All posts by mainstreetarts

Inside the Artist’s Studio with Kate Fisher

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I have been working on this body of work for over a year. Each piece involves several steps and these steps have evolved with time. I started by taking or finding photos. One of the fascinating things for me with this project has been meeting the people whom I have photographed. I usually introduce myself, show them what I am doing, and take some photos. Sometimes they share something of themselves, sometimes they say very little. Almost all of the people I have asked were very curious and willing to let me take their photograph.

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Using the photograph as reference, I then work on a contour/outline drawing. Since my very first drawing class, I have been fascinated by contour drawings. They seem related to haiku poetry. Good ones can say the most with limited lines or words. When I have gotten a drawing that I am pleased with, I use the Bernina sewing machine free motion stitch, and sew the drawing, sometimes adding texture, color or detail. Then I to go to the Genesee Book Arts Center and print the names of the figures using the Vandercook press. This involves looking through the antique wood type collection to find a font that works with my drawing. Then I go to the press where I set the type, proof the print and print the name on the stitched drawing.

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The final step is deciding which threads go and which stay. The threads are very important to these pieces. I feel that they not only add line and motion but they seem to really create a metaphor for the people I have met and stitched. They are changing, growing, and vital.

I am usually the only one to see the back of the stitched drawing. To me they are fascinating, messy and very lively, while still capturing the feel of the figures. I have included an example for you to see.

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People often ask me how long a figure has taken me to create. I never know how to answer this and mentioned it to an artist friend. She said that her response when asked that question is, “a lifetime.” Certainly that is true.


Stop by Main Street Arts to see Kate’s artwork in our current exhibition The Human Figure (runs through July 1). View her work online at www.blackbirdknits.com

Take a look at our previous Inside the Artist’s Studio blog post by painter Nate Hodge.

Inside the Artist’s Studio with Leslie Schomp

Schomp,Self-Portrait with Snake and Mouse

Schomp, “Self with Snake and Mouse”, 2015

As an artist I am interested in many subjects. Although it can sometimes be difficult in the studio to choose what I wish to work with or which direction to settle on, my work is at its best when I can layer these varied interests.  The piece included in this exhibit, Self-Portrait with Snake and Mouse is a cloth stitched sculpture and is inspired by many historical objects I was researching at the time.

William Bartram

William Bartram, Drawing, Natural History Museum Archives

In early 2015 I travelled to London to see the work of Maria Sibylla Merian, William Bartram and Mary Delany. Their 18th century works are drawings, paintings and collages that record their close observations of flowers, animals and insect interactions.  Their appeal for me was the balance between the violence of some of their subjects’ interactions and the exquisite use of composition and materials.  The work links science and art beautifully.

Maria Sybilla Merian,  From British Museum

Maria Sibylla Merian, From British Museum

This sculpture is part of a larger series that are self-portraits investigating animal behavior to gain self-awareness. The work often questions whether we project human traits onto animals or whether we are simply just alike. I investigate primary experiences shared by all, such as hunger, self-protection, fear, aging and love. I pursue how animal skins (chicken, elephant, horse, fox, snake, etc.) can translate into drawn line or sewn edges.

Snake,  Natural History Museum in London

Snake, Natural History Museum in London

I was able to view taxidermy at the Natural History Museum and historical and contemporary works in textiles at the Victoria Albert Museum, which also greatly impacted the ideas for this sculpture.

What I cannot see in museums, I research in books. Below is a photo of an anonymous Egyptian funerary portrait sculpture from the book Portraiture by Shearer West.  This was one of the largest influences on this work.

Anonymous, Portrait of a Woman, AD 190-220,

Anonymous, Portrait of a Woman, AD 190-220,

Schomp, Process

Schomp, Process: early parts of “Self with Snake and Mouse”

I am often asked why I use cloth instead of clay or wood.  As an artist I believe you find a material you want to grapple with.  It’s not something that is necessarily easy or available but something that perhaps you have a history with or an instinctual desire to pick up and wrestle with.  I have worked with cloth my whole life since I was a  child in a convent school in Ireland where we knitted, embroidered and quilted. I made my own dolls and clothing.  I find myself buying vintage textiles and clothing in antique stores.  I’m drawn to it’s ability to be flat or structural. Its connection to the body as something practical, ornamental, or sensual is of immense interest. Textiles are part of my own history.

Schomp, Process Shot of "Double Self-Portrait with Elephant Skin"

Schomp, Process Shot of “Double Self-Portrait with Elephant Skin”

My process is layering bundles of cloth together slowly until I reach the final form. The bundles get smaller as I arrive at the surface. The stitching on the surface is like drawing and are maps of how planes form. At times I use wire or wood for a support. Cloth acts like the body. The bundles are like organs and it can be stretched like skin. Its outer layers reveal the inner ones. It puckers, gathers, stretches and hangs. I use all kinds of cloth for it’s texture, color, weave, translucency, history, or meaning. These attributes often inspire my content or how I approach my subject matter. My work often hovers between the 2d and 3d worlds. My drawings are often objects and my sculptures often contain drawings on surface.

Schomp, Self-Portrait With Elephant Skin

Schomp, Self-Portrait With Elephant Skin, ink on paper

I also create drawings in ink to play with ideas and textures before I settle into a sculpture that may take 6 months to make such as Self-Portrait with Snake and Mouse.

I live in the country in Massachusetts. The landscape is a daily powerful visual in my life. As a gardener I am always struck by the heartache, fear, desire, violence and  beauty of the natural world.  These works are an investigation into how I see myself as part of and apart from nature.


Stop by Main Street Arts to see Leslie’s sculpture “Self-Portrait with Snake and Mouse” in our current exhibition The Human Figure (runs through July 1). View her work online at www.leslieschomp.com.

Take a look at our previous Inside the Artist’s Studio blog post by painter Robert Samartino.

Inside the Artist’s Studio with Paul Garland: TRIO – Three Related Painting Series

NON-OBJECTIVE ABSTRACTION

Modernist traditions of the 20th century have informed my art for many years and continue to do so. From large format watercolors on paper exhibited early in my career at the Everson Museum in 1981:

Everson Museum, 1981

Everson Museum, 1981

Everson Museum Triptych, 1981

Everson Museum Triptych, 1981

to smaller works recently presented at Axom Gallery in Rochester:

Axom Gallery, Rochester, NY

Axom Gallery, Rochester, NY

Paintings by Paul Garland at Axom Gallery, Rochester, NY

Paintings by Paul Garland at Axom Gallery, Rochester, NY

The rich core of modernist abstraction runs through my painting.

LANDSCAPE

I am fortunate to live and work in an beautiful geographical area. Fair Haven State Park is located only a few hundred yards from my home and studio in Fair Haven, N.Y.

When I retired from my teaching position at SUNY Oswego after thirty two years as a professor of art I had the opportunity to more fully appreciate the beauty of the park and began a routine of daily walks by the shore of Lake Ontario prior to starting work in the studio.

The more I walked the more fully I appreciated the beauty of the great lake, adjacent bay and pond, creek, hills, fields, animal life, woods. The ever changing  light and color effecting everything every day.

Soon I felt a strong desire to bring nature into my art practice. This ultimately lead to a series of landscape paintngs which are based on my direct observation of nature.

CONVERGENCE

The two works I am showing in FIFTY LANDSCAPES – This Is and This Remains – are part of a extended decade long series titled CONVERGENCE. The paintings from this series combine and juxtapose modernist abstraction with  specific landscape imagery I have experienced in the natural world.

THIS IS and THIS REMAINS

THIS IS and THIS REMAINS

THREE CONCURRENT PAINTING SERIES

For the past year my painting have primarily been focused on non-objective abstraction.

However my interest in nature and landscape painting continues.

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The  third series, CONVERGENCE, has been mostly in the planning stage rather than active painting in recent months. I anticipate a return in the near future to the series that combines non-objective abstraction and landscape painting.

OLYMPUS DIGITAL CAMERA

This  TRIO of three distinct painting series; Non-Objective Abstraction, Landscape Painting and Convergence reflect my strong personal interests and essential aesthetic and conceptual concerns. They constitute a rich, varied, and fulfilling studio practice.

Stop by Main Street Arts to see Paul’s artwork in our current exhibition, Fifty Landscapes (runs through May 13). View his work online at www.paulgarlandart.com. Paul will also be having a solo exhibition at Axom Gallery during the fall of 2016.

Take a look at our previous Inside the Artist’s Studio blog post by artist Lana Grauer.

Inside the Artist’s Studio with Carl Chiarenza

Representation, as I use the word, does not mean documentary of the natural, social world. It does not refer to specific times and places.  Representation refers to how photographic syntax allows and restricts–how it frames the visual transformation of what is seen from the vantage point of the camera’s lens.

Acropolis Revisited 300, 2010

Acropolis Revisited 300, 2010

I’m interested in how what is in front of my lens comes together into a new object–how the photograph causes a genuinely real but fresh experience which did not exist before its appearance. The word “representation” is about photography’s way of transforming the supposed reality of things, as opposed to photography reproducing or tracing the world. A photograph may be used to represent the unknown, the mysterious, or invisible as much as it may be used to represent the known and visible.  It can be used for both prose and poetry where metaphors may dominate the viewer’s response and second thoughts may override the immediate response.

A photograph presents both artist and viewer with a challenge, because we want to know the subject depicted–as if the photograph were not there.  For over 165 years an extraordinary number of forces have led us to believe photographs are windows on reality, even when reason tells us otherwise.  We share photos of our children and say “this is my daughter”, as if the photograph were not there. We fail to recognize that while a photograph is different from other kinds of pictures it is still a picture. Therefore, it is characteristically different from what was in front of the lens.

Untitled 297, 2010

Untitled 297, 2010

Instead of trying to hide photography’s special characteristics of transformation in an illusion of material reality, I try to expose and exploit them. I underline the fact that the viewer is seeing an abstraction, a picture rather than actual events, as in the pictures in this exhibition.  Of course, individual picturemakers and picture users have their own ways of transformation, and today’s digital tools just compound those possibilities.

A Carl Chiarenza photograph in Fifty Landscapes, the current exhibition at Main Street Arts

A Carl Chiarenza photograph in Fifty Landscapes, the current exhibition at Main Street Arts

Even without considering the digital revolution, the difference between photography and reality is central to my thinking.  In the case of the media photograph (For example, the widely published image issued by the Bolivian government as evidence of the capture and death of Che Guevera, 1960s revolutionary) this difference can have serious consequences for our understanding of political and social events. How can we know the true relationship between the photograph and the actual facts about Che? This is also seen in the ongoing debate over facts and images of events in the Middle East. The issue of difference in my work has an additional wrinkle: how to hold the viewer’s attention beyond the initial frustrating attempt to decipher “what it is”. The problem is how to get the viewer to abandon their belief in the photograph as window, to bring them through the window to a new and unique visual event rather than an illusion of one that already occurred.

My photographs are made from collages which I construct specifically to be photographed in black and white. This process creates form and subject simultaneously. The collages are means to an end and are discarded once the photographs are completed. The photographs do not look like the collages from which they were made. They are transformations which refer to and represent visual sensations which I know only from a mix of past encounters with other pictures, music, the world, dreams, and fantasies.

The studio and darkroom are like scientists’ laboratories.  Artist and scientist both tinker with the known in search of the unknown. Both have a desire to see realities never before seen.  That desire motivates my work. I set myself free to explore the  photographic picture potential of the process itself, encouraging chance, accident, and discovery.

Noumenon 148, 1987

Noumenon 148, 1987

As Albert Einstein said, “One of the most beautiful things we can experience is the mysterious… It is the source of all true science and art. He who can no longer pause to wonder is as good as dead.”

My commitment is to exploring how little we know compared to how much we think we know, and to how little we know compared to how much we feel.  To make photographs which could convey such enigmas is my continuing obsession.

Stop by Main Street Arts to see Carl’s artwork in our current exhibition, Fifty Landscapes (runs through May 13). View his work online at www.carlchiarenza.com. Take a look at our previous Inside the Artist’s Studio blog post by painter Meredith Mallwitz.

Prospectus: The Human Figure

 

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A call for traditional, stylized, and abstracted representations of the human figure. The goal of this exhibition is to present a cross section of figurative artwork currently being done across the country. Open to artists working in all media. This exhibition is open to all U.S. residents at least 18 years of age.

$1,000 in Cash Awards

Juror
Jonathan Binstock, director of Memorial Art Gallery in Rochester, NY

Important Dates
Submission Deadline: March 21, 2016
Notification: The week of April 11, 2016
Exhibition Dates: May 21–July 1, 2016
Opening Reception: Saturday, May 21, 4-7pm

Entry Fee
$25 for entry of up to 3 images.
$5 for each additional entry. Once entry is submitted, fees are non-refundable regardless of acceptance into the exhibition.

Images
All entries must be submitted electronically to mstreetarts@gmail.com. Judging will be done entirely from JPEGs. No other formats will be accepted. JPEGs must be 72 dpi, and 1200 pixels in largest direction. Maximum file size for any individual image is 3 MB.

JPEG images MUST BE labeled LAST Name_FIRST Name_The number that corresponds with that work’s placement in the Entry Email (1, 2, 3, etc.), for example: smith_jane_1.jpg, smith_jane_2.jpg, smith_jane_3.jpg

Image List/Information
Include the following in the body of your email in this order:
- Your Name
- Address
- Phone
- File Name (for each submission)
- Title, Medium, Size, Year  (for each submission)

Please title your email as follows, “YourFirstName YourLastName, Juried Show Submission”.

Insurance
Artwork will be insured against loss, damage, or theft while on gallery premises. Artists should insure work during shipping to and from the gallery.

Shipping
Artists will pay shipping to and from gallery, pay close attention to shipping dates after notification of acceptance.

Sales
All sales will be handled by gallery staff at Main Street Arts. The gallery retains 40% commission on all sales, please price your work accordingly.

Selected work
All entries must be of original design and personal execution. No reproductions. 2 Dimensional artwork must be ready to hang. Work on paper is to be suitable framed. Acceptable display of 3D work may be floor based, pedestal based, or wall mounted.

Entry must be able to fit through our front door, which measures 90″ x 39″. Artwork which differs greatly from submission images will not be accepted.

If the artwork is framed, the size given for works should be the framed size. Height must be given before width regardless of whether the work is a vertical or a horizontal. Entry information must be provided in full. Failure to follow instructions may result in the nullification of your entry.

Your payment will serve as your acceptance of the terms and conditions stated in this prospectus.

STEP 1: Submit Images and information by email to mstreetarts@gmail.com

STEP 2: Pay entry fee via PayPal (click here to view the PayPal button on our submission page)

Submission Checklist
_  Payment via PayPal
_  Images attached to email
_  Files named properly
_  Name and contact info in body of email
_  Image list included in body of email: File Name, Title, Media, Size, Year


About our Juror
 Jonathan P. Binstock is the Mary W. and Donald R. Clark Director of the Memorial Art Gallery, University of Rochester. He was formerly Senior Vice President for Modern and Contemporary Art in the Art Advisory & Finance group of Citi Private Bank. At Citi he worked with clients and their families in the US and abroad to build personal art collections, and assessed the quality and value of $1+ billion worth of artworks in the Bank’s art lending program. He joined Citi after more than a decade of curatorial work in museums. An expert in art of the post-WWII era, prior to Citi he was Curator of Contemporary Art at the Corcoran Gallery of Art in Washington, DC, and Assistant Curator at the Pennsylvania Academy of the Fine Arts in Philadelphia.

Dr. Binstock earned a Master’s degree and PhD in art history from the University of Michigan, Ann Arbor, and has taught art history at the University of Michigan and the University of Pennsylvania. He lectures regularly in graduate seminars on art and cultural criticism at Columbia University. In July 2015 Dr. Binstock completed a residency at the Getty Leadership Institute at Claremont Graduate University.

Dr. Binstock is the author and/or curator of, among other books and exhibitions, Dan Steinhilber: Marlin Underground (2012); Sam Gilliam: A Retrospective (2005); Atomic Time: Pure Science and Seduction (2003), which featured art by Jim Sanborn; the 47th (2002) and 48th (2005) Corcoran Biennials; Andy Warhol: Social Observer (2000); two exhibitions devoted to the late and influential artist Jeremy Blake (2000 and 2007); and, most recently, Meleko Mokgosi: Pax Kaffraria, published by the Hammer Museum, UCLA (2014). He is a peer reviewer for the US General Services Administration Percent-for-Art Art in Architecture Program, a scholarly consultant for the Visual Art Gallery of the Smithsonian National Museum of African American History and Culture, a member of the Association of Art Museum Directors, and of the Board of Trustees of the American Federation of Arts.

Combining Monoprint and Collagraph with Barbara McPhail

Print by Barbara McPhail

Print by Barbara McPhail

Combining Monoprint and Collagraph with Barbara McPhail

In this four session course, you will combine two printmaking techniques (monoprint and collagraph) to make expressive original prints. A variety of materials are used along with printmaking inks to create a unique image. No experience is required, all materials are provided. Call, email, or stop in to the gallery to sign up today!

Saturdays 12–3pm: November 7, 14, 21, and December 5
$100 for four sessions

Print by Barbara McPhail

Print by Barbara McPhail

Inside the Artist’s Studio with Elizabeth Durand

I have taught printmaking at RIT and at numerous workshops around the country. Presently I am teaching at St. John Fisher College and during the summer at the Artist’s Association on Nantucket.

Printmaker Elizabeth Durand

Printmaker Elizabeth Durand

In my home studio my concentration is on traditional etchings and unique collagraph monoprints.  The subject matter is the landscape, both regionally and from my travels abroad.

As a printmaker I use both traditional and innovative techniques in my etchings, collagraphs and monoprints.  Each of these original graphic arts methods is used to achieve a particular effect.  Etched lines are bitten into a zinc or copper plate with acid wherever the artist has drawn through an acid proof resist.  Ink is pressed into these lines and then wiped from the topmost surface of the plate.  Dampened paper is placed over the plate and it is turned through an etching press.  Each time another impression is pulled, the plate must be re-inked and wiped.  Fine line work, detail and a variety of tone and texture are best achieved through the etching techniques of direct bite, soft ground transfer and aquatint.  The etching technique of embossing creates a raised impression on the print.

Inking the plate

Inking the plate

Wiping the plate

Wiping the plate

Dampened paper is placed over the plate

Dampened paper is placed over the plate

The plate is sent through the printing press

The plate is turned through the etching press

The paper is lifted to reveal a fine impression

The paper is lifted to reveal a fine impression

Broader textures, large color fields and greater scale characterize my collagraph prints.  This is an additive process wherein a plate is developed by building up textures on the surface of a plastic or masonite plate.  The plates can be easily shaped or cut and inked both on the intaglio and relief surfaces.  An image can be composed of several segments inked separately and reassembled on the press for printing.  In the large unique pieces the image is composed sequentially by overprinting various plates on one paper and then adding elements by direct stenciling.  The result is a one of a kind monoprint collagraph. Monoprints, sometimes called the painterly print, are impressions taken from a surface that has been inked and printed only once.  Techniques of brushwork, drawing and stencil can all be incorporated into a monoprint.  Successive layers of ink add subtlety and variety to these unique original works.

The collagraph monoprint process

The collagraph monoprint process

The collagraph monoprint process

The collagraph monoprint process

The collagraph monoprint process

The collagraph monoprint process

The collagraph monoprint process

The collagraph monoprint process

The collagraph monoprint process

The collagraph monoprint process

The collagraph monoprint process

The collagraph monoprint process

The collagraph monoprint process

The collagraph monoprint process

Stop by Main Street Arts to see Elizabeth Durand’s printmaking in our current exhibition, “Celtic Impressions by Three: Seen and Unseen Ireland“.

Take a look at our previous Inside the Artist’s Studio blog post by printmaker Ellie Honl.

Q & A with Virginia Torrence

The Upstate New York Ceramics Invitational at Main Street Arts will feature functional and sculptural ceramic work by 13 artists from the region. This invitational represents some of the most exciting contemporary ceramic work being made in upstate New York.

The exhibition will be held July 11–August 29, 2015.
Online purchasing will begin in mid-July.

Virginia Torrence

Alfred ceramic artist Virginia Torrence

Virginia Torrence

Q: Where are you from originally and where are you now?
A: I am originally from Midland Michigan and spent four years in Detroit Michigan attaining my BFA. I am now living in Alfred New York attending graduate school.

Q: When did you realize you wanted to be a ceramic artist?
A: I started focusing on ceramics during my senior year of High school and then went on to major in ceramics/crafts in undergrad at the College for Creative Studies.  Although I used many other materials during that time I always preferred working with clay.

Q: Did you make other types of artwork before finding ceramics? Do you currently make other work?
A: I have found that I have a knack for drawing as well and I definitely find myself incorporating that into my current practice. I also dabble in using fiber at times and have recently been using paper pulp in a verity of ways within my sculptures.

Q: Do you have an artistic hero or an artist you look up to?
A: Eva Hesse

Q: What is your largest source of inspiration?
A: I would say that my largest sources of inspiration are literature, music, and my own writing. I read a lot of poetry, philosophy, and surrealist texts.

Q: Do you look forward to opening the kiln? Or do you wince at the thought of something going wrong in there?
A: Most of my current work is only fired once. I found that I want to bring the piece as close as I can to what I want using terra sigillata which is applied when the works are bone dry. When I open the kiln, of course I wince at the thought of disasters, but for the most part I can learn to cope with what I find using other materials. I try to view things that don’t come out exactly right as an opportunity to do something else to them.

Q: What is it like being a ceramic artist in Upstate NY?
A: I am really enjoying my time in Alfred. My classmates are really wonderful and I am learning so much from this experience. Upstate New York is stunning and I enjoy hiking and swimming in the warmer months.

Q: Where else are you showing your work this summer or fall?
A: Hmmm, I am not sure… I am not really actively searching for opportunities to show my work right now while I am getting my degree, but I will be having my thesis exhibition in the summer of 2016 in Alfred. I have nothing else lined up at this point, but would love to.

Sculpture by Virginia Torrence

Sculpture by Virginia Torrence

Sculpture by Virginia Torrence

Sculpture by Virginia Torrence

Sculpture by Virginia Torrence

Sculpture by Virginia Torrence

Sculpture by Virginia Torrence

Sculpture by Virginia Torrence

Sculpture by Virginia Torrence

Sculpture by Virginia Torrence

Sculpture by Virginia Torrence

Sculpture by Virginia Torrence

Where can people see more of your work/follow you?
Website: www.virginiatorrence.com 
Instagram: @virginiaroset

Check out the previous Q & A with ceramic artist Hannah Thompsett.

Q & A with Hannah Thompsett

The Upstate New York Ceramics Invitational at Main Street Arts will feature functional and sculptural ceramic work by 13 artists from the region. This invitational represents some of the most exciting contemporary ceramic work being made in upstate New York.

The exhibition will be held July 11–August 29, 2015.
Online purchasing will begin in mid-July.

Hannah Thompsett

Alfred ceramic artist Hannah Thompsett

Hannah Thompsett

Q: Where are you from originally and where are you now?
A: I am originally from Scio, NY, a small town in Western NY. I spent the past two years in Rochester, and now I am a first year graduate student at Alfred University.

Q: When did you realize you wanted to be a ceramic artist?
A: I was introduced to ceramics in high school, and fell in love with the material. However, I was not sure I wanted to pursue ceramics until after I took a ceramics class in undergrad.

Q: Did you make other types of artwork before finding ceramics? Do you currently make other work?
A: I have always enjoyed drawing, and still find forms of it important to my studio practice. In addition to working in ceramics, I also fold paper. I have recently begun to use black and white photography paper and digital photography as well.

Q: Do you have an artistic hero or an artist you look up to?
A: My favorite artist right now is Uta Barth. I think that her photographs are beautiful. I enjoy that her subject matter is visual perception. Someday, I would like to be able to use the subtleties of light and color as well as she does.

Q: What is your largest source of inspiration?
A: I am constantly inspired by my dad, who is a wood worker and furniture maker. I grew up in an environment where there was always a project happening. His attention to detail and level of craftsmanship push me to attain that same level of finish in my own work.

Q: Do you look forward to opening the kiln? Or do you wince at the thought of something going wrong in there?
A: I think that opening the kiln is always a mix of excitement and fear. When I am waiting for a kiln to fire or cool, I usually have a lot of dreams, most of which are much more terrifying than anything that has actually come out of the kiln. One thing that drives making is striving to understand more about the ceramic process and overcome problems that may happen in the kiln.

Q: What is it like being a ceramic artist in Upstate NY?
A: I have been working as an artist in Western NY for the past couple of years. I have found there to be many institutions and individuals who are willing to support the exploration of a young artist. I feel grateful for this support. Also, I have enjoyed meeting many other artists in the area who are also supportive of each other. For me personally, it is nice to be close to the support of my family, and also part of this community.

Q: Where else are you showing your work this summer or fall?
A: I am currently in graduate school, so I am not focused on showing my work right now. I’m hoping to spend a lot of time in the studio this summer working out some ideas while school is not in session.

Q: Is there anything strange or unique that people might not know about you?
A: I don’t think there is anything too strange about me. I have recently begun to work in a darkroom, which I find to be a peaceful environment conducive to clear thinking.

Sculpture by Hannah Thompsett

Sculpture by Hannah Thompsett

Artwork by Hannah Thompsett

Artwork by Hannah Thompsett

Artwork by Hannah Thompsett

Artwork by Hannah Thompsett

Artwork by Hannah Thompsett

Artwork by Hannah Thompsett

Where can people see more of your work/follow you?
Website: www.hannahthompsett.com
Instagram: @hannahthompsettsculpture

Check out the previous Q & A with ceramic artist Kate Symonds.

Student Art Camp 2015

Afternoon art sessions at Main Street Arts for students in grades 7–10. Projects will include portrait painting, drawing from life, collage, and most importantly using your imagination. A new project will be completed each day!

Join us for this summer's Student Art Camps at Main Street Arts!

Join us for this summer’s Student Art Camps at Main Street Arts!

Grades 7–10 | Fours sessions over two weeks
Tues 7/21, Thur 7/23, Tues 7/28, Thur 7/30 | 1–3pm

Tues 7/21, Self-Portrait Painting: Learn how to draw the human face and create your own unique self-portrait!

Thur 7/23, Collage: Experiment with different materials to create a one-of-a-kind collage. This session emphasizes the importance of trying new things!

Tues 7/28, Watercolor Basics: In this session, explore layering colors and using watercolor techniques to create beautiful watercolor paintings.

Thur 7/30, Drawing from Life: Students draw still life objects to learn one of the most important tools in an artist’s toolbox, drawing from real life!

Call, email, or stop by the gallery to sign up today! $15 per session or $50 for all four sessions.