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this month’s Featured Art Exhibit:

Read about how the artist feel about the upcom­ing exhib­it DREAMSCAPES

Mar­cy Lans­man: Again this year, I have been paint­ing scenes from nature using a palette knife with heavy body acrylic paints. My tech­nique is to put down an under­paint­ing of ran­dom bright col­ors and to super­im­pose on that back­ground a scene from the out­doors that is rough­ly based on a pho­to­graph. (The result often bears lit­tle resem­blance to the pho­to.) Why the under­paint­ing? Why the palette knife? Well it turns out that it’s impos­si­ble to con­trol the palette knife as pre­cise­ly as you would a brush. On the oth­er hand, it’s eas­i­er to cre­ate ran­dom, organ­ic shapes. So ran­dom speck­les of col­or from the under­paint­ing show through in the fin­ished prod­uct. And the effect of those ran­dom speck­les, rather than being dis­tract­ing or both­er­some, is interest­ing and pleas­ing (at least to me). The inter­ac­tion between ran­dom and con­trolled ele­ments is cen­tral to my art and, I believe, to many kinds of art.

Ellen Rein­hold: When our exhib­it title was sug­gest­ed many months ago I remem­ber respond­ing that I felt more mut­ed than unmut­ed these days. Death, destruc­tion and iso­la­tion seem to rule the world. I won­dered if I could find a path relat­ing to it in my paint­ings. Luck­i­ly, the theme even­tu­ally wormed its way into the work. While I have a pen­chant for spare win­ter tree forms that pull many of my paint­ings into a melan­choly space, Unmut­ed has pushed me out into the sum­mer sun. At least a lit­tle bit.

Lynn Wart­s­ki: After year of being aware if one was “on mute” or not, it is won­der­ful to com­mu­ni­cate direct­ly once more. I like my sculp­tures to always speak for them­selves. Bright col­ors, inter­est­ing titles, details that jump out on close inspec­tion, or per­haps piece or two that say bit more?Unmut­ed can mean each of these things. This year I’ve cre­at­ed anthro­po­mor­phic fig­ures that will speak direct­ly to view­ers in the gallery again. find that enjoy the chal­lenge of imbu­ing these art dolls with human char­ac­ter­is­tics as min­i­mal­ly as pos­si­ble. One often encoun­ters an ani­mal or object mere­ly dressed in cloth­ing. Alter­na­tive­ly, try to draw out an expres­sion, pos­ture, or sin­gle ele­ment in the fig­ure to tell its sto­ry. Each of my fig­ures is nee­dle felt­ed wool over wire and quilt bat­ting. cre­ate most of the accom­pa­ny­ing ele­ments for each piece, like an ele­phan­t’s  trike, rhinoceros’s mask and staff, or an owl’s med­i­cine bag. Glass and crys­tal beads, embroi­dery, and faux leather are just few of the mate­ri­als incor­po­rate that trans­form these nee­dle felted dolls into mixed media sculp­tures.



Hills­bor­ough Gallery of Arts, 121 N. Chur­ton St., Hills­bor­ough, NC 27278    DIRECTIONS   919–578‑5001