Thursday, April 30, 2009
Through relief printing and a laborious rubbing technique, Bryan Nash Gill created the print Hemlock 82. At the grand size of 52" long x 38.5" wide the actual diameter, texture and pattern of this tree section is gorgeously translated onto paper. Ink is rolled out and a piece of handcrafted washi paper is placed over the print block. Pressing little by little with his fingertips, Bryan imprints the texture of the wood on the surface of the paper. To purchase one of these prints go to http://www.ashesandmilk.com/hemlock-82/.
"Enameling is the process of fusing glass to metal. I have been working in my medium since 1972 and am basically self taught. I enamel copper objects, which are fabricated by sawing sheet copper and either raising it or pressing it in a hydraulic press. My studio is surrounded by a somewhat carefully cultivated garden from which I draw inspiration. The imagery in my work, while mostly abstract, has reference to forms lurking in my subconscious. I do not try to interpret these forms or their interactions with each other." - Judy Stone
To see more of her work go to http://www.jstoneenamels.com/
"Joan Tenenbaum’s work consists of detailed, culture- and nature-inspired wearable pieces that are hand fabricated using precious metals and gemstones. She uses such techniques as engraving, roller texturing, fold forming, mokume gane, granulation and stone setting to create the fascinating textures, colors and contrasts that narrate her work. Many of these pieces are part of a series exploring a theme, and each is individually hand made. Her native-inspired pieces frequently take the form of a mask or human figure, symbols of the spirituality in the cultures in which she lived, or are translations of ancient artifacts."
To see more of her work go to http://www.joantenenbaum.com/.
Saturday, April 4, 2009
Friday, April 3, 2009
"These objects are a botanical specimen collection, focusing on isolated details such as leaves, berries, or pods. Multiples and contrasting textures are explored in response to natural forms. Elements are layered/clustered for their tactile quality, visual stimulation and the comfort of repetition. Through shape and surface the works reference nature, while the controlling element of man appears in the stems/branches. The scale of the objects invites close inspection and raises questions as to the origin of these species. By combining natural references with controlled forms I catalog my personal nature. " - Sarah Obrecht
To see more of her work go to http://www.cervinihaas.com/metal/sarah-obrecht/
"I have been working on a series of one of a kind jewellery pieces over the past ten years, which I call my “Under Glass" series. Rather than relying solely on the use of traditional jewellery materials these pieces utilize layers of natural objects, text and images to create a collage like effect. Moth and dragonfly wings, bones, feathers and skeletal leaves are collected on walks in the woods surrounding my home. Vintage books, prayer cards and old photos are hunted at flea markets and thrift stores and become more precious than gems. Each piece is comprised of three or more layers of sterling silver, copper, acrylic and hand carved, cast elements. Each layers is hand cut with a jeweller’s saw, filed to fit and held together with tiny rivets or bolts. Protected by their layers of metal and acrylic these fragile, delicate objects become fragments of a story, preserved like specimens under glass." - Erin Dolman
To see more of her work go to http://www.erindolman.com/
"Memories are the source, fragments of information with which to build. I am always collecting, collating and comparing. I especially enjoy finding structures, forms, details and patterns which suggest an underlying geometric order in the universe, and finding visual relationships between the infinitely small and the universal in scale." - Tania Rollond
To see more of her work go to http://www.sabbiagallery.com/artists_biography.php?pname=rol1
"I am interested in boundaries, loss and the idea of residue. I layer the paintings and peel away masking until I am left with the final image. The grand themes are all there, death, birth, separation, faith, nostalgia and science.
The visual world is an ever changing source of material. Symbols are absorbed by us every minute and yet we seek more ways to block and soften the constant diet of information. The colour I use is slightly dirty and imperfect, the application is mostly flat with highly contrasting areas. " - Ruth Breckell
To see moreof her work go to http://ruthbreckell.net/index.htm.
Thursday, April 2, 2009
"Predominately, I work with wood that is laser cut. The tactile, symbolic and inherent qualities of wood appeal to me. Its smell, texture and grain draw me closer to working with it. As the laser pierces through the material, it leaves a burnt edge. This mark left as a result of the lasers heat symbolises the action of depositing led on to paper as I would do in a drawing." - Anthony Roussel
To see more of his work go to http://www.anthonyroussel.com/
"Collage artist Virginia Rose Kane creates delicate collages using three artist techniques: botanical illustration, collage, and paper cutting. Her paper works combine the intricacy of hand cutting with a rich assemblage of layered paper to provide a new approach to art and nature." - Rag and Bone
To see more of her botanical papercutting go to http://www.indepaper.com/index.html.
"I continue to work with the concepts of containment, nurturing and incubation, which suggest an active participation. The Guardian series suggests a more watchful participation as in the role of a sentry or perhaps the keeper. "- Jan Buckman
To see more of her work go to http://www.browngrotta.com/Pages/buckman.html