocktail in the lounge, a pastry from the bakery, or enjoy a delightful meal indoors or in their outdoor seating area overlooking their beautiful English Garden.

Stop by for Warfield's Jazz in the Garden during the summer months.

Stop by for Warfield’s Jazz in the Garden during the summer months.

During the month of August visitors may enjoy Jazz in the Garden, an event held every Wednesday evening.

7 W Main St, Clifton Springs, NY 14432

5. Main Street Arts
Main Street Arts, Clifton Springs

Main Street Arts, Clifton Springs

And last but not least, we invite you to visit our gallery of contemporary art and fine craft, Main Street Arts. Our gallery has over 3,000 square feet of exhibition space, as well as a room for workshops and classes. At Main Street Arts you can expect to see bi-monthly exhibitions in our main gallery space, as well as a gallery store featuring jewelry, ceramics, art prints, and more. Our second floor features four more rooms for solo or group exhibitions, changing every two months.

Main Street Arts, FLORA Exhibition

Main Street Arts, FLORA Exhibition

Visit the exhibitions page for our exhibition schedule, or our visit page to plan a trip to the gallery.

Peter Pincus gave a great artist talk for his solo exhibit, "Sleep, In Spite of the Storm"

Peter Pincus gave a great artist talk for his solo exhibit, “Sleep, In Spite of the Storm”

20 West Main Street, Clifton Springs, NY 14432

We hope you make a visit to Clifton Springs, NY! And let us know if we missed out on any of your favorite spots in the comments.

 

Inside The Artist’s Studio with Samantha Stumpf: Process and Perspective

I’ve recently been  working on tableware for Main Street Arts, exclusively for their new online gallery shop.  I have always enjoyed eating off of handmade dinnerware, it is part of my everyday routine. Each day I get to choose my mug for coffee, my bowl for yogurt and my portion controlled plate for dinner. I enjoy sharing these rituals  with the people who made these pieces.

My kitchen cabinets

In preparing myself for this project, I thought back to a time before I was a ceramic artist. I grew up with mass produced dinnerware that was bland and stackable. My parents dislike the fact that I have mismatched dinnerware; unstackable and chaotic. So, to this day I keep a single place setting of handmade dishes at their house just for when I visit!

I wanted the  series I was making for Main Street Arts to be used everyday and I wanted it to be fun and playful.

Getting started…

To be fair, there are a few mass produced manufacturers that I really do love for what they are.  One of my favorite mass produced dishware manufacturers, which influenced this dinnerware for the gallery is Austrian Gmundner Keramik Ware.

geflammt_mix1

Austrian Gmundner Keramik Ware

I ate off their  everydayware when I worked for potters at Lyon Clay Studio during the start of my ceramic career.  I loved the simplicity of the forms and the fluidity of the brush work. I have always loved mark making and it has been a huge part of my own functional ware.

Main Street Arts dinnerware

Main Street Arts Signature Tableware Series

Soon, you be able to purchase this exclusive series of everyday tableware from the Main Street Arts online gallery shop. Keep following this blog series as well as their social media for updates!

Part One: Inside the Artist’s Studio with Samantha Stumpf: Ongoing Inspiration
Part Three: Inside the Artist’s Studio with Samantha Stumpf: A Little Bit of Process…

Inside The Artist’s Studio with Samantha Stumpf: Ongoing Inspiration

Hello, and thank you for checking out my first Inside The Artist’s Studio blog post on the Main Street Arts blog!

I would like to introduce myself…

talking about pots

talking about pots

I am originally from Baltimore Maryland and started working with clay in high school. I was instantly hooked to the material’s responsiveness  to the sense of touch. I knew that I wanted to continue my exploration of this material in college and completed my BFA at Cleveland Institute of Art in 2003. After completing my degree, I worked for local potters in Baltimore until moving to Rochester to complete my MFA in Ceramics at Rochester Institute of Technology, School for American Crafts. After my experience at RIT I began teaching and making work at the Lorton Arts Workhouse in Lorton, Virginia. Then in 2009 I became a resident artist at Genesee Center for Arts and Education which brought me back to Rochester where I continued to make work and teach. After my residency  experience  at Genesee Center I decided to stay in the Rochester area. I have a private studio located in the Susan B. area, downtown. I also currently teach at Genesee Community College, Studio Sales (Avon) and the Genesee Center.

landscapes

Landscapes

I enjoy making both sculptural and functional work. Most of my sculptural work focuses on the forms of action and reaction that occur in natural environment. A sense of simultaneous deconstruction and construction—such as what occurs when a mountain slowly weathers or the way that water erodes a stream bed. Given the primary influence of nature, these pieces can be seen as metaphoric landscapes. I create these clay pieces by exploiting the responsiveness of the clay. I push, pull, and tear the clay in an attempt to create a physical dialogue between myself and the material.

work in progress

Work in progress (for the Main Street Arts online gallery shop)

On the other hand, my functional work is fun and fresh with an attention to detail. I use a wide range of glazes for my color palette and then layer the surface with unique hand painted brush marks. These marks are very fluid and intuitive. I enjoy layering glazes and washes to create contrasts within the glaze surface. I love to use my functional work everyday. I would want you as well to use it everyday. All of my functional works are food, dishwasher, microwave and oven safe.

Look for my Signature Tableware Series in the Main Street Arts Online Gallery Shop soon!

Part Two: Inside the Artist’s Studio with Samantha Stumpf: Process and Perspective
Part Three: Inside the Artist’s Studio with Samantha Stumpf: A Little Bit of Process…

Inside the Artist’s Studio with Peter Pincus: Cracks in the Foundation

Last week I was visited by critic and blog writer Jason.  Sleep, In Spite of the Storm piqued Jason’s interest, so he traveled seven hours to see the show and get down to business.

Jason was able to find the all the technical flaws in my work, as if directly accessing my thoughts.  Some were obvious, though others were nearly invisible.  Jason was the first person to outwardly fixate on those sorts of details.  That fixation, which I celebrate for its clarity and honesty, prompted the following blog post.

The vase on the left leans.  Can you see it?  I do every time I look.

The vase on the left leans. Can you see it? I do every time I look.

An alternate view of the urns in the exhibition

Sorry for the re-post, but these urns also lean. I have to show them in this order, because if I flip them the lean becomes more obvious. I’ve since figured out how to avoid this problem in future works, but these will always remind me.

Makers suffer from the desire to do their best given their mental and physical potential.  Luckily, the mind and hand get better.  But in the wake of learning, there will always be concrete reminders of imperfections and failures in the objects produced.  Here-in lies the two most important questions to the longevity of an artistic career:  When is it appropriate to hold yourself accountable to your flaws?  When is it harmful to do so?

My work is usually misunderstood because of its relative visual refinement.  It is a celebration of color and composition as much as an autobiographical statement through the porcelain vessel, not a celebration of a flashy process or technique.  Having said that, I’ve developed a technique to make possible the aesthetic I’m after and that technique has its inherent limitations and flaws.  When I am alone in my studio, those flaws are the things that slowly eat away at my confidence, pride, and overall emotional stability.

White gold luster is such a pain for me.  It often drips on the raw porcelain and then takes a miracle to remove if I can.  Jason and I talked about this issue for a while

White gold luster is such a pain for me. It often drips on the raw porcelain and then takes a miracle to remove if I can. Jason and I talked about this issue for a while

Sometimes the seams between colors spread.  I assume it is a result of expansion and tension in the kiln.  It is only an eye sore, not a structural thing.  But it irritates me more than any other problem I have.  I stress about it every day.

Sometimes the seams between colors spread. I assume it is a result of expansion and tension in the kiln. It is only an eye sore, not a structural thing. But it irritates me more than any other problem I have. I stress about it every day.

And then the show happens.  All of the things that keep me up at night are not generally noticed.  I’m found enthusiastic but cautious, imagining that I had somehow escaped the public guillotine!!  The successes of the show walk out the door with the crowd and the failures remain with me.  This is unhealthy.

This post isn’t meant to stir depression.  Quite the opposite in fact.  Jason’s ability to personify my conscience gave me the ability to better define the meaning of artistic engagement.  It is not my job to be perfect.  That is the job of industry.  It is my job to engage the material as a soulful pursuit, and yes to achieve the goals I set, but not to drown in small details while missing the big picture.

All of this comes at a time when I announce my new job as Visiting Professor of Ceramics at RIT.  That appointment carries the responsibility of this type of honesty.  If you make things, I guarantee you’ve had the same feelings that are expressed above.  If you want to do this for a living, you must rise above them and enjoy what you do.  Because there is no such thing as a flawless piece of handmade work.  And if there is, would you really want to be it’s author?

Part One: Inside the Artist’s Studio: Introducing Peter Pincus
Part Two: Inside the Artist’s Studio with Peter Pincus: How Long is a Long Time?
Part Three: Inside the Artist’s Studio with Peter Pincus: Centerpiece

Inside the Artist’s Studio with Peter Pincus: Centerpiece

If Sleep, In Spite of the Storm is an exhibition about the intimate relationship, then the two large crematory urns in the middle of the space serve as principal anchors.  This post is about their story.

Peter Pincus' upcoming exhibition, "Sleep, In Spite of the Storm"

The urns installed and photographed in the gallery before any other work was made.

Before any other work was made for this show, I carefully researched, blueprinted, scaled, fabricated, finished, and photographed them in the gallery.  Excessive, right?  Not at all!  They are vessels of spirit that, just like the hand mirror, have a reflective quality for the viewer.  Done right, they oscillate between container, painting, and figure sculpture.  What a job they have.

I intended them to be independent and dependent at the same time.  It started with the form, which took from Sevres Porcelain the idea of symmetric, tight, articulate profile, but stripped the surface of the type of glamorous opulence that defines Sevres.  Don’t get me wrong, there’s nothing wrong with opulence!  But it would be distracting in this particular vessel.

Photograph taken from http://www.liveauctioneers.com/item/13368797_pair-sevres-style-25-porcelain-cobalt-urns

Photograph taken from http://www.liveauctioneers.com/item/13368797_pair-sevres-style-25-porcelain-cobalt-urns

I designed the forms and lid system and built them in five separate molds.  Having never made such a large slip-cast vessel before, I planned to fire each section separately and then glue the pieces together at the end.  I couldn’t help myself though, I had to cast one in white and see it.  My wife patiently held the sections together at 6am so I could snap an Instagram photo.

The urn in early morning white.

The urn in early morning white.

I planned to have their surfaces reference Josef Albers, whose theories on color routinely find their way into my work.  I cast one urn in white and the other in black, and composed identical gradients of vertical stripes from white to black on their bellies, leaving a gray rectangle centered on the white and black stripe of each piece.  This is a carbon copy of chapter IV from Albers’ Interaction of Color, “A color has many faces—the relativity of color.”

Not the greatest example, but you get the point.  Taken from http://joshsmilingskull.wordpress.com/2011/04/01/albers-exercises/

Not the greatest example, but you get the point. Taken from http://joshsmilingskull.wordpress.com/2011/04/01/albers-exercises/

Urns in  process.

Urns in process.

When installed, the stripes are turned opposite each other, forcing the gray rectangles to show different faces; lighter on black and darker on white.  Thus the appearance of independence. But, if you separate them the phenomenon doesn’t work. So, they become very dependent on each other to maintain their individuality.

An alternate view of the urns in the exhibition

An alternate view of the urns in the exhibition

An alternate view of the urns in the exhibition

Part One: Inside the Artist’s Studio: Introducing Peter Pincus
Part Two: Inside the Artist’s Studio with Peter Pincus: How Long is a Long Time?
Part Four: Inside the Artist’s Studio with Peter Pincus: Cracks in the Foundation

Inside the Artist’s Studio with Peter Pincus: How Long is a Long Time?

Among the pots and vessels featured in Sleep, In Spite of the Storm, you will find a perfume bottle standing on top of a hand mirror.  In my (very) biased opinion, these two are the most complex and compelling objects in this show.  And they better be, because I’ve been working on them for a long time.

Perfume Bottle and Hand Mirror.  2014

Perfume Bottle and Hand Mirror. 2014

It all started when I paired perfume bottles and jewelry boxes for my graduate thesis exhibition in 2011.  I thought the perfume bottle could become an abstracted figure, and the jewelry box could become a landscape, and that together they could create a seductive atmosphere.  In theory it was great, but I left that body of work feeling  underwhelmed.

Perfume Bottle and Jewelry Box from Thesis Exhibition, 2011.

Perfume Bottle and Jewelry Box from Thesis Exhibition, 2011.

For starters, the perfume bottle as an abstract figure was a forced idea, if an idea at all.  I couldn’t get far enough away from the wheel to make it transcend the pot.  And by stacking the bottle on the box, I changed the way the jewelry box worked.  It stopped being a container and turned into a pedestal.  Neither object heightened the other.  The two were not a great match.

Another Perfume Bottle and Jewelry Box from Thesis Exhibition, 2011.

Another Perfume Bottle and Jewelry Box from Thesis Exhibition, 2011.

So I spent time sketching the perfume bottle by itself as a way to gain distance from the relationship I’d forced.   I also restricted myself from actually making a perfume bottle because I knew it was important to grow in my hand and mind first to avoid retracing my steps.  I spent the time looking at dresses and figures and paintings, while I made a ton of bottles and cups – of course!

When I finally made the right sketch, the challenge was figuring out how to make the thing.  What a pain!  If you are interested in how I did it, go back to my early Instagram posts where I documented the process step by step (most steps are there).

 

Peter Pincus and his ceramics

Peter Pincus and his ceramics

The hand mirror came to mind in its own time.  It was the first thing I could think of that conceptually aligned with the perfume bottle, was found in a similar location and completely heightened the bottle while not turning into a pedestal in the process.  To boot, it was an exceptionally undervalued object.  Opportunity… check!

But here’s the catch.  Slip casting a hand mirror doesn’t work.  Believe me, I tried… and tried and tried.  It took time to realize that the hand mirror was best suited as a wheel turned object.  So I found rich, dark chocolate, dense earthenware and had at it.

Scraping a finished edge of the hand mirror before drying and firing it.

Scraping a finished edge of the hand mirror before drying and firing it.

So here they are.  Three years from when I last made a perfume bottle.  Finally.

Detail

Detail

Part One: Inside the Artist’s Studio: Introducing Peter Pincus
Part Three: Inside the Artist’s Studio with Peter Pincus: Centerpiece
Part Four: Inside the Artist’s Studio with Peter Pincus: Cracks in the Foundation

Inside the Artist’s Studio: Introducing Peter Pincus

Hello All, and welcome to my guest blog extravaganza!

Allow me to bend your ear about my upcoming show Sleep, In Spite Of The Storm.  In just a few short weeks, July 12th at 3pm to be exact, the doors at Main Street Arts will open and I invite you all to attend.  If you do make it, you’ll find an installation of brightly colored porcelain pots, vessels and containers, which are presented in this case as sculpture.  It’s an admittedly challenging exhibition for most gallery goers, hence my guest blogging for the next month, which will hopefully clarify my intentions.  It’s going to be a wild ride, so stick with me.

Two cups waiting for their pedestals at Main Street Arts

Two cups waiting for their pedestals at Main Street Arts

But before we get into all of that, let me introduce myself.  My name is Peter Pincus.  Born and raised in Rochester, NY, I now live and make ceramic art in Penfield, NY.  Yes, Rochester has claimed me, as it does so many others who love the seasons, the manageable, accessible city size, the budding artistic community, and of course, Wegmans!  I’m a proud husband, father, artist and teacher.  I received my undergraduate and graduate degrees at Alfred University, and I now work all around town, as the Studio Manager and Resident Artist Coordinator of the Genesee Center for Arts and Education and Adjunct Professor wherever I’m needed.  My work travels all around this great nation with regularity, however it doesn’t often land here at home.  That is why I’m investing as heavily as possible in Sleep, In Spite Of The Storm.

Peter Pincus

Now for the big question…  Do I make pottery?  No.  Well, yes and no.  I’ve focused for fifteen years on the study of pottery, but my work rests in a grey area that is closer to a painting of a pot than a pot itself.  I know what you’re thinking – that sounds like the musing of an academic.  And it is!  That’s the beauty of making, you get to present ideas through materials.  I see pottery as undervalued in my place and time, and therefore I present it to you in a different light.

The underside of a perfume bottle.

The underside of a perfume bottle.

I actively post on Instagram (@peterpincusporcelain) – check it out for pictures that will give you a glimpse into my studio process from beginning to end.

That’s all for now folks!
Part Two: Inside the Artist’s Studio with Peter Pincus: How Long is a Long Time?
Part Three: Inside the Artist’s Studio with Peter Pincus: Centerpiece
Part Four: Inside the Artist’s Studio with Peter Pincus: Cracks in the Foundation

FLORA: A Juried Exhibition of Botanical Artwork

This is the last week for our current show in the main gallery space! FLORA is a juried exhibition of botanical-themed artwork, dealing with flowers, plants or botany as subject matter. This is the first juried exhibition at Main Street Arts and features works of art by 43 New York State artists. Artwork shown in this exhibition includes painting, drawing, photography, sculpture, ceramics, and printmaking.

FLORA postcard

FLORA postcard

Artists included in this exhibition: Judi Cermak, Alice Chen,
Sage Churchill Foster, Cindy Dalton, Brad Daruszka, Hannah Ely, Alexandra Gable, Teresa Gable, Miranda Gatewood, JoAnn Gentle, Bethany Haeseler, Nancy Holowka, Melissa Huang, Patrick Kana, Ileen Kaplan, Keith Kappel, Roberta Kappel, Anne Lamme, Trisha Max, Barbara McPhail, Ho Moon, Connie Mosher, Colleen McCall, Emily McCall, Roberta Nelson, Mary Pat O’Brien, Lynn Patti, Larry Poole, Angela Possemato, Jan Romeiser, Jody Selin, g.a. Sheller, Bob Snyder, Deborah Stewart, June Szabo, Joeseph Tarentelli, Jean Tidd, Ken Townsend, Elizabeth Valenti, Rikki VanCamp, Robert Whiteside, Margaret Wilson, and Esther Yaloz. The exhibition will also include work by its juror, Alan Singer.

Exhibition Dates: May 1–July 3, 2014

FLORA opening reception

FLORA opening reception

FLORA opening reception

FLORA opening reception

FLORA opening reception

FLORA opening reception

So make sure to stop by before July 3rd, to see these beautiful works of botanical art! The gallery is open Tuesday – Saturday, 11:00am – 6:00pm.

Jody Selin, 7 Botanical Panels, 2014, 10" x 10" (each)

Winner of Director’s Choice: Jody Selin, “7 Botanical Panels”, 2014, 10″ x 10″ (each)

Winner of Juror's Choice: Margaret Wilson, Delphinium Delicacy, Watercolor, 2014, 28’’ x 21’’

Winner of Juror’s Choice: Margaret Wilson, “Delphinium Delicacy”, Watercolor, 2014, 28’’ x 21’’

Winner of Best in Show: Patrick Kana, "Specimen 1: Samara", Mahogany, milk paint, lacquer, 2014, 6" x 6" x 44"

Winner of Best in Show: Patrick Kana, “Specimen 1: Samara”, Mahogany, milk paint, lacquer, 2014, 6″ x 6″ x 44″

You can see more photos from the opening reception here and can see more information about our current and upcoming exhibitions here.