Tag Archives: Mixed Media

Meet The Artist in Residence: Kathryn Beavers

Kathryn Beavers artist in residence at Main Street Arts during the month of December 2019, is working in one of our two studio spaces on our second floor. We asked Kathryn some questions about her work and studio practice:

Kathryn Beavers, December 2019 artist in residence

Kathryn Beavers, December 2019 artist in residence

Q: To start off, please tell us about your background.
I am originally from Bucks County, PA and now reside in Philadelphia, PA. I attended the Maryland Institute College of Art (MICA) in Baltimore, MD and received my BFA in Painting this past summer. This year I did my first residency at The Vermont Studio Center which opened my eyes to the possibilities of residency programs. I always knew I wanted to be a painter and muralist in the art world.

Q: How would you describe your work?
I would describe my work as all encompassing installation that borderlines on being site specific. Landscape and body converge as they were the first forms of art that I was formally trained in. These collisions of spaces focus on line as the main thread of piecing together a full mural and installation. I world-build but it is all of our world and the creatures that inhabit our Earth as well as minds creating a sense oneness with alien.

Kathryn Beavers, marker and pen drawing on tracing paper, June 2019

Kathryn Beavers, marker and pen drawing on tracing paper, June 2019

Q: What is your process for creating a work of art?
Layering and more layering. I edit by adding. I relate it to propagation in the natural world. Something I realized early on when making art is that I need to be active. I move around a lot and need to be able to see the physicality of the mark. My mind is typically in a state of undulation of feelings real and unreal so I go back and forth between natural non-archival materials as well as paint as the basis for all of the moving parts.

Kathryn Beavers in her studio at Main Street Arts

Kathryn Beavers in her studio at Main Street Arts

Q: What are your goals for this residency? Tell us about your current projects.
For this residency I really want to focus on small works. I am constantly in flux between grand scale and micro objects, and size is something I can not stay consistent with. I would also like to explore and push my ideas and concepts to a more specific realm. I often have too many ideas floating around in my head so trying to narrow down what exactly I want to say has been the goal.

Kathryn Beavers, Irritation, acrylic, matt medium, watercolor, marker on paper

Kathryn Beavers, Irritation, acrylic, matte medium, watercolor, marker on paper

Q: Do you collect anything?
I probably collect too many things. I am not a hoarder, but rocks and “free souvenirs” as Quentin Moseley would say. I have bags of dried flowers, some dried gourds, a lot of dead things. And then there are baskets, containers, bags, and vessels. I have a bag filled with bags, sometimes I take them out and stuff them for reference. I like looking at different types of sacks and pots and even cages.

Kathryn Beavers, Sunny Side Up, acrylic, sand, gloss medium, marker on stretched fabric, 39 x 41in.

Kathryn Beavers, Sunny Side Up, acrylic, sand, gloss medium, marker on stretched fabric, 39 x 41in.

Q: What advice would you give to other artists?
My advice to others artists is very simple: I think you never know until you try. I would say go at it with gusto. There’s a difference between overworking a piece and pushing it to 105%. Never leave something where you are wondering if you should still make a move or not. I say go for it.

Q: Who inspires you and why?
Terry Winters, I can’t help but always go back to his Tessellation Figures and his notebooks. Elizabeth Murray, Katharina Grosse, Barbara Takenega, Georgia O’Keefe, Rina Banerjee… There are too many women for me to count and name. I absolutely adore taking in hybrid paintings. I love Op Art, Installation Art, and performance work that takes in consideration of the time and place in which it is occurring. There are so many musicians and different art forms that influence me, especially glass-blowing as a medium.

Undulating Systems, Temporary Site-specific studio Installation/Mural, acrylic, polyfil, canvas, cut paper, organic materials, fake plants, (MICA) Maryland Institute College of Art, Baltimore, MD, 2017

Kathryn Beavers, Undulating Systems, Temporary Site-specific studio Installation/Mural, acrylic, polyfil, canvas, cut paper, organic materials, fake plants, (MICA) Maryland Institute College of Art, Baltimore, MD, 2017

Q: What was your experience like in art school?
MICA was an incredible experience. Incredibly difficult and incredibly transformative. The pressure was definitely felt every year. I didn’t know I could be pushed as far as I went honestly. There were visiting artists and lectures constantly, if you wanted to jump in it was very accessible. There were so many incredible female artists/professors I met during my time there that made me believe it was possible to hold a space in the art world : Carolyn Case, Lauren Adams, Katherine Mann, and Alex Ebstein just to name a few.

Q: What’s next for you?
After this residency I am going to go back to Philadelphia to work and continue making art whenever I can. In May I plan on doing another residency in Minnesota at the New York Mills Retreat.

Q: Where else can we find you?
www.kathrynbeavers.com
behance: behance.net/KathrynBeavers
Instagram: instagram.com/kathryn_beavers_
Facebook: facebook.com/kathryn.beavers.54
Pinterest: pinterest.com/kathryn_beavers_/

Inside The Artist’s Studio with Cherie Burbach

cherie burbach in the studio

Cherie Burbach in the studio

I’ve painted ever since I was a young child. Art was a safe place for me and a way to work through a turbulent childhood. Growing up in an alcoholic household made things unsteady and frightening, but drawing and writing poetry were how I worked through anything that made me sad or scared.

cherie burbach painting

Artist Cherie Burbach painting

This desire to offer hope and encouragement is the intention behind my art. I am a self-taught artist, painting almost every day. I also write and publish poetry and feel these two are linked for me. Words and images are closely tied in telling a story of faith and confidence about the future. There is a beauty in words that really speaks to me.

cherie burbach art supplies

Art supplies and a work in progress

I grew up in Milwaukee, Wisconsin. My artistic talents were recognized early on in but it wasn’t until my late 30s that I began to pursue them professionally by painting the covers of my poetry books.

cherie burbach poetry books

Cherie Burbach poetry books

Over the years, my painting has evolved from oils to acrylics to now, a collection of paints, inks, pastels… and many different kinds of ephemera. I enjoy adding lace, music sheets, book pages, and anything with handwriting on it, like old notes and recipes. I enjoy these small, personal elements and feel they add a comforting element to my art.

cherie burbach uses lace in her art

A pile of lace to use in paintings

cherie burbach art supplies used

Art supplies

I’ve been influenced by a variety of artists, but my favorites are the emotive works of Vincent Van Gogh and the mother and child paintings of Mary Cassatt.

cherie burbach exhibit LMA

Cherie Burbach exhibit LMA

Several years ago I fell in love with mixed media. I was able to add words, collage elements, and a variety of mediums that made painting a new journey, one that was about uncovering the image I wanted to convey as much as it was creating it. Adding layers of paper and paint and words felt like the bridge between my art and writing I’d always longed for.

cherie burbach working on She Stood Tall

Cherie Burbach working on “She Stood Tall”

Along with the images I create, I like to include my original poetry and Bible verses on my art. I paint with bright colors and whimsical images to show the light of a world beyond this one, where there is only hope and possibility.

cherie burbach in front of her art booth

Cherie Burbach in front of her art booth

I have written dozens of poetry, art, and nonfiction books. My latest is Painting the Psalms, a combination art book and devotional.

“Painting the Psalms”

I also like creating functional art products so people can surround themselves with art in various forms. Things like tote bags, devotional decks, and mirrors are among some of the things I sell in my booth at art shows.

cherie burbach at a craft fair

At a craft fair

In addition to shows and exhibits, I also teach classes online and in person. My art pieces and prints are sold in artsy shops and galleries throughout the Midwest. For more, visit my website or catch up with me on Instagram.


Cherie Burbach is one of 112 artists included in the 6th annual Small Works exhibition at Main Street Arts, a national juried exhibition of work 12 inches or less. Work from the exhibition can be previewed and purchased through the gallery’s online shop. Small Works runs through January 3, 2020.

 

Inside the Artist’s Studio with Jennifer Schinzing

Jennifer at work

Jennifer at work in her home studio

The incredible passion I have for animals and the natural world is what inspired me to learn taxidermy. All the animal elements found in my work are road kill casualties or have died from natural and unpreventable deaths. By preserving them in the very small window of time between death and decay it forces the viewer to see them in a more intimate and surreal setting. By placing them in improbable situations, I hope to remind the viewer of our fragile world.

Sculpture

Sculptural piece by Jennifer Schinzing

I grew up in Rochester, NY and still call it my home today. I work at More Fire Glass Studio full time, managing the studio and blowing glass. On weekends I volunteer at Wild Wings (an injured bird of prey facility) helping to educate people about the environment. And at home, my husband and I, have 3 rescue greyhounds.

Jen & greyhounds

Jennifer with her 3 rescue greyhounds

Creating and making art from a very young age eventually led me to art school. I graduated from Alfred University, School of Art and Design, where I was exposed to glassblowing and continued to experiment with different materials.  My sculptural work is mixed media based. I love sourcing found objects from antique stores, sometimes those are the source of inspiration for the piece. I incorporate my own blown and sculpted glass into the work but I also incorporate vintage glass as well. 

Cyclical

Cyclical by Jennifer Schinzing

I have always felt a strong love and connection to animals and the natural world. As a kid, my sister and I spent hours upon hours playing outside, building forts and making “food” from random plants and berries. We would stay busy playing in Irondequoit Creek which ran through our backyard and enjoyed being surrounded by the wildlife that lived close by. This informed my artwork as a kid and it continues to do so today.

glass

Detail of a custom piece for a private residence in Chelsea, NY

My approach of beginning a piece consists of different thoughts and feelings. It isn’t always the same formula for me. I don’t do a ton of sketching, most often a vision will pop in my head and I start piecing it together. It could be the animal that inspires me, in other instances it is a found object or a lot of times I am tying  personal experiences in amongst the broader message. I hint at what the pieces are about for me in the titles but I always love for the viewer to take away their own perception of the piece if possible.

flameworking

Jennifer creating flame worked pieces for a sculpture piece

blowing glass

Jennifer blowing glass

In the indefinite continued progress of existence, there are particular moments that will change us, leaving us to wonder how or why we have gotten to this moment. The hopelessness that these periods of time create can be paralyzing and leave you wondering if you will ever be able to repair the holes. From every death comes a breathe of new life, giving us a glimmer, a feeling of repair. By creating intimate moments from personal fragments paired with an environmental connotation, a duality evolves to form a narrative that explores both sides.
Cache

Cache by Jennifer Schinzing

 I am honored to be among all of the talented artists showing work in the current exhibition de/composition at Main Street Arts, I hope all of you get the chance to see the show!


Jennifer Schinzing is one of 31 artists featured in the national juried exhibition de/composition at Main Street Arts. Work from the exhibition can be previewed and purchased through the gallery’s online shopde/composition runs through June 28, 2019.

 

Meet the Artist in Residence: Taylor Kennedy

Taylor Kennedy, artist in residence at Main Street Arts during the month of May 2019, is working in one of our two studio spaces on our second floor. We asked Taylor some questions about her work and studio practice:

Taylor in her studio at Pratt Institute.

Taylor in her studio at Pratt Institute.

Q: Please tell us about your background?
I was raised in Sodus Point, NY ( which is a 30 minute drive North of Clifton Springs). I attended the Rochester Institute of Technology and graduated in 2015 with my BFA in Fine Art Studio. While in my last year at RIT, I realized I was not done with my education. I was just hitting my stride in my practice and wanted the safety (haha) and challenge of a MFA program. I was very lucky to get into Pratt Institute, as I was even younger and less “experienced” in the art world then. So, I moved to Brooklyn in August of 2015. It was hard, but it was what I needed. I graduated from Pratt in 2017 with my MFA in Printmaking. I stayed in the city until this past February, when I moved back home.

I have been drawing ever since I can remember. My family has a “knack” for artistry; vocally, instrumentally, written and visually.  My generation has been the only one to pursue full fledged artistic careers. I think we saw how much our parents/uncles/aunts wished they devoted more time to the arts. That is not to say it is easy, making a career in the arts; because it is fucking hard. But I can’t see myself as anything else.

I’ve worked as a teaching artist. An artist assistant. A nanny. A dog walker. A house-sitter. Living the stereotype of an artist. But these are all jobs that add to your practice, that give you insight. Make you real. Currently, I work as a substitute teacher.

I Want You in My Posse (Preliminary Layout), 2019

I Want You in My Posse (Preliminary Layout), 2019

Q: How would you describe your work?
Oh boy, I am laughing as write this. It is, for lack of a better word, my diary. I have gotten slack for my work being too “cathartic” or “therapeutic” as I speak so much of my personal background. I don’t think I would get that critique if I was a man, but I keep making it.

My work is my memory. Or memoir. Or ode to my family, as ironic as that may seem.  Or all of the above.

I think there is a universal language felt when looking at imagery that was created to speak to the poignancy felt in everyday family life. At least, that is what I am trying to poke at. I have seen and felt heartache and loss, divorce, suicide, addiction, alcoholism and mental illness. But I have also seen and felt middle class pride, true love, perseverance, and growth. They work in tandem, the dysfunctions and the functions. That’s life.

As families, we live our lives in cycles. In patterns. Sometimes, we think we break them, but I have come to find that we recreate those cycles in some other form. Across generations. Across bloodlines.

When I speak of family, I am not only speaking of my blood relations. I am speaking of my friends. Or the people I snap pictures of on the street that are sharing a moment. Or even animals. Inanimate objects telling a metaphorical familial story.

We are all related, in some way. That is what I want my work to evoke.

Chicken Soup, 2018

Q: What is your process for creating a work of art?
Right now, I have a bank of reference pictures I draw from. That includes old personal family photos, photos I have taken and stock images I find on the internet.

For a drawing, I lay out a piece of paper, print out what reference photos are speaking to me, and start a layout in pencil or vine charcoal. Sometimes, I cut out parts. Sometimes, I add aspects of other reference photos. Sometimes, I go on memories I can still visualize in my head. It depends on that exact moment. I have been trying to be more considerate of composition, leading me to make collages of the reference photos I am thinking of using.

I follow it. I try to not plan too hard. I make notes on the paper, or the walls if I can, if I have thoughts related to my practice (which, if you haven’t noticed, is everything in my life). If it calls for becoming sculptural or an installation, I listen to it. You have to listen to the work. Sit with it. I don’t like to kill work. That is the worst.

I Want You in My Posse (Preliminary Layout), 2019

Man’s Best Friend (Preliminary Layout), 2019

Q: What are your goals for this residency?
I am going to work on illustrating a children’s book that was written by my aunt, Sara Kennedy. It is going to be a challenge, seeing that I am not necessarily a “planner” and more intuitive in my process. But it is a challenge I look forward too, as it is going to be a way of learning to simplify compositions that are strong in their convictions. The imagery needs to read as if the text was not there.  The studio has printmaking equipment that I will take advantage of; I envision creating mixed media illustrations using drawing, collage and printing.

I also plan on getting some painting done. I am not a painter. Not at all. Painting is really hard. And not everyone realizes how hard painting is/that they should not be painting, because they are not painters. But, I have a ton of canvas and paint, so why not challenge myself even more? That will be more personally based. I am envisioning a large tableau-style painting of a pick-up truck right now. I’ll get back to you on if that comes to fruition.

Taylor in residence at Sodus High School, 2019

Taylor in residence at Sodus High School.

Q: What is the most useful tool in your studio?
My body. Your body is your number one tool. I have never been an athlete, never into exercise, but if you want to make it as an artist, you need to keep yourself healthy, physically and mentally. I have carpal tunnel in my dominate hand. Arthritis, MS, and Fibromyalgia run in my family. I am trying to get myself strong. What is the point of making large things if you cannot physically handle them?

Tape is good too. You can make anything with a roll of tape.

Q: Who is your favorite artist and why?
Celeste Dupuy-Spencer. Toyin Ojih Odutola. Nicole Eisenman.  Genieve Figgis. Kerry James Marshall. Egon Schiele. Alice Neel. Red Grooms. Marisol Escobar.

They are storytellers. They were/are transparent. I think it is honest. Their work is not trying to be “art”, it just is.

"Ven, To!" (Preliminary Layout), 2019

“Ven, To!” (Preliminary Layout), 2019

Q: Where are your favorite places to see artwork?
Kids make the best work. And they have no idea, which makes it even better. So schools, the backs of homework, scraps of paper, desks. Anywhere a kid would create.

Q: Do you collect artwork? Tell us about your collection.
I do, a little. I have work of my peers and of young artists (kids) I have taught. The adult work I have mostly because of trading them with my own work. The kid work I have is because it was gifted to me or I commissioned it. I would rather pay a child to make me something than an adult.

I suppose I am a sentimental sucker at heart. But that is the only way to be.

Town of Sodus, 2015

Town of Sodus, 2015

Q: What’s next for you?
At this moment, making dinner. I am trying really hard to not think ahead. I am an anxious person; I have to teach myself to live in the moments.

Q: Where else can we find you?
I am on Instagram @taylor_mica_kennedy and my website is www.taylormkennedy.com

Inside the Artist’s Studio with Jim Garmhausen: Processing The Artist’s Process

A few years ago I made a rather large shift in my artmaking process. I’ve been a working artist for the last 20 years, starting with cartooning, for weekly papers; then painting and drawing, on flat surfaces like canvas, wood, metal, and glass. Ultimately I’d work on walls, in the form of murals. As I progressed in my studio work, I began incorporating collage, using ephemera, vintage book pages, old wall paper and the like; and occasionally attached found objects, like a bottlecap, a flattened piece of metal, or a run of rusty nail heads, to whatever surface I was working on.

baby-bearman

A page from my weekly comic strip, “Dreamland,” from the early 2000s.

Looking back, I realize I was pushing the 2D form to its limit. At the time, I felt increasingly frustrated, even fed up, with my work. As a self-taught artist, I was keenly aware of my limitations, and although I pushed myself hard to improve, there was something about my work that had me feeling like I was falling short of my intentions.

My studio, until this past year, was located about ten miles outside of Ithaca, NY, where I live. A woodworker had bought a former chicken farm with a large barn for processing chickens, and a number of outbuildings. He renovated the barn, creating workspaces for artists, and set up his own woodshop at the ground floor level.

The amount of studio space I found myself with (about 1000 square feet) allowed me to work at a large scale, on rolls of paper and canvas dropcloths meant for housepainters. As a former cartoonist, used to confining my work to small boxes, this was liberating. The barn itself was full of treasures that deepened my interest in both vintage items and the esthetics of aged materials. It also put me in proximity to a host of woodcutting tools that fascinated and intimidated me, and so I avoided them for my first few years at the studio, until my interest overcame my fear.

I grew up around tools, in a sort of DIY, middle-income household. That was a time (not so long ago), when things were only thrown away when they could no longer be fixed. I wore hand-me-down clothes that my mother sewed patches on, and played with hand-me-down toys that my brothers had broken and repaired. This mentality extended to the house itself. My father was a capable, if unimaginative, carpenter. He had a Sears table-mounted saw he’d use for projects around the house. I remember the loud whir of the motor, and the high pitched whine of the blade, as he guided a piece of wood along the cut line, his fingers inches from the blur of sharktooth metal serrations. I’d wait, captivated and afraid, for the engine to cut down, and the blade to slow and finally stop, after each cut, and exhale only when his fingers were fully away from the saw.

Despite my interest in his skillset, my father chose not to pass it on to me. He made halfhearted attempts to include me (I could press the “on” button for the table saw) but never really followed through, with either instruction or encouragement. In retrospect it would have been a wonderful way to bond with a man I ended up hardly knowing. It could be that his intention, in not taking me under his wing, was to preserve that distance.

Anything my father did with me, when I was a kid, was halfhearted. We both loved baseball, for example, but he rarely got his own glove out. I don’t remember him showing up for my baseball games, or taking me to Cooperstown, which I would have loved to visit. I don’t think he disliked me. I think it’s possible he was afraid of me. I was a sensitive kid, aware and creative and emotional and easily hurt. Probably something like he was, when he was a kid. His father, an imperious, pull-yourself-up-by-your-bootstraps, self-made success, didn’t know what to do with him, and (according to my father) mercilessly drove him to be something he wasn’t. I think when my father was faced with the same dynamic, he shrunk from it. How could he teach me anything, without pushing me to be more of a “man” about it? That was something he didn’t want to face, in himself, or in me.

Whatever his intentions, I internalized his lack of interest in teaching me as an indication of my built-in unworthiness of that information. I was the sensitive kid in a closed-mouth family, who merited both special handling and extra concern. In short, my sensitivity, my lack of being a “typical” boy energetically, left me feeling damaged and inferior, and afraid to show my lack of “male” knowledge.

So, as an adult, when faced with questions about car repair, or carpentry, or some other technical issue, I found I could not admit that I had no idea. Rather, I’d scramble to find a way to cover up my lack of knowledge. I had a hidden, unexamined terror of being “found out:” I can’t fix cars, or roofs, or boilers, or lawnmower engines. Sadly, I realized I would never be that guy fixing the classic car on the driveway Saturday morning, with the wife inside making waffles for the kids. In fact, I turned out to be the guy inside making the waffles, while my (now ex) wife fixed whatever car we had.

Hitting a wall as a 2D artist coincided with working in a space loaded with both vintage materials (old windows and hardware and indecipherable machine parts and more) and tools intended for the express purpose of reshaping wood. It took a while, but I eventually worked up my courage to ask for access to the woodshop, and instruction in how to not lose any fingers. Though it was sometimes difficult for me, I learned to say “I have no idea,” and ask for help. The results were immediate and empowering.

For my first project in the woodshop, I gathered foot high sections of raw cut trunk wood. Using a reciprocating saw, I cut off edges and rounded the “top” as well as I could, until I had a sort of fat domed plug, sitting on a flat base. Which I further rounded and smoothed with an orbital sander. Once I had a relatively consistent surface, I used an electric woodcarving chisel to bring out details: eyes and mouth and teeth, cheekbones, and the parentheses of cheek muscles around the mouth. Nose and ears I left for the moment. Finding these forms in the wood, bringing them out, working and sanding them, was an epiphany. I found myself lost in the small repetitions of bringing out details.  I let the overall face and form appear organically, choosing to sketch out only the simplest indications before carving: where the eyes would be, what space they’d need, and the same with the mouth; where would the nose fit; and the placement of cheekbones, brows and forehead.

GIAF_Rolling-Smoker

“Rolling Smoker”

My carving method, right from the outset, was intuitive, similar to I how work in my sketchbooks. I start with eyes, usually, and fill in around them, letting the face take shape according to whatever my emotional/intuitive response indicates. Using this technique with wood was exhilarating. Finding a simple competency with tools furthered that feeling, and began to heal old wounds, even as, Gepetto-like, I brought new forms into being.

GIAF_Jack-The-Extractor

“Jack The Extractor”

Working intuitively, rather than from a blueprint, also meant problem solving: I don’t have the wood mass to carve a nose out of the initial block, so what do I do? Searching around for items that might serve: an old doorknob, a heavy bolt, smaller pieces of wood. In the process of looking, I might find other interesting objects that don’t quite fit the purpose, but call to be used anyway. A heavy rusted hook or eyebolt would present itself, ask to be included, and I’d search for ways to do so. Which opened my process up to greater incorporation of found objects. My age-old fascination with wheels led me to fix them to the base of the heads, creating ungainly rolling toy-like things. Later I’d create pull toys, a more stable kind of vehicle, tested by my son at multiple speeds.

GIAFpulltoys

Two of the first pull toys I created.

Simple train cars of old barn wood and caster wheels served as display surfaces for smaller works, including porcelain head, soft-bodied dolls I created with the help of my mother in law’s sartorial skills, a first for me, in that I handed over the creation of a specific part of my pieces to someone else. My work was becoming more collaborative, more open. I wasn’t closed off in my studio all the time. People walking through the woodshop could see my process, give feedback, ask questions, or be asked questions, about tools, or potential solutions.

In short, I was alive with the process of coming up with ideas and bringing them into being. This new direction in my art brought in another great passion: collecting. I’ve always loved rummaging through antique, second-hand, and salvage stores. Now I had a reason (excuse) to do so: finding materials for art-making. Sometimes I’d look for a specific something to fill a need, like more caster wheels, or a small box to be used as a drawer in a cabinet. Or I’d find something that I simply loved the look of, that would be placed in my studio to provide inspiration.

Jim Garmhausen

Livery Cabinet, found object sculpture

The cabinets in this show, which I’ve written about on my website, came out of my fascination with old medicine cabinets, and my habit of collecting ornate, crumbling gilt frames. They also served as display cases for the many small kitsch items I collect. Art was no longer about making something to fit in a frame. It had jumped beyond that form, out of a specific discipline, and into something more like the messy coherence of life. I was, and am, thrilled.

The results, when introduced to the world, were immediate. My first 3D pieces were accepted into the Governor’s Island Art Fair, in NYC, and one was selected by uber-artist Greg “Craola” Simpkins to be shown in the Surreal Salon 9 exhibition at Baton Rouge Gallery. There was also a clear uptick in interest on social media. It was gratifying that this new path didn’t just feel good personally, but led to work that was well-received.

So what is my process? It’s hard to explain, as it varies from piece to piece. Usually it starts with free-sketching, in my sketchbooks. I draw whatever is asking to be drawn, that moment. I take different turns, when I’m stuck. Removing a body that does nothing for the head that sits on it, and replacing it with wheels, turning it into a bizarre vehicle or robotic/cyborgian rolling thing. My guiding principle is how it makes me feel. If it doesn’t make me smile, I’m not going to translate it in wood. I don’t worry too much about how it will be received. My in-process work often has the feel of an inside joke. I’m laughing, but I have no idea if anyone else will, ultimately. I find that keeping potential responses to my work out of my head and workspace is vital to creating something, well, vital.

Part of being an artist is facing the question: what does your work mean? The answers to that question, in conversations and interviews, in artist statements, and within myself, have changed as I’ve gotten older (in both time and life experience). I’m beginning to understand that my work (like any art) is self-exploration, and for me that means going back into my childhood, and family history, using forms and objects as archaelogical indicators. I’m piecing together the mystery of who I am. This is a lifelong process, which, of course, promises a lifetime of art-making. Passions always have roots. My passions for art, for history and collecting, for old toys, for vintage materials, for the visible effects of aging on items, all are based in deep, often unexplored parts of myself.

pulltoytrain

A five car pull toy train.

It might be cliche-ish to say it, but my art really is about me, and my life. I sometimes feel like more of a medium than a creator, and the spirit I’m communicating with is my own. It’s a powerful process, and thankfully, a very enjoyable one. Life has intervened on my art career, recently. I’ve undergone a lot of changes. My father died, two years ago, and my mother has pancreatic cancer. I broke my wrist, limiting my ability to work. My 16 year old daughter moved out, after a blowup. I lost my studio. And, worst and hardest of all, my marriage ended suddenly, due to (this will take more explanation that I can offer here, but you’re welcome to visit my blog for the more complete story) my coming out as gay, which has of course led to seismic changes to my entire universe.

There has been little time, space or energy for art, but it is calling me again, more and more insistently. I’m interested to see what comes out, when I get back to work. Changes come in the slightest shades or the greatest shifts, and it is my job as an artist to guide rather than steer that process, and not to overly influence it with what I think I should be doing. Having the chance to examine the last few years of production is a bit like examining the rings on a tree stump, or the different shades of layers of rock on an eroding cliff face. It is a record of me, set down in ways that words cannot. And I’m looking forward to the next chapter.


Jim Garmhausen is one of seven artists featured in the exhibition Perception of Time at Main Street Arts. The exhibition can be previewed on the gallery’s Artsy page. Perception of Time runs through February 15, 2019.

 

Meet the Artist in Residence: Meredith Olinger

Meredith Olinger, artist in residence at Main Street Arts during the month of October 2018, is working in one of our two studio spaces on our second floor. We asked Meredith some questions about her work and studio practice:

MO_Photo

Meredith Olinger

Q: Tell us about your background.
I’m from Memphis, TN. I recently obtained my M.F.A. from Memphis College of Art. I am a mixed media artist. For the past two years I have been designing my own wallpaper, creating it both digitally and by hand, and using that to collage large scale installation pieces. I also work in printmaking, painting, and textiles.

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Room #1, mixed media, 2017

Q: How would you describe your work?
My work is very layered, both in physicality and content. I’m very interested in the intersections of art and design, painting and installation, digital and handmade. My work blurs these lines. Aesthetically, I’m looking for something bombastic and overwhelming. I’m inspired by advertising, billboards, interiors and  social media.

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Room #1 Reconfigured: Front, mixed media, 2017

Q: What is your process for creating a work of art?
All of my wallpapers are of my own design. I create them digitally and have them printed by Spoonflower, or I create them by hand, using painting, printmaking, drawing, etc. These are then layered onto a surface and then I rip away at them. I often collage these pieces back on, working until the piece feels right. I also photograph my work while it is in process, make a wallpaper pattern out of that, and then collage it into the work.

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Room #1 Reconfigured: Back, mixed media, 2017

Q: What are your goals for this residency?
During this residency, I am focusing solely on painting. My background is in painting, but I have been so focused on collage for the past few years that working with oil has been very challenging for me. My goal this month is to get re-acquainted with the medium.

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Detail, oil on panel, 2017

Q: Who is your favorite artist and why?
I have so many favorite artists! El Anatsui, Amy Sillman, Mark Bradford, and Nick Cave are just a few of my favorites. But recently, I’ve been very interested in Elliot Hundley’s work. Though it’s very different from mine, the way he works in layers is similar to my own process. I also love how dense his work is, and that is something I strive for in my own work.

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Untitled (Zeitgeist Installation), mixed media on wall, 2018

Q: What advice would you give to other artists?
I’ve had so many great professors over the years, and they have all graciously given me so much wisdom. But one professor in particular once told me to, “trust the process.” Simple really, but I repeat it to myself a lot in the studio. It’s so easy to get bogged down in your work. Art making is hard and you have good days and bad days. You have to remember that it’s all part of the process. The struggle is important for making your best work.

Q: Do you collect artwork? Tell us about your collection.
I do collect artwork! My collection is small, but has some really great pieces by artists I love. I own a few pieces from some of my cohorts from graduate school: Katherine Dean, Joseph Mosely, and Mary Ruth Pruitt. I also own a piece of one of my professors, Beth Edwards, a fantastic Memphis painter. I also own some antique Chinese peasant paintings that I bought for a song because I don’t think their owner knew how amazing they were! I try to pick up prints when I can, and am looking to add a Chuck Johnson and a Greely Myatt (two local Memphis artists) to my collection in the near future.

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Untitled 1, mixed media, 2018

Q: What’s next for you?
I recently started showing my work with Binder Projects, an online gallery, so I am excited to see how that relationship develops. I’ll be teaching in the Fashion Design Certificate Program at Memphis College of Art in the Spring, and I have some workshops in mixed media and printmaking coming up. As for my work, I’m excited to see how my process grows and changes this month.

Q: Where else can we find you?
Check out Binder Projects and my website.

Meet the Artist in Residence: Angela Guest

Angela Guest, artist in residence at Main Street Arts, during the month of September 2018, is working in one of our two studio spaces on our second floor. We asked Angela some questions about her work and studio practice:

Angela Guest

Angela Guest

Q: Tell us about your background.
I’m from Austin, TX and went to school for art at DePaul University in Chicago where I focused on oil painting and intermedia. DePaul had a small art department that was full of amazing teachers but lacked enough resources to teach a wide spectrum of artistic mediums. Because of this, all of my textiles knowledge is self-taught/ gleaned off of fabric experts like Chicago artist Karolina Gnatowski and my Grandma, Florence Guest (god bless mentors).

"Lazy Arches" felt and thread, 9"x11", 2018

“Lazy Arches” felt and thread, 9″x11″, 2018

Q: How would you describe your work?
All of my pieces tend to involve a pattern, lots of colors, appliqué, and are mixed media. I prefer materials like felt, gouache, oil paint, and thread. I have the habit of wanting to learn how to do everything; I want to be a master oil painter, a master textiles artist, a master of realism and abstract expressionism… so my practice can tend to go everywhere. Whether that’s good or bad for me and my work I’m still deciding! But I do love how that inner conflict often results in me producing mixed media works.

As far as subject matter, my work is very much about symbols and the meaning of those symbols, with the meaning usually connected to things like souls, death, decomposition, and love. 

"Long Distance Relationship" fabric, felt, thread, gouache, and glass paint with frame, 12"x15", 2018

“Long Distance Relationship” fabric, felt, thread, gouache, paper, and glass paint with frame, 12″x15″, 2018

Q: What is your process for creating a work of art?
The process is often a lot of looking at the materials I have and coming up with interesting combinations. I try to be a good planner, I draw out a few sketches, write out thoughts/goals with a piece, but it will usually devolve into me going “wow I like they way these things look together,” and then building off of that.

“On Fire” oil paint, gouache, thread, felt, canvas paper, two beads, 12″x16″, 2017

Q: What is the most useful tool in your studio?
A needle.

Q: Do you collect anything?
House plants and beads. My aunt recently came across a big bag full of jewelry making materials that my late Grandpa left behind. The bag was full of precious stone beads including my favorite precious stone Carnelian, which it turned out was my Grandpa’s favorite precious stone as well.

Q: Where are your favorite places to see artwork?
The whole city of Chicago.

"Consumption of Clouds" fabric, felt, thread, and bleach, 42"x23", 2018

“Consumption of Clouds” fabric, felt, thread, and bleach, 42″x23″, 2018

Detail of "Consumption of Clouds"

Detail of “Consumption of Clouds”

Q: What type of music do you listen to? How does music affect your artwork?

I go for a lot of rap and hip-hop. Some of my favorite albums right now are Tyler the Creator’s Flower Boy, Kamaiyah’s A Good Night in the Ghetto, Tierra Whack’s Whack World, and Dj Quik and Problem’s Rosecrans. If I’m wanting to listen to something less wordy, I go for Philip Glass or Nujabes.

I don’t really think music affects my artwork. It’s more like what I like in music can be for the same reasons that I like my art or other people’s art. I like things that are intricate, chaotic/loud, and playful with the bite of a serious topic. The rap and art I like is often all of those things together.

Q: What are your goals for this residency?
I’d like to continue focusing on the creation of my own symbols and incorporating those symbols into a large scale fabric and paint piece. I also have a couple of unresolved projects that I started around a year ago that I’d like to bring out again and think about.

Q: What’s next for you?
Settling down in Buffalo, NY and getting my bearings!

Q: Where else can we find you?
My website and on Instagram

Meet the Artist in Residence: Marisa Boyd

Marisa Boyd, artist in residence at Main Street Arts, during the month of May 2018, is working in one of our two studio spaces on our second floor. We asked Marisa some questions about her work and studio practice:

marisa boyd

Marisa Boyd

Q: Tell us about your background.
I am from Central Illinois, living in the town of Bloomington-Normal. I am originally from Channahon, IL which is near Joliet, IL. I moved to Bloomington-Normal in 2013 to attend college at Illinois State University for my BFA. Now that I am graduated, I enjoy reading a number of books I have laid out throughout my apartment and keeping a daily drawing practice. I spend my days walking throughout the downtown area of Bloomington and sharing an art studio with my best friend.

Q: How long have you been making artwork?
I have always been making art since I was a child. Moving forward into high school, I focused on more realism and narrative scenes. During the beginning of art school, my practice began to shift into abstraction. I went to Illinois State University for art school.

"Nothing Entirely Surprising" by Marisa Boyd

“Nothing Entirely Surprising” by Marisa Boyd

Q: What was your experience like at art school?
My experience was the most beautiful, busy, stressful part of my life that I have encountered so far. I have never not slept so much, staying up all hours of the night obsessing over the latest idea that popped into my brain.…which would word vomit to anyone I began talking to about art to in the hallway. I was similar to many former and current art students being willing to do anything to get further into their inquiry while simultaneously feeling like there was more that could be done. I still struggle with this today. Ultimately, I met incredible people and artists that have influenced me throughout my time at Illinois State University.

Q: Do you have a job other than making art?
I am a server at a farm to table restaurant called Anju Above in Bloomington, IL. On most days, I actually really enjoy my job!

Q: How would you describe your work?
I would describe it to be quiet with a hint of distress. I make simple drawings that are made with a micron pen. As well as shape cutouts that are made of wood, fiber board, paper, or fabric. I embrace simple gestures. My typical subject matter is abstract focusing on the “activity” of marks rather than an image.

Marisa Boyd

Marisa Boyd

 Q: What is your process for creating a work of art?
For two years I have been developing a personal drawing practice that engages me to seek a space within myself. Creating “Closed Eye” drawings is meditative that focuses on silence and my ability to see, hear, and feel my surroundings. I wait for the after image behind my eyelids to disappear, then I seek out shapes and specific colors. My closed eye drawings are my primary source material for creating larger works out of plywood, fiberboard, paper, etc. I cut into the drawings to create a hole and have a whole shape remaining.

Q: What are your goals for this residency?
I tend to plan too much, I set far too many goals instead of focusing on one or two things to work on. I have had a sketchbook project in my mind for the past month that I can’t wait to get the time to complete. In addition, my goal is to create as many paper drawing/ paintings as possible. I hope to find some material that will speak to me in a way that urges me to use my jigsaw to cut it into a shape with beveled edges. I am bringing a collection of velvet fabrics that are waiting to be the covering of a shape or used as a atmospheric ground.

Work by Marisa Boyd

Work by Marisa Boyd

Q: What is the most useful tool in your studio?
I call it my “sharp tool,” although I believe it is for printmaking. I stumbled upon it at the DickBlick outlet in Galesburg, IL. This tool lead me to a revelation with my work. I began to scratch lines into paper and tear it creating sharp openings. The lines became an outline for cutting out a shape around the contour of the drawing.

Q: Do you collect anything?
I collect a variety of objects. My rock collection began at an early age and I still have the same jar containing the rocks from when I was a child. I look at the ground often when I walk, which leads me to collecting natural objects and photographs of them with their surroundings. The strangest thing I collect is lint from when I dry my clothes in the dryer. I began doing this in the beginning of 2017 thinking about my body and what covers it. I held attachment to lint because of the various colors of fibers and the shape it makes.

Q: Who is your favorite artist and why?
Eva Hesse is my favorite artist. Her approach to Abstract Expression inspires me to not reject that label. The artwork existed in that realm while also developing into something of its own. Her persistence is an inspiration to me. I love that she explored drawing, painting and sculpture. During the last five years of her life, she produced so many incredible works of art. I have traveled to the MoMA, Seattle Art Museum, and Milwaukee Art Museum to see her artwork in person.

"Vital" by Marisa Boud

“Vital” by Marisa Boud

Q: What’s next for you?
Simply put…a road trip back to Illinois.

Q: Where else can we find you?
I can be found on Instagram @artsymars and at www.marisaboyd.com

Inside the Artist’s Studio with Matt Duquette

Matt Duquette

Matt Duquette

Being a 40-year-old commercial artist and graphic designer, gallery work has always been an idea in the back of my mind. I haven’t dedicated much effort to painting and showing because most of my creative energies are spent in the day-to-day of a design and illustration studio in Buffalo, NY. The gallery seems to be an allusive place where I’m required to be extroverted and share my thoughts and experiences. It does, however, offer an opportunity to create something purely for my own, with materials that allow for exploration.

While in school at RIT, I began to develop a loose, painterly style because I liked to convey action or even emotion of the moment. I was leaning more towards candid portraiture since most of my interests laid in music and sports. In 2000 I attended The School of Visual Art (SVA) in New York City to further develop my visual storytelling. Here, I began to include collaged elements—paper, photos, notes—to help explain the storyline and add visual texture.

Mixed media work from early 2000's

Mixed media work from early 2000′s

Many of my older paintings focused on personal life experiences or at least followed a surreal storytelling approach and almost always involved a figure. I was exploring concepts of home and family, along with the stresses of caring for an ill parent.

Matt Duquette

Figurative work “A New Day” & “Homesick”

A few years ago, after taking some time off from painting, I began drawing the chickens we raising on our small farm. It started merely as an exercise in making art, but I rather enjoyed it because there wasn’t much thought involved. I just drew pictures that I wanted to draw. That experiment has since sparked a number of paintings and drawings, and a new excitement which has allowed me to focus on style. I also get to talk about my chickens.

Matt Duquette

Chicken portraits

The series I worked on for the Dream State show a came at a time when my wife had just experienced a guided meditation dream involving an owl. Even before the show I knew that I wanted to do some type of bird interaction so it was perfect timing. Owl dreams have so many interpretations, but I did the best I could to remain close to her experience. The focus, of course, was the majestic owl guide in a outer space-like atmosphere.

Matt Duquette

Process detail

I’m most comfortable with acrylic paint because it’s fast drying, easy to control, and easy to clean up. It works well with collaged elements and layering of drawings. I typically work with washes of color to build the forms but quickly move to a dry brush technique to layer on the paint. I like to mix the color on the surface, so many times I’ll just use paint straight from the tube. For sometime I’ve used basically the same 6 colors: black, raw umber, burnt sienna, yellow ochre, pthalo blue, and gesso as my white. I only have 3–4 brushes that I’m comfortable using so I try to make it work with what little I have. Again, I would not classify myself as a fine artist.

Matt Duquette

Materials used for painting

You can view more of my personal artwork at mattduquette.com or follow my art and farming adventures on the Instagrams @matt12grain. Thanks for looking!


Five paintings by Matt Duquette can be seen in Dream State, on display through February 16, 2018. The exhibition also features photographs by Bill Finger (Seattle, WA), sculpture by Carrianne Hendrickson (Rochester, NY), and paintings by Lin Price (Ithaca, NY). Work from the exhibition can be previewed and purchased online. 

Inside The Artist’s Studio with Colleen Pendry: What it means to be a Hybrid Artist

For the artist, the process of “making” may appear aloof. We are independent thinkers, and for the most part are reserved. We pride ourselves in our separateness, however, we, or at least I, find great energy in the overall closeness we have with others through the sharing of our work.

Over the past 50 years, my work has taken on many forms. From copying “how to be an artist” matchbook covers when I was kid, to watercolor painting in the early seventies to oils and pastels in the eighties. In those early years my work was primarily seated in a two-dimensional realm, but, I always thought there was something missing. My aesthetic conversation seemed to be stifled…nothing more to say on a flat surface. The pretty pictures were simply that…pretty…lacking content and an extended dialogue.

Little did I know how growing up in the 1960′s, would truly impact my work. As history continued to repeat itself in the art world, I could see the same happening in my own work. The regurgitation of memory and materials, over and over again, began emerging as a relentless new discourse. Multiplicity, multiplicity, multiplicity.

Testimonial IV (2011) mixed media on acrylic panel

Testimonial IV (2011) mixed media on acrylic panel

Testimonial I (2011) mixed media on acrylic panel

Testimonial I (2011) mixed media on acrylic panel

My work made a significant departure from painting throughout the nineties when I began to merge genres and combine disparate materials and techniques. From a metaphorical standpoint this was the perfect path in pushing not only the making process, but  content as well. “There is a story to be told”, my mother always reminded me, and “you just need to find a way to tell it.”

As painting began to be pushed off the wall and then stripped totally from a traditional gallery installation, the dialogue changed, becoming compelling in both form and intent.

If This Wall Could Talk (2012) mixed media and light

If This Wall Could Talk  (2012) mixed media and light

 A Room with a View (2012) mixed media installation

A Room with a View (2012) mixed media installation

If you visit my studio you will find a great deal of stuff as I continue to embrace this new identity. I have found these collections of nothing a relevant source of material in most of my work and an endless reflection of the stuff in my head. This following series of small narratives, which had been brewing for quite some time, emerged from the studio in a most unexpected way.

In this series titled Where Have All the Flowers Gone, my intent was not to reveal any conclusions, but, force an inquisition, and open ended conversation about concepts relating to objectivity, political correctness, preciousness, humility and humanity. Underlying themes are complex and uncomfortable and meaning is uncertain. This particular work can be described as an intellectual layering by way of circumstance. Captured on shelves and in pristine plastic boxes familiar objects appear tangible yet illusive. Juxtaposed with the silhouette, memory becomes a source of meaning, albeit complicated and skewed. This circumstantial evidence, left to its own devices, has the potential to elicit from viewers the unexpected.

Because You're Worth It (2017) Gelatin capsules, silhouette, Barbie, wire, acrylic

Because You’re Worth It (2017)
Gelatin capsules, silhouette, Barbie, wire, acrylic

In a Heartbeat (2017) Shell casings, pedestal, silhouette, American Flag, toy gun,barbed wire, acrylic

In a Heartbeat (2017)
Shell casings, pedestal, silhouette, American Flag, toy gun, barbed wire, acrylic

First Responders (2017) Ashes, silhouette, Bible, Koran, ribbon, acrylic

First Responders (2017)
Ashes, silhouette, Bible, Koran, ribbon, acrylic

See Jane Run (2017) Doll parts, silhouette, Mary Jane shoes, acrylic *Where Have All the Flowers Gone – photography by Jeremy Leadbetter

See Jane Run (2017)
Doll parts, silhouette, Mary Jane shoes, acrylic
*Where Have All the Flowers Gone – photography by Jeremy Leadbetter

From this series came the work currently in the Small Works Exhibition at Main Street Arts.

Nature/Nurture (2017) Cicadidae shell, paper, beeswax, pedestal, silhouette, gold bands, string, acrylic

Nature/Nurture (2017)
Cicadidae shell, paper, beeswax, pedestal, silhouette, gold bands, string, acrylic

Nature/Nurture - detail

Nature/Nurture – detail

Nature:Nurture (2017) Cicadidae shells, handmade paper, crushed wasp next, baling twine, Swarovski crystal, synthetic pearl (collectively)

Nature:Nurture (2017)
Cicadidae shells, handmade paper, crushed wasp next, baling twine, Swarovski crystal, synthetic pearl (collectively)

As an homage to the wondrous images of Robert Mapplethorpe and the eternal debate of nature vs nurture, these works continue. The juxtaposition of form and content seem contradictory…makes sense I think.

Nature:Nurture IV Cicadidae shell, handmade paper, silver thread, silver beads

Nature:Nurture IV (2017)
Cicadidae shell, handmade paper, silver thread, silver beads

Nature:Nurture V (2017) Cicadidae shell, handmade paper, snakeskin

Nature:Nurture V (2017)
Cicadidae shell, handmade paper, snakeskin

Nature:Nurture VI (2017) Cicadidae shell, handmade paper, snake skin head

Nature:Nurture VI (2017)
Cicadidae shell, handmade paper, snake skin head

Thank you to Main Street Arts for the opportunity to share this work. I am truly grateful.

Colleen Pendry


Three of Colleen’s “Nature:Nurture” pieces are currently on display in Main Street Arts’ fourth annual “Small Works” exhibition (juried by Cory E. Card, former curator at View Arts Center in Old Forge, NY). The exhibition runs through January 4, 2018 and can be previewed onlinestore.mainstreetartsgallery.com