Lolette Guthrie is a landscape painter who works mostly from memory. “Nature is the external substance in my work; nuance of color that evokes an emotion is the interior substance. While I sometimes work in pastels, I am primarily an oil painter. Regardless of the medium, however, resonant color is the core of my process. I love to juxtapose luminous passages of saturated color with more muted tones combining layers of opaque color with transparent glazes. I find that by varying the thickness of the paint and applying many layers of glaze I can achieve a sense of luminosity and hopefully an awareness of the light in the air, something I am eternally trying to capture.”
“At times my work is pared down representation; at times it is abstract. Regardless of the genre, each piece begins with a loose idea that evolves gradually and intuitively. At some point I always lose myself in the process. Then the painting takes on a life of its own and I become aware that the canvas that is telling me what to do.”
Raised in a household filled with art, I have been painting for as long as I can remember. My father was a fine artist and commercial illustrator and my earliest memories are of standing beside him at his easel watching him work and asking questions, and of “working” near him. He often asked for my advice, seemed to take whatever I had to say seriously and urged me to explore my own artistic interests, however, he actively discouraged me from pursuing art as a career. I, therefore, majored in psychology and art history in college and worked for many years as an elementary school teacher but I never stopped drawing and painting. Eventually, I returned to school to study art and received a BS in drawing and painting from the University of Wisconsin in 1984.
Prior to moving to North Carolina in 2004, I exhibited widely in both juried and invitational exhibitions in Wisconsin, Washington, DC, Virginia, Maryland and Georgia including such prestigious galleries as the University of Wisconsin, The Milwaukee Museum of Art’s Bradley Gallery, the Cardinal Gallery of Art, Annapolis, MD and the Goodyear Cottage Art Gallery, Jekyll Island, GA. I was also Artist in Residence at Huntley Meadows Park in Alexandria, Virginia for 8 years where I was fortunate to have had several solo shows.
This last Friday in May, 2019, I will be featured in the show, BEINTOUCH, with Garry Childs and Pat Merriman. For this show, I was inspired by the role of Shamans who, for as long as time remembers, have worked to negotiate life-giving harmony to all things in the environment. Their belief is expressed in the Native American quote, ” We do not inherit the earth from our ancestors, we borrow it from our children.” As caretakers of this planet, it seems to me we have much to learn from nature if we just be quiet, observe and listen.
When I am hiking along a trail, seated on a deck looking out over waves of blue and purple mountains, sitting with my dog, kayaking through marshes or just walking in my yard being astonished at the array of shades of yellow daffodils blooming in places I didn’t even plant them, I become present in nature. It’s a calming and stress-relieving feeling to be in touch with nature.
In my artwork, I create my impressions and remembrances of the feelings I had when alone with nature. My landscape paintings, aren’t recreations of the scenes, but rather an expression of the emotions I had while communing with nature. My copper sculptural works are symbolic representations of Native American spirit guides, particularly healing guides that help with balancing our spiritual, emotional and physical health. The encaustics, nature in theme, play on the theme ‘Be in Touch’, being very textural.
Look deep into nature and then you will understand everything better. – Albert Einstein
< Left: Top — Sunscape, center — the Crow Saith, Bottom — Bodhi Beleaf
Woodturner, Michael Salemi, writes of his new work: “Whispers and echoes—small sounds with reverberations that are heard again and again. This is an apt metaphor for my recent work. Of late, I am focusing on making subtle changes in form, color and material that I hope resonate throughout my work. In some work my echoes are literal—repeating patterns within a piece or throughout a group of pieces. In other pieces, the echoes are figurative as I attempt to incorporate design features that I have learned from others. Whispers are, of their nature, quiet. I like to think that my work quietly conveys a sense of balance and peace. I prefer understated decoration that whispers rather than shouts.”
IT’S ALLABOUTTHESTORY: Behind the Scenes, by Elizabeth Keckley
The Hillsborough Gallery of Arts, an artist-owned and operated gallery in downtown Hillsborough, NC, presents the seventh annual featured show, It’s All About the Story. Each year gallery members choose a local author and book or story collection to respond to in their own medium. Previous authors include Michael Malone, Jill McCorkle, Lee Smith, Allan Gurganus, John Bemis, and Nancy Peacock. This year the artists have selected a work by a person who plays a very significant role in the history of Hillsborough, Elizabeth Keckley. Her memoir, Behind the Scenes, or Thirty Years a Slave and Four Years in the White House, describes her remarkable journey from slavery in Hillsborough to freedom as an accomplished dressmaker and confidante of Mary Todd Lincoln. Each piece in the group show, It’s All About the Story, is inspired by Keckley’s inspiring book. The show runs from February 1st–February 20th.
Reception February 10 3–4:30
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