Tag Archives: Structurally Speaking

Inside The Artist’s Studio with Tom Kredo: In the Basement

I was born in Detroit, Michigan, the youngest of four with two  sisters and a brother. When I was only 5 my father died, and my stay at home mother became the household breadwinner. I was too young to have many memories of my father, but I was told he had a darkroom in the basement. I have a handful of his photos that he developed of my oldest sister. So when my mother gave me a Kodak Brownie camera and later an Instamatic camera, it must have been under the influence of my father that I became intrigued with making print images from a little box.

Tom Kredo, "Winter View", 2015

Tom Kredo, “Winter View”, 2015

I had plans to apply to RIT to major in Photography after graduating with my Bachelor of Arts degree. I did not. I got a more practical Management degree. Photography was pushed to the side to focus on a career in business, and then later, raising my daughter. Although I always had a darkroom in the basement, I only used it to document my life and the lives of those around me (just like Dad!). The art side of Photography lay dormant until I remarried and finished raising my daughter. It has since seeped back into my life a little bit more every year. Now that I’m retired, I have the ability to pick up where I left off 40 years ago, albeit in a computer transformed world.

My formal art training is replaced by reading art theory books, taking classes in drawing and art, and visiting art galleries. I recently took a talking tour of the Memorial Art Gallery with my BFA friend, while pondering the question “What is Art”? I use the internet every day to help me with post processing techniques and learn from professional photographers. It’s an amazing time we live in.

Pencil drawing from art class

Pencil drawing from art class

Today, the darkroom equipment in my basement is long gone, replaced by my Canon printer, my home assembled PC, my Craftsman workbench table, my mat cutter, and my paper cutter. Although the photographic process has changed, I’m still in the basement.

I cut my own mats with a Logan 450 mat cutter which I find to be a challenge. Precision is everything and it reminds me of wrestling with carpentry projects. You just can’t be off by ¼ inch and have it look good. I recycle a lot of mat paper.

I have a decent HP monitor that can be calibrated, unlike many of the less expensive models. Calibration is important because I want the print to look like the image I see on my computer. I use a Spyder calibration tool about once a month. It attaches to my monitor via suction cups, and I run a software program that instructs me to make changes to my monitor settings. It works nicely as I can see what I print.

Tom Kredo, "Leaf Lines", 2013

Tom Kredo, “Leaf Lines”, 2013

I print my own images using a Canon Pro-100 printer using Canon paper.   I’ve started refilling my own cartridges with bulk ink, which costs a fraction of the manufacturer’s ink. The Pro-100 has been a workhorse for me.

I assemble my own frames by buying in bulk. The challenge here is keeping small bits of dust from getting on the mat under the glass. Using a combination of canned air, cotton gloves, gum erasers and micro fiber cloths, I eventually get the framed photo dust and dirt free!

On the software side, I rent Photoshop/Lightroom from Adobe for a monthly fee. I also use Google’s EFX plug-in tools that seamlessly work the Adobe products. Together, these three tools are what I use to process about 95% of all my photos.

You can see more of Tom’s photography on Flickr. Stop by to see two of his pieces in our current juried exhibition, Structurally Speaking.

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

Inside the Artist’s Studio with Ellie Honl: Part I

_MG_7924My name is Ellie Honl and I am currently an art professor at Indiana University in Bloomington, IN. I am originally from Stevens Point, a city of about 35,000 in Central Wisconsin. My mother is an art teacher so I was very fortunate to have early exposure to the arts. I had an endless supply of art materials, and my mom took my younger brother and I to a lot of art museums growing up. We lived in an area where there weren’t many other children, so my brother and I spent a lot of time entertaining ourselves by building forts in the forest behind our house, Lego cities, and elaborate canal systems in our sandbox. I also taught myself things like calligraphy and needlepoint. This history of exploration and independence contributes to my art making today.

 

I thought about being an artist as a child, but in high school I loved math and science, and planned to become a psychiatrist or architect. It wasn’t until my junior year at St. Olaf College in Northfield, Minnesota that I finally decided to pursue studio art. Even though I liked a lot of different subjects, art was the one that fulfilled me the most and satisfied my need to create. The subject of psychology and architectural elements play a major role in my artwork today.

I pursued printmaking at the University of Iowa and received my MFA in 2008. Since then, I have taught art at a number of Universities and art centers across the country while continuing to make my own artwork.

This is me screenprinting in the printshop at Indiana University.

This is me screenprinting in the classroom at Indiana University.

My artwork utilizes printmaking techniques along with photographic and time-based media. I’ve currently been making screenprints and cyanotypes that I incorporate together by sewing, and I often paint and add other collaged elements to them. I also make stop-motion animations with these prints and/or parts of these prints.

"Assemble," cyanotype, screenprint, sewing, collage, 2013

“Assemble,” cyanotype, screenprint, sewing, collage, 2013

"Take Root" (detail), cyanotype, screenprint, sewing, 2013

“Take Root” (detail), cyanotype, screenprint, sewing, 2013

I am inspired by the wonders I observe around me (often in nature) but the outcome of my artwork is usually about the human condition: how we cope, how we perceive, and how we are affected by our past. It is about the human desire to find stability. Through my artwork, I try to understand why things are the way they are and strive to find logic in the random. I work intuitively allowing myself to experiment with unpredictable processes to discover new marks and imagery. Many times these initial investigations look chaotic and they provide a problem for me to resolve. I impose order through geometric forms and color, while making connections through lines, written explanations, and collage elements. My work is often detailed and visually appealing, and I hope that it draws people in and causes them to enjoy the process of looking.

"Becoming," cyanotype, gouache, colored pencil,   2014

“Becoming,” cyanotype, gouache, colored pencil, 24″x30″ 2014

"Westminster Ct.: Appearances Can be Deceiving," silkscreen and colored pencil on layers of frosted mylar, 20"x30" 2014

“Westminster Ct.: Appearances Can be Deceiving,” silkscreen and colored pencil on layers of frosted mylar, 20″x30″ 2014

Check back later in the week to read about Ellie’s creative process in Inside the Artist’s Studio with Ellie Honl: Part II.

You can see more of Ellie’s artwork on her website at www.elliehonl.com. Stop by to see three of her pieces (including one honorable mention!) in our current juried exhibition, Structurally Speaking.

Take a look at our previous Inside the Artist’s Studio blog post by architectural painter Susan Stuart.

Inside the Artist’s Studio with Susan Stuart

It was while doing graduate work at the University at Albany that the size of my studio space influenced my painting.

Susan Stuart Painting Detail

Photography By Rob O’Neil

As a part time student, I was not provided with a studio so I had to use a small room at home. Because I wanted to paint large works, I began sectioning my work, making both diptychs and triptychs.

Susan Stuart Painting Studio

Photography By Rob O’Neil

I earned my MA from the University in 1976, and, over the years I graduated from the small room at home to a studio in a friend’s basement, and eventually to a space of my own on the 3rd floor of an old factory. It was perfectly situated halfway between my house and the high school where I taught for 33 years. Now, with a ground floor studio in a building adjacent to the old factory building, I’m able to easily create and transport large works.

Susan Stuart Painting Studio

Photography By Rob O’Neil

I’m retired from teaching, and I‘m fortunate to be able to focus
full-time on my painting, which currently has an emphasis on two different series. One is architectural and the other features dogs. For the Main Street Gallery exhibition, “Structurally Speaking”, I am showing a painting from my architecture series.

Gunner and Painting

Photography By Susan Stuart

My interest in architecture began in the mid 1970’s when my husband and I moved into a 19th century row house in Albany. We began the process of renovating our historic home, and we lived in the house during the renovation. It was at that time that I began to appreciate the aesthetics of new building materials. For example, there were patterns of light and shadow cast on the two by fours, and there was a rhythm created by the shapes of the construction material and the resulting spaces.

Architectural Paintings and Inspiration

Photography By Rob O’Neil

Originally, my architectural paintings were of structures in my environment: lifeguard stands at the beach, supports to the roadway overpasses, as well as the facades of buildings in and around Albany. Following the 2008 recession I began a series inspired by structures I found at abandoned construction sites. The result has been paintings that stress the lines, shapes, spaces and patterns of light that I observed at those sites.

I see my paintings as a way to ”recycle” these deserted sites. Today, I continue to be captivated by the challenge of abstracting and creating architectural paintings from new and abandoned sites alike.

Susan Stuart Painting in Studio

Photography By Rob O’Neil

The painting process is also an integral part of my work, and the subjective use of color is an important element. To create a rich surface for a painting, I use both wet and dry pigments, which is a direct influence from 19th century French impressionists. The intermixing of pastels, oil paint, and occasionally pumice, allows me to create a contrast in the color’s intensity and value, as well as providing an enhanced surface texture.

Susan Stuart Painting in Studio

Photography By Rob O’Neil

For more information on Susan Stuart’s artwork, visit her website at www.susanstuart.com. Her painting, “Let It Go” won Director’s Choice in our current exhibition, Structurally Speaking. Stop by Main Street Arts to enjoy the show and see Susan’s artwork.

Take a look at our previous Inside the Artist’s Studio blog post by Rochester painter Jean K. Stephens.

Inside the Artist’s Studio with Jean K Stephens

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The foundation for my artwork was laid in childhood–a mix of nature and art.  Growing up in Gates, a rural suburb of Rochester, New York, I spent hours out of doors climbing trees, playing in fields and streams, my home surrounded by my Mother’s flower gardens.  I loved to color and was a happy girl with a new coloring book and a fresh box of Crayola crayons.  I would carefully shade and layer colors while “staying inside the lines” to create realistic pictures.  An early drawing tool was in my hand and a love of nature was in my soul.

I attended Rochester Institute of Technology in Rochester, NY earning a BFA in printmaking and painting.  A Masters in Art Education gave me the taste for teaching and I worked briefly in public school.  I enjoyed teaching printmaking and figure drawing and contributing graphic design to Allofus Art Workshop, a community workshop in Rochester in the early 1980’s.

Along the way, I worked as a freelance graphic artist designing catalogs and brochures and illustrating greeting cards and calendars for local and national clients.

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My concentration for the last twenty five years has been fine art.  From study with Tom Insalaco, Tom Buechner, John Whalley, and Carol Marine I have gained valuable knowledge in painting techniques and approaches to subject matter.  My paintings have been selected for national juried exhibitions and are included in private and corporate collections, notably Canandaigua National Bank branches.

View From Bald Hill, oil on canvas

View From Bald Hill, oil on canvas

My representational oil landscapes have been inspired by the rolling hills of the NYS Southern Tier and Finger Lakes, the seasonal changes of the farmlands around my home in Honeoye Falls and the rocky coast of Maine, all of which suggest a feminine form.

Blue Edge, oil on canvas

Blue Edge, oil on canvas

JEANONROCKS  I frequently create plein air studies, and take photos, which provide valuable reference for completing a larger studio painting.

In my still life drawings and paintings found natural forms are placed upon discarded man made surfaces inviting examination of the relationship to what both man and nature leave behind.  Once I’ve selected objects to work with I arrange and light them, a process that can take several hours and often reveals something unexpected.

set up for Blessing

set up for Blessing

Drawing and oil painting entitled Blessed

Drawing and oil painting entitled Blessed

I make thumbnail sketches and a finished value drawing.  The drawing is then transferred to canvas or panel with a grid, where a grisaille begins the painting process.  I use a limited palette of M Graham oil paint in warm and cool primary colors and white to complete the oil painting, applying “pieces of color” to render form.

CPENCILS1For my colored pencil drawings I favor Canson Mi Tientes colored paper and Prismacolor pencils which I use to build up layers of color and value.

Whether I’m painting in the field or in my studio, the solitude I experience is soothing and meditative.  This is the grace of being an artist, to lose oneself in the act of creating.  When that good flow exists, the paintings seem to paint themselves and the harmony within shows on the canvas.

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I am continually amazed at the beauty that comes through my hand from the marriage of my heart and the spirit of nature.  To be able to express this unique vision is a privileged gift I offer to the world.  My hope is that these drawings and paintings provide a place for the viewer to stop, take a deep breath, savor some of nature’s peace and find a stillness within.

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Works Road Studio classroom

I offer instruction in colored pencil drawing and oil painting in my Works Road Studio.  Using still life as subject, students sharpen their observation skills, focus on establishing strong compositions and learn to render form in color.

Denis McLaughlin painting

Denis McLaughlin painting

My students are encouraged to develop their own personal style.  I provide a nurturing atmosphere, gently guiding artistic growth in technique and expression.  Students receive plenty of individual attention, instructive demonstrations and critique.  The warm camaraderie among the students makes it safe to ask questions and take risks.

DOOR72           WKSRDSTUDIO

For more information on Jean K Stephens’s artwork and classes visit her website at www.jeankstephens.com. Stop by Main Street Arts to see her painting “Open House” in our current juried exhibition, Structurally Speaking.

Take a look at our previous Inside the Artist’s Studio blog post by Ithaca artist Chris Oliver.

Inside the Artist’s Studio with Chris Oliver

I grew up in southern New Hampshire, which is an amazing mix of idyllic small towns, strip malls, and beautiful pine forests infiltrated by power lines and dirt bike trails.  I have to stop writing about New Hampshire or I’ll never get to anything else.

After high school I moved a couple of hours west and attended Marlboro College in Vermont, which is a tiny school (250 students) on a hill, basically in the middle of the woods.  I graduated from there with a BA in Sculpture.  The bulk of that work was in clay, which I loved at the time for its immediacy.  By this I mean you start with something that is almost formless, or I guess just very malleable, you learn about its material qualities and from there can push it in so many directions with almost nothing beyond your hands.  In hindsight, the work I made looked very old fashioned.  At the time I loved looking at people like Noguchi or Barbara Hepworth.

Chris Oliver with his piece "Double Beaumont" in our Structurally Speaking exhibition. Best in Show!

Chris Oliver with his piece “Double Beaumont” in our Structurally Speaking exhibition. Best in Show!

After finishing that degree I stuck around Marlboro for a few years working for various local potters and doing some carpentry.  During that time I lived in a cabin in the woods, which was incredible.  You had such a direct experience with everything, and it was always changing how you did things based on the specific time of year.  That cabin was also my first remodeling project, which has become pretty central to my life and art since.

I rented space in an unused dairy barn for $15 a month and built a tiny studio out of metal roofing I had found at the dump.  My friends called it a “meat locker” because it was a freezing cold, tiny galvanized enclosure that I’d work in through the winter, usually at night.  We didn’t have a metal shop at Marlboro and this was something that I had always been interested in, so that’s what this space was dedicated to.  I had a small welder and a few basic tools and made a bunch of work that again looked antiquated. By this time I had moved up a decade or two and was looking a lot at Chillida, who often used steel like clay in some really beautiful ways, as well as looking at Anthony Caro.

I used these pieces to apply to graduate school.  Looking back, I’m pretty sure I didn’t get in based on the work I submitted (although I probably would have if it had been the 1960’s because I had a good design sense, crafted things well, and was pretty inventive), but probably based on the few photos of the “meat locker” I’d left the chair of the Sculpture department (Ed Mayer) at SUNY Albany.  My guess is that he saw those and thought “this guy seems really determined and he’ll probably do something good here if we can get him to not be so stubborn.”

I spent three years at SUNY Albany in the MFA program, which was amazing.  Now I was looking at was from the 60s and 70’s (of course!).  Michael Heizer drawing in the desert with his dirt bike, Smithson and all of this entropic Earth Art, and also got really into Gordon Matta-Clark and how he would use houses as a material.

While I was in Albany my thinking about art began to shift from it being something fairly separate from “regular life” to being just another part of it.  As this pertained to sculpture this meant a shift from making autonomous objects to things that directly interacted with the world.  Of course, artists had been doing this for sixty or eighty years, but I really had to work through some pretty strict formalism and still think that it’s so important.

I began working with things that were right around me that I had always been interested in but hadn’t used as art material before.  I made this very small building that filled itself with water when it rained because of the shape of its roof.  It’s size was similar to a springhouse I had collected water from daily when I’d lived in that cabin in Vermont, but its function was purely to create a space for aesthetic experience: it had a hole that you could stick your head in and another that you could stick your hand in to touch the water.

3'x3'x4', wood, cement, steel

The Salt House, wood, cement, steel, 3′x3′x4′, 2005

Inside the Salt House

 

Another was this funny red and white viewing apparatus on skis that you could drag around to isolate parts of the ground and look at.  It looked like a Radio Flyer straight from the 1950’s, and was meant to be used by some family interested in aesthetic experience, but saying that this experience is no different than some other activity like sledding or riding around in a wagon.

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Nine years ago I moved to Ithaca where I’ve worked as a carpenter off and on, but primarily help run a large wood/metal/digital shop here at Cornell where art and architecture students build just about anything you could possibly think of, and many things you or I would never think of based on the sheer quantity of incredibly creative people that come through the program.  During this time I have adopted “the digital” in the form of 3-d modeling in the computer, 3-d printing, CNC milling and laser cutting.  Sometimes I use this technology for purely practical purposes. This summer I’ll be milling foam molds for a series of large model swimming pools that I’ll be making with fiberglass and also plaster molds for a 48 pack of full-scale elongated ashtrays that I’ll be slip casting in ceramic.

Other times this technology is conceptually part of the piece.  Last year I printed a stack of picnic tables as the state parks stack them for winter.  I loved the idea of taking this most basic American form, the picnic table, and putting it through this cutting edge process.

The Picnic Tables

 

photo 1Double Beaumont (the piece in Structurally Speaking at Main Street Arts) was conceived in this fashion. I found the first ranch floor plan that came up in a Google search, used this to generate a Rhino model (3-d digital drawing) and starting messing with it in the computer.  I then used this drawing to go full circle and build the piece with pine and nails.

Double Beaumont, V-Ray rendered Rhino model, dimensions variable, 2013

Double Beaumont, V-Ray rendered Rhino model, dimensions variable, 2013

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Double Beaumont, Pine, Nails, 5'x'5x8', 2015

Double Beaumont, Pine, Nails, 5′x’5×8′, 2015 

You can stop by the gallery to see Chris Oliver’s sculpture, “Double Beaumont” in our current exhibition Structurally Speaking. Chris’ piece won Best in Show!

Take a look at our previous Inside the Artist’s Studio blog post by Rochester painter and sculptor Zach Dietl.

Inside the Artist’s Studio with Zach Dietl: Defining Your Space

Wear Flannel EverydayMy name is Zach Dietl. I’m a painter and sculptor, born and raised in Rochester New York. Currently I’m showing downstairs in Structurally Speaking as well as Upstairs at Main Street Arts in the Self-Portrait Invitational. This is my first blog post with Main Street Arts and I’m excited to share some of the thoughts and processes behind my work.

With a bend and a twist, it turns into this

Translation, Steel, 52″ x 23″ x 18″. 2014.

My background is in painting and sculpture. I have a Bachelor’s degree in Visual Arts from SUNY Geneseo where I focused on oil painting, metal fabrication, and mold making. I recently finished my Masters of Fine Arts at Rochester Institute of Technology, where I extended my practice to include Metal Casting.

My work is an attempt to explore, organize, and define the complexity of the world around us. While making Translation, I was interested in the work of analytic philosophers such as Bertrand Russell and Gottlob Frege, who attempted to use logic and math to explain the natural world. Translation is a geometric form which captures a simple movement. I started by welding tines to a length of 1/2 square steel. I then simultaneously bent and twist the middle of the square steel to transform the flat object into a graceful form.

Amplifier, Steel, 24" x 24" x 24"

Amplifier, Steel, 24″ x 24″ x 24″. 2014

Translation does not tell a story, or refer to other objects. It is an object of pure geometry which focuses on form, proportion, and movement, and material. These simple qualities are defined and presented as evident truths, without commentary or question.

For more information on Zach Dietl you can visit his Behance site at www.behance.net/Zachdietl. Stop by the gallery to see his work in our current exhibition Structurally Speaking and in our Self-Portrait Invitational.

Take a look at our previous Inside the Artist’s Studio blog post by laser cut jewelry artist Kelly Nye.

Inside the Artist’s Studio with Kelly Nye: Utilizing the Hand and the Machine

My current work is a unique hybrid of traditional handcrafted metalwork and laser cut modest materials such as cardboard and acrylic. As an educator, I have access to a range of technological devices and machinery. I have chosen the laser cutter as a tool to obtain precise repetition that I would not be able to duplicate by hand.

My work often flows in series format, one, in which I hand pierce organic, lacy floral adornment drawings with a jeweler’s saw in thin gauge metal. In opposition to what I can achieve with this traditional metalsmithing method, I also use the laser cutter to reproduce linear gemkutz  in a light mass produced fashion. The laser cutter affords me the ability to use the acrylic pieces, both the positive silhouettes and the negative shapes, in a multitude of compositions.

from a room with some lace and paper flowers series

from a room with some lace and paper flowers series                                                                                   hand pierced 24 gauge base metals, Montana Gold spray paint

I do not make jewelry in the traditional sense of the word. I make objects that pertain to the concept of jewelry or adornment but span beyond the wearable to pieces that can be viewed as drawings or sculptures that hang on the wall rather than the body as site.

another ****ing birthday, year 34                                                                                                                          laser cut cardboard, Montana Gold spray paint giant necklace

another ****ing birthday, year 34                                                                                                                          laser cut cardboard, Montana Gold spray paint giant necklace

I currently teach Jewelry and Metals and Foundations at Columbus College of Art & Design (Columbus, Ohio) where I received my BFA in 2006. I moved to California right away seeking a greater expansion of knowledge base in the metalsmithing field where I received my MFA in 2010 from California State University Long Beach. I focus on teaching the basic building blocks of smithing and fabrication, but incorporate digital technology into my curriculum. This allows the students to understand the use of alternative materials, connections and production as it relates to the jewelry field.

The two necklaces above were from a collaboration with my students based on a previous project that I made for myself titled another ****ing birthday, year (34). This was my piece gifted to the participating students for my 34th birthday and in turn, they created an amazing assortment of brooches, crowns, and bibs for me using the laser cutter as the primary tool for production.

brooches for 2015 SNAG Conference in Boston this week

in process brooch production for 2015 SNAG Conference using laser cut acrylic and molded plastic gems and frames

I am in the process of preparing a trip to Boston to attend the Society of North American Goldsmith’s Conference. Here I will be exchanging the above brooches with fellow metalsmiths. Our field is so vast and we all share unique skill sets. The subject matter of the gemkutz series actually is derived from the area of Fine Jewelry  & Goldsmithing which I am interested in but have no formal training. So I have taken the aspects of this field and translated it into a more accessible, abstracted visual translation using opposing materials. I have recently collaborated with Christine Cooper-Hill, a veteran goldsmith on our piece big gems. The diverse skills of stone setting that I learned from Christine, will progress and expand in future works as I am experimenting with setting in the acrylic rather than the more common choice of metal.

just fantastic, that is what I really think

just fantastic, that is what I really think                                                                                                           acrylic, nu gold, flocking, steel wire

My work has always been exaggerated, both in size and concept. Working in small series allows me to express the visual ideas necessary by completing several designs using similar repetitive elements that unite to compose lace-like decorative structures based on jewelry forms. The exhausting of a single shape or silhouette has become a major part of my process, especially in the gemkutz series.

seafoam marquis

seafoam marquis earrings                                                                                                                                            laser cut acrylic, Montana Gold spray paint, gold leaf, sterling silver post

The linear designs are based on diamond and precious gem facet  diagrams as they would be translated three dimensionally into a stone, such as Asscher, Emerald, Marquis and Trillion cuts. The fluidity between drawing and project begins at the early stages of the process as the images are created in the vector rendering program Adobe Illustrator. The laser cutter reads the files and cuts, etches, and scores accordingly into an assortment of material including paper, fabric, leather, etc. The conversion from a two-dimensional drawing/layout to a flat three-dimensional form is most interesting to me as an artist, and why I began referring to these pieces as drawings, because I believe they can exist as both drawing and sculpture.

sky earrings

sky earrings                                                                                                                                                                         laser cut acrylic, Montana Gold spray paint, gold leaf, sterling silver post

Material choice has always been a major role in my work as I have consistently united the semi-precious with the mundane and mediocre. I use sterling and fine silver, brass, copper, bronze, and nickel silver married with felt, textiles, silicone, and plastics. The combination of the two speak in terms of contemporary jewelry as a method of tradition and technology. Mold-making also plays a role in my work and I view the laser cutter as a form of this process; it is a tool or extension of the hand to reproduce effectively and with exactness.

big gems

big gems collaboration with Christine Cooper-Hill                                                                                          laser cut acrylic, brass, cubic zirconia

The gemkutzs series, rethinks aspects of traditional fine jewelry. Based on gemstones, settings, and linear gem cuts, these pieces made of modest materials present wearable statements opposing the standards of the fine jewelry trade. Influenced by nostalgia of the 80’s and 90’s, asymmetry, vibrant colors, and spray paint are ubiquitous through this series. Artistic statements are my fashion intention.

For more information on Kelly Nye you can visit her website at www.thekellynye.com and follow her on Instagram @kellnye. Feel free to contact the artist via the email on her site. Or stop by the gallery to see her work in our current exhibition, Structurally Speaking.

Take a look at our previous Inside the Artist’s Studio blog post by textile artist Doerte Weber.

Inside the Artist’s Studio: At the Loom with Doerte Weber

My Lillstina loom at home

My Lillstina loom at home

Having returned to weaving after a long absence, I find myself inspired by Bauhaus Weavers. Most of these women entered the Bauhaus Community thinking they would produce art like the men using glass, metal and all the media we associate with the Bauhaus period. Instead, they were forced into weaving and having taught themselves how to weave, created beautiful and unique works of art. Like them, I am self taught and German. I have lived the past 29 years in San Antonio, Texas. I consider myself a structural weaver, using diverse modern materials with old traditional patterns.

I am inspired by my surroundings. In November of 2011, I had the good fortune to visit China. I was amazed at what I saw in Beijing. Here, old and new, traditional and modern style come together. You can see it in the buildings, big doors, and ample use of bamboo while skyscrapers reflected the sky with shiny glass.

modern day living

Modern Day Living; 2013; cotton warp, plastic bags, bamboo wood, novelty yarn, metal heddles, hand dyed cotton fabric; 30 in x 27 in x 0.5 in

This was the first piece I wove in the Series “Modern Day Living”. I enjoyed the variety of materials I could use and how they expressed my vision.

skyscrapper

Skyscraper; 2013; cotton warp, cotton ribbon, novelty yarn, bamboo wood, metal heddles; 29 in x 48 in x 0.5 in

Followed by a skyscraper and lastly by the piece you see in Structurally Speaking:

dysmorphic_disorder

Dysmorphic Disorder; 
2013; 
cotton warp, silk ribbon, bamboo sticks and clear plastic wrappers; 
89 in x 42 in x 1

When you first look at the piece, you see the symmetry. But if you take a closer look, you see a “difference” in the pattern of the green.

This series is still in progress. I am working on several smaller pieces to put together as an installation.

For more information on Doerte Weber you can visit her website at www.doerteweber.com. You can also learn more about her work on her blog or her Facebook page. Stop by to see her piece “Dysmorphic Disorder” in our current juried exhibition, Structurally Speaking.

Take a look at our previous Inside the Artist’s Studio blog post by multimedia artist Denton Crawford.