Last weekend, Mr. Forager & I took a trip up to Big Bear, CA, our first chance to see snow since our winter in Northern Idaho last year. As we hiked through the snow shrouded woods, I was reminded again just how lovely everything looks under a blanket of white and how beautifully even the dullest of colors pop against the snowy canvas. Today’s design finds remind me of that frosted treatment, as each has its own pop of color amid the pale!
One memory I have of my grandmother is of she and I in her dining room, sewing patterns spread out over fabric, pinking shears in hand, as she cut out the pieces to yet another new dress for me. The crunch of that brown tissue paper is now always associated with those times together. Austin artist John Westmark incorporates paper sewing patterns into his work, reinterpreting them as he explores feminist narratives, mythical figures, and the segregation of stereotypes.
Matrimony, paper sewing patterns and acrylic on canvas, 36×36
Not only does the artist incorporate the patterns into his work as a means of literal and visual texture, the patterns and their associations are the catalyst behind the explorations of themes in each series. For instance, in his Folklore series ( including Corona below ), Westmark references the traditions of story telling, incorporating the instructional verbiage of the patterns themselves. While in his Double Bind series ( including She-Crab below ), he reinterprets these instruments of traditionally feminine work into images of female mythical heroes and warriors. Adding an additional level of interest, he adds to the patterns custom text from contemporary feminist writings– creating work not just to be seen but to be experienced.
Corona, paper sewing patters and acrylic on canvas, 48×48She-Crab, paper sewing patterns and acrylic on canvas, 36×48
For his Flight series, Westmark continues the visual conversation between the feminine and masculine by creating a bridge between the typically female sewing patterns and the mechanical drawings of aircraft, usually a more masculine endeavor. Each patterns upon which to build and construct, looking very similar upon first glance– it is only when we examine more closely and determine their origin that we assign a stereotype to each.
Mercury, paper sewing patterns and acrylic on canvas, 100×72
To see more of the phenomenal work of John Westermark, please visit his website. His work can be seen at Stark + Kent, a contemporary art gallery in Palm Springs, where I first spotted these extraordinary works, or at Gilman Contermporary in Sun Valley, ID, where his solo exhibition, Into the Fold, is showing until January 20, 2013.
The first time I saw high-definition tv, I thought to myself, “I can’t believe people are paying more money for this imagery.” The resolution was so ultra-high, it was too crisp, too clear, lacking the depth to be found in blur and shadow. The work of Brooklyn based artist Caroline Zucchero Hurley uses loosely arranged shapes that, like our old analog screens, give us hints at what is there, allowing our minds and eyes the freedom to connect the dots.
Trees of Eden, oil on linen, 48×48
Much of what I love most about Hurley’s work has to do with the sense of balance and control in what may seem at first to be unfettered patterns and brushstrokes.
Dirt Stains, oil on canvas, 60×60Thank You, Virgin America
For all their seeming randomness, there is a deliberate quality to their placement, letting us know that each composition is by no means accidental. Yet, the artist arranges these shapes and colors with a deft hand, revealing just enough to suggest at what might be there.
Brights, oil on canvas, 60×60
To see more of the work of Caroline Zucchero Hurley, please visit her website. In addition to works on canvas, the artist also translates her love of shapes and forms to jewelry and linen throws— be sure to check those out, as well!
Happy 2013, Artsies! I’m excited for a new year and even more than that, I’m thrilled to spend this first month of a new year featuring the work of Tennessee artist, Christina Baker! Look for lots more loveliness coming your way from this talented painter all throughout the month of January. Stay tuned to the blog, Facebook, and Twitter feeds ( click the buttons to the right to follow! ) all month long!
Isn’t it amazing to think of all the precious stones, metals, and other extraordinary objects growing in the hidden places of our world? The sculptural work of artist Brett Freund seeks to explore questions of value and preciousness, what makes one thing more prized than another?
Crystals series, porcelain
Do we place a higher value on something that takes a longer time to ferment and evolve into its ideal form? Or is a thing’s rarity more important? And what about objects that are always growing and changing?
Freund’s work, with its fractal shapes that seem to be metamorphosing right in front of our eyes, making us think of old things, covered in signs of age and transformation. They are no longer what they were, but have become what they were meant to be.
Vessel, porcelain
Which is more valuable, what is at the beginning or the end? To see more of Brett Freund’s work, please visit his website.
New Year’s Eve is a time for self-reflection, right? I mean, between the glasses of champagne, that is. Which makes the work of photographer Akihiko Miyoshi perfect for today’s Artist Watch on Escape Into Life. In his work, the photographer seems to be looking into his own lens, distorted by the forms standing between. I find them fascinating and hope you will, too! Check ’em out here!
Mr. Forager and I are forest & woods people, with a bit of the ocean on the side. Which is a big part of why we love the Pacific Northwest so much and can’t wait to get back there ( only 3 1/2 more months! ). The quiet, the depth and darkness of the woods is a salve to our souls. Artists Anke Schofield and Luis Garcia-Nerey aka KOLLABS, are two artists who work collaboratively, exploring the role of humans within the forest and the environment as a whole.
Conversations, mixed media on canvas/panel, 66×48
In their work, KOLLABS often shows human and animal interaction, but taken out of the literal context of the woods. As in Conversations ( above ), it may seem that the bear, shrunken in size, perhaps to belie its power, is there to entertain the wealthy woman. Or perhaps she has invited the bear in, to try to get to know him and his ways so that she might better serve him.
Angie’s Run, mixed media on panel, 36×36Peapod, mixed media with resin on panel, 36×36Parker, mixed media with resin on panel, 36×36
As so many of us live far removed from the woods, usually only glimpsing wild animal at the zoo, photographs, or other media, it’s easy to forget that these creatures once ruled. That they, along with their forest homes, were treated with reverence and respect.
Chloe, mixed media on panel, 48×60
After all, they were there first. To see more of KOLLABS’ work, please visit their website. You can see their work in person in several galleries across the US, including Diehl Gallery in Jackson Hole, WY, Gilman Contemporary in Sun Valley, ID and Lanoue Fine Art in Boston, as well as Whistler Village Art in Whistler, British Columbia.
Artist found via Diehl Gallery. Images via Diehl Gallery and Gilman Contemporary websites.
For some people, myself included, there is just nothing like a paper calendar. The joy of crossing off items on a To-Do list or counting down days to a trip or birthday just isn’t the same when you try to keep track digitally. Or sometimes they’re just nice to have close-by for a quick glance.. what day does Valentine’s Day fall on this year??.. along with being lovely to look at. So for my final Artsy Holiday design round-up, here are a few 2013 artsy calendars featuring artists who’ve made an appearance here at Artsy Forager!
Sources and links to purchase are located below each calendar’s image. Which is your fave? Or do you already have another artsy calendar waiting for the New Year? Happy weekend, Artsies!
Not too long ago, Mr. Forager and I had yet another conversation about what makes one piece of artwork successful over another.. Another piece of the puzzle leading to an extraordinary composition, he has concluded, is depth. Whether real or perceived, depth just makes work more interesting, giving our eyes places to go and hollows to explore. Albany artist Deborah Zlotsky’s work involves shapes moving in and out and around each other, giving our eyes plenty of places to get lost.
Everything Must Go, oil on canvas, 48×60
The artist paints intuitively, shifting shapes and depth with each tweak, a change in color here causing one form to fall back while another comes forward.
Unknown, oil on canvas, 36×36Can the Devil Speak True, oil on canvas, 36×36Tragedy Tomorrow, Comedy Tonight, oil on canvas, 36×36
With her highly planar compositions, it is almost as if Zlotsky is moulding sculpture in two dimensions. You can almost see her brush as a sculptor’s hand, carving out shapes and forms, delineating her own hollows and bumps.
Wishful Thinking, oil on canvas, 36×36
To see more of Deborah Zlotsky’s work, please visit her website.
If an artist were to translate your life into paint, what would it look like? Would the palette be bright and cheery or grey and solemn? Montreal artist Claire Desjardins’ work has the feeling of a warm and colorful life.
Playlist, acrylic on canvas, 36×48City Lights, acrylic on canvas, 36×36
Many of Desjardins’ pieces are abstract impressions of moments or memories, the colors, forms, and textures telling us their visual stories, yet leaving us to form our own conclusions.
Pomme, acrylic on canvas, 60×40Income Tax, acrylic and latex on canvas, 22×28
In the layers of paint, can feel the scene– the sights, the sounds, the scents. Paintings filled with the fleeting moods of everyday life, when taken altogether, create an extraordinary existence indeed.
How to Bake a Cake, acrylic on canvas, 72×48
To see more of Claire Desjardins’ work, please visit her website and Facebook page.
All images are via the artist’s Facebook page, linked above.
