Tag Archives: Pattern

Inside the Artist’s Studio with Mandi Antonucci

I stumbled across a quote by Henry Adams a few weeks back that struck me as indicative to my approach to art making. Adams said, “Chaos was the law of nature; order was the dream of man.” This precarious point between the two extremes is where I like my work to dwell.  

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While I will occasionally work in ballpoint pen and oils, my true love is colored pencils. I love the range they provide from soft layered colors to sharp bold edges. I love the simple buttery depth they can create and the complex layers of color mixing they enable. I love that despite my years I have put into the medium, I still learn something new about them each time I draw, like an old friend divulging new secrets.

My greatest expense and favorite obsession is trying out different brands, and experimenting with using them together. My favorite combination is using the Caran d’Ache Luminance with the Prismacolor Premier. The Luminance can pack a punch with their ability to layer, maintain color integrity, and won’t wax bloom like the Prismacolors. Yet, the Prismas have such a wide range of colors and play very nicely with other brands.  

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I often start a piece without any clear direction. I’ll be intrigued with an object, the way someone is holding their hands, or a conversation, and I will start with a rough sketch, working my way slowly to the final product. I don’t necessarily have a clear concept of the symbolism in my work until I have put more hours into it, like it’s a new friend I’m getting to know.

I often like to work alongside my kids; they provide good company and funny title ideas.

I often like to work alongside my kids; they provide good company and funny title ideas.

Nearly all of my work deals with the contradictions found within the human condition. I strive to find meanings and marriage between the two opposing forces that push our physical and emotional boundaries from one extreme to the other. In the past, I have primarily worked with the human form in some way, creating a visual commentary on the precarious emotional space in which we sometimes dwell.

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See No Evil

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Flight Plan

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For the past few months I have been making a slight change of direction from mental space to physical space. I am interested in how we interact with the space in our homes; the ways in which we fill the space, the complicated relationship we may have with the objects we keep, and the ways in which our emotions and memories for a space can change due to the external forces that dwell within our walls.

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Beneath

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My work often includes patterns as both a stylistic and symbolic choice. Patterns can be both predictable and improbable, stable and changing. We search for patterns to make sense of the world around us, they allow us to make familiar predictions, and interpret the connectivity between points. Patterns can provide reassurance in unknown situations, yet they can also create confusion at their break down. This point between familiarity and confusion is where I like my work to inhabit.

You can follow my work on Instagram @skywardagain or on my website, mandiantonucci.com


Mandi Antonucci is one of six artists featured in the Upstate New York Drawing Invitational at Main Street Arts. Work from the exhibition can be previewed and purchased through the gallery’s Artsy page. The Upstate New York Drawing Invitational runs through September 28, 2018.

Inside the Artist’s Studio with Jillian Cooper

I spent my early childhood growing up in Manchester, New Hampshire and then moved to Lubbock, Texas where I remained for 20 years.  I earned my MFA with concentrations in Ceramics and Metalsmithing/Jewelry from Texas Tech University in 2015.  Currently, I am living in Plano, Texas where I work at Collin College as the Ceramics Lab Coordinator.

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I enjoy using lace in my work because it can be found embellishing everything from tablecloths to underwear.  It can be innocent, seductive, outrageous, delicate, timeless and trendy. It appears on babies, brides, entertainers and grandmothers.  The incorporation of lace allows me to simultaneously represent a variety of associations.

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I have only recently began using plaid in my work.  It started as a suggestion from a friend and I ran with it.  The more I research it, the more I enjoy using it much for the same reason I use lace. Its broad spectrum of use and associations from historic family tartans, to the lumberjack, to the school girl leave so much room for interpretation

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“Plaid Mug” featured in The Cup, The Mug exhibition

I use Laguna Dark Brown boxed clay. I start out with a simple slab built cylinder.  I slip and score the seam and use the overlap as part of my design instead of smoothing it out.

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When the cylinder is formed I use it as a template to cut out a rough circle for the bottom.

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Thick slip is painted over lace on the slab that is going to be the inside bottom of the mug.

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When the slip is no longer tacky, I peel away the lace.

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The bottom of the cylinder is slipped and scored and carefully attached to the bottom.

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The excess slip around the edges is wiped away and the remaining clay is pushed up against the cylinder creating a lip around the bottom.  The basic cylinder shape is gently formed into a softer edged form.

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I use a rubber tipped tool to divide the surface into an area that will have lace added to it.  The area without the lace is pushed out slightly more from the inside.

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Again, thick slip is painted over lace and allowed to sit until it is no longer tacky.

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The lace is peeled away and any excess slip is wiped away with a rubber tipped tool.  I use a drill bit to remove clay so that the stitches are recessed into the clay and not just sitting on top.

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Small coils are rolled out and pressed into the holes to create the stitches.

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When the clay dry, I sketch out a (very) rough plaid pattern.

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Three coats of underglaze are applied, then it is bisque fired to cone 08.

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After bisque firing, a clear or celadon glaze is applied on the interior.  The lace and stitches are waxed and a clear glaze is applied over the outside.  I then fire to cone 10 in reduction.

My plaid cups are still in their early stages of experimentation and development, but I am excited to see what they grow into from here.  You can find me and my work on Instagram @toberninejilly or on my website at www.jilliancooper.com


Stop by Main Street Arts to see the mug shown above by Jillian Cooper in our current exhibition “The Cup, The Mug: A National Juried Exhibition of Drinking Vessels” (juried by ceramic artist Peter Pincus, exhibition runs through January 6th).