Tag Archives: rochester artist

Inside The Artist’s Studio with Myung Urso

Myung Urso in her studio

Myung Urso in her studio

I was born in South Korea and moved to Rochester, NY in 2006. Since 2007 I started making jewelry based on my MFA major Fiber Art, which I studied in Seoul, Korea. This is one of the reasons that I have chosen using textural materials for creating my work.

Fiber materials

Fiber materials

Showing the "wear-ability" of my work

Showing the “wear-ability” of my work

Jewelry is the media that I have chosen to express my desire of art. It’s wear-ability has always been a big challenge which makes my work different from objects. I often challenge myself to broaden the boundaries of jewelry, regarding it as an art form.

Home studio

Home studio

Calligraphy

Calligraphy

I work in a studio within our house with three dogs and two cats. This is one of the reasons that I mainly choose organic materials as they are mostly derived from my daily use. New ideas at times come from a particular material; sometimes begin with a form and other times from a color or any kind of motivation.

 

Necklace -Combination Red

Necklace -Combination Red

My working process is like chasing the origin of the imagination. I directly work without a pre-planned drawing. In this way I am open to how the work can arrive towards its own destiny. This approach is risky and at the same time has huge benefits. As a result a final art form often becomes very different from my original expectation.

Asian/Korean calligraphy

Asian/Korean calligraphy

Simplicity and spontaneity are the kinds of principles or virtues of my work. I often think that I gained these abilities for being spontaneous and simple through Asian/Korean Calligraphy which I have been practicing since I was young. Calligraphy is like “my native language” which I am able to communicate through my work. Practicing calligraphy also led me to being intuitive in the creative process. This intuition is applied when I either choose a material or I am chosen by material to follow it’s own path.

To see more of my work, visit my website: www.myungurso.com


Myung Urso is one of 6 artists included in Beyond Ornamental, an exhibition of fine jewelry at Main Street Arts. Work from the exhibition can be previewed and purchased through the gallery’s online shop. Beyond Ornamental runs through August 16, 2019.

 

Inside The Artist’s Studio with Loraine Cooley

Hi, I’m Loraine Cooley and I’m honored to be included in the Main Street Arts exhibit Beyond Ornamental.

Me at my studio bench

Me at my studio bench

At the age of 13, I began my journey as an artist at my father’s knee so to speak. My dad decided to teach himself how to create jewelry in his basement workshop and invited me to join him in his discovery of the metal fabrication process. That was over 40 years ago. Since then, some of the things that have contributed to who I am and my recent artwork are: a BFA from The School for American Crafts at RIT, extensive travel around the world, pursuing a degree in the Art Education Program at Nazareth College and engaging in several classes and workshops in all areas of art. I also continue to enjoy teaching and learning from my students at the Memorial Art Gallery where I’ve taught since 1987.

In my studio, creative chaos abounds!

Creative atmosphere

Creative atmosphere

Creative chaos

Creative chaos

Work in progress...

Work in progress…

For me the boat shape is a predominant theme in my one-of-a-kind pieces. I regard the boat as a symbol of the journey each of us takes throughout our lives. Below is my triptych sculpture:

PHASES: Birth  Chaos  Rest

PHASES: Birth Chaos Rest

Here are more boat themed pieces:

"Journey" Necklace

“Journey I” Necklace

"Journey II" Neckpiece

“Journey II” Neckpiece

"River" Neckpiece

“River” Neckpiece

"Sunboat" Necklace

“Sunboat” Necklace

I am currently working on a series of Lapel pins loosely based on the windows and doors that I photographed several years ago while in Italy.

"Archway" Lapel Pin

“Archway” Lapel Pin

"Guilin" Lapel Pin

“Guilin” Lapel Pin

"Tuscan Arch" Lapel Pin

“Tuscan Arch” Lapel Pin

Each piece that I make is born of an idea. I think big and make small. The act of transforming the idea into a 3 dimensional form is an ongoing challenge. The end results stem from sketching, experimentation, trial, failure, refinement and finally, with hope and experience, success. My work starts with raw materials ie: metal sheet and/or wire or materials such as slate, bone, fossils, stones or shell. I use several metalsmithing techniques to transform these materials into something unique and personal.

Here are some of the tools that I use to manipulate and transform the raw materials that I use in my pieces.

Studio tools

Studio tools

Future projects include a series of necklaces based on the 4 seasons and also a large (for me) sculptural boat made of parts and pieces from my studio scrap box.

To follow me as I continue on my journey of discovery, please visit my web site: www.lorainecooley.com


Loraine Cooley is one of 6 artists featured in the fine jewelry exhibition Beyond Ornamental at Main Street Arts. Work from the exhibition can be previewed and purchased through the gallery’s online shop. Beyond Ornamental runs through August 16, 2019.

Inside the Artist’s Studio with Jeremy Moule

Hi. This is me.

Hi. This is me.

Every photograph represents a moment; whether the exposure lasts a fraction of a second long or spans several hours, the maker is capturing a defined period of time.

I find many of the moments in my images as I wander through Rochester’s streets and neighborhoods. I’m subject agnostic — not a true street photographer — alternating between people, the built environment, and various objects. My mood often guides me and seeps into my images; so do gut reactions to what’s in front of me. It’s a slight shift from my full-time work as a journalist, where I’m supposed to keep my emotions out of my writing.

A little time on my feet and a little patience enabled me to make this photo.

This photo came together after a little time on my feet and a little patience. I think the anonymous subject and I shared a little fascination with the fire-breathing machine.

“Spectre of the Piss Tunnel,” which is part of de/composition, came together in an instant and is a good example of my process.

I was out walking around the edge of the High Falls District and started photographing a stack of newspapers that had been tossed in a tunnel under the Inner Loop. Then a stranger walked past me. The camera I was using, an old Yashica, isn’t exactly built for speed, but I recomposed and refocused in time and click, I got the image.

"Spectre of the Piss Tunnel"

“Spectre of the Piss Tunnel”

The image has a gloomy, tense quality to it, which was my intention.  I knew I wanted the figure to remain in the shadow, so I set my camera’s shutter speed accordingly.

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Cameras are tools, part of a process but not the process itself.

With people, I like to preserve a sense of the anonymity inherent in a city environment. The objects and structures I photograph show traces of human presence, if not the impact that people have on their surroundings and environments.

The way we alter our surroundings sends messages, intentional or not.

The way we alter our surroundings sends messages, intentional or not.

Sometimes I use a digital camera, but my preference is usually for 35mm or 120 film. I hand-develop my black and white film as well as my color negative film, and I do my own black and white printing. The analog processes are tactile and meditative, plus I’m generally happier with the results.

The Flower City Arts Center darkrooms are about the closest thing I have to an actual studio, and they’re a valuable resource. So is the community around the center. The folks who work, teach, and create there have given me knowledge, criticism, and opportunity which has in turn helped me grow as a photographer.

Bye!

Bye!

 


Jeremy Moule 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.

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.

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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.

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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: Eve Bobrow

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

Artist Eve Bobrow

Artist Eve Bobrow

Q: Please tell us about your background:
I grew up in Rochester, NY and have recently returned after graduating from Washington University in St. Louis. I originally went to school for design and computer science with the goal of working in the video game industry but transferred to architecture during my freshman year. Even while studying architecture I knew my real passion was for art, but the technical education gave me a whole new perspective to work from.

"Columnar" Drawing and Collage on Mylar; 24" x 36", 2016

“Columnar” Drawing and Collage on Mylar; 24″ x 36″, 2016

Q: How would you describe your work?
My primary focus in my work is the intersection between quantitative study and emotional experience. I like to draw from technical aesthetics, like user manuals, city plans, and blueprints, to legitimize the subject matter, or to explore a concept more deeply through technical practices.

"Thought Projection" Drawing on Mylar; 24"x36"; 2018.

“Thought Projection” Drawing on Mylar; 24″x36″; 2018.

Q: What is your process for creating a work of art?
I usually start with a burst of productivity, which could be anything from intensive research to rapid prototyping. After I’ve iterated myself into a corner and gotten everything out of my system I will often step back and take an entirely different approach. Occasionally I will have an idea that requires a more precise plan and workflow, but normally there is a lot of chaotic collaging and those string maps detectives make.

"Haunted Alton"; Digital (Photocopied), Cover and 2 Pages of 28; 8.5"x11"; 2018

“Haunted Alton”; Digital (Photocopied), Cover and 2 Pages of 28; 8.5″x11″; 2018

Q: What are your goals for this residency?
I’m hoping to make as much as possible! I haven’t had my own studio in several months so I’m excited to get into the space and spread out. Because of space constraints I’ve been working digitally lately, or on screenprinting projects with my friend/main collaborator Finnegan Roy-Nyline, that he is printing at his studio in Minneapolis.

"Untitled" 3 Color Screenprint; 8"x10"; 2019

“Big Thought” (Created in Collaboration with Finnegan Roy-Nyline)  3 Color Screenprint; 8″x10″; 2019

Q: Do you collect anything?
Yes! I’m a sucker for paper goods from the 60s-80s. I have a growing collection of USGS maps, old magazines, botany books, carving books, and basically any kind of craft book. My favorite is a two volume set of songbird carving books that had a little hand drawn pattern for a wren tucked in the pages. I also collect kodachrome slides, vintage electronics, and nice rocks.

"Collograph" Drawing Machine Output, Ink, Pencil, and Etching on Mylar; 24"x36"; 2018

“Collograph” Drawing Machine Output, Ink, Pencil, and Etching on Mylar; 24″x36″; 2018

Q: Who is your favorite artist and why? Who are your favorite local artists?
It’s a tie between Rueben Margolin and Mark Dion, both of them in different ways bring a scientific approach to their art practice that I’m really inspired by. Locally I really love Heather Swenson’s work, I think she’s doing some really interesting things with her screenprinting practice.

Bobrow_E_09

Q: What’s next for you?
I have another residency in April and May, but until then I’m working on a couple different book projects/collaborations and continuing to apply for more things. I’m hoping to move to Minneapolis sometime this summer, but there’s still a lot to consider.

Q: Where else can we find you?
I’m currently redoing my website but you can find me on Instagram @evebobrow for updates on what I’m working on.

Inside The Artist’s Studio with Kathleen Farrell

Kathleen Farrell at the opening reception of the Upstate New York Drawing Invitational

Kathleen Farrell at the opening reception of the Upstate New York Drawing Invitational

I love making art from discards, lost, recycled, unwanted things. I have been looking in other people’s trash for most of my life. I can go for hours, days, just looking for objects, in search of something that will later be worked into a painting or collage. I tuck them away when another idea takes over and revisit them looking for  just that piece for completion of a artwork.  If I like the look of something or it conjures up a memory or thought it goes into my stash bin for safekeeping. I work on my art whenever possible. I have many projects going at once always in search for that perfect discarded piece of wood or partial part of a toy that will take on another life.

Discarded book

Discarded book

I love to draw and do so every day. An activity that has remained constant since I was a child. I draw in meetings, at parties, poetry readings, listening to music in bars, while watching baseball, and especially at boring meetings. More or less working out ideas, frustrations or for pure comic relief. I work in small manageable formats whenever possible keeping several projects going at once. I prefer drawing my thoughts, rather than speaking my thoughts, whenever possible.

Me drawing with two hands

Me drawing with two hands

I can work almost anywhere that has a flat surface.  As a child I would get in trouble in school for drawing in my composition books, so I would take notes on the desk top and draw in an other book on my lap or in the compartment under the desktop. Being both righty and lefty (ambidextrous) this skill set has helped me throughout my life to cope with my need to draw. I attend the Rochester International Jazz Festival each summer and do drawings of musicians and concert goers. I draw a lot when waiting in lines.

I have numerous sketchbooks scattered everywhere. I will purchase various types of sketchbooks, chosen for shape and paper.  My favorite is the Moleskine Japanese book, as it has one continuous page that usually becomes a landscape of a sort. I participate each year in the Brooklyn Art Library sketchbook project.  I have eleven sketchbooks in their library. At first it was hard to give the books up, to not have them in my possession.  Now somehow knowing that my books can be viewed by visitors at the library in Williamsburg NY almost on a daily basis feels good to me.

discard

Discarded book drawing

I work with just about every drawing medium under the sun.  Markers and colored pencils are my favorite. I use gouache, watercolor, pen and ink and combined all that with collage materials.  Of late I have been using discarded library books. It pains be to see such nicely bound paper go in the trash. Lately, like drawing on bogus paper, I collage,draw and paint on that surface. I have a small studio in my basement with many  and various surfaces to work on.  I listen to all types of music while working out ideas.

Two-handed

Two-handed

I was born and raised in Rochester, New York. I love to travel to see new places and ideas.  I have worked at Monroe Community College since November 1986 as the Director of Monroe Community College’s Mercer Gallery which entails administering an arts program of gallery exhibitions, artists workshops, residencies and an artist lecture series. I am a full professor in the Visual and Performing Arts Department at MCC. I teach in both Commercial Illustration, and Graphic Design programs, and teach various other courses from time to time.  I love every aspect of my job.

I teach a sketchbook class that I developed with another colleague, Jason Smith, about 10 years ago. The course has developed into a very successful course that is offered each semester with two sections.  Many of the students are not visual artists, most are studying the sciences or engineering.  It is a great course that allows these students to relax, mediate and exercise their imagination on a daily basis.

Detail of drawing

Detail of drawing

I am the recipient of the State University of New York Chancellor’s Award for Excellence in Professional Service, the SUNY Chancellor’s Award for Scholarship and Creative Activities, the NISOD Excellence Award for Teaching, the John and Suzanne Roueche Award for Teaching and the Dr. Wesley T. Hanson Award for Teaching Excellence.

I surround myself with colleagues, friends, family, madmen and poets who do not judge and will nudge me when I fall asleep.

Video of Kathy Farrell, drawing with both hands!

Click to watch the video of me drawing with both hands!


Kathleen Farrell is one of six artists featured in the Upstate New York Drawing Invitational at Main Street Arts. Work from the exhibition can be previewed and purchased through the gallery’s Artsy page. The Upstate New York Drawing Invitational runs through September 28, 2018.

Inside the Artist’s Studio with Mandi Antonucci

I stumbled across a quote by Henry Adams a few weeks back that struck me as indicative to my approach to art making. Adams said, “Chaos was the law of nature; order was the dream of man.” This precarious point between the two extremes is where I like my work to dwell.  

Snapseed (2)

While I will occasionally work in ballpoint pen and oils, my true love is colored pencils. I love the range they provide from soft layered colors to sharp bold edges. I love the simple buttery depth they can create and the complex layers of color mixing they enable. I love that despite my years I have put into the medium, I still learn something new about them each time I draw, like an old friend divulging new secrets.

My greatest expense and favorite obsession is trying out different brands, and experimenting with using them together. My favorite combination is using the Caran d’Ache Luminance with the Prismacolor Premier. The Luminance can pack a punch with their ability to layer, maintain color integrity, and won’t wax bloom like the Prismacolors. Yet, the Prismas have such a wide range of colors and play very nicely with other brands.  

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I often start a piece without any clear direction. I’ll be intrigued with an object, the way someone is holding their hands, or a conversation, and I will start with a rough sketch, working my way slowly to the final product. I don’t necessarily have a clear concept of the symbolism in my work until I have put more hours into it, like it’s a new friend I’m getting to know.

I often like to work alongside my kids; they provide good company and funny title ideas.

I often like to work alongside my kids; they provide good company and funny title ideas.

Nearly all of my work deals with the contradictions found within the human condition. I strive to find meanings and marriage between the two opposing forces that push our physical and emotional boundaries from one extreme to the other. In the past, I have primarily worked with the human form in some way, creating a visual commentary on the precarious emotional space in which we sometimes dwell.

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See No Evil

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Flight Plan

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Disconnect 4

For the past few months I have been making a slight change of direction from mental space to physical space. I am interested in how we interact with the space in our homes; the ways in which we fill the space, the complicated relationship we may have with the objects we keep, and the ways in which our emotions and memories for a space can change due to the external forces that dwell within our walls.

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Beneath

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My work often includes patterns as both a stylistic and symbolic choice. Patterns can be both predictable and improbable, stable and changing. We search for patterns to make sense of the world around us, they allow us to make familiar predictions, and interpret the connectivity between points. Patterns can provide reassurance in unknown situations, yet they can also create confusion at their break down. This point between familiarity and confusion is where I like my work to inhabit.

You can follow my work on Instagram @skywardagain or on my website, mandiantonucci.com


Mandi Antonucci is one of six artists featured in the Upstate New York Drawing Invitational at Main Street Arts. Work from the exhibition can be previewed and purchased through the gallery’s Artsy page. The Upstate New York Drawing Invitational runs through September 28, 2018.

Inside The Artist’s Studio with Colleen Buzzard

I’ve been making art since the 1980’s.  I began at Reed College in the ceramics studio in my spare time and eventually took some art courses at Boston University and Mass College of Art. When I moved to London, England I was making large scale ceramic installations but with the birth of my second child I made a sharp turn to drawing. I loved the immediacy of work on paper and a process that seemed to have a more direct connection to my thinking.

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One day walking into the studio I had the sensation of walking into my mind. That experience gave rise to a small immersive room I call the Language Lab. A collection of found objects, art works, and drawings create a mix of order and disorder, a place where I look for classification systems and explore the rules and rule-breaking that make language so malleable and expressive.

Language Lab detail

Language Lab detail

Language Lab detail

Language Lab detail

Thinking about language led to musings about how the mind works, about the nature of thinking itself. If we could visualize a train of thought, what would it look like?  Would it be an orderly pattern like a map or a series of tangles? As I worked on these questions by drawing on paper and walls, I felt an urgent need to bring my experiments off flat planes and into the architectural space of the studio. The mysterious threshold between 2D and 3D became an important and enduring focus in my work.

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I use a wide range of materials from ink and graphite to wire, tape, and steel wool. Where possible I like the supporting mechanisms for hanging the work to function also as part of the content of the pieces. Drawn lines morph into scaffolding and reach out toward us. I think of shadows, extant or drawn, as an important element (sometimes the major element) of many pieces. Drawing in space animates the work for me, making it responsive to changing light and air currents rather than capturing a frozen moment.

in the studio

While I work I often wonder what terms like “order,” “information,” and “random” really mean. It is surprising to me that systems are often a wild mix of order and disorder. It turns out that systems that lie on the edge between chaos and order are better able to incorporate diversity and evolve, and are therefore more robust.

studio table with notebook

A touchstone for me is an artwork by Luis Camnitzer called “Two Parallel Lines 1976-2010.” The textual part begins with: “Two parallel lines. The materialization of an abstraction. Line covering the horizon. A shadow of the horizon. Fragment of the curvature of the Earth. Axis of a corner. Narrative…” and ends with: “The slices’s slice. The superstition of territory. Instant defining a victim. Victim. The beginning of a self-portrait.”  (The full text and images can be found here.)

Origin of Matter

Origin of Matter

I like to think of grids, as well as knots, tangles, and scribbles as both mental and physical architecture. In the study of knot theory mathematicians have uncovered clues to the nature of DNA folding and other complex phenomena.

Untitled (dash line)

Untitled (dash line)

My work often circles back to the difference between matter and information.  Are they really two different things or is the distinction just an intellectual convenience?

Colleen Portrail 2017

You can see more of my work on my website at www.colleenbuzzard.com and on Instagram at colleenbuzzardart.


Colleen Buzzard is one of six artists featured in the Upstate New York Drawing Invitational at Main Street Arts. Work from the exhibition can be previewed and purchased through the gallery’s Artsy page. The Upstate New York Drawing Invitational runs through September 28, 2018.

Inside the Artist’s Studio with Bill Stephens

I grew up in Lyons NY.  My high school art instructor, Norm Williams was a gifted artist/teacher who was instrumental in my development as an artist.

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Still Life, mixed media, college portfolio piece

On his recommendation, I applied to the prestigious Layton School of Art in Milwaukee WI. The school at that time was under the direction of Edmund Lewandowski, a contemporary of Charles Sheeler and Charles Demuth. Layton’s innovative, strict core curriculum was based on design and provided me with a great foundation to build on. We were supported and encouraged by a gifted staff of working artist instructors.

Upon graduation, I was offered a teaching position at the new Finger Lakes Community College in Canandaigua, NY, where I taught for two years. I received a Masters in Science of Teaching from RIT and taught art for forty years in the Webster CSD.

I had a very successful career, with numerous students receiving national awards and scholarships to leading art schools. Working as an artist alongside my students, sharing artistic successes and failures, I was a positive role model.

village studies17-72

Sketchbook pencil drawing

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Sketchbook pencil drawing

Printmaking, painting, drawing, mixed media and ceramic sculpture are disciplines I’ve explored.

My work is process driven and inspired by morning meditation, writing, memory and my imagination. Each piece is extemporaneously developed and contains open-ended symbols that encourage personal interpretation and reflection.

The house, window, and barn symbols have appeared in my work for many years.

House grid, series of paintings, acrylic on board

The Village, acrylic on paper

I am also exploring a series of drawings using abstract, organic form. The pen drawings in this show are cubist inspired and playful.

hive house 72

Hive, pen on paper

village72

Village, pen on paper


Bill Stephens is one of six artists featured in the Upstate New York Drawing Invitational at Main Street Arts. Work from the exhibition can be previewed and purchased through the gallery’s Artsy page. The Upstate New York Drawing Invitational runs through September 28, 2018.

 

Inside the Artist’s Studio with Phyllis Bryce Ely: Not My Father’s Iceberg

Joseph Loder Bryce

Joseph Loder Bryce

I began painting this series after the loss of my father, Joseph Loder Bryce, in 2015.

Loder served in the US Navy as a photographer aboard the Icebreaker USS Edisto in the early 1950s during the cold war era. His ship supported the installation of the Distant Early Warning Line (DEW Line) in the Arctic region with a mission to dramatically reduce the warning time of possible Soviet attack. The DEW Line, along the 69th parallel, was the northernmost radar system, taking my father into the Arctic region with his camera to photograph sea and air missions, life aboard the ship, and the extreme beauty of the Arctic landscape and its inhabitants.

Photographs by Joseph Loder Bryce. Caption of lower left photo reads, "Aerial view of the Edito, note the paths we made by circling about in the ice. Sondrestrom, Greenland. 5/18/54."

Photographs by Joseph Loder Bryce. Caption of lower left photo reads, “Aerial view of the Edisto, note the paths we made by circling about in the ice. Sondrestrom, Greenland. 5/18/54.”

I grew up with boxes of these photographs in my life; they were a perennial choice for “show and tell” in grammar school and I loved to share the exotic icebergs, people, polar bears, and frozen ships with my friends.

The images, shapes, places and people I “knew” but never met became a visual foundation for me. I now know I was influenced by my father’s eye for composition, shapes, and light as well as his interest in telling stories that come from landscape. These attributes have become the very context of my nearly 40 years of art-making.

"On my easel: ice formation off Greenland with kayaker, working from my Dad's photos." July 26, 2017

“On my easel: ice formation off Greenland with kayaker, working from my Dad’s photos.” July 26, 2017

After Loder’s death, I found myself engaging with his photos yet again and was struck and inspired by the old familiar shapes and simple colorless format. No longer able to hear my father’s stories about the pictures, I started a new conversation with my paintbrush. I began with no plan in mind as I painted one iceberg, then some polar bears, and then a ship…one by one the photos found their way into my studio. Working on these paintings was a form of meditation for me.

Detail of painting "Exodus"

Detail of painting “Exodus”

My first paintings were in oil on a vivid red ground I typically use when painting en plein air. The vibration of the limited, cool palette against the red quickly appealed to me; I connected with the raw edges of color as I worked, excited by how the colors created an emotional response and competing feeling of calm and urgency. I also chose to work in encaustic wax because of the rich texture and intimate scale made possible in that medium.

Photograph by Joseph Loder Bryce (left) and detail of encaustic painting "Ice Journey" by Phyllis Bryce Ely.

Photograph by Joseph Loder Bryce (left) and detail of encaustic painting “Ice Journey” by Phyllis Bryce Ely.

As I finished each painting I tucked the work away with no particular plan for sharing them,  but knew I wanted them to be together. On New Year’s Eve, I set a goal of pulling the photographs and paintings together for a show, which ultimately led to this exhibit.

"Not My Father's Iceberg" exhibition at Main Street Arts

“Not My Father’s Iceberg” exhibition at Main Street Arts

"Not My Father's Iceberg" exhibition at Main Street Arts

“Not My Father’s Iceberg” exhibition at Main Street Arts

I am grateful to gallery director Brad Butler for his early interest in these paintings, which he first saw when my first iceberg painting was juried into the Utopia/Dystopia exhibit at Main Street Arts in 2017 and was awarded “Best in Show.”

Phyllis Bryce Ely with her painting from "Utopia/Dystopia" (left); Joseph Loder Bryce (1930–2015) at an exhibition of his photographs in 2014

Phyllis Bryce Ely with her painting from “Utopia/Dystopia” (left); Joseph Loder Bryce (1930–2015) at an exhibition of his photographs in 2014

Please enjoy my contemporary consideration of a decades-old Arctic landscape that once was my father’s place in the world. 


Not My Father’s Iceberg, a solo exhibition on the second floor at Main Street Arts, presents paintings by Phyllis Bryce Ely made in response to photographs taken by her father, Joseph Loder Bryce. The exhibition runs August 3 through September 15, 2018 and can be viewed on the gallery’s Artsy page.