Tag Archives: Landscapes

Meet the Artist in Residence: Elizabeth Courtney

Elizabeth Courtney, 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 Elizabeth some questions about her work and studio practice:

Artist Elizabeth Courtney

Artist Elizabeth Courtney paining en plein air

Q: Tell us about your background.
Hi I’m Liz. I’m super excited to have the opportunity to paint here for the next four weeks. Let me tell you a little about myself and my work…

I have been painting in Eastern Connecticut, all my life. I decided to try to take my art to a more professional level my junior year of high school when I attended the RISD pre college program. I quickly realized I was out of my league there. So for my undergrad I did not want to go to an art school. I ended up at an environmental liberal arts college called Green Mountain College in Poultney, Vermont. I started there thinking I was going to go for environmental studies but something kept drawing me back to the studio. I still don’t know what it was.

I graduated from there in three years with my BFA with a concentration in painting in 2016. After a little while I realize that not going to art school for my undergrad may have been a mistake career wise, not personally, so I decided to do a post bac in Florence, Italy. That was easily one of the best decisions I’ve ever made. Studying painting in Italy, not only got me to truly open up as an artist for the first time in my life but I also met so many other artists that introduced me so many new concepts and ideas I would have never been exposed to. Some of those artists even helped me get into other residencies and galleries. I am forever grateful for
that.

Elizabeth Courtney, "This Green Place II”, 2018, oil and acrylic on panel

Elizabeth Courtney, “This Green Place II”, 2018, oil and acrylic on panel

Q: How would you describe your work?
I am a plein air oil painter. I love painting outside. I have found that painting outside on site just helps me live in the moment. I truly appreciate where I am and what I came here to do. I know that I am not the best painter ever, but I love it. I don’t care that I am not the best painter, I just want to create an image that evokes an emotional response even if it is just for me.

Elizabeth Courtney, “Truth”, 2018, oil on canvas, 18”x24”

Elizabeth Courtney, “Truth”, 2018, oil on canvas

Q: What is your process for creating a work of art?
I feel like my process and style of painting are always changing but only the one thing that stays the same is that I take my paintings outside. Recently, I have been starting in the studio and experimenting with acrylic underpaintings so that I don’t start on the intimidating white surface.  Sometimes I completely cover that surface in a made up color of oil paint which I draw into, exposing layers of paint that I constantly change with more paint. Most people are afraid that it would get muddy and sometimes it does but I love finding the perfect top color and making it bright.

One of the biggest problems I have as an artist is knowing when to call my paintings done. I want to get better at that and I think I am.

Work by Elizabeth Courtney

Work by Elizabeth Courtney

Q: What are your goals for this residency?
I want to paint outside as much as possible during this residency. Possibly everyday if I can, even if it’s raining. Last summer I did some really cool paintings in the rain, in my car and under shelters at State parks.

I really want to drive around the area as much as possible, too. I want to get to Lake Ontario, Niagara Falls, and other state parks around the area to paint. I really want to do an en plein air painting of Niagara Falls—I just think that would be really cool!

I wouldn’t mind selling some of the paintings I do as this residency. I’ve recently started running out of wall space.

Work by Elizabeth Courtney

Work by Elizabeth Courtney

Q: What’s next for you?
As far as after this residency, I took a job with the Chautauqua Institute residence life department for the summer where, hopefully, I can keep painting there. I don’t have a ton of plans after that but I would love to someday get my masters in fine arts, maybe in Europe, but who knows. That might be my favorite part of being an artist. I don’t know what’s next.

Q: Where else can we find you? 
I am very active on Instagram @elizabeththeartist. I try to keep it as up to date as possible.

Inside the Artist’s Studio with June Szabo

Most of my work begins with the natural world, often in a particular landscape. Sometimes a place finds me and sometimes I look for a location that illustrates the idea I am working on. I spend many hours exploring and researching the history and geology that formed the place I have chosen. I find myself making comparisons and creating metaphors between the events that shaped the land and the actions that shape our lives.

Artist June Szabo

Artist June Szabo

Picture2

Inspiration

To understand what each place has to teach me, I write about the connections I make in poetry and prose. The following contemplation on the purpose of scars was a comparison between glacial formations (scars on the land) and the scars that we carry.

Relics of Our Story – Mendon
June B W Szabo

Considering the damage we do to ourselves and others;
I looked to the landscape to ponder the purpose of scars.
Above and below the surface is a record of events that have left a lasting impression:
Kettles, kames and eskers, are divots, knobs and welts,
caverns, caves and sinkholes are mania and despair.
Forgotten and remembered these marks and inklings are the relics of our story,
scars and impressions resolved and unresolved.
When we stop scratching, scraping and digging like a glacier,
our wounds begin to heal.

"Relics of our Story – Mendon"

“Relics of our Story – Mendon”

The process I use to create my sculpture is also a metaphor for a connection between nature and human behavior. The layers of wood, which give my forms depth and dimension, reflect growth in nature and the layering of the earth. Wood sculptures are formed by cutting and stacking lumber, which is joined with glue, clamps and wooden dowels. Each layer in a landscape sculpture represents an elevation on a topographical map.

Work in progress

Work in progress

Work in progress

Work in progress

In addition to wood sculptures, such as the one seen in Land & Sea, I also weave. Weaving creates thousands of connections and intersections. I warp my loom with copper wire and weave panels that are folded, pleated and bent into three dimensional forms. These bonds are sometimes unseen, but necessary for the final woven product to exist. They are a metaphor for the connections that hold our earth together.

Weaving

Weaving

Weaving

Weaving

For me each process has come to represent and illustrate the interrelated, interdependence of all things.

Comparison is the estimation of similarities and differences. Metaphor suggests a likeness as we speak about one thing as if it were another. My sculptures are reflections on questions that occur to me as I consider our place in the world. They take the shape of landscapes and natural forms. They may include an area that covers inches or hundreds of miles. The sculptures are not exact replicas of a particular place or thing, but partial abstractions representing ideas that surface as I consider each place and how it was created. They are comparisons between the forces and forms found in nature to human inclination and behavior.


June Szabo 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. The exhibition runs through June 29, 2018.

Inside the Artist’s Studio with KS Lack

I started working with letterpress almost eight years ago, when I was looking for a way to print a mixed-media piece for a gallery in Brooklyn. I fell in love with the medium:  the richness of the inks, the juxtaposition of typography and imagery, how different paper types interact with ink and pressure—the list goes on. There are so many ways to create something unique, even if you are making multiples.

I also write poetry and both facets of my work have a profound influence on one another. There is poetry in presswork. Nothing makes you understand the weight of words like laying them out by hand.

Laying out type at the London Centre for Book Arts

Laying out type at the London Centre for Book Arts

Squall and Sunset, the two pieces featured in the Land and Sea exhibition, were printed at the London Centre for Book Arts. The prints were created on a Stephenson Blake press, a manufacturer that is common in the UK but rare in the US. For a pressure print, the ink is applied to a base instead of onto the rollers. The paper is then rolled over the ink, and the weight of the press is what makes the print. The cylinder on this Stevie B is very heavy, which makes for great pressure. As for inks, the LCBA has a wonderful collection of vintage, oil-based inks that were great fun to play with.

Some of the vintage orange inks at the LCBA

Some of the vintage orange inks at the LCBA

Printers love this Stevie B model because it has a very wide bed. This let me print on 22-inch squares (I used Redeem 130gsm, a 100% recycled paper), which are quite large for a single letterpress page. I printed each piece four times; the paper became so supersaturated with ink that it took over a week to dry.

Prints drying on the racks

Prints drying on the racks

Finished prints

Finished prints

Then I took the plunge and cut each sheet into four strips.

Cut down to size

Cut down to size

While living in the UK, I was particularly struck by the vitality of the countryside. Everything seemed so lush—the sea off Cornwall, fields of grass and hay with poppies growing by the side of the road, summer sunsets and rainy days—it was all on my mind as I mixed and applied the ink.

The individual strips were getting overwhelmed when mounted with traditional matboard. I decided to use acrylic for the front and back, allowing the vibrancy of the inks to stand out. I also like how the colors seem to float within the frame when hung on a wall. 

RBR  for R&T

RBR for R&T

Green Flash

Green Flash

As a person with a long-term disability, I find there is a lot of synergy between my art and how I try to live my life. Working on a press could be all about its limitations. Instead, I find that the structure inherent in presswork grants me greater freedom by giving me something to lean on. I may not always be able to hold a pen, but I can create something beautiful by working within the constraints of the press in order to transcend them.

You can find out more about my work at my website: www.zitternpress.com.


KS Lack 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. The exhibition runs through June 29, 2018.

A Solo Exhibition by Chad Grohman

Upstairs at Main Street Arts we are currently exhibiting nineteen paintings by Buffalo, NY artist Chad Grohman. Grohman’s work ranges from more traditional landscapes and still lives to buildings, plants, animals, and people with a surreal twist.

Chad Grohman, "Always Home"

Chad Grohman, “Always Home”,  2014, Gouache, 8″ x 10″

Chad Grohman, "At the Center of the Clearing", 2013, Gouache, 8" x 10"

Chad Grohman, “At the Center of the Clearing”, 2013, Gouache, 8″ x 10″

Chad’s muted color palette creates a sense of uncertainty and uneasiness in these gouache paintings (which is interesting, compared to how warm some of his landscapes can feel). There is a strong sense of narrative, even if the the viewer can’t pin down what that narrative is.

Chad Grohman, "Light Dagger", 2014, Gouache, 8" x 10"

Chad Grohman, “Light Dagger”, 2014, Gouache, 8″ x 10″

Chad Grohman, "Crowclops", 2014, Gouache, 8" x 10"

Chad Grohman, “Crowclops”, 2014, Gouache, 8″ x 10″

Houses with legs, flying tigers, lightning fish, all of these unusual creatures are juxtaposed with more traditional landscape backgrounds. Many of these pieces feel as though their characters would be at home in a tattoo parlor, or in a very unusual fairy tale.

Chad Grohman, Grabbing Hands, 2014, Gouache, 6" x 8"

Chad Grohman, Grabbing Hands, 2014, Gouache, 6″ x 8″

Stop by to see Chad Grohman’s solo exhibition Upstairs at Main Street! His work will be here through July 26, 2014. You can see more of Grohman’s work here and read more information about exhibitions at Main Street Arts here.

Exhibition Dates: June 6–July 26, 2014