Tag Archives: abstract landscape

From The Dirt to The Skies: Lanna Pejovic

“From The Dirt to The Skies” is on view at Main Street Arts through Oct. 4, 2019

“From The Dirt to The Skies” is on view at Main Street Arts through Oct. 4, 2019

From the Dirt to the Skies is a group exhibition featuring new works in painting, drawing, and printmaking from four of Main Street Arts’ gallery artists — Pat Bacon, Chad Grohman, Meredith Mallwitz-Meyer, and Lanna Pejovic. The artwork is inspired by fog-laden lakes, wooded paths, gardens, and objects plucked from nature. 

Next in an interview series with the artist, executive director and curator Bradley Butler talks to painter Lanna Pejovic about painting on-site as well as in the studio, her color palette, and what inspired the work  included in the exhibition.


From The Dirt to The Skies: 
Lanna Pejovic

LannaPejovic

Q: Can you talk about the work included in the show and what inspired it? Is there a single theme running through the work?

A: The paintings in this show are more focused on flower gardens. Much of my previous work deals with the larger spaces found in the broader landscape. Even if I’m painting a garden, I’m normally more interested in the space of the garden, not the flowers themselves.
For whatever reason I felt more like being right in the flowers, so that’s what I focused my attention on. 

"A Garden Conversation" by Lanna Pejovic

“A Garden Conversation” by Lanna Pejovic

Q: What is on your mind while you’re working?

A: It often depends on the mood of the day but I am focusing on specific gardens. Memories of being in these specific places because it isn’t a generic idea of a garden, the memories come from my experience being in a garden. When I get ready to paint I think about the color mood of that day. Its a conversation with the painting about the color mood of that particular day. 

"Lilies and Rain" by Lanna Pejovic

“Lilies and Rain” by Lanna Pejovic

Q: When you’re recalling these gardens in your memory, are you trying to hold onto one specific image? Or do the images keep passing through in your mind?

A: I try to hold on to the image and go back to the same space in my mind. Two of the paintings included in this show are from the most intensive garden experience I’ve had, which is at Linwood Gardens. Linwood is a big place so it has all kinds of spaces that are very planned out, yet not rigid. Flowers and vegetables are planted together and continue to grow there all summer long. That’s where I spent some time a couple of years ago and I try to go back to that mental space while I’m painting, that combined with photos I took. Since I never did drawings in the garden, I am doing that now. Making charcoal drawings in the current mood I’m in which is a more linear and scribbly way of defining details of what I’ve seen. I try to revitalize my experience of the garden first in charcoal and then move towards oil paint.

"Pastel Gardens 2019 — Autumn Walk" by Lanna Pejovic

“Pastel Gardens 2019 — Autumn Walk” by Lanna Pejovic

Q: You have 3 oil paintings in the show along with 8 small pastel drawings, can you talk about the pastels?

A: Those were totally unplanned. I was thinking about a generalized idea of the garden, thinking of a poetic mood about a garden. Trying to not be specific, and not adding specific garden elements. Since they are very small, I couldn’t use the same gestural technique I’m using on the paintings. I didn’t have a specific image that I wanted and I like the ones best that are more diffused. Those are the ones that bring me back to the sensory experience of being in the garden. I focused on laying some color down, smudging the pastels and seeing what memories that might trigger. From there I would draw back into it, which was an unplanned gesture of the moment. I went through lots of paper, you never know if that gesture or that color combination will be successful. With pastels, you can only go so far with layering colors before they aren’t able to be brought to any kind of conclusion.

"Pastel Gardens 2019 — Pink Sky" by Lanna Pejovic

“Pastel Gardens 2019 — Pink Sky” by Lanna Pejovic

Q: Can you talk about your color palette for these pieces?

A: I’m very affected by what’s going on around me, I don’t work in a vacuum. I am aware of the landscape around me. As a landscape painter I am very much affected by the weather, the light, and the mood of the day. Paintings take their own course sometimes and you decide whether to follow it and support it or whether you will deny it. Letting certain colors in to the composition and then reacting to those colors.

I have been making an effort recently to rely less on blues and greens in my paintings. Those colors are so prevalent in our area, especially this time of year, it tends to dull the senses in a way. You can’t feel anything fresh about the garden. So I ask myself, how can I refresh the idea of being in a place that is a garden? I like winter gardens and I like the fall and a lot of the pastels are fall colors, somehow they kept coming out in the pastel drawings. I find the fall and winter to be more inspiring times of the year.

"Pastel Gardens 2019 — Autumn Dusk" by Lanna Pejovic

“Pastel Gardens 2019 — Autumn Dusk” by Lanna Pejovic

Q: How does your environment impact your work? 

A: The kind of painter I am, I am very sensitive to the lyrical mood or sound of the day. That in combination with my own mood, ends up having an effect on my dialog with that particular painting on that day. 

"Pastel Gardens 2019 — Yellow Trees" by Lanna Pejovic

“Pastel Gardens 2019 — Yellow Trees” by Lanna Pejovic

Q: Can you talk about your studio practice and how do you balance working on-site vs. being in the studio?

A: It’s hard being outside working on-site but I feel that it’s necessary, whether I’m just making a sketch or a full painting, that’s where I get the real experience of being there. Otherwise the finished painting wouldn’t have the sense of immediacy that I’m after. The symbolic and formal idea that has come out of my relationship to landscape. It’s more authentic for me to show the immediacy of the moment of being there, or a series of moments. The light is always changing, everything is changing. 

I found some drawings I did 35 years ago, very carefully done with layers of accumulation. They are small sketches but they are so fine, I thought “was I ever that quiet and calm working out there?”. I feel like now everything is moving so fast, even though I am out there in the quiet landscape. I feel like the time is going and I have to keep responding to it. Capturing the changing moments I’ve experienced
in a place is important to me now. So the paintings I make in the studio have to feel that way and having actually spent time somewhere helps me to capture the freshness and immediacy of a place.


From The Dirt to The Skies runs through Friday, October 4, 2019. Work from the exhibition can be previewed and purchased through the gallery’s online shop.

From The Dirt to The Skies: Meredith Mallwitz-Meyer

"From The Dirt to The Skies" is on view at Main Street Arts through Oct. 4, 2019

“From The Dirt to The Skies” is on view at Main Street Arts through Oct. 4, 2019

From the Dirt to the Skies is a group exhibition featuring new works in painting, drawing, and printmaking from four of Main Street Arts’ gallery artists — Pat Bacon, Chad Grohman, Meredith Mallwitz-Meyer, and Lanna Pejovic. The artwork is inspired by fog-laden lakes, wooded paths, gardens, and objects plucked from nature. 

Executive director and curator Bradley Butler sat down with each of the artists and asked them some questions about their work and what inspires them to make it. An interesting overlap began to develop between these artists — from the motivation for making art
in the first place, to the imagery, and color palette. First up in this interview series, Finger Lakes artist Meredith Mallwitz-Meyer.


From The Dirt to The Skies:
Meredith Mallwitz-Meyer

Meredith

Q: Can you talk about your paintings and what inspired them?

A: Different trips or experiences or places I have been to over the past year or so. Places I have been that I have experienced and I just found to be really beautiful that just struck me in a way, whether it be the light or a number of different things. It’s usually the light
that is the number one thing that really gets me. They were just places that I loved and took photographs of and then based on my photos and my memories and sketches that I did there in the moment, I took all those things and started paintings based on
them. In the end, the painting takes on almost a memory sort of feel. They all start from I place I have been, a place that I saw and they all are located around the Finger Lakes area.

"Spring's Finale" by Meredith Mallwitz-Meyer

“Spring’s Finale” by Meredith Mallwitz-Meyer

Q: Is this inspiration and process different from what has happened for you in the past or has this always been your process?

A: It’s been a consistent process. It’s a series I started about 10 years ago now that has just continued to work for me. It’s been consistent, they have all started the same way. Now that I know my process a bit better, I know when I see something and know where it’s going to go.
I can do the research and do all the things that I need in order to get a good strong painting from it.

"Winter's Respite" by Meredith Mallwitz-Meyer

“Winter’s Respite” by Meredith Mallwitz-Meyer


Q: What is on your mind when you’re working? Is there a conscious “trying to remember” things about the place?

A:Yeah! The most important thing for me is that I need peace and quiet. I need to be working by myself with no interruptions. It’s rare that I have just one photograph, I usually take a few so that I can see the way the light changes and I can put it all together to create what I think is the most compelling, strongest look. I have all those photos in front of me, whether it’s on the computer or printed out, and I usually have a vision board. And that’s really it. If I have music going it’s nothing distracting, it’s just something quiet in the background.

"Sonnenberg Tribute" by Merdith Mallwitz-Meyer

“Sonnenberg Tribute” by Merdith Mallwitz-Meyer

Q: The painting “Sonnenberg Tribute” depicts nature in a different way than most of your other work. Can you talk about what caused that shift and if that’s something you’ll be doing more of?

A: I want to do more of that going forward. I used to live down the road from Sonnenberg Gardens in Canandaigua and I would take walks through there. I love all the trees on the property, they are absolutely beautiful. One day I heard a story from someone who worked there that Mary Clark Thompson—she and her husband built the mansion at Sonnenberg—used to plant a tree in honor of every guest that she had back when she lived there. I thought that was a really cool thing, what a great way to honor a  guest. I thought that deserved a painting, so I found a tree that stood out really proud and I wanted to treat it almost like a portrait but still really get the washy luminescent layers in there. I definitely hope to take this further.

"Bud's View" by Meredith Mallwitz-Meyer

“Bud’s View” by Meredith Mallwitz-Meyer

Q:  Can you talk about your color palette? Are these colors you have seen in the skies or are they more amplified?

A: They are colors that I have seen in the sky but they are definitely amped up. I love the soft color palette from nature but I really enjoy being able to change it and put my own take on it. It’s important to me to not be painting exactly what I see. I want it to be a little bit more of a personal experience, I think this interpretation is really important. 


Q: How does your environment impact your work?

A: Oh gosh, I think my environment impacts me more than I even realize. I think going back through my paintings and remembering where the inspiration came from reminds me how much my environment influences me. I love landscapes so the Finger Lakes region always seems to be my subject matter. And it just happens to be that way. I don’t necessarily plan it to be that way it just kind of happens. So I think that because I live in such a beautiful area and the light is really beautiful and the weather and the clouds, there’s always a dramatic change in the light you can get from one moment to the next. It has a huge, huge impact on my work.

Work included in "From The Dirt to The Skies" by Meredith Mallwitz-Meyer

Work included in “From The Dirt to The Skies” by Meredith Mallwitz-Meyer

Q: I know that you were working in a different studio space this summer, what was it like being out of your usual set up?

A:I had a completely empty large room, no finished flooring or walls so it freed me up a little bit, which is important. I was able to just get things started and let the paint fly and I didn’t have any reservations. It became a really freeing experience. So having that space and having that freedom, not just the physical space but also not having to worry about getting anything dirty, I think it was a great exercise for me. It loosened up my flow of how I work a little bit more. 

I was able to work on several pieces at once because I had the space which is typically how I like to work it’s just not always the most practical thing for me. I had all of the paintings in this show out while I was working on another one so I could pull from all of those. It’s important for me when I am having a show to make sure there is cohesion and a common thread through one piece to another and that they all work nicely together but still have their own identities. 

This space granted me all those things which was really wonderful. It has beautiful light as well, it was a big open space with sliding glass doors and a big open backyard in the back. It was the perfect scenario.


From The Dirt to The Skies runs through Friday, October 4, 2019. Work from the exhibition can be previewed and purchased through the gallery’s online shop.

Inside the Artist’s Studio with Adam LaPorta

In 2001 I was given a Pentax k1000 camera as a gift from my parents. It was a send off gift as I was headed to art school that year.

Little did I know that I would always be drawn to the lens.

Over the past eight months I have realized the gift I was given was too far removed from my life, and in January 2018 I stepped back into my role as an artist.

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Artist Adam LaPorta

I wanted to reignite an idea I had from 2006. The idea related to my earlier macro works, which I always wanted to take it to an elevated level.

Capturing patterns and shape at macro and microscopic magnifications distorted the placement or recognition of something someone so commonly understood, to becoming unfamiliar with it.

Below are images shot from my years at the Cleveland Institute of Art, 2004 – 2006.

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Earlier work by Adam LaPorta

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Earlier work by Adam LaPorta

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Earlier work by Adam LaPorta

I have always been intrigued by the repetitious and structured patterns life so beautifully creates. We pass by so many places/items daily and never think to give something a different look…a new perspective.

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Earlier work by Adam LaPorta

In taking my process to an elevated level I began to explore life from new heights. Turning a path someone so commonly walks on, into something graphic and different, giving them a new perspective.

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The artist getting a new perspective

What makes this process so exciting to me is the ability to remove our awareness of place, taking a viewer’s eye into patterns and shapes by abstracting space.

The surroundings of color, objects, weather, and seasons all play an important role influencing my canvas.

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“Unknown #3″ by Adam LaPorta, included in the Land & Sea exhibition

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There is still so much to learn about my process, especially finding out how different seasons will influence what I capture and why I want to capture an area.

Right now I am just grateful to be creating once again. I have many ideas I would like to bring to fruition. If I continue to be consistent with my work then my ideas will continue to consistently grow into stronger creations!


Adam LaPorta is one of 28 artists featured in “Land & Sea”, a national juried exhibition of landscapes and seascapes juried by Deirdre Aureden, director of programs and special projects at the Schweinfurth Art Center in Auburn, NY. His photographs “Unknown #1–3″ won a juror’s choice award. The exhibition runs through June 29, 2018.

Inside the Artist’s Studio with Ruth LaGue

I grew up in Alaska, awed by the incredible vastness of the wild landscape. Gazing at the expansive skies and majestic mountains as a girl, I recognized that I was a small part of something much larger than myself.

"Migration" by Ruth LaGue, Best In Show winner in Land and Sea at Main Street Arts.

“Migration” by Ruth LaGue, Best In Show winner in Land and Sea at Main Street Arts.

Traveling through India in my twenties, I became consumed by the landscape of the spirit — that limitless interior universe that lives in each of us. The marriage of the two experiences ignited a lifelong quest to connect the outer and inner within my paintings.

To me, landscapes represent fragments of time that will never be again; intimate moments of communion with something greater than myself; quiet meditations to which I bear witness.

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Work by Ruth LaGue

The most exciting part of the creative process is observing the juxtaposition of colors and textures as they form a depth of field — how a simple dark line next to a light field of color can come alive.

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Ruth in her studio

I use palette knives, mixing colors on the surface of the canvas and using visual economy in my work, reducing the landscape to its barest form.

I rarely come to the studio with an idea of what I’m going to paint but rather listen for the inspiration from within.

I always wanted to go to art school. I applied and was accepted to the Rhode Island School of Design to study graphic design; after graduation I began a career as a graphic designer and later as a web designer. Ten years ago, I found a studio space at the Gorse Mill Studios in Needham, MA and began painting. I’m grateful I’ve had the opportunity to explore two very different aspects of my professional life.

I can be found online at www.laguewax.com, on Instagram: @ruthlague and on Facebook: @Laguewax


Ruth LaGue is one of 28 artists featured in “Land & Sea”, a national juried exhibition of landscapes and seascapes juried by Deirdre Aureden, director of programs and special projects at the Schweinfurth Art Center in Auburn, NY. Ruth’s painting “Migration” won Best In Show. The exhibition runs through June 29, 2018.