KATE STIASSNI – WORKING WITH TEXTILES

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“Urban Renewal”

The choice of working with textiles came very naturally to me. I love the supple and tactile nature of fabric and its ability to take on rich colors, both absorbing and reflecting light. I strive to express energy and movement within my work. Yet I also try to create spaces that allow the eye to pause or pivot in its journey and I’m fascinated by how these spaces can change from one viewing (or viewer) to the next, as the relationship between figure and ground emerges and collapses in perceptual shifts.

Many of the motifs in my work are abstractions of things I see around me – from the architecture and urban environs of NYC to the wooded hills and open fields of Northwest CT. It may be a distant view, the stark line of a building, or the subtle curve of a branch that sparks a new thought. The influence of urban and rural places may also explain why I’m drawn to both angular geometric shapes and curving organic forms.

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“Shaping Space”

I usually begin with a simple idea, arranging and constructing (or deconstructing) abstract forms into patterns until I feel a harmonic tension or unity. Color also comes into play, and I choose my palette from hand-dyed fabrics that provide me with a wide range of values. I think of my process as being very intuitive, but when it’s time to join the pieces together, each stitch is made with thoughtful intent, fastening the layers and adding textural depth. I’m a firm believer that every cut, line and stitched seam leads somewhere, so I try to remain open to the process, to change and variation, and to exploring both traditional and modern techniques. I feel my works owe as much to modern art as they do to historic quilts.

I feel very lucky to be doing work that I love. I’m intrigued by the creative process and the world that inspires it. I hope that my joy in creating this work touches those who view it.

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“Ice Matters”

 

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LATEST BLOG FROM DAVID DUNLOP

Recombinant Media and Heat In Winter

Our 21st century challenge is how to combine materials, tools, and other artists to reveal new visions and new forms. With vast access to metals, laminates, fabrics, catalogs of pigments and tools from armies of printers, to libraries of software, to new hand-tools, artists have a superabundance of opportunity. To exploit this expanding mine of materials, tools, and sources artists must share their process and their discoveries. From entrepreneurs to scientists we are often reticent to share. We want the payday and fame for ourselves. This constrains the path of discovery.

Recombining media and using a theme packed with contradiction like, “Finding Heat in Winter” I turned to a collaborative painting made by Max Dunlop and me (example 1). I superimposed one of Max’s photos on the image (Example 2). Next, this combined painting and photo was elongated and glued to a sheet of aluminum (example 3). While generating the combined photo and painting I intensified the warm tones. In the final step, the combined image was re-covered in a bath of warm dark paint.  After brush, finger and squeegee manipulations you can see the result in example 4.

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Come see David Dunlop’s newest pieces on display at The White Gallery.

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“BLUE HOUSE BEFORE TWILIGHT” David Dunlop, Oil on Linen

 

 

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Winter Warmer Featured Artist: Joan Jardine

oldtruck212x12oiloncradledboardWinter Warmer Featured Artist: Joan Jardine

I am a colorist and contemporary impressionist. Ninety percent of my painting are done
with a painting knife. My focus as an artist is color, seeing the way atmosphere affects
objects whether it be a landscape or a block study.
When visiting museums I have always been drawn to the Impressionist exhibits or the
bright colors of the moderns. I often thought, how do they do that? The answer is
observe. Take the time to look and see how the light affects forms, how one color
affects another color, then interpret it trying not to be too literal. I studied for several
years at the Cape Cod School of Art, mainly with the great Rob Longley.

I like to find beauty in common every day things. Sometimes, just taking a walk on a
certain day at a certain time is all that is required. The painting. “Old Truck” is inspired
by an old abandoned truck just up the street from me.

I am feeling a great need to paint plein air these days. Being cooped up in my studio,
although I love it there, is beginning to be confining. I think I better start painting blocks
again.

I have been teaching for about 10 years. I believe it makes me a better painter.

Top Image: “Old Truck #2″ Oil on Board , 12×12″

Image Below: ‘The Bridge at Salmon Kill”, Oil on Board, 20×24″

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Thank you Joan for writing this blog for us. Your work in Winter Warmer captures the spirit of our area and the amazing light play that winter can bring. These featured pieces of Joan’s and other work is available for purchase at The White Gallery.

During the month of March we are open Saturday and Sunday from 11-5pm. We are closed March 14th and 15th. We are also happy to make appointments for private viewings as well. Come by and see us soon.

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Winter Warmer Featured Artist: Zelina Blagden

Zelina Blagden at The White GalleryWinter Warmer featured Artist: Zelina Blagden

Born in 1969 , into a family of artists. I have lived all over the country.  Now I have come full circle and I live where I was born; Sharon, Connecticut.
My life and work seems to come back to the end. In that I mean that I am always inspired  by time and it’s contexts and  textures which often feels counter-intuitive. In my work, I often use a photograph and what it represents as my starting point. It’s not that the photograph is not precious but it’s faceted environment around a moment and the fleeting, ever changing constant that I feel drawn to preserve. My work and I wrestle with perceptions of time. I feel a strange urgency about preserving and even enabling decay but with an intention of respect and without disregard. There is a mystery or unknown behind the beginning and the many ends. I can only get close to this mystery by balancing letting go with holding on.
I treat my pieces like a totemic attempt to honor the mystery and truth of time.
My work is my urgent exercise or exorcism where preserving occurs by creating space around something. Maybe it’s space to fall apart or crumble and ultimately transform. Whether we like it or not,
all stages are important in a process of evolution. The challenge is in the humility or freedom in that we really don’t know what is coming next.
Just as winter is a poignant reminder and need for transformation .
I offer these pieces, “Snow Girl” and “Winter’s Time” in the Winter Warmer show as two totems to time.

 

Winters Time- the concept inspiring this piece is time. The slow yet calculated  sense of time that winter conjures . The line between preservation and decay . I am inspired by the story behind the layers . Layers of perception, moments captured and instantly changed and always changing .

This piece has it’s own life and the pieces that fall as it was made and as it changes are part of it, hence  the  broom and  the pan.

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Recto & Verso of “Winter’s Time”

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Dustpan and Broom

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Thank you Zelina for taking the time to write about you and your art work. One of the highlights of living in the Northwest Corner is that we get to experience seasons. This makes us very aware of the passing of time around us. It has been great to have a time influenced conceptual piece in our Winter Warmer show.

Please come see us 11-4pm Friday through Sunday during the month of February. We will be open Saturday and Sunday 11-5pm during March. We are happy to make appointments for private viewings as well.

 

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Winter Warmer Featured Artist: Nick Savides

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The setting for “Winter Walk” is along Jackson Hill Road, one of the legs of our morning walks in Sharon.

The focus of this painting is simply the beauty of snow in sunlight, through the use of contrasting colors – the warms oranges and cool blues.  This is the day after a snowfall – the sun is out, the sky is clearing, and the road has been traveled, but you can still see some of the snow clinging to the branches.  Set in first-person perspective, I’m placing the viewer on this walk; you can almost hear the sound of crunching snow underfoot.

As a painter, I express myself with paint.  As a representational artist, I’m inspired by the places I’ve lived in and traveled to, and the people I’ve known. My time in Litchfield County and the surrounding area has provided me an opportunity to explore in depth the rural theme that I had been building up to over the years.  Although my subjects are as diverse as rural, coastal, urban, and portraits, there is always the portrayal of the effects of light, with an intensity achieved through the use of details, color, and contrasting values, and the desire to make works of art that look “real”, but with painterly techniques that distinguish them from photography and digital art.   I paint images that I can relate to, and hopefully other people will as well:  for me, the work of art is not complete until it is shared with and enjoyed by others.

<p><a href=”https://vimeo.com/120192781″>Nick Savides- Winter Walk</a> from <a href=”https://vimeo.com/user37615457″>Jordan Hutton</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

 

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Nick Savides’ piece is titled “Winter Walk” and is an Oil on Linen that is 18×24″. We hope you enjoyed the video above but it is best to see this work in person to get the subtleties of the texture of the paint and its’ colors.

Please come see us 11-4pm Friday through Sunday during the month of February. We will be open Saturday and Sunday 11-5pm during March. We are happy to make appointments for private viewings as well. Thank you Nick for being inspired by our local landscapes and for writing this blog; we hope people will come to the gallery to see how well you paint the area around us.

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Winter Warmer Featured Artist: Kim Radochia

Murmuration

Often when I open my studio door to the public in Boston I receive something incredibly valuable in return for sharing my artwork with them. This happened recently when someone saw the artwork that is being shown at The White Gallery called Murmuration. I was studying water; it’s movement and the lines and patterns that are created from its currents. This work, which is made of hundreds of tiny painted papers set on edge on a board, was up on the wall and a woman in the studio that I was conversing with was filled with excitement telling me that I had to look up the videos online of the ‘Murmuration of the Starling’. I did so right away and was stunned by the connection of what I was creating to the patterning that these flocking birds were making in the sky. That was the beginning of my exploration of Murmurations. The movement and forms are spectacular and I was so honored to have my artwork compared to this natural phenomena. My invented Murmurations have expanded in size and the work has progressed to resemble another natural phenomena, Slot Canyons. Whether Tides, Murmurations, or Slots this artwork is about experiencing something new and feeling movement, energy, and light as you move and interact with the artwork.

 

Kim Radochia

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Kim’s Piece is Titled “Murmuration 4”. It is 27×31 inches. This is a piece that has to be seen in person for full effect. A video of it will be added to this post in the near future. Please come see us 11-4pm Friday through Sunday during the month of February. We will be open Saturday and Sunday 11-5pm during March. We are happy to make appointments for private viewings as well. Thank you Kim for taking the time to write about your work, we hope this inspires people to come see it.

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Guest Blog by Emma Kindall – “Memory…Emotion…Expression” now through July 13.

To create the work currently on display at the White Gallery, I’ve done a lot of searchingwhitegallery2 brightness adjusted web and arranging, building and painting. I search for cardboard, old wood, peeling paint, and strings. I pocket paper scraps, forgotten trash, and old receipts. I throw everything into three blue suitcases next to my bed and spend evenings sorting things through, taping, and moving scraps of paper onto board until they feel right. I then combine these materials with the use of printmaking, oil paint, pen, and glue to make things to which I feel attached – a wallpaper that reminds me of my grandmother’s house, the taped together chandelier like the one above our childhood dinner table. My work is an obsession with imperfectly reconstructing the people and places tied to me. It is an obsession with maintaining a personal history, resurfacing memories, and tying these pieces together. I tie the inanimate to my historical animate; the emotions are loosely taped, strung, and held together in homemade ways. I grew up inside a loosely-held-together home alongside loosely-held-together people dealing with different levels of brokenness. They fill up large sections of my brain every day, and this is what I make things about – the idea of home, the people tied to it and the mental illnesses that hold them.

While creating these paintings I’ve been very drawn to the work of CY Twombly, Jeanwhitegallery3 brightness adjusted web Michael Basquiat, Cathy Wilkes and Robert Rauschenberg. All four have a distinct way of making art that appeals to me, a raw and intuitive manner that I respond to so strongly. They’ve captured something I can’t put words to, but that I recognize, something that floors me. I hope to capture something similar in this body of work. I do not have adequate words for emotion, but I have images and marks that are tied to feelings. It is my hope that although this body of work is very personal, the emotions expressed will resonate with someone.

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