A Celebration for our New Space and our New Name!
(blog by Sara Bishop)
A Grand Opening - With excitement and enthusiasm we unveiled our new space at 881 Willamette Street and our new name, Oregon Arts Alliance (formerly Oregon Crafted) on Friday, Oct. 1, 2010. We held our grand opening celebration and reception in conjunction with the First Friday ArtWalk. Late afternoon sunlight streamed in through the gallery windows as upbeat and eclectic music performed by Accordions Anonymous welcomed visitors. As art-goers danced and wandered through the spacious gallery, they enjoyed regionally crafted beverages by the Ninkasi Brewing Company and wines donated by Market of Choice. And, of course, there is the art! The right side of the gallery encompasses the show, [Hold] Baskets, Boxes, Bowls and Containers and features work by over 15 artists with a special selection of ceramics by artisans from Clay Space. The left side of the gallery contains art by more than 30 of our member artists.
The extraordinary array of art in the gallery could satisfy even the most persnickety person, provoking among many things, admiration and conversation.
Here is just a sampling of the mediums exhibited:
Light sculptures
Fused glass
Watercolor & sumi ink stick
Ceramics
Pastels
Weavings
Multimedia collages
Poetry
Handmade lampwork beaded jewelry
Collage scarves
Mixed media fiber
Acrylic and paper collages
Mixed media photographs
Photography
Bronze sculptures
Stoneware
Gourds
Chatting with the Artists - I got the opportunity to speak with some of the artists whose works are on display. The artists expressed excitement about our new space and new name.
Shannon Weber has four works in Hold:
Trapped, beaver stick, sea grass roots, bull whip sea kelp that has been carved, stitched woven wax linen, thread, ostrich eggshell, clam and pooka shell beads Star Chart, fire pit wood wax, linen, thread stitched bullwhip sea kelp reed, stitched river rocks
Crab Pots, fire pit wood, wax linen thread, stitched bullwhip sea kelp, river rocks, clam shell beads
Orbit, random woven painted material: rattan, found metal, drip line, metal tape, vinyl disk beads, waxed lined thread
Weber had multiple reasons to celebrate: it was her birthday, and her work is going to be shown work at the Cavin Morris Gallery in New York City. She summed up the night quite fittingly: “excellent.” Weber feels “privileged” that she has been able to create her work for the past 25 years. Also, be sure to catch Weber on a future episode of “Oregon Art Beat” on Oregon Public Broadcasting.
Karin Richardson made her Eugene debut with her “Guardian Remains” series in Hold: Guardians Remain Series: Redwood, wood, sand-cast flat glass, steel Guardians Remain Series: Fire w/ Green Vessel, wood, sand-cast, flat and blown glass, steel Guardians Remain Series: Fir, wood, sand-cast and flat glass, steel Guardians Remain Series: Red Cedar, wood, sand-cast and flat glass, steel
Richardson studied at the Pilchuck Glass School in Stanwood, WA. A person asked Richardson concerning her work: “It’s all on purpose, right?” which begs the age-old question, is it intuition, planned or by accident? She also enjoyed the bringing together of artists and art in the gallery.
Katie Swenson’s Untitled is a part of Hold. Untitled is created of porcelain/stone, porcelain, wire and glass beads. As we talked about her work, she explained that she can’t exactly put her work into words. Swenson wants people to unearth their own interpretations in her work.
Death Valley during winter inspired Sheila Roth’s four oil compositions:
Study in Green
Study in Blue
Study in Orange
Study in Red
“People say that there’s no color like that in Death Valley. It’s what I see under the rocks,” Roth explained, “Color is something I love to work with.” Roth currently is working with watercolor. Roth is also in charge of our new Collector’s Club.
Photographer David Simone’s work consists of “natural and super urban settings” and is also “abstract and realistic at the same time.” “I like to travel and do adventure things, and I like to go to cities,” Simone said. His photographs Sea Ranch and Molokai Backside are examples of his work in natural settings. Simone also serves on our Board of Directors.
Wrap Up + November Events - During the evening I overhead clips of conversations, most centering on enthusiasm for our new space: “it’s beautiful” to “this place is a wonderful addition.” Thank you to our artists and sponsors: Goldworks, Kent Anderson & Associates, P.C., Ninkasi Brewing Company, Pacific Continental Bank, Market of Choice and Sweet Life Patisserie. Thank you to all who came to the opening; the evening wouldn’t have been a success without you all!
Hold: Baskets, Boxes, Bowls and Containers will be on display through Oct. 30, 2010.
Pencil in your calendar our November events!
Drawing Marathon, Nov. 5, 2010, 5:00 p.m. to 9:00 p.m. Witness and purchase new drawings by Eugene artists created in front of you as a benefit for Oregon Arts Alliance. Infamous models will be posing – including her majesty, Queen Slugasana.
OAA Fine Arts and Crafts Show, Nov. 12 through 21, 2010, 11:00 – 5:30 p.m. Formerly the Sampler Show, this Fine Arts and Crafts Show will showcase art from 25 of our member artists, each displaying their art in a separate space within the gallery.
Showing posts with label oregon art. Show all posts
Showing posts with label oregon art. Show all posts
Thursday, October 14, 2010
Friday, July 23, 2010
Jessica Watson interviews David Simone, Oregon Crafted Board Member and photographer:
-Where are you from originally? How long have you been in Eugene?
I grew up in California and Hawaii. I wanted out of the frenzied life of the Bay area so moved to Southern Oregon 37 years ago and to Eugene four years later. I've been here ever since.
-When did you first become interested in photography? Were there any gateway mediums prior to finding photography?
I enrolled in an industrial arts program in High School - in a print shop program. I liked the copy camera and darkroom and soon also got involved in photography classes. I'd always liked taking pictures but learning about complex cameras and darkroom work engaged me in making images in a way I'd never experienced.
-What/who are your inspirations?
Some of my inspirations come other artists and some from the natural world. The work of Paul Strand, Minor White, Paul Caponigro, and many others, put a spin on the natural world revealing the unusual within the ordinary. For me this spin is most interesting when images are both simple and elegant. I build on the visual vocabulary of painters, printmakers and photographers of the ages in presenting landscape and abstract photography of this amazing planet. I am very fortunate to be able to travel in the natural world as much as I do. Many of my travels are on water. Kayaking the rivers of the west and sailing with friends in Centeral America has been a great pleasure. Hiking and photographing on these trips is very rewarding.
-When did you start Lightworks Photography?
After receiving a BFA from the UO, I continued making images and showing in local exhibitions and in helping to run two photographic galleries. I made most of my income from work in a aerial photography business doing mostly large format lab services. In 1993 I launched Lightworks Photography doing commercial and architectural photography and portrait work. This wide range of photographic experiences honed my skills in my personal work as well.
-I see that you work with both film and digital photography. What are some of your favorite qualities of each? Do you have a preference between the two?
In 2002 I began working with digital photography but I was very skeptical the quality would ever be as good as film. In 2010 it's startling how good it has become and as startling are the changes to the medium and the profession of photography. It is wonderful how photography has become much more accessible to the "the common man." However, in print and on the internet, I see a lot of poor quality images. Those who want to get consistently good photographs, must still work to achieve technical proficiency and artistic vision. A problem arises when a person or company isn't there yet but chooses to use slightly or clearly substandard images to represent themselves or their company. If this practice is wide spread enough it leads to a dumbing down of the visual standards that are acceptable in the marketplace. This can create an opportunity for those who make or acquire higher quality images to really stand out from the crowd.
Which do I prefer? Digital has many advantages. Often in the studio, I photograph connected to the computer. The photographs come up large on screen. With film we had to shoot with a polaroid back connected to our camera to get a preview of what we were getting through the lens. With digital the image processing possibilities in Photoshop and other programs are truly amazing. However, medium and large format film still has the edge on image quality. Film is used primarily for high end magazines and the uncompromising photo artist.
-Your website shows you photograph machinery, architecture, people, and artist portfolios. How has this diversity influenced you as an artist?
As a professional photographer, I strive to bring out the best in the client's products or artwork. I really enjoy photographing architecture or making a portrait that shows the essence of an individual or group. Now 17 years later I have the equipment and technical abilities to do these things but it is all trumped by the vision an artist must have to create fine images. I feel I have grown in this aspect also. It has been a challenge to have enough time to work as an artist while photographing for clients. I am enjoying working on my own images more over the last few years.
-Has being a member of Oregon Crafted helped you? How?
As well as being a member, I am on the Oregon Crafted board of directors. I am helping to steer the organization in new directions that I am sure are going to benefit the membership. It's exciting.
-What is your opinion of the current state of the arts?
The state of the arts is fantastic - people are making wonderful and creative things. However, not enough people are buying them. That makes it hard. Artists want to both create and prosper. We have to become more effective at marketing our work.
-Are you excited about participating in “Descending Light,” a photography show at Olive Grand that will be taking place in the month of August? I am excited about the show at Olive Grand this August. I am also excited to see how my work will interact with the other artists and the nice interior of the Olive Grand. I will be showing two color images I made while on a canoe trip in Southeastern Utah a few months ago. One is an image that's rather abstract and real at the same time, and the other a representational view of an amazing pool. I will also be showing two Black and white infra-red landscapes from that same trip. Shooting infra-red film has always intrigued me for it's other worldly qualities. But infra-red light has a habit of recording in unexpected ways and shooting IR film is fraught with challenges. With IR film, an opaque filter was placed over the lens to block visible light rays. This made a tripod a mandatory piece of equipment. I now have a digital camera body that only captures BW infra-red images. Now I can see if I'm getting a proper exposure.
-What are your plans for the future, either personally or as an artist?
I have many ideas and techniques I want to work on over the next few years. Stay tuned at www.davidsimone.com.
-Where are you from originally? How long have you been in Eugene?
I grew up in California and Hawaii. I wanted out of the frenzied life of the Bay area so moved to Southern Oregon 37 years ago and to Eugene four years later. I've been here ever since.
-When did you first become interested in photography? Were there any gateway mediums prior to finding photography?
I enrolled in an industrial arts program in High School - in a print shop program. I liked the copy camera and darkroom and soon also got involved in photography classes. I'd always liked taking pictures but learning about complex cameras and darkroom work engaged me in making images in a way I'd never experienced.
-What/who are your inspirations?
Some of my inspirations come other artists and some from the natural world. The work of Paul Strand, Minor White, Paul Caponigro, and many others, put a spin on the natural world revealing the unusual within the ordinary. For me this spin is most interesting when images are both simple and elegant. I build on the visual vocabulary of painters, printmakers and photographers of the ages in presenting landscape and abstract photography of this amazing planet. I am very fortunate to be able to travel in the natural world as much as I do. Many of my travels are on water. Kayaking the rivers of the west and sailing with friends in Centeral America has been a great pleasure. Hiking and photographing on these trips is very rewarding.
-When did you start Lightworks Photography?
After receiving a BFA from the UO, I continued making images and showing in local exhibitions and in helping to run two photographic galleries. I made most of my income from work in a aerial photography business doing mostly large format lab services. In 1993 I launched Lightworks Photography doing commercial and architectural photography and portrait work. This wide range of photographic experiences honed my skills in my personal work as well.
-I see that you work with both film and digital photography. What are some of your favorite qualities of each? Do you have a preference between the two?
In 2002 I began working with digital photography but I was very skeptical the quality would ever be as good as film. In 2010 it's startling how good it has become and as startling are the changes to the medium and the profession of photography. It is wonderful how photography has become much more accessible to the "the common man." However, in print and on the internet, I see a lot of poor quality images. Those who want to get consistently good photographs, must still work to achieve technical proficiency and artistic vision. A problem arises when a person or company isn't there yet but chooses to use slightly or clearly substandard images to represent themselves or their company. If this practice is wide spread enough it leads to a dumbing down of the visual standards that are acceptable in the marketplace. This can create an opportunity for those who make or acquire higher quality images to really stand out from the crowd.
Which do I prefer? Digital has many advantages. Often in the studio, I photograph connected to the computer. The photographs come up large on screen. With film we had to shoot with a polaroid back connected to our camera to get a preview of what we were getting through the lens. With digital the image processing possibilities in Photoshop and other programs are truly amazing. However, medium and large format film still has the edge on image quality. Film is used primarily for high end magazines and the uncompromising photo artist.
-Your website shows you photograph machinery, architecture, people, and artist portfolios. How has this diversity influenced you as an artist?
As a professional photographer, I strive to bring out the best in the client's products or artwork. I really enjoy photographing architecture or making a portrait that shows the essence of an individual or group. Now 17 years later I have the equipment and technical abilities to do these things but it is all trumped by the vision an artist must have to create fine images. I feel I have grown in this aspect also. It has been a challenge to have enough time to work as an artist while photographing for clients. I am enjoying working on my own images more over the last few years.
-Has being a member of Oregon Crafted helped you? How?
As well as being a member, I am on the Oregon Crafted board of directors. I am helping to steer the organization in new directions that I am sure are going to benefit the membership. It's exciting.
-What is your opinion of the current state of the arts?
The state of the arts is fantastic - people are making wonderful and creative things. However, not enough people are buying them. That makes it hard. Artists want to both create and prosper. We have to become more effective at marketing our work.
-Are you excited about participating in “Descending Light,” a photography show at Olive Grand that will be taking place in the month of August? I am excited about the show at Olive Grand this August. I am also excited to see how my work will interact with the other artists and the nice interior of the Olive Grand. I will be showing two color images I made while on a canoe trip in Southeastern Utah a few months ago. One is an image that's rather abstract and real at the same time, and the other a representational view of an amazing pool. I will also be showing two Black and white infra-red landscapes from that same trip. Shooting infra-red film has always intrigued me for it's other worldly qualities. But infra-red light has a habit of recording in unexpected ways and shooting IR film is fraught with challenges. With IR film, an opaque filter was placed over the lens to block visible light rays. This made a tripod a mandatory piece of equipment. I now have a digital camera body that only captures BW infra-red images. Now I can see if I'm getting a proper exposure.
-What are your plans for the future, either personally or as an artist?
I have many ideas and techniques I want to work on over the next few years. Stay tuned at www.davidsimone.com.
Friday, June 25, 2010
Carolee Clark, interviewed by Jessica Watson
Featured Artist of the Month: Oregon Crafted Artist Carolee Clark answers questions from new Oregon Crafted staffer Jessica Watson
Where are you from? What is your background?
I was born in a very scenic part of British Columbia. My mother was a hobby artist and my father owned an auto parts store. Even though I grew up with crayons and pencils in my hand to keep me quiet, I was dissuaded from pursuing an artistic career. My sisters and I were encouraged to become professionals so we could earn a living. I floundered between trying to earn a business and economics degree to driving a cab, and finally owning an executive office complex.
All along the way I continued to draw, and enjoy the visual arts. My mother gave me a set of watercolors in my 20’s which re-opened the world of color for me. I bought my first painting for $1,000 when I was 27, on time, paying $100 each month, and realized that owning art is within everyone’s reach.
As I enjoyed that painting every day, it continued to spark my interest in painting. Every time I went into a gallery or art museum I came home enthused to recreate that feeling I had while viewing the paintings that I admired so much.
When I sold my business, I realized that I didn’t want to reinvest in another business to delay my desire to follow the things that make me happy. I want to enjoy life doing the things that I love. I decided that I would live more frugally, but focus on only the things that I love to do, with painting and drawing very high on that list.
Where do you live now?
I met my husband during a bike ride in British Columbia and he persuaded me that Oregon was a nice place to live so I moved here about 10 years ago. We live in Philomath. I am very lucky to now have a beautiful, calming and peaceful place where I spend my time painting and working. I look out my windows to see a small family farm with cows and sheep to the south, and I look west to see the hills and Marys Peak.
How have these elements affected you as an artist?
I have been exposed to art my entire life. I grew up with an artistic mother who encouraged drawing and coloring from a very early age. She had her paintings around the house, and enjoyed sharing the experience of creating artwork with her daughters. Both of my sisters are very creative.
I believe that everyone is very creative in different ways. It might manifest itself in cooking, gardening or creative thinking. I am a spatial, visual person and even my learning throughout school was influenced by this proclivity. The way that I view the world is spatial, noticing colors and patterns. We played a card game when I was young called “Concentration” where you lie the cards face down on the table and take turns trying to find pairs. I was very good at the game because I could remember the space or angle that the card was returned to on the table.
When did you first become interested in the arts? What mediums initially attracted you? What mediums do you work with now? Other materials or processes?
I started painting in watercolor, with supplies gifted to me by my mother. For many years it was my only medium, and I still have a soft spot for it. When I went to galleries, watercolor paintings were the only type of art that I liked. However, the more art I was exposed to, the greater my appreciation grew for all types of painting and artwork.
I began to love the vibrancy of pastels and for a brief time worked with soft pastels. I moved away from these because of their delicacy when it comes to framing, storing and shipping.
Ultimately, between my frustration with the cost and time needed to frame artwork, along with a gallery's persuasion to move away from artwork needing glass protection, I decided to work with acrylic on canvas.
Each medium has its benefits and drawbacks, but for now, I am very happy using acrylics.
How have you evolved as an artist?
Sometimes we cannot see our progress forward but it is occurring. I have often heard that the more that you know as an artist the more you realize how much you have to learn, to do and experience. This is so true. I have always been brave with my work and tried new things. Each of these steps has influenced where I am now and contributed in building a platform for the next step. I think that we all want to be a master quickly however it really does take a lifetime. That too is wonderful as we have the experiences that come with the effort, the joy, the good paintings and the flops.
What do you do if a work turns out differently than expected or you do not like how the piece is coming together?
Sometimes a piece doesn’t work because you cannot see the problem, or the solution. For me, the best way is to put the piece aside and come back to it with fresh eyes, or new knowledge. Sometimes this might be the next day, sometimes it might be several years.
I have also done an interesting project with a gifted artist and friend, Donna Beverly. We have each started a painting then swapped and continued working on the other’s painting. We continued doing this until we both deemed the painting was finished. It was a wonderful way to see solutions through another person’s eyes.
What are your inspirations?
I always start with drawing. I sketch every day, always carrying my sketchbook with me. I’ll draw people in cafes, airports, and restaurants, I’ll draw cars in parking lots or while I sit in a traffic jam. When I have my sketchbook with me, there is no wasted time, and always something to draw no matter where I am. Only recently have I started to take reference photographs, and even these I will sketch first, and then paint from my sketches.
With the sketch, I have already worked out what I liked about the scene, people or subject matter. I have worked out the composition and the value patterns. This simplifies the painting process as all I need to do is figure out the temperature and hues to use. I am free to play with the colors and figure out what excites me.
I have unending inspiration for paintings. Doing errands this morning I was walking down an alley and saw about five paintings that I wanted to do, and driving home I saw at least three. There is an unending amount of inspiration everywhere I turn.
Has being a member of Oregon Crafted helped you? How?
Absolutely. Because of the Oregon Crafted show with Opus 6ix, I was asked to be one of their artists and had a successful relationship with them for a couple of years. I have also taken some very good workshops helping me with the business side of selling my work.
What is your opinion of the current state of the arts?
This is an interesting question. Obviously there is not a lot of art education in public schools right now; however I really do find a lot to be praised. There are a lot of caring individuals and arts organizations that are trying very hard to bring visual arts, theatre, and music to children. For adults, when I moved here, I was amazed at the number of art classes available through the community colleges, private artists and other organizations. People are flocking to learn how to scrapbook, quilt, paint, play an instrument, and write. Many wonderful artists are willing to teach and it gives them another revenue stream. Oregon’s Percent for Art program has put art in public spaces and it is inspiring! Walking around Corvallis there is all sorts of sculpture that I love.
People love art, and many caring individuals are making a difference in getting it out there.
What are your plans for the future, either personally or as an artist?
One year ago I gave myself the "painting a day" project. The year is up and I painted 306 daily paintings. That is almost 6 per week!
One of the things I thought I would learn is how to paint more quickly, but this sadly didn't happen. I had the idea that I would whip up a small painting in an hour or two and have the rest of the day to work on larger and more complex pieces. Ha! What a fantasy.
That being said, I ordered 60 more small canvases to continue "daily paintings." I have scaled back to about four paintings a week so that I might have more time for larger works.
To see my progress of my daily paintings, go to my blog caroleeclark.workpress.com
Where are you from? What is your background?
I was born in a very scenic part of British Columbia. My mother was a hobby artist and my father owned an auto parts store. Even though I grew up with crayons and pencils in my hand to keep me quiet, I was dissuaded from pursuing an artistic career. My sisters and I were encouraged to become professionals so we could earn a living. I floundered between trying to earn a business and economics degree to driving a cab, and finally owning an executive office complex.
All along the way I continued to draw, and enjoy the visual arts. My mother gave me a set of watercolors in my 20’s which re-opened the world of color for me. I bought my first painting for $1,000 when I was 27, on time, paying $100 each month, and realized that owning art is within everyone’s reach.
As I enjoyed that painting every day, it continued to spark my interest in painting. Every time I went into a gallery or art museum I came home enthused to recreate that feeling I had while viewing the paintings that I admired so much.
When I sold my business, I realized that I didn’t want to reinvest in another business to delay my desire to follow the things that make me happy. I want to enjoy life doing the things that I love. I decided that I would live more frugally, but focus on only the things that I love to do, with painting and drawing very high on that list.
Where do you live now?
I met my husband during a bike ride in British Columbia and he persuaded me that Oregon was a nice place to live so I moved here about 10 years ago. We live in Philomath. I am very lucky to now have a beautiful, calming and peaceful place where I spend my time painting and working. I look out my windows to see a small family farm with cows and sheep to the south, and I look west to see the hills and Marys Peak.
How have these elements affected you as an artist?
I have been exposed to art my entire life. I grew up with an artistic mother who encouraged drawing and coloring from a very early age. She had her paintings around the house, and enjoyed sharing the experience of creating artwork with her daughters. Both of my sisters are very creative.
I believe that everyone is very creative in different ways. It might manifest itself in cooking, gardening or creative thinking. I am a spatial, visual person and even my learning throughout school was influenced by this proclivity. The way that I view the world is spatial, noticing colors and patterns. We played a card game when I was young called “Concentration” where you lie the cards face down on the table and take turns trying to find pairs. I was very good at the game because I could remember the space or angle that the card was returned to on the table.
When did you first become interested in the arts? What mediums initially attracted you? What mediums do you work with now? Other materials or processes?
I started painting in watercolor, with supplies gifted to me by my mother. For many years it was my only medium, and I still have a soft spot for it. When I went to galleries, watercolor paintings were the only type of art that I liked. However, the more art I was exposed to, the greater my appreciation grew for all types of painting and artwork.
I began to love the vibrancy of pastels and for a brief time worked with soft pastels. I moved away from these because of their delicacy when it comes to framing, storing and shipping.
Ultimately, between my frustration with the cost and time needed to frame artwork, along with a gallery's persuasion to move away from artwork needing glass protection, I decided to work with acrylic on canvas.
Each medium has its benefits and drawbacks, but for now, I am very happy using acrylics.
How have you evolved as an artist?
Sometimes we cannot see our progress forward but it is occurring. I have often heard that the more that you know as an artist the more you realize how much you have to learn, to do and experience. This is so true. I have always been brave with my work and tried new things. Each of these steps has influenced where I am now and contributed in building a platform for the next step. I think that we all want to be a master quickly however it really does take a lifetime. That too is wonderful as we have the experiences that come with the effort, the joy, the good paintings and the flops.
What do you do if a work turns out differently than expected or you do not like how the piece is coming together?
Sometimes a piece doesn’t work because you cannot see the problem, or the solution. For me, the best way is to put the piece aside and come back to it with fresh eyes, or new knowledge. Sometimes this might be the next day, sometimes it might be several years.
I have also done an interesting project with a gifted artist and friend, Donna Beverly. We have each started a painting then swapped and continued working on the other’s painting. We continued doing this until we both deemed the painting was finished. It was a wonderful way to see solutions through another person’s eyes.
What are your inspirations?
I always start with drawing. I sketch every day, always carrying my sketchbook with me. I’ll draw people in cafes, airports, and restaurants, I’ll draw cars in parking lots or while I sit in a traffic jam. When I have my sketchbook with me, there is no wasted time, and always something to draw no matter where I am. Only recently have I started to take reference photographs, and even these I will sketch first, and then paint from my sketches.
With the sketch, I have already worked out what I liked about the scene, people or subject matter. I have worked out the composition and the value patterns. This simplifies the painting process as all I need to do is figure out the temperature and hues to use. I am free to play with the colors and figure out what excites me.
I have unending inspiration for paintings. Doing errands this morning I was walking down an alley and saw about five paintings that I wanted to do, and driving home I saw at least three. There is an unending amount of inspiration everywhere I turn.
Has being a member of Oregon Crafted helped you? How?
Absolutely. Because of the Oregon Crafted show with Opus 6ix, I was asked to be one of their artists and had a successful relationship with them for a couple of years. I have also taken some very good workshops helping me with the business side of selling my work.
What is your opinion of the current state of the arts?
This is an interesting question. Obviously there is not a lot of art education in public schools right now; however I really do find a lot to be praised. There are a lot of caring individuals and arts organizations that are trying very hard to bring visual arts, theatre, and music to children. For adults, when I moved here, I was amazed at the number of art classes available through the community colleges, private artists and other organizations. People are flocking to learn how to scrapbook, quilt, paint, play an instrument, and write. Many wonderful artists are willing to teach and it gives them another revenue stream. Oregon’s Percent for Art program has put art in public spaces and it is inspiring! Walking around Corvallis there is all sorts of sculpture that I love.
People love art, and many caring individuals are making a difference in getting it out there.
What are your plans for the future, either personally or as an artist?
One year ago I gave myself the "painting a day" project. The year is up and I painted 306 daily paintings. That is almost 6 per week!
One of the things I thought I would learn is how to paint more quickly, but this sadly didn't happen. I had the idea that I would whip up a small painting in an hour or two and have the rest of the day to work on larger and more complex pieces. Ha! What a fantasy.
That being said, I ordered 60 more small canvases to continue "daily paintings." I have scaled back to about four paintings a week so that I might have more time for larger works.
To see my progress of my daily paintings, go to my blog caroleeclark.workpress.com
Monday, March 29, 2010
6x6 Show a Huge Success
When we first began to develop the idea of a 6x6 fundraiser for Oregon Crafted, we wanted to provide the community with affordable art without asking the artists for a huge donation. We also wanted to get the community involved with the art community by not only purchasing art, but by creating and contributing art as well. We set a goal of 100 pieces and received more that 140. Not only did our member artists donate 6x6 pieces, local art students, art enthusiasts, crafters and creative community members created and donated pieces as well. The quality and diversity of the art we received was way beyond our expectations. In hanging the show, we were continually amazed and pleased with how fun and fashionable the show became and we began to realize what a bargain these pieces were at just $20 apiece. Some of the pieces by established artists have well over $100 invested just in materials, let alone labor and creative design. Others represent the priceless, varied, unique and sometimes quirky nature of Eugene and Willamette Valley residents - like the VW Bus, the beaded Willamette Valley Rain, or the sock monkey face. There truly is something for everyone at this show.
While most pieces sold during our opening reception on March 5th, a few gems still remain for sale and three prize pieces remain to be raffled. The show closes this Friday, April 2nd, and those who were lucky enough to purchase an art piece will be able to pick up the art then. The raffle drawing will be held the evening of April 2nd, during our closing reception. If you want to see what amazing artistic talent the Eugene area possesses, please stop by our gallery and view the show in its final week.
Thanks for helping keep art alive in our community.
When we first began to develop the idea of a 6x6 fundraiser for Oregon Crafted, we wanted to provide the community with affordable art without asking the artists for a huge donation. We also wanted to get the community involved with the art community by not only purchasing art, but by creating and contributing art as well. We set a goal of 100 pieces and received more that 140. Not only did our member artists donate 6x6 pieces, local art students, art enthusiasts, crafters and creative community members created and donated pieces as well. The quality and diversity of the art we received was way beyond our expectations. In hanging the show, we were continually amazed and pleased with how fun and fashionable the show became and we began to realize what a bargain these pieces were at just $20 apiece. Some of the pieces by established artists have well over $100 invested just in materials, let alone labor and creative design. Others represent the priceless, varied, unique and sometimes quirky nature of Eugene and Willamette Valley residents - like the VW Bus, the beaded Willamette Valley Rain, or the sock monkey face. There truly is something for everyone at this show.
While most pieces sold during our opening reception on March 5th, a few gems still remain for sale and three prize pieces remain to be raffled. The show closes this Friday, April 2nd, and those who were lucky enough to purchase an art piece will be able to pick up the art then. The raffle drawing will be held the evening of April 2nd, during our closing reception. If you want to see what amazing artistic talent the Eugene area possesses, please stop by our gallery and view the show in its final week.
Thanks for helping keep art alive in our community.
Saturday, November 28, 2009
Oregon Art was on display at the first annual Oregon Crafted Sampler Show and boy, did it look good. At least 1800 art lovers strolled the aisles, admiring and purchasing the stunning art on display. Many commented on the variety and quality of art as refreshing. Said one visitor, "I haven't seen a show with this degree of quality in town in a long time." Gallery representatives agreed. They were quite pleased with the quality of art and the convenience of having so many accomplished artists in one show. A number of our artists were commissioned to show their art in galleries around the state. Most artists experienced good sales too making the show an overall success. Artists and shoppers alike asked Oregon Crafted to host another show next year, some wanting us to host two a year. We'll get to work on next year's show very soon. Meanwhile, look for Oregon Crafted's new gallery store at 228 East 11th Avenue to open early 2010. A grand opening featuring a Six by Six Show of pieces by accomplished artists, amateurs, and community art lovers will be held during the First Friday Art Walk in February 2010. The 6x6 Show will run through March 5th.
Wednesday, October 7, 2009
November brings lots and lots of rain to Oregon and forces many of us to seek indoor activities. As November also christens the winter holiday season, one indoor winter activity popular with many Oregonians is shopping. The winter gift-giving season creates a treasure hunt atmosphere for many of us looking for a special gift for a special someone.
Oregon attracts a multitude of fine artists, with its luscious landscapes and inspirational settings. These artists create uniquely Oregon pieces that can be the prize at the end of your treasure hunt. Whether its metal garden art, jewelry crafted wood, glass bowls, ceramics, textiles or paintings, Oregon Crafted can put you in touch with the treasure you seek.
The first annual Oregon Crafted Sampler show brings over 45 of these fine Oregon artists indoors under one roof to display and sell their works of art to the November shoppers. Instead of searching for that gift in national chain stores at the mall, you can find it at the Oregon Crafted Sampler show at the Lane County Fairgrounds Auditorium on November 14th and 15th. Not only will you by buying a locally-made unique hand-crafted gift instead of a mass-produced made out-of-town product, you will be supporting local Oregon artists. Give a special gift. Buy local!
Oregon attracts a multitude of fine artists, with its luscious landscapes and inspirational settings. These artists create uniquely Oregon pieces that can be the prize at the end of your treasure hunt. Whether its metal garden art, jewelry crafted wood, glass bowls, ceramics, textiles or paintings, Oregon Crafted can put you in touch with the treasure you seek.
The first annual Oregon Crafted Sampler show brings over 45 of these fine Oregon artists indoors under one roof to display and sell their works of art to the November shoppers. Instead of searching for that gift in national chain stores at the mall, you can find it at the Oregon Crafted Sampler show at the Lane County Fairgrounds Auditorium on November 14th and 15th. Not only will you by buying a locally-made unique hand-crafted gift instead of a mass-produced made out-of-town product, you will be supporting local Oregon artists. Give a special gift. Buy local!
Wednesday, September 23, 2009
FEATURED ARTIST: JUDITH SANDER
At the end of a gravel road and down a long country driveway lies Sage Art Studio, a quaint cottage at the edge of a meadow with great views of Mary's Peak. In this fun studio, chock full of bins stuffed with doodads, gadgets, buttons and fabric, Judith Sander creates unique dolls adorned with a variety of fabrics and jewelry giving each doll its own character. Sander also creates complicated intricate collages. Starting with a fun eclectic painting of a human figure, Sander adds layers of papers and fabrics (often stationery she's written on), various adornments, and other fine details to complete an exquisite multi-layered, multi-textured scene surrounding a human figure. She has been doing collages for the last six years and confesses her collages are intense work. The tranquil valley view from the studio windows helps counter the intensity. Having created dolls for many years before she even started collages, Sander finds the dolls "fun, easy and a breath of fresh air.." Indeed they are fun and every woman who sees one will want one. I am not surprised she creates such lovely works of art. She surrounds herself in an inspirational studio in a gorgeous setting that feeds her creativity. Check out Sander's collages, dolls and other artwork at www.judithsander.com .
At the end of a gravel road and down a long country driveway lies Sage Art Studio, a quaint cottage at the edge of a meadow with great views of Mary's Peak. In this fun studio, chock full of bins stuffed with doodads, gadgets, buttons and fabric, Judith Sander creates unique dolls adorned with a variety of fabrics and jewelry giving each doll its own character. Sander also creates complicated intricate collages. Starting with a fun eclectic painting of a human figure, Sander adds layers of papers and fabrics (often stationery she's written on), various adornments, and other fine details to complete an exquisite multi-layered, multi-textured scene surrounding a human figure. She has been doing collages for the last six years and confesses her collages are intense work. The tranquil valley view from the studio windows helps counter the intensity. Having created dolls for many years before she even started collages, Sander finds the dolls "fun, easy and a breath of fresh air.." Indeed they are fun and every woman who sees one will want one. I am not surprised she creates such lovely works of art. She surrounds herself in an inspirational studio in a gorgeous setting that feeds her creativity. Check out Sander's collages, dolls and other artwork at www.judithsander.com .
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