We still have some gorgeous artwork on display...stop by before the end of the month! Like this beautiful collage by Hollie Chastain.
Saturday, March 14, 2009
See you Later
We still have some gorgeous artwork on display...stop by before the end of the month! Like this beautiful collage by Hollie Chastain.
Leaving the Nest
Dear Friends,
After much consideration and a short, but rewarding 4 months, we’ve decided that we have to close up shop. We’d like to thank everyone (especially the art buyers and artists themselves) for their wonderful support. We are leaving the space at the end of the month and the show ‘For the Birds’ will be pulled down on the 28th.
For those of you who have yet to see the space or are still contemplating on a piece in the gallery, please come by or contact directly. 530.272.4154. We're open 11-6 most days. Sundays 12-4.
Timing is everything, as we know. After leasing the space for two years, the Gallery was my last little hope to hold on to it, but it may have been a bit futile. My hope is that I will refocus on my other projects, work from home again and that maybe in the future, I will be able to bring the RED CROW back in a new way.
For those of you who want to continue to follow the artists we’ve carried in the shop, you can still link to the blog and buy from the artists directly.
Here’s to a prosperous and healthy 2009.
Don’t forget to support the arts!
Kindest,
Ingrid Nelson
After much consideration and a short, but rewarding 4 months, we’ve decided that we have to close up shop. We’d like to thank everyone (especially the art buyers and artists themselves) for their wonderful support. We are leaving the space at the end of the month and the show ‘For the Birds’ will be pulled down on the 28th.
For those of you who have yet to see the space or are still contemplating on a piece in the gallery, please come by or contact directly. 530.272.4154. We're open 11-6 most days. Sundays 12-4.
Timing is everything, as we know. After leasing the space for two years, the Gallery was my last little hope to hold on to it, but it may have been a bit futile. My hope is that I will refocus on my other projects, work from home again and that maybe in the future, I will be able to bring the RED CROW back in a new way.
For those of you who want to continue to follow the artists we’ve carried in the shop, you can still link to the blog and buy from the artists directly.
Here’s to a prosperous and healthy 2009.
Don’t forget to support the arts!
Kindest,
Ingrid Nelson
Monday, March 2, 2009
DoubleParlour Interview
Name: Ernie and Cassandra Velasco aka Doubleparlour
Occupation: Ernie- Artist/Pastry Chef Cassandra- Artist/Pharmacy Technician
Location: San Francisco, CA
How did you first become interested in creating art together?
Our collaboration grew out of the desire to both sell artwork on-line and create work together. We formed Doubleparlour in 2007. We were curious about the effect of creating paintings and prints together where we both shared the process from start to finish.
What do you find most rewarding with the collaborative process?
It is most rewarding being able to bounce ideas off of each other and have someone to critique a work in progress. Each of our individual ideas and approaches to creating vary greatly and at times we inspire or surprise each other. We also balance each other's strengths and weaknesses as far as the business aspects of customer service, shipping, and promotion.
What are your artistic influences?
We are both influenced by nature, human emotions and reasoning, architecture, decay and the irony in everyday life. We also find inspiration from many different artists. Here are a few: Tiffany Bozic, Tara Tucker, Alex Gross, Eva Hesse, Andrew Schoultz, Swoon, and street art.
What have you used/learned from another artist lately?
Well, we would like to give credit to artist John Casey for his polymer clay tutorial on the art and culture website FecalFace. His tutorial described his process of working with polymer clay which lead to our own experiments with this medium which we now embrace.
What are you trying to communicate with your art?
I think we are trying to create a subtle narrative with a sense of mystery. Any one object, conversation, etc can be interpreted in so many different ways.
You do both sculpture and two-dimensional works. How do you decide which
process will work best for your expressions. Do you ever have crossover
characters, ones that end up as both illustration and sculpture?
There have been a few crossover characters between illustration and sculpture, one example is the Shohin character. A Shohin is a small bonsai under 10 inches. See samples here: Sculpture & Illustration . I think for both of us, sometimes the idea dictates the medium and other times the need to create a sculpture or print for a gallery show or our on-line store will fuel the project. Our individual process of creating varies greatly. Ernie delves right into creating a piece once the idea has formed in his head and makes decisions on colors and final composition as he goes along. Cassandra prefers to plan a piece completely beforehand which involves sketches, references and decisions on placement, color and composition.
We just opened the "Bird" show on Valentine's Day and people were immediately drawn to the 3 sculptures we have here in the Gallery (see photos above). Could you tell us a little about how you make them?
All three pieces are made of polymer clay which is hand formed and baked at a low temperature. They are then finished with acrylic paint and matte and/or gloss varnish. Some of the pieces are mixed media incorporating such items as twigs, antique doll parts, antique keys and architectural elements, and railroad miniatures.
I think what draws me in most to your work is the sense of CHARACTER there. One gets the feeling that there are individual stories behind the pieces. Small fictions that accompany "the Diver" and "Hoagie" for example. I'm curious if you have a personality in mind when you create them, or does this form after the creation?
We do enjoy creating characters and that usually begins with a idea and basic form. A lot of times it is a matter of putting different elements together to create a piece. I think the story grows our of the character's development as it is being created. Usually there are parts of a story in each piece of artwork, like a movie without an ending. We like to leave some of the interpretation to the viewer. The Hoagie character was inspired by the wondrous world of Edward Gorey's characters. Hoagie is meant to be a somewhat odd and contemplative creature. He is like one of those people who don't need the approval of others yet whose gentle nature make them quite likable. People always try to guess what Hoagie is, some comments we've heard is that he looks like a worm, pickle or seal, or a character from Eraser Head movie.
How important is humor in your work?
Although it is not an aspect of all of our work, it is very important sometimes in order to express hidden meanings or to just have fun with the work. With art, the beauty of it is that it doesn't have to make sense. This is part of what allows viewer interpretation.
My favorite piece that we have here at the shop is 'The Diver'. How did this particular character come about?
Ernie created the Diver while imagining how it would appear as a large sculpture in a public space, if the miniatures where scaled to human size. There is also the small human figures in the cave. What are they running from or to and what is the relationship with the albatross? We will leave the answers to the viewer, it is nice to create a sense of mystery.
You both have 'Regular' jobs outside making artwork. What influence does your daily life play in your creation process?
Well, it does eat up a lot of time that could be spent creating. Really, both of our regular jobs are completely separate life from creating artwork. Although, some ideas for projects do form out of activities or conversations from work.
And our completely RANDOM question to end it all: In honor of our love of
poetry and posting here at the crow bulletin board. What is your favorite
poem of all time (to each of you individually)?
Ernie-
Dorothy Parker's "Resume"
Cassandra-
T.S. Eliot "The Love Song of J. Alfred Prufrock"
Occupation: Ernie- Artist/Pastry Chef Cassandra- Artist/Pharmacy Technician
Location: San Francisco, CA
How did you first become interested in creating art together?
Our collaboration grew out of the desire to both sell artwork on-line and create work together. We formed Doubleparlour in 2007. We were curious about the effect of creating paintings and prints together where we both shared the process from start to finish.
What do you find most rewarding with the collaborative process?
It is most rewarding being able to bounce ideas off of each other and have someone to critique a work in progress. Each of our individual ideas and approaches to creating vary greatly and at times we inspire or surprise each other. We also balance each other's strengths and weaknesses as far as the business aspects of customer service, shipping, and promotion.
What are your artistic influences?
We are both influenced by nature, human emotions and reasoning, architecture, decay and the irony in everyday life. We also find inspiration from many different artists. Here are a few: Tiffany Bozic, Tara Tucker, Alex Gross, Eva Hesse, Andrew Schoultz, Swoon, and street art.
What have you used/learned from another artist lately?
Well, we would like to give credit to artist John Casey for his polymer clay tutorial on the art and culture website FecalFace. His tutorial described his process of working with polymer clay which lead to our own experiments with this medium which we now embrace.
What are you trying to communicate with your art?
I think we are trying to create a subtle narrative with a sense of mystery. Any one object, conversation, etc can be interpreted in so many different ways.
You do both sculpture and two-dimensional works. How do you decide which
process will work best for your expressions. Do you ever have crossover
characters, ones that end up as both illustration and sculpture?
There have been a few crossover characters between illustration and sculpture, one example is the Shohin character. A Shohin is a small bonsai under 10 inches. See samples here: Sculpture & Illustration . I think for both of us, sometimes the idea dictates the medium and other times the need to create a sculpture or print for a gallery show or our on-line store will fuel the project. Our individual process of creating varies greatly. Ernie delves right into creating a piece once the idea has formed in his head and makes decisions on colors and final composition as he goes along. Cassandra prefers to plan a piece completely beforehand which involves sketches, references and decisions on placement, color and composition.
We just opened the "Bird" show on Valentine's Day and people were immediately drawn to the 3 sculptures we have here in the Gallery (see photos above). Could you tell us a little about how you make them?
All three pieces are made of polymer clay which is hand formed and baked at a low temperature. They are then finished with acrylic paint and matte and/or gloss varnish. Some of the pieces are mixed media incorporating such items as twigs, antique doll parts, antique keys and architectural elements, and railroad miniatures.
I think what draws me in most to your work is the sense of CHARACTER there. One gets the feeling that there are individual stories behind the pieces. Small fictions that accompany "the Diver" and "Hoagie" for example. I'm curious if you have a personality in mind when you create them, or does this form after the creation?
We do enjoy creating characters and that usually begins with a idea and basic form. A lot of times it is a matter of putting different elements together to create a piece. I think the story grows our of the character's development as it is being created. Usually there are parts of a story in each piece of artwork, like a movie without an ending. We like to leave some of the interpretation to the viewer. The Hoagie character was inspired by the wondrous world of Edward Gorey's characters. Hoagie is meant to be a somewhat odd and contemplative creature. He is like one of those people who don't need the approval of others yet whose gentle nature make them quite likable. People always try to guess what Hoagie is, some comments we've heard is that he looks like a worm, pickle or seal, or a character from Eraser Head movie.
How important is humor in your work?
Although it is not an aspect of all of our work, it is very important sometimes in order to express hidden meanings or to just have fun with the work. With art, the beauty of it is that it doesn't have to make sense. This is part of what allows viewer interpretation.
My favorite piece that we have here at the shop is 'The Diver'. How did this particular character come about?
Ernie created the Diver while imagining how it would appear as a large sculpture in a public space, if the miniatures where scaled to human size. There is also the small human figures in the cave. What are they running from or to and what is the relationship with the albatross? We will leave the answers to the viewer, it is nice to create a sense of mystery.
You both have 'Regular' jobs outside making artwork. What influence does your daily life play in your creation process?
Well, it does eat up a lot of time that could be spent creating. Really, both of our regular jobs are completely separate life from creating artwork. Although, some ideas for projects do form out of activities or conversations from work.
And our completely RANDOM question to end it all: In honor of our love of
poetry and posting here at the crow bulletin board. What is your favorite
poem of all time (to each of you individually)?
Ernie-
Dorothy Parker's "Resume"
Cassandra-
T.S. Eliot "The Love Song of J. Alfred Prufrock"
Dorthy Parker and TS Eliot
Résumé
Razors pain you;
Rivers are damp;
Acids stain you;
And drugs cause cramp.
Guns aren't lawful;
Nooses give;
Gas smells awful;
You might as well live.
By Dorthy Parker
1893-1967
The Love Song of J. Alfred Prufrock
S’io credesse che mia risposta fosse
A persona che mai tornasse al mondo,
Questa fiamma staria senza piu scosse.
Ma perciocche giammai di questo fondo
Non torno vivo alcun, s’i’odo il vero,
Senza tema d’infamia ti rispondo.
LET us go then, you and I,
When the evening is spread out against the sky
Like a patient etherised upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question …
Oh, do not ask, “What is it?”
Let us go and make our visit.
In the room the women come and go
Talking of Michelangelo.
The yellow fog that rubs its back upon the window-panes,
The yellow smoke that rubs its muzzle on the window-panes
Licked its tongue into the corners of the evening,
Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
Slipped by the terrace, made a sudden leap,
And seeing that it was a soft October night,
Curled once about the house, and fell asleep.
And indeed there will be time
For the yellow smoke that slides along the street,
Rubbing its back upon the window-panes;
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate;
Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.
In the room the women come and go
Talking of Michelangelo.
And indeed there will be time
To wonder, “Do I dare?” and, “Do I dare?”
Time to turn back and descend the stair,
With a bald spot in the middle of my hair—
[They will say: “How his hair is growing thin!”]
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin—
[They will say: “But how his arms and legs are thin!”]
Do I dare 45
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute will reverse.
For I have known them all already, known them all:—
Have known the evenings, mornings, afternoons,
I have measured out my life with coffee spoons;
I know the voices dying with a dying fall
Beneath the music from a farther room.
So how should I presume?
And I have known the eyes already, known them all—
The eyes that fix you in a formulated phrase,
And when I am formulated, sprawling on a pin,
When I am pinned and wriggling on the wall,
Then how should I begin
To spit out all the butt-ends of my days and ways?
And how should I presume?
And I have known the arms already, known them all—
Arms that are braceleted and white and bare
[But in the lamplight, downed with light brown hair!]
It is perfume from a dress 65
That makes me so digress?
Arms that lie along a table, or wrap about a shawl.
And should I then presume?
And how should I begin?
. . . . .
Shall I say, I have gone at dusk through narrow streets
And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows?…
I should have been a pair of ragged claws
Scuttling across the floors of silent seas.
. . . . .
And the afternoon, the evening, sleeps so peacefully!
Smoothed by long fingers,
Asleep … tired … or it malingers,
Stretched on the floor, here beside you and me.
Should I, after tea and cakes and ices,
Have the strength to force the moment to its crisis?
But though I have wept and fasted, wept and prayed,
Though I have seen my head [grown slightly bald] brought in upon a platter,
I am no prophet—and here’s no great matter;
I have seen the moment of my greatness flicker,
And I have seen the eternal Footman hold my coat, and snicker,
And in short, I was afraid.
And would it have been worth it, after all,
After the cups, the marmalade, the tea,
Among the porcelain, among some talk of you and me,
Would it have been worth while,
To have bitten off the matter with a smile,
To have squeezed the universe into a ball
To roll it toward some overwhelming question,
To say: “I am Lazarus, come from the dead,
Come back to tell you all, I shall tell you all”—
If one, settling a pillow by her head,
Should say: “That is not what I meant at all.
That is not it, at all.”
And would it have been worth it, after all,
Would it have been worth while,
After the sunsets and the dooryards and the sprinkled streets,
After the novels, after the teacups, after the skirts that trail along the floor—
And this, and so much more?—
It is impossible to say just what I mean!
But as if a magic lantern threw the nerves in patterns on a screen:
Would it have been worth while
If one, settling a pillow or throwing off a shawl,
And turning toward the window, should say:
“That is not it at all,
That is not what I meant, at all.”
. . . . .
No! I am not Prince Hamlet, nor was meant to be;
Am an attendant lord, one that will do
To swell a progress, start a scene or two,
Advise the prince; no doubt, an easy tool,
Deferential, glad to be of use,
Politic, cautious, and meticulous;
Full of high sentence, but a bit obtuse;
At times, indeed, almost ridiculous—
Almost, at times, the Fool.
I grow old … I grow old …
I shall wear the bottoms of my trousers rolled.
Shall I part my hair behind? Do I dare to eat a peach?
I shall wear white flannel trousers, and walk upon the beach.
I have heard the mermaids singing, each to each.
I do not think that they will sing to me.
I have seen them riding seaward on the waves
Combing the white hair of the waves blown back
When the wind blows the water white and black.
We have lingered in the chambers of the sea
By sea-girls wreathed with seaweed red and brown
Till human voices wake us, and we drown.
T.S. Eliot
(1888–1965). Prufrock and Other Observations. 1917.
Razors pain you;
Rivers are damp;
Acids stain you;
And drugs cause cramp.
Guns aren't lawful;
Nooses give;
Gas smells awful;
You might as well live.
By Dorthy Parker
1893-1967
The Love Song of J. Alfred Prufrock
S’io credesse che mia risposta fosse
A persona che mai tornasse al mondo,
Questa fiamma staria senza piu scosse.
Ma perciocche giammai di questo fondo
Non torno vivo alcun, s’i’odo il vero,
Senza tema d’infamia ti rispondo.
LET us go then, you and I,
When the evening is spread out against the sky
Like a patient etherised upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question …
Oh, do not ask, “What is it?”
Let us go and make our visit.
In the room the women come and go
Talking of Michelangelo.
The yellow fog that rubs its back upon the window-panes,
The yellow smoke that rubs its muzzle on the window-panes
Licked its tongue into the corners of the evening,
Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
Slipped by the terrace, made a sudden leap,
And seeing that it was a soft October night,
Curled once about the house, and fell asleep.
And indeed there will be time
For the yellow smoke that slides along the street,
Rubbing its back upon the window-panes;
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate;
Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.
In the room the women come and go
Talking of Michelangelo.
And indeed there will be time
To wonder, “Do I dare?” and, “Do I dare?”
Time to turn back and descend the stair,
With a bald spot in the middle of my hair—
[They will say: “How his hair is growing thin!”]
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin—
[They will say: “But how his arms and legs are thin!”]
Do I dare 45
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute will reverse.
For I have known them all already, known them all:—
Have known the evenings, mornings, afternoons,
I have measured out my life with coffee spoons;
I know the voices dying with a dying fall
Beneath the music from a farther room.
So how should I presume?
And I have known the eyes already, known them all—
The eyes that fix you in a formulated phrase,
And when I am formulated, sprawling on a pin,
When I am pinned and wriggling on the wall,
Then how should I begin
To spit out all the butt-ends of my days and ways?
And how should I presume?
And I have known the arms already, known them all—
Arms that are braceleted and white and bare
[But in the lamplight, downed with light brown hair!]
It is perfume from a dress 65
That makes me so digress?
Arms that lie along a table, or wrap about a shawl.
And should I then presume?
And how should I begin?
. . . . .
Shall I say, I have gone at dusk through narrow streets
And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows?…
I should have been a pair of ragged claws
Scuttling across the floors of silent seas.
. . . . .
And the afternoon, the evening, sleeps so peacefully!
Smoothed by long fingers,
Asleep … tired … or it malingers,
Stretched on the floor, here beside you and me.
Should I, after tea and cakes and ices,
Have the strength to force the moment to its crisis?
But though I have wept and fasted, wept and prayed,
Though I have seen my head [grown slightly bald] brought in upon a platter,
I am no prophet—and here’s no great matter;
I have seen the moment of my greatness flicker,
And I have seen the eternal Footman hold my coat, and snicker,
And in short, I was afraid.
And would it have been worth it, after all,
After the cups, the marmalade, the tea,
Among the porcelain, among some talk of you and me,
Would it have been worth while,
To have bitten off the matter with a smile,
To have squeezed the universe into a ball
To roll it toward some overwhelming question,
To say: “I am Lazarus, come from the dead,
Come back to tell you all, I shall tell you all”—
If one, settling a pillow by her head,
Should say: “That is not what I meant at all.
That is not it, at all.”
And would it have been worth it, after all,
Would it have been worth while,
After the sunsets and the dooryards and the sprinkled streets,
After the novels, after the teacups, after the skirts that trail along the floor—
And this, and so much more?—
It is impossible to say just what I mean!
But as if a magic lantern threw the nerves in patterns on a screen:
Would it have been worth while
If one, settling a pillow or throwing off a shawl,
And turning toward the window, should say:
“That is not it at all,
That is not what I meant, at all.”
. . . . .
No! I am not Prince Hamlet, nor was meant to be;
Am an attendant lord, one that will do
To swell a progress, start a scene or two,
Advise the prince; no doubt, an easy tool,
Deferential, glad to be of use,
Politic, cautious, and meticulous;
Full of high sentence, but a bit obtuse;
At times, indeed, almost ridiculous—
Almost, at times, the Fool.
I grow old … I grow old …
I shall wear the bottoms of my trousers rolled.
Shall I part my hair behind? Do I dare to eat a peach?
I shall wear white flannel trousers, and walk upon the beach.
I have heard the mermaids singing, each to each.
I do not think that they will sing to me.
I have seen them riding seaward on the waves
Combing the white hair of the waves blown back
When the wind blows the water white and black.
We have lingered in the chambers of the sea
By sea-girls wreathed with seaweed red and brown
Till human voices wake us, and we drown.
T.S. Eliot
(1888–1965). Prufrock and Other Observations. 1917.
Tuesday, February 24, 2009
Red Crow Interview with Suzanna Scott
Name: Suzanna Scott
Occupation: Artist
Location: Manhattan, Kansas
How did you first become interested in making assemblage & collage work?
Looking back I've always appreciated art that involved a mixture of mediums but I would have to say there are 2 events that stand out to me as a turning point or shift in my own work. The first was an exhibit in early 2003 of collage work by the architect Bernard Hoesli (1923-1984). I had the privilege of installing this show because I was working for a gallery that featured a traveling exhibition of his work. At the time I was working primarily in stone but I was really drawn to collage in an irresistible way after experiencing Hoesli's work. The second event was moving south to Mobile, Alabama in August 2003. My first job in Mobile was working as an artist for the "Mirth Company", a company that built floats for Mardi Gras parades. By the time my nine month stint at this company ended my personal work had completely begun its evolution towards the assemblage and collage work that I create today.
How long have you been doing this?
I've been working as an artist since 1997 but my current business, "Sushipot" began in 2006.
What are your artistic influences?
Even though it sounds kind of cheesy I must admit that everything or anyone around me influences me artistically. It can be something on the evening news, an object I find while taking a walk, an off-the-cuff comment by my hairdresser or an image in a magazine.
What have you used/learned from another artist lately?
"Work hard, play hard."
What are you trying to communicate with your art?
I tend to infuse timeless archetypes with new meanings and juxtapose a mix of old & new, East & West, youth & age and last but not least humor & irony. The result is a quirky mix that viewers tend to either love or hate.
Where do you find all your wonderful bits & treasures?
Everywhere and usually where least expected! I shop at antique stores, thrift shops, estate sales, yard sales and junk yards. When I'm out "treasure hunting" (as my daughter has coined it) I don't look, I dig. The best finds are buried in boxes under the tables, out of the way.
Do you search for specific items before you create your artwork, or does the art emerge from more random discovery?
Working with found objects; it's definitely more of a random "give and take" discovery. Many processes that I employ were initially the product of a "happy mistake".
We have two pieces from your ‘Dollhouse’ series here at the Gallery. The combination of the medical illustrations, the classic house shape & the doll arms is such an incongruous mix. Is there a specific story or reasoning behind this assemblage of archetypes?
As a child I remember drawing repetitively the image of a house. Each house would be very tall with a "grid" of rooms in which I would spend hours filling in each room with different domestic activities. Soon after the birth of my daughter, I began collecting little wooden house forms abandoned at thrift shops and yard sales. One day I decided to attach some arms to one of these forms and didn't stop till all my adopted homes had appendages. The earliest doll houses were adorned with old buttons but after a while I was struck with a "what if" and replaced the buttons with the image of a heart. The odd and somewhat grotesque juxtaposition of old anatomical imagery has been fascinating to me and to my collectors. I've created almost 300 pieces in this series.
I would just like to say that your pieces in person are even more lovely than in photographs, carefully done, and they ‘feel nice’ to hold. I notice that much of your work can be placed in the palm of one’s hand. Do you do any LARGE work?
Yes. I used to only create large scale and pedestal size sculpture. In fact the largest sculpture I've created stands almost 7 feet high! When I began selling work on Etsy I started creating small scale, intimate "art objects" that are a bit easier to ship around the world!
Have you ever made anything that you just couldn’t part with?
No. Although we do have a rule in our home--my husband Patrick and daughter Elizabeth can veto the sale of anything I create and it becomes part of our personal collection. We have kept the first pair from the "doll house" series and at least one piece from every other series of recent work.
What inspires you?
My inspiration comes from all things old, chipped, cracked, worn, dusty, used, found, buried, designed, loved, pieced, intricate, aged and transfigured.
And our completely RANDOM question to end it all: In honor of our upcoming poetry readings what is your favorite poem of all time?
I loved this poem as a child and have a renewed love for it after recently reading it to my daughter.
My Shadow
By Robert Louis Stevenson, (1850–1894)
I have a little shadow that goes in and out with me,
And what can be the use of him is more than I can see.
He is very, very like me from the heels up to the head;
And I see him jump before me, when I jump into my bed.
The funniest thing about him is the way he likes to grow—
Not at all like proper children, which is always very slow;
For he sometimes shoots up taller like an India-rubber ball,
And he sometimes gets so little that there’s none of him at all.
He hasn’t got a notion of how children ought to play,
And can only make a fool of me in every sort of way.
He stays so close beside me, he’s a coward you can see;
I’d think shame to stick to nursie as that shadow sticks to me!
One morning, very early, before the sun was up,
I rose and found the shining dew on every buttercup;
But my lazy little shadow, like an arrant sleepy-head,
Had stayed at home behind me and was fast asleep in bed.
Occupation: Artist
Location: Manhattan, Kansas
How did you first become interested in making assemblage & collage work?
Looking back I've always appreciated art that involved a mixture of mediums but I would have to say there are 2 events that stand out to me as a turning point or shift in my own work. The first was an exhibit in early 2003 of collage work by the architect Bernard Hoesli (1923-1984). I had the privilege of installing this show because I was working for a gallery that featured a traveling exhibition of his work. At the time I was working primarily in stone but I was really drawn to collage in an irresistible way after experiencing Hoesli's work. The second event was moving south to Mobile, Alabama in August 2003. My first job in Mobile was working as an artist for the "Mirth Company", a company that built floats for Mardi Gras parades. By the time my nine month stint at this company ended my personal work had completely begun its evolution towards the assemblage and collage work that I create today.
How long have you been doing this?
I've been working as an artist since 1997 but my current business, "Sushipot" began in 2006.
What are your artistic influences?
Even though it sounds kind of cheesy I must admit that everything or anyone around me influences me artistically. It can be something on the evening news, an object I find while taking a walk, an off-the-cuff comment by my hairdresser or an image in a magazine.
What have you used/learned from another artist lately?
"Work hard, play hard."
What are you trying to communicate with your art?
I tend to infuse timeless archetypes with new meanings and juxtapose a mix of old & new, East & West, youth & age and last but not least humor & irony. The result is a quirky mix that viewers tend to either love or hate.
Where do you find all your wonderful bits & treasures?
Everywhere and usually where least expected! I shop at antique stores, thrift shops, estate sales, yard sales and junk yards. When I'm out "treasure hunting" (as my daughter has coined it) I don't look, I dig. The best finds are buried in boxes under the tables, out of the way.
Do you search for specific items before you create your artwork, or does the art emerge from more random discovery?
Working with found objects; it's definitely more of a random "give and take" discovery. Many processes that I employ were initially the product of a "happy mistake".
We have two pieces from your ‘Dollhouse’ series here at the Gallery. The combination of the medical illustrations, the classic house shape & the doll arms is such an incongruous mix. Is there a specific story or reasoning behind this assemblage of archetypes?
As a child I remember drawing repetitively the image of a house. Each house would be very tall with a "grid" of rooms in which I would spend hours filling in each room with different domestic activities. Soon after the birth of my daughter, I began collecting little wooden house forms abandoned at thrift shops and yard sales. One day I decided to attach some arms to one of these forms and didn't stop till all my adopted homes had appendages. The earliest doll houses were adorned with old buttons but after a while I was struck with a "what if" and replaced the buttons with the image of a heart. The odd and somewhat grotesque juxtaposition of old anatomical imagery has been fascinating to me and to my collectors. I've created almost 300 pieces in this series.
I would just like to say that your pieces in person are even more lovely than in photographs, carefully done, and they ‘feel nice’ to hold. I notice that much of your work can be placed in the palm of one’s hand. Do you do any LARGE work?
Yes. I used to only create large scale and pedestal size sculpture. In fact the largest sculpture I've created stands almost 7 feet high! When I began selling work on Etsy I started creating small scale, intimate "art objects" that are a bit easier to ship around the world!
Have you ever made anything that you just couldn’t part with?
No. Although we do have a rule in our home--my husband Patrick and daughter Elizabeth can veto the sale of anything I create and it becomes part of our personal collection. We have kept the first pair from the "doll house" series and at least one piece from every other series of recent work.
What inspires you?
My inspiration comes from all things old, chipped, cracked, worn, dusty, used, found, buried, designed, loved, pieced, intricate, aged and transfigured.
And our completely RANDOM question to end it all: In honor of our upcoming poetry readings what is your favorite poem of all time?
I loved this poem as a child and have a renewed love for it after recently reading it to my daughter.
My Shadow
By Robert Louis Stevenson, (1850–1894)
I have a little shadow that goes in and out with me,
And what can be the use of him is more than I can see.
He is very, very like me from the heels up to the head;
And I see him jump before me, when I jump into my bed.
The funniest thing about him is the way he likes to grow—
Not at all like proper children, which is always very slow;
For he sometimes shoots up taller like an India-rubber ball,
And he sometimes gets so little that there’s none of him at all.
He hasn’t got a notion of how children ought to play,
And can only make a fool of me in every sort of way.
He stays so close beside me, he’s a coward you can see;
I’d think shame to stick to nursie as that shadow sticks to me!
One morning, very early, before the sun was up,
I rose and found the shining dew on every buttercup;
But my lazy little shadow, like an arrant sleepy-head,
Had stayed at home behind me and was fast asleep in bed.
Tuesday, February 17, 2009
Thanks!
Just a note to thank everyone for coming out on Valentine's Day. It was a great opening and the response to the art work was wonderful. The show will be up for the next 4 weeks and for those of you who were snowed in, please drop by during our regular gallery hours (11-6 and 12-4 on Sundays)
Thursday, February 12, 2009
Last Minute Preparations
We've been getting new art in all week...two gorgeous photographs from Sharon Montrose, some new Jennifer Phillips oils, and some lovely little Gouache paintings by Lissa Herschleb. We're almost ready for the big event on Saturday, and the buzz around town is that it will be a packed gallery....so come early if you really want that chocolate and champagne. If you can't make it for some reason and see something here on the blog that interests you, please call Ingrid at 530.272.4154 for more information.
Friday, February 6, 2009
LOVE is in the AIR
This show will contain works from: Jennifer Phillips, Jen Garrido, Laura Ball, Lena Wolff, Sharon Montrose, Lucrecia Troncoso, Hollie Chastain, Pamela Klaffke, Linda Galusha, Double Parlour, Ingrid Blixt, Arleigh Wood, and many MORE
For the Birds
We are gearing up for our next show and it's going to be a good one. We've got quite a few new artists participating and along with Julie's collection of talent we promise something for everyone. It's been a busy month of searching and working. We are hoping that even with the nutty economic climate, people will still support the things they love. I can't tell you how many people have come into the Gallery lately, so excited to see something new and inspiring in downtown Grass Valley and we appreciate all the wonderful feedback.
Please make a note that we've got several new links on our Artist sidebar. You can link to them directly on your right. Let us know who you like and who you'd like to see more of. The show 'For the Birds' will be up from February 14th through March 14th. Click on flier above for full view. And I'm still working on more interview questions, so stay posted for that as well.
Thursday, January 22, 2009
Save the DATE
Just a heads up that the RED CROW anthologies will be teaming up with Julie Baker Fine Art for a Valentine's Day event. LOVE is in the Air...from 4-7 PM at 122 Mill Street in downtown Grass Valley. Art. Chocolate. Champagne. Jewelry. Mark your calendars...it's Date Night.
Tuesday, January 20, 2009
Thursday, January 15, 2009
Tonight!
Don't forget ... tonight we are having our Winter Landscape opening. Wine & Friends. The weather is supposed to be wonderful. Meet with photographer Gabe Cano and painter Linda Galusha. 122 Mill Street Downtown Grass Valley. 6-9 PM.
Monday, January 12, 2009
Red Crow Interview with Linda Galusha
Name: Linda Galusha
Occupation: Artist
Location: Davis, CA
How did you first become interested in making Art?
I have memories of making things from about the age of six or seven. I have memories from then on of varied experiences of being considered 'gifted'. There were teachers in grade school who would take me aside and have me do the sample piece for the class art project. I could draw very well at a very early age and seemed to have a natural sense of space, I did not have the language to know of what I was doing until I attended classes in Form and Composition in Junior College. Then of course creating things only got more complex and seductive. I guess it could be said that within my earliest memory to now, that I have always been attempting to respond as best as I could to those 'how and what if' questions that come to me. So the answer for me is a stroll through my memories, always.
What are your artistic influences?
My artistic influences have varied over the years and are in continuous review. I pull them up when needed for whatever project I'm working on. Lately that is what I have been doing, pulling up my past ways of doing things and layering with my present visual concerns (which seem to be in a rapid state of flux lately). So anything that communicates the mystery that inspires a question, that holds me long after the encounter is probably an automatic an integrated influence. Influences are ongoing.
What have you used/learned from another artist lately?
About 4 or 5 months ago I had one of the most complete 'art' experiences that I can say that I have had in a long time. A friend of mine and I attended the Louise Nevelson show at SFMOMA. I am still feeling the awe of the presence that her installations held for me. I am still processing that experience in seeing how essential editing is and how simplicity and complexity can occupy the same place.
What are you trying to communicate with your art?
The truth of simplicity and complexity, the truth of the parts of a finished piece as well as the whole, the truth of the story within the piece, the truth of the process to reveal the piece, the truth that the one who witnesses the piece receives within themselves.
Many of your paintings are done on old fence boards or dismantled buildings pieces. How did this come about?
I have been intrigued, probably forever, with what happens when the context is changed for a thing, or a person or what ever and how it can be almost not recognized. I also am drawn to things that can 'wear their history' in such a way as to almost retrieve their original form. Painting or drawing trees on these antique boards is a way to comment on this cycle that I see.
Quite a few visitors have commented on how much they like the Old Wood Old Wood series. I enjoy the simple composition and repetition both in the artwork and the title. Would you tell us the story behind these two antique panels?
Those two panels actually are my most recent pieces in drawing on the old boards. The panels themselves came from an old building in Winters, CA that was converted to an art gallery (Briggs and Company) where I also show. I have been working on this paneled surface for about a year now, drawing mostly crow imagery with graphite sticks. I had one of those 'what if' moments to see just how detailed of a drawing these boards could support. Trees keep it simple for me because of the cycle that is represented with the discarded boards. And old trees on old boards, they practically draw themselves.
Trees and Branches are found in most of the work we have here at the shop. Do they symbolize something for you or do you just enjoy drawing them?
I just enjoy drawing them. They are some of the first images that I made as a small child. I have learned and continue to learn a lot about drawing from trees.
You are known in the central valley for your mural work, what have you learned from large-scale painting that you apply to smaller works?
I have learned that size is an illusion revealed by the viewer's perspective relative to space. Scale and/or size are elements or tools in the composition of a 5 story mural as they are in a 5x5 oil painting. An artist has to know his tools fully to create comprehensively.
You describe yourself as a mixed-media artist. What are your favorite mediums?
It seems lately that my favorite mediums are the ones I can mix. Graphite, acrylics, colored pencils, conte, water colors, gosh it goes on and on, but the other part of it is the surfaces that the mediums can be applied to or challenged to that need to be accounted for. It is the phenomena of resistance in making a mark that has me intrigued.
What inspires you most of all?
That all my challenges are opportunities to do my best. I'm doing my best to keep this in mind everyday and be grateful that I recognize it. And also all the old fairy tales that I read as a child.
In 5 words or less, tell us what wee can expect from you in the future.
More questing than answers.
And our completely RANDOM question to end it all: In honor of our upcoming poetry readings what is your favorite poem of all time?
I don't currently have a favorite poem but came across a small quote by a favorite artist of mine, Marcel Duchamp. " I have bee forced to contradict myself in order to avoid conforming to my own taste."
Occupation: Artist
Location: Davis, CA
How did you first become interested in making Art?
I have memories of making things from about the age of six or seven. I have memories from then on of varied experiences of being considered 'gifted'. There were teachers in grade school who would take me aside and have me do the sample piece for the class art project. I could draw very well at a very early age and seemed to have a natural sense of space, I did not have the language to know of what I was doing until I attended classes in Form and Composition in Junior College. Then of course creating things only got more complex and seductive. I guess it could be said that within my earliest memory to now, that I have always been attempting to respond as best as I could to those 'how and what if' questions that come to me. So the answer for me is a stroll through my memories, always.
What are your artistic influences?
My artistic influences have varied over the years and are in continuous review. I pull them up when needed for whatever project I'm working on. Lately that is what I have been doing, pulling up my past ways of doing things and layering with my present visual concerns (which seem to be in a rapid state of flux lately). So anything that communicates the mystery that inspires a question, that holds me long after the encounter is probably an automatic an integrated influence. Influences are ongoing.
What have you used/learned from another artist lately?
About 4 or 5 months ago I had one of the most complete 'art' experiences that I can say that I have had in a long time. A friend of mine and I attended the Louise Nevelson show at SFMOMA. I am still feeling the awe of the presence that her installations held for me. I am still processing that experience in seeing how essential editing is and how simplicity and complexity can occupy the same place.
What are you trying to communicate with your art?
The truth of simplicity and complexity, the truth of the parts of a finished piece as well as the whole, the truth of the story within the piece, the truth of the process to reveal the piece, the truth that the one who witnesses the piece receives within themselves.
Many of your paintings are done on old fence boards or dismantled buildings pieces. How did this come about?
I have been intrigued, probably forever, with what happens when the context is changed for a thing, or a person or what ever and how it can be almost not recognized. I also am drawn to things that can 'wear their history' in such a way as to almost retrieve their original form. Painting or drawing trees on these antique boards is a way to comment on this cycle that I see.
Quite a few visitors have commented on how much they like the Old Wood Old Wood series. I enjoy the simple composition and repetition both in the artwork and the title. Would you tell us the story behind these two antique panels?
Those two panels actually are my most recent pieces in drawing on the old boards. The panels themselves came from an old building in Winters, CA that was converted to an art gallery (Briggs and Company) where I also show. I have been working on this paneled surface for about a year now, drawing mostly crow imagery with graphite sticks. I had one of those 'what if' moments to see just how detailed of a drawing these boards could support. Trees keep it simple for me because of the cycle that is represented with the discarded boards. And old trees on old boards, they practically draw themselves.
Trees and Branches are found in most of the work we have here at the shop. Do they symbolize something for you or do you just enjoy drawing them?
I just enjoy drawing them. They are some of the first images that I made as a small child. I have learned and continue to learn a lot about drawing from trees.
You are known in the central valley for your mural work, what have you learned from large-scale painting that you apply to smaller works?
I have learned that size is an illusion revealed by the viewer's perspective relative to space. Scale and/or size are elements or tools in the composition of a 5 story mural as they are in a 5x5 oil painting. An artist has to know his tools fully to create comprehensively.
You describe yourself as a mixed-media artist. What are your favorite mediums?
It seems lately that my favorite mediums are the ones I can mix. Graphite, acrylics, colored pencils, conte, water colors, gosh it goes on and on, but the other part of it is the surfaces that the mediums can be applied to or challenged to that need to be accounted for. It is the phenomena of resistance in making a mark that has me intrigued.
What inspires you most of all?
That all my challenges are opportunities to do my best. I'm doing my best to keep this in mind everyday and be grateful that I recognize it. And also all the old fairy tales that I read as a child.
In 5 words or less, tell us what wee can expect from you in the future.
More questing than answers.
And our completely RANDOM question to end it all: In honor of our upcoming poetry readings what is your favorite poem of all time?
I don't currently have a favorite poem but came across a small quote by a favorite artist of mine, Marcel Duchamp. " I have bee forced to contradict myself in order to avoid conforming to my own taste."
Sunday, January 4, 2009
Saturday, January 3, 2009
The Red Crow is on FACEBOOK
Welcome 2009 and welcome Facebook! Connect to the Gallery and become a Fan. We've got some great plans for the New Year. The poetry readings start this month and we're having an encore opening in two weeks. The Blog & Facebook page will also contain information on submissions, upcoming shows and events.
Here's to a healthy and prosperous twelve months.
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