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Dear {First Name},
ART for OCTOBER
Contents:
Dolores Mitchell, "Crop to Create"
Chico Art Center: Open Studios
Nicolai Larsen, "Executing the Sutter County Museum Mural"
Ann Mitchell, "Photography Showcase on the Theme of Water."
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Dolores Mitchell: Crop to Create
When I paint on location, I sometimes use a viewfinder to hunt for expressive compositions. Scanning a scene through a frame lets me zero in on key elements without the distraction of peripheral views.
This week I tried a new approach to composing. Instead of examining an outdoor scene through a viewfinder, I cropped a photo of a finished painting on my Mac laptop and found potential models for new paintings.
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Dolores Mitchell, "Wildflower Tapestry", oil, 24x30" competed in May of 2023
In May of this year, the "Superblooms" that flourished after torrential spring rains inspired me to paint "Wildflower Tapestry" in which poppies, lupins and daisies cascade down hills and spread across the valley. I yearned to give the subject another try but without repeating myself, so using my computer I cropped four sections of "Wildflower Tapestry" hoping that at least one would inspire a new painting.
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Edward Hopper, "Early Sunday Morning," oil, three feet by six feet, l930.
The "crop to create" idea came to me while teaching my current OLLI (CSUC's Osher Lifelong Learning) Class on "Five American Artists" that included Edward Hopper and Georgia O'Keeffe, Hopper carefully considered the dimensions and height to width ratio of his canvas before starting to paint "Early Sunday Morning". Notice what feelings Hopper's painting evokes in you (above). Do your feelings change when you view my butchered version where I've lopped off the left third of the canvas? (below).
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My cropped version of Edward Hopper's "Early Sunday Morning."
"My cropped version, to me, eliminates the repetitious monotony by which Hopper suggests the scraping-by endurance of small businesses during the Depression."
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Georgia O'Keefe, "Pelvis 1," 1943
In New Mexico, during years of drought, bones of cattle were abundant. O'Keeffe, finding them beautiful, collected and painted them. I see these pelvis bones as viewfinders through which glimpses of sky bring together death and eternity.
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Georgia O'Keeffe, "Pelvis 2."
O'Keeffe's use of cropping was inspired, in part by her association with photographers such as her husband Alfred Stieglitz and friend Paul Strand.
She said: "When I started painting the pelvis bones I was most interested in the holes in the bones--what I could see through them."
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Ways in which Hopper and O'Keeffe used canvas shapes and cropping expressively made me question my reliance on standard sized canvases, such as 24x30", and on expansive views of scenes. Would switching to square or panoramic formats and varied views push me towards new approaches to compositions? | |
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Dolores Mitchell, "Wildflower Tapestry," oil, 24x30", May, 2023.
I opened the file on my laptop of my "Wildflower Tapestry" painting (above), then created the following four cropped versions of it.
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Cropped Version One of "Wildflower Tapestry"
In this square version, I've cut away the lower third of the painting plus several inches on each side. It was like reducing a sauce through simmering to intensify flavors. In the full painting, hot and cold colors balance each other, but this square format diminished foreground blues and greens and empowered yellow and orange to the point of stridency, an effect I didn't care to paint.
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Cropped Version Two
of "Wildflower Tapestry".
I shifted to the left side of the canvas and narrowed the composition, making me aware of what I hadn't noticed before-- an icy green area shaped like a stream linked three Valley Oaks of diminishing sizes. The "stream" and trees lured my eyes from the foreground to the hills. I awarded this version a "maybe.".
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Cropped Version Three,
of "Wildflower Tapestry."
Skinnier still, in this third crop the middle peak, framed by hills, commands the center of the composition. Its luminous blue is echoed in tree shadows, thus linking foreground, middle ground and background. I gave a "probably" to.this third crop.
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Cropped version four of "Wildflower Tapestry."
The impact of eliminating the top two-thirds of "Wildflower Tapestry'" took me by surprise. Monet's Water Lillies sprang to mind and an awareness that my "mark making" was as much about paint--Cadmium Red, Emerald Green, and Dioxazine Purple-- as it was about poppies and lupins.
Wow...that's it! I want to paint that! I immediately placed a Dick Blick order for a panoramic 15 by 30 inch linen canvas. I won't try to duplicate this enticing segment of "Wildflower Tapestry" but will use it as a springboard for my imagination to play with color and mark-making.
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You can see "Wildflower Tapestry" at The Red Tavern. I also have art at the Vagabond Rose.
In mid-November I'll be showing at "Art on Arbutus with Sandy Fisher, weaving, Eva Farley, watercolors and Jan Summerville, mosaics. I've made a wager with myself that I can finish my panorama inspired by "Wildflower Tapestry" in time for this show.
dmitchell@csuchico.edu
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Chico Art Center's Open Studios, a community-building yearly tradition, takes place October 14 & 15 and October 21 & 22, 10am-5pm with an October 6th Reception from 5-7pm, at 450 Orange Street. Over eighty artists are participating this year with mediums that include sculpture, ceramics, painting, woodworking, mosaics, photography, jewelry, and more. Each artist will display one artwork in the CAC Gallery through October. Your "passport" for the event is a $15 Self-Guided Tour Booklet available at CAC and elsewhere. | | |
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Lisa Freeman-Wood, President, Board of Directors, Chico Art Center says: "Open Studios gives artists the opportunity to connect directly with those they are trying to communicate with. Artists normally create in private spaces that show the heart of who they are. Receiving questions and hearing expressions of interest from visitors are rare and heady experiences for them.
There are many benefits to visitors as well. When visitors interact with artists they become more aware of their own creativity, whether through making art, playing music, journal writing, baking, gardening, etc. Creativity is inherent in us as humans, a fundamental part of who we are."
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Lisa Freeman-Wood, "Orange Supreme," watercolor.
This year Lisa Freeman-Wood will participate in the Open Studios "On-line Gallery" and her "Orange Supreme" watercolor will hang in the CAC Open Studios exhibit at the train station. She says: "I live way up in Magalia on a gravel road making it difficult for people to visit my studio, but will be visiting participating artists and welcoming new members as the President of CAC's Board of Directors."
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CANDY MATTHEWS, WATERCOLORS | |
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Candy Matthews, "Fall Pumpkins," watercolor.
Candy says: "Fall is here and it always motivates me to paint pumpkins. The pumpkin painting started out with the green pumpkin and just kept going...all out of my head except for the collaged bird at the bottom! I had no idea what I was going to paint which made it fun."
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Candy Matthews, "Warbler and Egg," watercolor
I painted this warbler from a photo, but added the egg at the bottom. Loved doing that!!
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Candy Matthews, "A Pair of Pears," watercolor.
Fall is also the season for pears. I decided to put pricing stickers on them to add a little fun.
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Dolores Mitchell comments: "Each year CAC helps me decide on the topic of an Open Studio feature about four or so of nearly 100 Open Studio artists. The following Art Talk feature is on mosaic and stained glass artists, especially ones who are new to the event.
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JOJO LAORETTI, MOSAICS
Jojo says: "I have been doing mosaics for ten years. I began very enthusiastically after taking a class with Susan Crocenzi at the Santa Barbara School of Mosaic Art, and then, with other specialists, learned how to do 'glass on glass' and how to make art suited to outdoor placement. Three years ago I volunteered for the Rainforest Art Project and became involved in large outdoor projects which pushed me far outside my comfort zone.
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Working with glass allows me to live in the moment and not think about the past or worry about the future.
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I am truly grateful for the classes that gave me a strong foundation on which to build.
For questions call: 805-276-7928
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SUSAN FULLER: Tapestry Glass | |
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Susan Fuller, "Rainbow"
These pieces were made with a technique called “tapestry”, creating depth and repeating patterns which show off the fused pieces beautifully. Each piece is fired three times in the kiln up to 1,500 degrees fahrenheit, taking at least twenty four hours each firing. The pieces have been sandblasted to produce a matte finish. I enjoy watching the pattern come to life transforming each piece into a work of art.
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GWEN NELSON, MOSAICS
Gwen says: "For over twenty-five years I have been collecting ceramic ups, plates, etc., for making wild and wonderful mosaic art."
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Gwen Nelson, "Pounder," mosaic.
Gwen recalls: "I saw this Bald Eagle coming after my four pound Chihuahua named Pounder. I scooped him up then looked skyward and saw the eagle shaded by some clouds. That explains why I used dark mosaics on half of its face. I knew I had to create a mosaic based upon that dramatic encounter."
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Gwen says: "I spent time in African villages helping the women garden. They were so beautiful and proved a wonderful subject for mosaics." | | |
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Gwen Nelson, "African Queen."
Gwen explains: "I made the crown on this mosaic from a tree's seadpod that I brought home from Africa."
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During her Open Studio Gwen is having a drawing for a free mosaic and will also have a sign up sheet for mosaic classes. For further information: (605) 638-0933.
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DALE DURNIAK: Mosaics and Stained Glass
Dale says: “I started making mosaics during Covid and went through a number of trials—tile, broken pottery, etc. I realized I wanted to work with flat, shiny, colorful pieces—-stained glass!! I was immediately hooked!
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Dale continues: "I am passionate about the environment and love the outdoors. Therefore, the bases/bottoms of my pieces are sourced from local estate sales, antique stores and thrift stores. I feel good about keeping discarded items out of the landfill and turning them into a new treasure! Each mosaic is one-of-a-kind, and each base/bottom is unique. Many of my designs reflect my love of nature and living things." | |
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Dale concludes: "Each glass piece is cut by me—no pieces are purchased pre-cut. I do it all. I enjoy doing commissions and can be contacted by phone or email: Dalebrittan50@gmail.com. and 530-592-8858
For OSAT I will be at Susan Kirk’s home at 1420 Normal Ave. Susan is well-known in Chico for her ceramic totems that brighten many a garden.
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NICOLAI LARSEN
"Executing the Sutter County Museum Mural"
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Photo: Sutter County Museum, 1333 Butte House Road, Yuba City
The goals of the Sutter County Museum are to strengthen community bonds and celebrate the diverse cultural heritage in the Yuba-Sutter area. In order to introduce its collections to visitors, in 2021 the museum held a competition for local artists to create seven murals for its entrance hall. Nicolai Larsen, who moved to Chico from Redwood City ten years ago, was one of the winners.
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Nicolai Larsen, "Jewels of the Valley," Watercolor 20 x 28 in- Design for the Mural
In the last Art Talk, Nicolai explored the process of design. In this Art Talk he will enlarge the design and paint it using permanent acrylic colors.
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Nicolai says: " On the left of the above photo you can see the design that was submitted and approved by the Sutter County Museum. It is a 20 x 28 inch watercolor painting. To guide the design transfer, I placed a tracing paper overlay with a grid on top of the watercolor design. Each square on this grid is 4 inches in size and represents a 12-inch square on the mural panel located on the right. I covered the gessoed mural panel with paper and made a corresponding grid with 12 inches between the lines. This method of transferring a design allows for easy changes and adjustments before paint is applied."
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Freehand perspective drawing gets the ball rolling. Actual-size detailed drawings and enlarged copies are collaged on the grid for working placement.
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"Some of the design was laid out and acrylic color applied. Then I got Covid and it took three weeks before I could do anything. The get well pop-up art flowers were from a friend wishing a speedy recovery." | |
"After a hospital stay, the work resumed with more painting after a six-week recovery. In some ways, it is color by numbers; however, I provided the numbers and the shapes." | |
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Nicolai says: "Here's a view of the mural in my studio. It is taking shape."
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Nicolai continues: "Details are gradually coming together. Some of them have reached their final form, while others are still in progress." | |
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"The egret (the symbolic observer) is complete."
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"All the elements, close and far away, are gelling into one tapestry." | | |
"Floating globes feature flora and fauna of the North Valley." | | |
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Nicolai explains: "After a final coat of matte varnish, I completed the mural in May. Soon after, the mural panel was packed, loaded onto my truck, and delivered to the Sutter County Museum." (above) It’s been a battle with Covid and ensuing issues, but the painting discipline became a therapy to regain my strength and overall health. I’m proud to have my mural hanging in the permanent collection of the Sutter County Museum in Yuba City. Please visit them anytime."
For more info on the Sutter County Museum go here: https://www.suttercountymuseum.org/
Many murals are on site, including three recent ones, this one by Nicolai Larsen, plus two others painted by Madelyne Templeton. The museum has seven more murals in its planning once funding is secured. Your support and donations will help fund future murals by local artists.
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Ann Mitchell's Photography Showcase. | |
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The Photographers and Water showcase for www.thinkingaboutphotography.com is now live and runs through the end of Fall, December 20th. Water is a broad theme and the photographers here are good examples of looking at our relationship to water and how it transforms both our external and internal landscapes. They also explore the fight for control over access to water, how we interact with the substance, and what it means to us politically and metaphorically. I’m also pleased to welcome back PhotoBook Journal with selections from Gerhard Clausing, Douglas Stockdale, and their team of Contributing Editors.
www.thinkingaboutphotography.com/water
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Artist’s Projects:
“Sea Level” by Melissa Borman
“Captured by the Sea” by Jessica Caitlin
“Snow Drawings” by Martin Cox
“Dam” by Carsten Meier
“River Notes” by Riitta PäiväläinenYou
“No Agua, No Vida” by John Trotter
“Escaping Gravity” by Grace Weston
Book Reviews:
“I Just Wanna Surf” by Gabriella Angotti-Jones, reviewed by Douglas Stockdale
“Forgotten Seas” by Tanja Engelberts, reviewed by Matt Schneider
“Ode to the Lake Sacalaia” by C Fodoreanu, reviewed by Wayne Swanson
“The River is Moving / The Blackbird Must be Flying” by Gary Green, reviewed by Steve Harp
“Devil’s Pool” by Sarah Kaufman, reviewed by Brian O’Neill
“Bron” by Zindzi Zwietering, reviewed by Brian O’Neill.
Ann Mitchell
www.ann-mitchell.com, @annmitchell
My online curation showcases:
www.thinkingaboutphotography.com/
Sign-up for my mailing list to receive updates.
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Art Talk" is a forum for the entire local art community including nearby towns. "Entire" means all ages and all levels of art-making from beginners to pros. Early submissions are welcome and I can chat with you by email or phone to help you get started: dmitchell@csuchico.edu.
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