For 20 months now, the protegees of the 2009-2010 WARM Mentor Program have been thinking about art around the clock. We think about it when we wake up: what will we work on today? What do we have time for? What’s due? We think about it in the evening: what do we have to get done before bed? What do we have the materials for? What can we put off…? We think about it when we don’t feel capable of creating anything: what could we possibly do next? Will we have anything to show our mentor next month? Why are we in this program???
So many questions, so little time! At least that’s how it feels right now. It’s August and we’ve got art due this month for the end of the program exhibit and many of us are just not ready…including me.
Several people are ready though and I know them personally. Right now my plan is to live vicariously through them. All of the artists in today’s post are women who’ve been producing for years and have used the program to expand their oeuvre and to take risks to push themselves even further.
Joan Kloiber is a fiber artist who has exhibited in professional galleries before joining the program. She’s a member of a fiber art group that meets every week (every week!) for three hours at a time. I wish you could see the French knots in this piece. I believe she’s using silk floss. Whatever it is, the colors shine against the reverse-dyed background. If you go to the exhibit at the Bloomington Art Center, Sept 3-Oct 8, get your nose right up to it. It’s worth a closer look.
Again, I wish you could see this piece by Rita Schaefer-Seaton in more detail. Near the top, center, is a red swirl. Below it, to the left, is a yellow one. If you look at them, you might be able to see that they’re three-dimensional. This work pops out of the frame in many places; the texture and form are every bit as important to the end result as the color, which is intense. Ooh. I love the white bit that runs from top to bottom. If you get a chance to see it in person, you’ll understand why I’m nuts about it.
This is a good example of what can happen to art when it’s reproduced in another format. The original is red. I’m not sure how much of the pink tones were created when I downloaded it into Photoshop. Also, you’re not able to see any of the textures in this image. Rita Kirsch Dungey’s work is bold, like her use of color, but she also evokes cultural and historical themes through her brush strokes. My first wish is for you to see this in person. My second wish is that you could see some of her other canvases, to get a sense of her reach.
I’ve highlighted Deborah Splain’s work in an earlier blog (Art in the Twin Cities 2, May 19) because she’s one of those women who somehow manage to do it all. I’ve seen her in Art-A-Whirl events over the past year and I’ve also been to St Cloud University’s Atwood Gallery to see her solo show. There’s also an indepth article from the University Chronicle: “Artist Reveals Meanings” which addresses the layering involved in her work. I love the hint of neurons and other evocative shapes in the organic forms above and her rich color palette in most of her works.
Yikes. This is much longer than I intended. Hope you took a cookie break at some point and rested a bit. Thanks for bearing with me. Now I’ve got some artwork to finish… —Chris