Thursday, March 22, 2018

Art on Paper, part 3

This is part 3 in my series of posts about Art on Paper that took place in New York at the beginning of March.

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Gregory Halili, Constellation series detail, photo credit Jennifer Coyne Qudeen

Gregory Halili, Constellation series detail, photo credit Jennifer Coyne Qudeen

Gregory Halili, Constellation series detail, photo credit Jennifer Coyne Qudeen

Constellation series, 2006
watercolor on paper
7 x 7 inches (image 1 3/4 x 1 1/2 inches) 

Gregory Halili's watercolors are truly stunning. The image is only 1 3/4" x 1 1/2" inches. The depth and quality of detail that he packs into such a small space is mind boggling.

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Megan Rye, Foundling, photo credit Jennifer Coyne Qudeen



Megan Rye, Foundling, photo credit Jennifer Coyne Qudeen

Foundling
 
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Jae Ko, FLOW, photo credit Jennifer Coyne Qudeen

Jae Ko, FLOW detail, photo credit Jennifer Coyne Qudeen

Force of Nature Series "FLOW" 

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Hideto Yagi, detail, photo credit Jennifer Coyne Qudeen

Hideto Yagi, detail, photo credit Jennifer Coyne Qudeen


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Sarah Irvin, Outbreak, photo credit Jennifer Coyne Qudeen

Outbreak, 2015
ink on yupo
26 x 40 inches

Monday, March 19, 2018

Art on Paper, part 2

This is part 2 in my series of posts featuring works from Art On Paper in New York at the beginning of March. As often as possible, I have linked the artist's web site to their name as well as provide the info about the art shown.

Much of the art was framed and under glass, so there are the occasional glimpses of light or reflections which I hope you'll pardon. Enjoy part 2!


Vasher Studio, Plumerai detail, 2017, photo credit Jennifer Coyne Qudeen

Vasher Studio, Plumerai detail, 2017, photo credit Jennifer Coyne Qudeen

Vasher Studio, Plumerai detail, 2017, photo credit Jennifer Coyne Qudeen

Vasher Studio, Plumerai, 2017, photo credit Jennifer Coyne Qudeen

Plumerai, 2017
laser-cut paper embedded in acrylic and hand grained aluminum
88 x 18 x 1 inches (each panel)

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Emi Ozawa, Yabane Daidai, photo credit Jennifer Coyne Qudeen

Emi Ozawa, Yabane Daidai detail, photo credit Jennifer Coyne Qudeen

Yabane Daidai
paper on board
14" x 14" x 3" frame

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Emi Ozawa, Five Red Circles detail, photo credit Jennifer Coyne Qudeen

Emi Ozawa
Five Red Circles
paper on Board
10" x 15' x 2.5" frame

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Metis Atash, Punk Buddha, photo credit Jennifer Coyne Qudeen

Metis Atash, Punk Buddha detail, photo credit Jennifer Coyne Qudeen

Punk Buddha, 2018
resin and Swarovski crystals
18 inches

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Inside 11, 2014
mixed media
25 x 28 inches

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Sipho Mabona, detail, photo credit Jennifer Coyne Qudeen

Sipho Mabona, detail, photo credit Jennifer Coyne Qudeen

Sipho Mabona, detail, photo credit Jennifer Coyne Qudeen


(While I took a photo of Sipho Mabona's bio, I seem to have neglected to get a shot of the info tag for this piece. My apologies! )

Friday, March 16, 2018

Art on Paper, part 1

Art on Paper took place in New York last week, post nor'easter number 2. I was fortunate to be able to meet a couple of friends and hop the train into the city to experience this wonderful show.

I thought to share those works that caught my eye and demanded my attention. As often as possible, photos were taken of the information tags as well so that the pertinent info can be listed, however, in editing the photos, I realized that a few were missed. Also, where possible, the artist's name is a link to their website.

In hopes of not causing art on paper overload, I am going to share my favorites in a series of 5 posts. Please pardon the occasional reflection of light on a frame or odd angle. Much of the art (paintings, drawings, photographs, etc.) was framed and under glass so it was necessary to get creative with the shots. Enjoy!

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Michele Brody, Reflections in Tea, photo credit Jennifer Coyne Qudeen

Michele Brody, Reflections in Tea, detail photo credit Jennifer Coyne Qudeen


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Matthew Shlian, Unholy 48, photo credit Jennifer Coyne Qudeen

Matthew Shlian, Unholy 48 detail, photo credit Jennifer Coyne Qudeen

Unholy 48, 2016
Three-dimensional, five color monoprint collage
printed on white Rives BFK
60 x 60 x 5 inches

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Matthew Shlian, Unholy 85, photo credit Jennifer Coyne Qudeen

Matthew Shlian, Unholy 85 detail, photo credit Jennifer Coyne Qudeen

Unholy 85 (Go Down Moses/There's Fire in the Woods)

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Norma Marquez Orozco, Diary (in 4 parts), photo credit Jennifer Coyne Qudeen

Norma Marquez Orozco, Diary (in 4 parts) detail, photo credit Jennifer Coyne Qudeen

Diary (in 4 parts), 2018
20 x 20 x 1/4 inch (10 x 10 x 1/4 inch each)
paper, translucent paper, ink and gel medium

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Seckim Pirim, You, 2016, photo credit Jennifer Coyne Qudeen

Seckim Pirim, You detail, 2016, photo credit Jennifer Coyne Qudeen

You, 2016 
300 gr bristol paper cut out
47.24 x 35.63 x 2.56 inches
 
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Seckim Pirim, She, 2016, photo credit Jennifer Coyne Qudeen

Seckim Pirim, She detail, 2016, photo credit Jennifer Coyne Qudeen

She, 2016 
300 gr bristol paper cut out
47.24 x 35.63 x 2.56 inches
 
 

Thursday, March 1, 2018

At a crossroads...of the rusty kind

How do you know when it's time to let go?


How do you know for certain that it is time to move on?


These are a few of the questions that I've been pondering of late - 


most recently this morning as most all of my rusted cottons and organzas 


were transferred from 3 work drawers into 1 storage bin.


Discharged cottons


as well as a few that were eco printed found their way into a second bin.


When visions of pieces yearning to be created flit through my mind, these days they are not of the rusty kind.


So...how do you know when it's time to let go? And just what form does letting go take?

Do I put the bins in the basement where out of sight will equal out of mind, but where they will be accessible if some future day finds me dreaming rusty dreams again?

Or, and this is a bit scary even though it is what my brain says makes the most sense, do I truly let go and offer the lot for sale as yardage? Fat quarters or bags of...bags of what exactly? Bags of rusted cottons? Would it be priced by the piece or pound? Would anyone even want it?

In truth, I feel as if I already have moved on...to tea bags and other scrumptious papers. Did I just answer my own question? Probably. But will I listen to myself? Hmm...

I could really use your help on this one. What do you do with old materials when you move on?

Thanks in advance!



Sunday, January 28, 2018

Baltimore - 2 Churches

A disclaimer seems appropriate given the photographic content of this post. I am not a religious person by anyone's definition. On my best days, it could be said that I am spiritual, but even that is sketchy. At the end of the day, though, churches fascinate me. It's the architecture - the creativity and skill that went into the designing, planning and constructing of such buildings. Like any big city, Baltimore is filled with churches.
 

One of my favorites is the Mount Vernon Place United Methodist Church. Located near the George Peabody Library, this Victorian Gothic beauty dominates the skyline along Charles Street.


The building is made [of] six of different types of stone. Its extraordinary color (especially when wet) comes from the use of the now rare green serpentine metabasalt from the Falls Road area of Baltimore County, and buff and red sandstone trim.  (from the church website)


The stone carvers' marks, evident on every stone, 


 bring to mind hand stitching.


It is impossible, for me, to pass this beauty without touching the carvers' marks and wondering at the history and stories behind them. Did each stone carver have a signature mark? Did it vary based on the stone? What thoughts occupied the carvers minds while their hands produced such beauty, etc.


I would love to see the inside as well. A kind lady stopped while I was photographing 


and assured me that the inside is just as spectacular. 


I did try the front doors, but they were locked. Perhaps on a future visit...

.........


The Baltimore Basilica's facade is quite a contrast. 



It presents a very imposing front, complete with  majestic columns.


I must admit to being a bit baffled and disappointed as I walked up the steps, finding this church more akin to a federal building than my idea of a cathedral. And then I entered.


 The lightness of the interior stopped me mid step and all disappointment fled 


to be replaced by awe.





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