Inspiration is wide concept; it takes work and time to find the first idea that will launch the rest. An old drawing or a previous project that I had initiated years ago can come back to life and give me a first start. It can also be a book that I have read or that I would like to illustrate in a painting or a piece of music that I like which I want to see in colors.Read More
The freedom of having the painting dictate itself and evolve is what makes it exciting for me! It always keeps it fresh and new and never finds itself repeating. I have a lot of energy and emotion that comes through me into the canvas. What comes out of me and onto the canvas is what it's supposed to be. I don't try and change that; it's me in paint form and I run with it! [It's a] very organic and intuitive [process].Read More
I’m creating narrative images that address the gap between outside perceptions and the internal realities of home. My mother was a hoarder and my childhood experience was extremely difficult, but from the outside, all was well. This obviously had a profound impact and continues to be, as one of my mentors aptly coined it “psychic manure” for my work. The source images for the work were taken mostly in North Carolina, with some others coming from trips back and forth to Michigan. The images are heavily influenced by the hills and dynamic cloudscapes of the Appalachian Mountains as well as the isolation and vast spaces of the Midwest. An important element in all of my recent work is the desire to tell a story.Read More
"I feel so fortunate to live the life I have. I do not own hotels, golf courses or airplanes, but I own so many great memories. I do have quite [a] wide perspective on life. I am ashamed of our kind so often. At the same time, I know that I am not strong enough to act at the level I know I should. I am one level below and I keep pointing [to] my findings; ignorance to other human being needs, arrogant application of our "better" findings, inability to resign from from selfish needs. Aristotle said, '... the biggest strength and power we, humans, possess is not to use one.'"Read More
"I believe the detours and the off-ramps are a crucial part of how any artist develops their world view. When I moved to Canada, my design discipline shifted its focus from the production of information design toward community design and urban planning. Having taken the long route, I now spend a great deal of effort reassessing the social purpose of design, particularly in regard to creating healthy spaces to live, work and play. It's not as straightforward as designing a solution to a problem. For me, it's more about raising questions and generating discussion about the kinds of spaces we want to live in.Read More
My goal is not to get people to connect with me, but to truly connect with themselves, to ask themselves questions about who they really are as people. When we do that, we realize we have similarities with those around us, shared struggles. I believe that true change - both personal and social change - comes from that still, quiet place within each of us where we face the fables and mythologies we create in our own lives and, in turn, question our preconceived notions about others.Read More
I am an artist by accident. I have a degree in mathematics from the University of Idaho. Back in the early ‘90s, I left a successful career in the computer industry to, I hoped, become a rich and renowned author of historical novels. Over the course of the next 12 years, I struggled mightily to bring my dream into reality and gave birth to four such books, two of which actually got published. Though that dreamed-of fame and wealth never materialized, writing turned out to be the stepping-stone to something even better: my current life as a fiber sculptor.Read More
I love math because it is explorable. There is always something new to learn, to see, and to discover. The minute you solve one problem, it opens so many more doors for solutions to future problems.
I really love understanding things completely. I swear I am incapable of memorization. If I just try to learn a process, it's lost to me and forgotten soon after. But, if I figure things out for myself - strip the math of its scary numbers and symbols - and just focus on the patterns and expiration... that's where true learning and understanding comes in.
Metal is stable, yet malleable. You can beat it, heat it, grind it, weld it, and even very thin parts have structural integrity. I really enjoy the process of mold-making, changing a positive form to a negative and back to a positive. Ultimately though, it all rests on how it can be used communicate my ideas.
C.W. Ammen, author of The Metalcaster's Bible, infers that a person can work a lifetime and never know everything about the process, and he was correct. Foundry work is continual problem-solving with complete physical involvement. The more I know, the more I realize I don’t know, and that pushes me to the next inquiry.
I draw inspiration from the natural world, myth, symbol and story, from the collaborative process, and being open to possibility and chance. The energy and give and take of the collaborative process is always part of my work with children and other community-based art projects. I was part of a bi-lingual storytelling group that used music, puppets and masks to share stories with children and families in libraries throughout northwest Oregon. Along with five other artists, I am part of a critique group which meets monthly to share current projects and offer feedback to each other.
I still lean heavily on figurative work due to my struggle with identity, not just in terms of art, but what it means to be human and Mexican-American living in a border town. I am interested in character, persona, and the aesthetic design that correlates with those characteristics. I typically select elements of design that will connect to heritage and social concerns.Read More
There is something distinctly invitational about Studio 9 at the Foundry Art Centre. It could be the vibrant light streaming in from the windows and reflecting off the clean, bright surfaces of the work tables. One of the tables has plenty of open seating, suggesting the potential for a communal gathering. It could also be the natural warmth that Lisa Hinrichs' media exudes; the mixtures of bright and muted hues within the woolen fibers tempt the viewer to reach out and experience her artwork through their fingertips. Lisa is intimately familiar with the comfort that fiber art can bestow not only on the viewer, but on the maker.Read More
I strive to present truth and hope to connect with people by capturing social awareness. My sculptures are intended to draw attention to provocative issues, beliefs, and memories. The work offers an appealing exterior impression in an effort to obscure or conceal the interior narrative. I invite the audience to critically observe the world while visually highlighting injustices that thread together a mutual consciousness.Read More
I took a painting class in high school. This was back in the day when public schools had decent art programs. Mrs. Zeller opened my eyes and mind to art and art history. I still use much of what she taught me about color theory, technique, and composition. Not every student is an engineer, so we can’t let art and music disappear from school curriculum. I was raised in New York City where all the amazing art museums and galleries were at my fingertips. It was no big deal to pop into the Museum of Modern Art for an hour. There’s nothing like seeing art in person and imagining the artist’s touch.Read More
On Wednesday, February 15, the Foundry Art Centre hosted the Poetry Out Loud competition for the St. Charles region. Eight talented students recited poems from memory and performed them for an audience in the Grand Hall.Read More
"I knew that I wanted to incorporate their outrageous colors into my paintings, but not the exuberant brushstrokes that also defined their works. In direct opposition to the expressionistic style of the Fauves, I turned to painting more controlled and detailed scenes, an influence from the realists. Hence, my paintings contained recognizable subject matter taken from my family photos of everyday scenes that touched upon my life."Read More
Inspired by the Impressionists, primarily Monet and Van Gogh, Ann uses color in a similar fashion by letting the viewer's eye blend the colors applied to her canvas. She uses acrylic paints which allow her to layer more often as the paint dries more quickly than other media.
"As a colorist, I am constantly experimenting with color. Using transparent layers of color, I develop complex color relationships and intriguing depths that viewers often describe as ethereal." Ann's color usage and expressive mark-making draw the viewers into the depths of a painting, where even the darkest areas convey color and light shining from below.Read More
The walls of Studio 2 &3 are lined with dozens and dozens of drawings, paintings, and photographs bursting with bright hues. Overlapped watercolor paintings are arranged by colors of the rainbow and square photographs organized in a neat grid across the south wall invite visitors through the double doors to study each image. The common thread connecting all the different media represented in Jody Williams' studio is stated in her moniker: Botanical By Nature.Read More
"Making art definitely enhances my skills as a facilitator for thoughts. Experimenting with materials is also an extremely important part of the creative process for me. Beyond that, I think within the work itself there are material connections with people. I get a lot of questions about why I use gold, or how I make my paintings. The materials I use have a deeper story and history with people, and I think it is good to remind viewers of that and revisit them in a contemporary mindset."Read More
"The piece also relates to the Zen practice of koan meditation. In this tradition, practitioners provoke enlightenment by relentlessly mulling over an obscure riddle-like phrase. Through tireless attempts to solve the riddle, practitioners gain understanding that logic is an inadequate vehicle for perceiving spiritual truth. This is what inspired the gradient of overlapping text, by "destroying" the words, I found that a more profound truth had room to exist."Read More