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Tag Archives: artist studio

Feb. 16th & 17th Fun: Afternoon pie and art, and Sat. evening mythical beasts, with Caerus Artists Lauri Luck, Karina Nishi Marcus, and Suzanne Edminster

12 Tuesday Feb 2013

Posted by Caerus Artist Residency in Abstract Painting, Art, Art Gallery, Artist Studio, Caerus, Creativity, Mixed Media, Painting

≈ 2 Comments

Tags

"Dog House Studio", abstract narrative, acrylic mixed media, Alkonost, art theme, artist studio, creativity, dog paintings, Europa, Gallery of Sea and Heaven, inspiration, mixed media, myth and legend, narrative painting, open studio, opportunity, Pie-eyed, process painting

Nishi Marcus & Lauri Luck in front of her studio with the "Lucky": sign

Nishi Marcus & Lauri Luck in front of her studio with the “Lucky” sign

From Karina Nishi Marcus: Caerus artist Lauri Luck has invited me to exhibit with her at her at her studio this weekend: February 16th and 17th from 12pm to 3pm. This is an excellent opportunity to get a taste of both of our work plus a taste of delicious pie! If you have a moment during the weekend to stop by — we would love to chat with fellow Caerus artists, friends and family.

Come to see art -- stay and enjoy pie!

Come to see art — stay and enjoy pie!

Lauri Luck opens her studio most weekends and has generously included me for the Valentine’s Day weekend celebration. She calls these events “Come Get Pie-eyed at the Dog House Studio.” If you have not yet visited her studio you are in for a visual and gustatory treat.

Her studio is located at 2371 Gravenstein Hwy South, just outside of Sebastopol. Turn at the big yellow-ducky fabricated from an old trailer (it is hard to miss.)  Her studio building is under the “Lucky” (for Luck) sign.  Remember: You cannot get ‘pie-eyed” without pie! Lauri and I, Nishi, look forward to this festive occasion with you!

From Suzanne: After enjoying your pie and art, consider coming into Santa Rosa for The Gallery of Sea and Heaven’s Alkonost Show, 5-7 PM.  The theme is myth and legend, and the show is carefully curated to highlight visual narratives. There will be an original folktale reading, and a wild animal thing or two. The Alkonost Bird on the invitation is really fun; I love mythology, but had never heard of this Slavic woman-bird. Here is the Alkonost version and invitation from the Gallery, followed by a traditional rendition.

Opening Sat. Feb. 16, 5-7, Gallery of Sea and Heaven, Santa Ros

Opening Sat. Feb. 16, 5-7, Gallery of Sea and Heaven, Santa Rosa

She’s the Bright Siren, the one who doesn’t shipwreck you; she sits on a tree of life, has a cool crown, and sings a song that erases care and worry.

Traditional Slavic Version of Alkonost

Traditional Slavic Version of Alkonost

I have two paintings in the show, including Europa.  I hear that the Big Bad Wolf will be there.  We all need a little wolf in our over-tamed lives.

Karina Nishi Marcus and Suzanne Edminster

Caerus Artists in Artrails Open Studio — This Weekend and Next!

09 Tuesday Oct 2012

Posted by Caerus Artist Residency in Abstract Painting, Art, Artist Studio, Caerus, Collage, Creativity, Fiber Fabric Art, Mixed Media, Painting, Sculpture, Sketchbook, Studio Practice

≈ 5 Comments

Tags

acrylic mixed media, art practice, art process, art routine, art supplies, artist studio, Artrails, collage painting, creativity, dog paintings, inspiration, mixed media, open studio, opportunity, plain air painting, plein air painting, process painting

Artrails: October 13-14 and 20-21

The world of the studio is often cloaked from view, a private reserve of creativity. The Artrails Open Studio program allows an intriguing look into an artist’s life — not only to see a wide scope of their work — which facilitates a deeper entrance into the artist’s universe — but to discover mysteries of their materials, to glimpse into their art practice by visiting their studio and surveying the set-up, or to pose a question about their process and philosophy. We celebrate our Caerus artists who dedicate their energy in the undertaking of opening their studios and extending their generosity to promote the dialog between the general and artistic community.

For more information and to view the map to the various artists studios — please click on artrails.org.

++++++++++++++++++++++++++++++++++++++++++++++++++++
Karina Nishi Marcus
Studio # 119 on the Artrails map

by Karina Nishi Marcus

Caerus co-founder and abstract painter, Nishi has been participating in Artrails for 18 years.  Her studio is located in a historic Naval Air barracks. Come see her lyrical, innovative and intuitive abstract paintings.
3840 Finley Ave., Bldg. 32, Studio #225
Santa Rosa, CA 95407
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Lauri Luck
S
tudio # 110 on the Artrails map

by Lauri Luck

This is acrylic painter Lauri’s second year in Artrails — but this year, she is showing off  her new, large, sun-yellow-floored studio. Her vigorously brushed paintings explore the unique cross-connection between the humanity of canines and nature.

2371 Gravenstein Hwy South
(Studio behind Renga Art Gallery)
Santa Rosa, CA 95472
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Sandra Maresca
Studio # 74 on the Artrails map

by Sandra Maresca

This is Sandra’s first year with Artrails, but she has participated for many years in other open studios.  Her multimedia acrylics and oils depict emotional narratives, often utilizing animal personages..  She also fabricates small, soft sculptures using fiber, clay and other fascinating materials. Come and explore her different perspective.

16120 Watson Rd
(1 mi N of Main & W of Armstrong Woods Rd)
Guerneville, CA 95446
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Many Bankson
Studio # 25 on the Atrails map

by Mandy Bankson

This is Mandy’s second year with Artrials. Her acrylic abstract paintings emphasize pattern and line, interlaced by rich colors. Visit her studio and be lured by into an unknown beauty.

4809 Wagon Wheel Ln
(Cross Street Baird Road)
Santa Rosa, CA 95409
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Donna DeLaBriandais
Studio # 40 on the Artrails map

by Donna DeLaBriandais

For 23 years, Donna has been a part of Artrials.  A plein air painter, she specializes in oils and watercolors.   This year she is showing all new paintings, with only a smattering of previous artwork.  Discover the charm of her garden studio nestled in an oak grove.

2927 Old Bennett Ridge Rd.
(Off Bennett Valley Rd)
Santa Rosa, CA 95405
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Nancy Dempster
Studio # 17 on the Artrails map

by Nancy Dempster

Painting: abstract, drawing & mixed media

461 Sebastopol Avenue
Enter Alley from “A” Street
Santa Rosa, CA 95401
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Caerus Artist Jeremy Joan Hewes: Printing on Mulberry Paper for Collage and Mixed Media

19 Thursday Jul 2012

Posted by Caerus Artist Residency in Art, Artist Residency, Collage, Printmaking

≈ 14 Comments

Tags

artist studio, color printers, computer and art, creativity, inspiration, mixed media, mulberry paper, printing mulberry paper, printmaking

“The Widening Gyre” by Jeremy Joan Hewes

Caerus note: This mulberry paper printing technique creates the most transparent, delicate collage transfer I’ve ever seen (note coastline edges above).  It’s as clear as plastic transparencies or acrylic gel, but totally natural, and absolutely melts into the surface with no raised edges.  

Printing on Mulberry Paper

Reading all the posts on this bounteous blog, I’m enthralled and a bit awed by everyone’s energy and productivity. Not to mention that the work is lively, fetching, surprising, and quite beautiful. What a collection!

As I consider my own participation in the residency, I’ve discovered that I really enjoy both making artwork and also sharing ideas and techniques. With the latter goal in mind, here’s a process I find find very useful that I learned from my friend and studiomate Joyce Libeu (www.joycelibeu.com). I hope it’s beneficial to some members of this outfit.

The process is printing images from the computer on mulberry paper or other very thin, perhaps textured papers. What’s terrific about the mulberry paper is that when it’s collaged to a painted background, the image sits up strongly, the mulberry paper disappears, and the background’s colors still show through the image.

Most color printers can handle thin paper such as mulberry, but it’s advisable to attach any thin sheet to a standard piece of paper to send it through the printer. This procedure follows, but first an example of a finished piece that combines my photo and a graphic (from a Dover book) with a canvas I painted with acrylics.

In the work I’m doing currently, I like to fashion mixed-media pieces by painting on paper or canvas or making a monoprint, then collaging images on that background. I’ve often printed my photographs or other graphic images on the thinnest paper I can find so that the paper is invisible when it’s collaged to the background.

To assure that the mulberry paper will go through the printer, I attach it to a regular sheet of paper, cutting the mulberry about one-half inch smaller than the support sheet at the bottom and both sides.

Then I tape the mulberry to the support sheet across the bottom and partway up both sides. This is a little tricky, because mulberry wrinkles and folds easily, so I use short, skinny pieces of blue masking tape to keep the mulberry flat while attaching it.

When the mulberry is taped to its support paper, I set up the images on the computer. The important thing here is to make the image size an inch or so smaller than the mulberry paper to be sure that the image doesn’t print on the tape or miss the mulberry (I’ve done both). For printing, I change the print options so that the printer applies less ink than normal (otherwise much of it goes through the mulberry and onto the support paper – see the details at the end for tips).

I insert the paper taped-end-first into the printer and make sure the top, untaped part of the mulberry doesn’t crease or flop forward. (My printer takes 13-by-19-inch paper, so the mulberry can flop over if I don’t watch carefully as printing begins.) Then I print the image.

That’s the printing part. At the studio, I cut out the images as desired, then use matte medium to attach the mulberry pieces to my background (see “Adhesive” below for more). The detail of a work-in-progress below shows the transparency of a mulberry image; the horizontal orange strips are visible through the kimonos of the two women.

The details – supplies and settings

– Mulberry papers I use: (a) tengucho (from Daniel Smith) – 10 grams/square meter – extremely thin; (b) unbleached mulberry (from Art & Soul in Sebastopol) – 15 grams/square meter. Other mulberry papers or thin Japanese papers work also but may not disappear quite as well as the very thin ones.

– Support paper for printing: ideally heavier than plain paper, such as Epson Premium Matte (a bit thicker than regular copy paper); matte paper is preferable to photo paper for this purpose.

– Printer settings: this may require experimenting, but reduce the amount of ink that’s used during printing if possible. My Epson has a “paper configuration” setting that lets me reduce or increase the “color density”; I generally set this to minus 20 so that much less ink is used. (This saves ink and keeps the image from being so heavily printed on the support paper under the mulberry, which I like to reuse when possible.)

– Adhesive: I brush matte medium onto the target area of background; next I lay down the mulberry image, starting from one edge and easing it onto the background; then I cover the mulberry with a thin second coat of medium to secure it.

Jeremy Joan Hewes

Caerus note: to see more examples of Jeremy’s beautiful mixed media, please visit http://www.jeremyjoanhewes.com/new_work/index.html .

  

Caerus Artist Rosi Lovdal: My Ancient Soul of a Child

18 Wednesday Jul 2012

Posted by Caerus Artist Residency in Art, Artist Residency, Creativity, Fiber Fabric Art, Painting

≈ 23 Comments

Tags

art and emotion, artist studio, creativity, inner voice, resistance, resistance in art-making

“Becoming” by Rosi Lovdal (a painting I did for myself)

What difference does it make if I paint?  What difference does it make if I ’express myself’ ?  Does it really change anything?  What function does it really serve?  Does a single atom synapse differently because I have painted this or any other painting?   This is the voice of my Resistance.

Both of my parents were immigrants to the United States, before the depression and before WWII.  They were not only survivors but enhancers.  But above all, they were innately practical. We used the same Christmas wrapping paper year after year.  My mother never threw away string but wrapped it carefully in a ball, to use again, long after it was no longer necessary.  They thought my wish to go to art school was, I guess they would say, useless.  Serving no purpose.  You can never earn a living as an artist, they repeated.

So when I started dyeing fabric I didn’t become a textile artist, I became a textile entrepreneur and employed over 100 other women to earn their living, dyeing textiles and sewing them into garments.  Useful.  When I did work as a textile artist and I painted textiles for a hotel in Tahiti, they weren’t hung on the wall, they were the wall, 4’ x 10’.  I did exhaustive research so that the textiles could endure as a part of the architecture.  When a super cell cyclone devastated the hotel one night, the textiles were the only recognizable thing on the site the next morning. We relocated them.  Useful.

‘Fantasy Reef’ by Rosi Lovdal (Textile wall for Tahiti, pre-mounting )

I went on to develop Inner Portrait, where I created an interview process to assist a person to uncover their deep longing, their purpose, and then do a painting for them symbolizing this discovery, for them to have as an esoteric guide.  (www.inner-portrait.com)  More ephemeral, to be sure, but still, serves a purpose.  Useful.

“Phoenix Rising” by Rosi Lovdal (A commissioned ”Inner Portrait”)

If my artistic expression has a ’function’ then the voice of my resistance is quiet, or at least quieter.

As I’m writing this I begin to wonder if my function resistance is really a bad thing?  It has driven me to create quite alot. Maybe it’s functional resistance?

And yet…    Even so, I remain with my own deep longing to be free, free just to create!  Free to waste paint. Waste paper. Waste canvas.  Waste time!!!  Just to see what happens.  Free from that undercurrent of a voice murmuring at me from the shadows;  Is this going to come to anything?  What do you think you’re doing?  You’re just wasting materials. You’re not really an artist.  Go do something useful.  I’ve been working in Nigeria creating a network for women entrepreneurs for the past six years.  Useful.  I’m currently workng with co-ops in Rwanda teaching them how to dye sisal.  Useful.  And yet I jumped at the chance to join the Caerus Artist Residency.  So there is that longing in me, still and again.

The artist with Nigerian Entrepreneurs”

What is the voice I want to hear?  Can I tell myself, and really believe …..

”You are generous with others, be generous, now, with yourself. Feel the brush against the canvas. Against the silk.  Feel the color blending, touching you, moving you, expanding you. Take your time. You have permission to expand, out to the farthest reaches.  Out to the timeless space where a part of you is waiting for you.  This is purpose enough.  You are purpose enough.”

I am purpose enough.

I have been so pleased with myself that it was so easy to convert my studio into a guest bedroom.  The guests are gone and the room was just as quickly converted back into my studio.  But I was not so easily converted back into my studio.  I am dragging my feet.  What to do?

I will go to my studio and read,  again, this note I have pinned to the wall, a gift from my old silk painting partner.  And begin again.

My heart of silk
Is filled with lights,
With lost bells,
With lilies, and with bees,
And I will go very far,
Father than those hills,
Father than the seas,
To ask Christ the Lord
To give me back
My ancient Soul of a child.

– Federico Garcia Lorca

What are your deeply motivating thoughts and feelings?
What gets you back into your studio?

Rosi Lovdal

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Caerus Artist Donna DeLaBriandais: A Little Closer to my Goal

15 Sunday Jul 2012

Posted by Caerus Artist Residency in Art, Artist Residency, Creativity, Painting

≈ 6 Comments

Tags

art project, artist studio, Caerus artist guest blog, landscapes, plain air painting

My process is going slowly but well.  Each day in the studio I move a little closer to my goal.  The photo below is of one of the plein air oil paintings I did on location with the larger blank canvas to be painted abstractly from the plein air piece in mind. The other picture is a portion of my studio.

My process now is to paint various methods on small canvas that will bring me closer to the design, colors and abstract method for the very large finished painting.

I have painted two smaller paintings; one with a specific color scheme (top of post) and the other with a variety of under-painting colors that will be used on the finished abstract (below). These under-paintings are done in acrylic and the finished piece will be done in oil paints. Yesterday I worked on one of the smaller paintings and did the multicolored undertone on the larger piece.

Donna DeLaBriandais

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