Featured Exhibit

What our artists have to say about their show:

aug 26 — sept 22
RECEPTION Friday, Aug 31, 6:00 — 9:00 pm

Take time to feed your spir­it and check out the new exhib­it, SPEAKING IN COLOR, at the gallery.  This exhib­it has whim­sy, nature and abstract forms to lift your spir­its.
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.”
World-acclaimed tex­tile artist Alice Levin­son says, “In the stu­dio I try to remem­ber the old wis­dom ‘Don’t pon­der how the mag­ic works.’  In my cur­rent work, the mag­ic hap­pens in the dye stu­dio.  Start­ing with white cloth, I’ve exper­i­ment­ed with col­or blend­ing, and a vari­ety of appli­ca­tion process­es, from pour­ing to paint­ing to screen print­ing.  For some works, whole lengths of cloth have been retained, while in oth­ers the cloth is cut or torn and col­laged.  My palette ranges from the sub­tle tones of nature’s habi­tats to jew­el tones of stained glass inten­si­ty. The work is elab­o­rat­ed and embell­ished as gen­er­ous stitch­ing, by both hand and machine, lays down lay­er upon lay­er of tone, col­or, and tex­ture. I hope you will vis­it the gallery and my new work.”

Pringle Teetor’s work in this show is inspired by the col­or­ful madras fab­rics of sum­mer in her home town of New Orleans. “My col­or com­bi­na­tions and pat­terns bring those mem­o­ries alive for me! The major­i­ty of my pieces for this show will be cane work, a cen­turies-old Venet­ian tech­nique of putting stripes of col­or and pat­terns into blown glass. I love to use many dif­fer­ent col­ors in a sin­gle piece because of the look as well as the chal­lenge. Glass col­ors can heat dif­fer­ent­ly from each oth­er which can make com­bin­ing so many col­ors quite dif­fi­cult. With glass cane, I am able to explore end­less com­bi­na­tions of col­or pat­terns in clean lines. The cane used in these pieces are made either with a col­or core encased in clear glass, or veil cane, which is col­or on the out­side with a clear core.  I made my veil cane with a vari­ety of trans­par­ent or translu­cent col­ors.  In some of the pieces I mixed both types of cane while in oth­ers I used strict­ly one or the oth­er. I espe­cial­ly like the veil cane pieces because as you look through the piece, the den­si­ty of the col­or changes and can cause dif­fer­ent vari­a­tions of col­or, espe­cial­ly in my Spec­trum series. In oth­er ves­sels I used very con­trast­ing col­or to resem­ble plaids with vary­ing lines of col­or. I am hop­ing to add some of the glow in the dark neck­laces from glass I made myself, and a few oth­er col­or­ful pieces using mur­ri­ni as well.”