Tag Archives: art glass

Translucent Revelations: Christina Bothwell

3 May Bothwell6

With the increasing sophistication of technology, we have become more and more aware of the realities of what was once mysterious.  We know what the inside of our bodies look like, it’s even possible to see an unborn baby in 3-dimensional form.  We can know what our children will look like before they ever take their first breath.  Yet, what remains to be revealed is their personality.  How they will evolve spiritually and emotionally remains a mystery.  Sculptor Christina Bothwell‘s figures illustrate for us the metamorphosis of our beings, our deliverance into who we are become.

Deer Girl, cast glass, raku, clay, antlers, and oil paints, 28x27x11

In her cast glass sculptures, Bothwell incorporates figures within figures.  We see smaller figures nestled into the glass, most often in the shape of a newborn.

Octopus, cast glass, raku clay and oil paint, 48x23x23

From the artist: “I think of these pieces as souls, each being pregnant with their own potential, giving birth to new, improved versions of themselves.”

Hair, cast glass, raku clay and oil paints, 10x31x8

As long as we are breathing, we are constantly evolving, hopefully into a better version of ourselves.  Wouldn’t it be fantastic to know that at the end of your life, you had become your most strong, your most loving, your most compassionate, the very best version of you?

Centaur, cast glass, raku clay, oil and found objects, 21x21x11

Phoenix, cast glass, raku fired clay, oil paints and wood, 33x60x21

Bothwell’s work shows us, not the end result, but the transformation.  We see the adaptation and evolution of the spirit as translated into the material.  To see more of Christina Bothwell’s work, please visit her website.

Featured image is Dawn, cast glass, ceramic, wood and oil paint, 38x10x7.  All images are via the artist’s website.

Friday Faves in 3-D

23 Sep 701

Happy Friday, Artsies!  If you’ve been reading the blog for a while, you have probably noticed that it’s a little painting heavy.  Painting as a medium is my first love, ooey-gooey globs of paint on a canvas will always be the first thing to catch my eye. I hate that it seems like sculpture is the red-headed step child of the art world.  I do love beautifully rendered sculpture and have vowed to feature it more here.  So as I work on some sculptors to feature soon, here’s a round-up of some three dimensional work that I am especially drawn to.

Vanilla Driftwood by Treg Silkwood and Candace Martin, AKA Silkwood Glass

Seedpod, Nested by Eric Moss

Pod, burnished earthenware and soluble metal salts

Nest by Michael Roco, mixed media

Do you have a favorite 3-d artist?  Do tell!  Have a fantastic weekend, Artsies!  To see more of any of the above sculptors’ work, please visit their websites:

1.  Silkwood Glass

2.  Eric Moss

3.  Mark Goudy

4.  Michael Roco 

All images are courtesy of the artists’ websites.

Gallery Hopping PDX-style

30 Jun IMG_3534

PDX is slang for Portland, apparently.  I kept seeing it everywhere in Portland this weekend and being from Florida, of course had no idea what it meant.  Was it some sort of secret code?  Some inside joke only super-hip Portlandians knew about?  Nope, just Portland’s airport code, which has become short for Portland, just like JAX is short for my hometown of Jacksonville.  I must admit, I was a bit disappointed that there wasn’t some sort of subversive meaning to PDX, at least not one I could find on Google.

After a month in the Northwest, George & I finally made the 2 1/2 hour drive from Aberdeen, WA to Portland last Saturday.  We’ve already hit a couple of smaller artsy destinations nearby ( Olympia, WA & Astoria, OR ), but finally worked our way up to the mac-daddy of them all, Portland.  The home of hip.  We were only in Portland for the day, so decided it would be best to limit ourselves to one section of the city.  So we chose The Pearl District, for its galleries for me and its proximity to Powell’s Books, Stumptown Coffee & Rogue Brewery for George.  I try to make sure that when I drag him gallery-hopping, there is always the promise of beer.  This makes for a much happier husband.

Work by David Slader at Gallery 903

Gallery 903 was filled with contemporary painting, sculpture and mixed-media work.  I can usually tell the minute I walk into a gallery whether or not I’m going to enjoy my visit and find artists to blog about.  As soon as I saw wonderfully textured abstracts and thoughtfully placed sculpture, I knew Gallery 903 was a good stop.  The work of the artist above, David Slader, got George’s attention before than mine.  Slader is a former high-powered attorney turned artist and after reading his tongue-in-cheek artist statement, I had a better appreciation for him.  His work has deep texture , a powerful palette and expression.  Here’s an even better shot of “You Want to Dance”, that gallerist Herschel was nice enough to email me..

You Want to Dance, Oil on canvas, 24x24

This was just the first of the delights to be found at 903.  While George continued to admire the Sladers, I rounded the corner and happily came across a little niche and what was to be found there?  Some thrilling little Salvador Dali prints!

Salvador Dali prints at Gallery 903

Complimenting the Dalis in the same little space were two epoxy-resing pieces by Alan Fulle.  One of my favorite things about working in a gallery was designing & creating tableaus of artwork that coordinate together in unexpected ways.  Virtual congrats to whomever hung the work in this gallery.

Artist: Alan Fulle, Gallery 903

Here are some more treats from 903:

Artist: Chuck Gumpert, Gallery 903

Artist: Natalia Petrova, Gallery 903

Artist: Georgia Gerber, Gallery 903

I absolutely loved this bronze geese sculpture!  George wasn’t quite as enamored.  What’s not to love about lovey-dovey, fat bronze geese?  I mean, really, how could you not love them?!  Oh well, moving on..

Augen Gallery had two interesting exhibitions showing, the first, work by Wendy Franklund Miller– I am a sucker for encaustics.  There is just something about that waxy texture that I adore.

Artist: Wendy Franklund Miller, Augen Gallery

The kind-of cosmic feel to Franklund Miller’s work was a great complement to their other exhibition, Light Drawings by James Minden.

Artist: James Minden, Augen Gallery

These “light drawings” are scratched/etched PETG ( plastic ) reflecting light.  They are totally trippy in the best sense.  We had so much fun looking at these from all different angles.  Check out this slide show to see better photos than I could have taken:  James Minden on Vimeo.

Continuing the equestrian kick I seem to be on lately, Froelick Gallery happened to be showing Equine, a juried group exhibition showcasing the horse.  A diverse showing of work centered around our four-legged friends, it was fun to see the variety of interpretations, including a plate from the famous Muybridge Animal Locomotion series.  George was drawn to the work of Miles Cleveland Goodwin, which while beautifully rendered, was a bit on the dark side for my tastes.  I love how the differences in our tastes spark lively discussion!

Artist: Miles Cleveland Goodwin, Froelick Gallery

I, on the other hand, fell in love with the giant below. White Shadow by Rick Barstow is pastel on paper, 74″ long and it is fabulous.  I’m not sure what I love more, the lovely layering of the pastel, the unfinished, sketchy-quality or the scribbled “HORSES” at the bottom.  It’s all workin’ for me.  Or maybe it is that the straight-on gaze of the horse reminds me of an illustration of a story my grandmother used to read me as a little girl, The Goose Girl.

Artist: Rick Barstow, Froelick Gallery

Our next stop, Bullseye Gallery has a kick-a$$ space.  Two levels, full of exposed brick and metal work, rustic wood and these amazing little installation rooms.  I got so caught up in admiring my surroundings that I failed to take many pictures.  I know, bad little blogger.  The gallery is part of Bullseye Glass Company, maker of colored glass for art & architecture.  Oh, that explains why there was so much incredible art glass!

Artist: Dante Marioni, Bullseye Gallery

Artist: Silvia Levenson, Bullseye Gallery

Our final destination was Butters Gallery.  Are ya’ll tired yet?  Because I sure was by this point in the day. ( We’d also hit the Saturday Market, Stumptown Coffee, Powell’s Books and Rogue, in addition to all the galleries. )  Butters reminded me of some of the Chelsea galleries in NYC, as it was kind of hidden away, on the 2nd floor of a walk-up building.

Butters Gallery

Artist: Susan Hall, Butters Gallery

Butters had some really interesting work on display, I hope to bring you more on those artists very soon, especially the one whose work is pictured above, Susan Hall.  I fell head over heads for her work– my crappy picture doesn’t even begin to do it justice.  I’ll feature her more in depth in a separate post in the next few weeks.

So ends our little jaunt through Portland’s Pearl District galleries.  I can’t wait to go back to PDX and explore the other art districts.  This weekend we’re headed North!

Hands-On vs Hands-Off Artistry

27 Apr Sagrada-Familia-Barcelona-08-600x405

In my daily reading of Artinfo.com this morning I came across two articles, seemingly unrelated, until the Facebook comments regarding one of the articles tied them together for me.  The first article, found here, poses the question, “Should Gaudi’s Sagrada Familia Remain Unfinished?”  The Barcelona basilica, begun in 1882 by renown artist-architect Antonio Gaudi is still under construction eighty-five years following the architect’s death. 

Sagrada Familia under construction in Barcelona, Spain

 Though Gaudi left plaster models and drawings, many of his notes were destroyed during the Spanish Civil War, leaving his vision open to interpretation by current sculptors, architects and designers.  While some critics feel the current direction doesn’t jive with Gaudi’s original vision, even during his lifetime, there were many sculptors working on the basilica.  Like any monumental undertaking, “it takes a village” to bring Gaudi’s creation to life.

Close-up of one of La Sagrada Familia's spires. Barcelona, Catalonia, Spain.

Should Gaudi’s original design be so open to interpretation?  He gave artistic license to those working under him while alive, would he so object to modern interpretations now being imposed?  Unlike other types of sculpture, cathedrals are often the product of centuries worth of work by multiple architects, artists and craftsman. 

The star-studded ceiling of the east wing of La Sagrada Familia under construction. Barcelona, Catalonia, Spain.

As Gaudi was aware he would not be alive to see it to completion, wouldn’t he have known his original design would be open to interpretation by those who came after him?  Does the fact that Gaudi is not here to personally oversee the work negate the additions?

Artists using apprentices and assistants is nothing new.  The art world of the Renaissance era, which produced such celebrated masters as Michelangelo and DaVinci was built upon the concept of apprenticeship.  But what about now?  The second article I read this morning was regarding the approval of a Dale Chihuly museum at the site of a former amusement park in downtown Seattle ( now the Seattle Center ).

The museum in itself is the subject of controversy, but that isn’t what I’d like to address here.  Instead, I’d like direct attention to another Chihuly controversy– his use of others to craft his designs.  One Facebook poster thought it necessary to point out that since losing the use of his left eye due to a car accident, he is no longer the person actually blowing the art glass he is so famous for.  ( In reality, Chihuly continued to blow glass for three years following the accident, until a body surfing incident dislocated his shoulder, so he was no longer able to manually manipulate the glass ).   The poster’s statement that “His employees make everything.  Just sayin’.” seems to somehow fault Chihuly for continuing to create in the only way he physically could, by having others help him.  The artist himself has said that his role, more of a director, allows him better perspective on the work.

As stated above regarding Gaudi, the practice of using assistants and apprentices to create monumental works of art has been done for centuries ( and yes, many of Chihuly’s creations are monumental in scope ).  So as long as the artist himself continues to design the creations with his name on them, what’s the big deal?

And what about so-called “production originals”?  You might be thinking of the ones advertised as “hand painted original works of art”, usually being sold out of a hotel ballroom.  But what I’m talking about are the production art studios– where perhaps one “lead artist” is creating original works of art, which are then being recreated & reproduced by the hand of “assistant artists”.  There are more of these studios around than people realize and the work can be found in galleries, corporate and private collections all over the world.  While the savvy gallerist, art consultant, designer and art afficionado knows production art when they see it, what about the collector who thinks they are buying a true original work of art, only to spot an almost exact replica when in their hotel while on vacation in Hawaii?  Do we lump Chihuly in with these?

These are three examples of artwork being completed and accomplished without the direct hand of the creator.  What are your thoughts?  Is it ever OK to put your name on something you didn’t actually physically create?  This is definitely a gray area.. would love to hear your thoughts!

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