This month we featured three different exhibits, IMPart Ceramics and Bladesmithing exhibit, Pete McCutchen’s “Pattern+Texture,” and the November Open Exhibit. Lee Newman, the juror for our November Open, awarded a variety of Honorable Mentions from among our talented Art League Artists who applied to the November show. Below we asked our Honorable Mention winners more about their pieces and what they are working on next!
Wil Scott, Friends, digital photo.
“I was struck by the seeming connection between the dog and the two human figures. My approach to photography is eclectic. I usually have a camera with me and photograph people, buildings, nature, and any subject that attracts my eye. ‘It’s not what you look at; it’s what you see.’”
Héctor J. Torres , Holy Relics, Mixed Media
“The goal was to create an altar-like piece reminiscent of religious traditions of reliquary art, dating back centuries, with a modern touch, in fact a ‘fake.’ Most typically I am a painter, so I am working on a series of abstract expressionist canvases in oil, however am continuing to work you on some boxes, addressing inspiration from recent travels to the Athens, Venice and Istanbul.”
Bob Friedman, Waiting for the 7:53, photograph
“I was taken with the shadows of the lamp posts. The woman on the left and the man in the distance was a bonus. I just wander the streets looking for people doing things.”
Leslie Landerkin, 3 Chairs – Hallgrimskirkja Reykjavik, Iceland, photograph
“The photograph was taken in the Lutheran cathedral of the same name in Reykjavik, Iceland. The image of the three chairs on the altar captures the Scandinavian simplicity of the cathedral’s design while the sunlight streaming across evokes a spiritual quality…my next two projects are capturing foliage color amid the late fall brown leaves and finalizing black and white images of the Grand Canyon.”
Aletha Kuschan, Flowers and Things, acrylic painting on canvas, 44” x 40”
“The painting is essentially a large drawing-in-color made from a still life set up. What I sought from it was a very direct, linear, drawing-based approach to the still life objects in a motif which I arranged to have strong hints of landscape imagery — with a blue, sky-like background, a green lawn-like table setting and a vase of flowers with a large tree-like bough so that the two genres of still life and landscape might become somewhat blurred together. Next, I am working on a series of similarly scaled still life paintings of flowers, each with a strong leaning in a particular color direction (one being predominantly yellow, another violet, another jade green, etc.)”
Meryl Silver, Fire and Ice, photograph on canvas
“I wanted to capture the beach just as the sun was rising and highlighting parts of the beach. Since the icebergs are in motion the patterns made are constantly changing, making the experience both exciting and challenging. I’m currently working on images I took in October at Bryce and Zion National Parks”
Barbara Stepura, Last Days of Summer, oil on canvas
“As a plein air painter, I find that the experience of translating my view of nature to canvas captivates me and transports me to a place of peace, contentment and oneness with nature that is a marvel to savor. Presently, I am working on a series of plein air paintings of Southern Maryland landscapes.”
Maureen Rabinovitz, Still Life with Rocks, Paper Bag, Scissors, watercolor=
“My goal with this piece, as with most of my paintings, was to use shape, pattern, and especially color to create a harmony on paper. I set up this still life after spending the morning in Deborah Ellis’ Art League watercolor class trying and failing to paint rocks in a landscape. Painting rocks in a shallow bowl came so much easier. I am currently working on trying to paint larger works, usually still lifes but also figures/interiors with still life elements.”
Lynn Mehta, At Our Crossroads, oil
“I was painting on location, trying to capture this moment in time while trucks were passing through the intersection and shadows were quickly moving. I’m now beginning on a series of studio pieces that capture a transitional point in time.”
Sarah Strickler, Bent, photography
“To convey the stark beauty and environment of the Province Lands near the tip of Cape Cod. This area is part of the Cape Cod National Seashore. [Next I’ll be working on] highlighting both the built and natural landscape, how they are often inexorably interconnected.”
Stephanie Chang, Unbowed, Charcoal on paper
“In this drawing, I wanted to capture Olivia’s beauty and strength. Although Olivia’s outward appearance is elegant and refined, her inner world is free and unconquered. I chose to use charcoal for this drawing. Charcoal allowed me to present Olivia’s face as surfacing through the paper, unbowed. Currently, I am finishing a few commission paintings and drawings. I am also planning to paint a portrait of my great great grandfather, who was a general from the Ching Dynasty.”
Barbara Kreling, Intersection, Acrylic with crayon on canvas
“With art training and traditional practice of more than 20 years, I’ve stepped out in the air and now work intuitively to create visual experience using layers of acrylic paint and other media such as crayon and ink. This painting was focused on the intersection of colors through composition. [Currently,] I’m working on several pieces at once beginning with specific colors and working with layers of paint and composition to create a meaningful visual experience.”
Susan L. Sanders, Seraphim, black and white photo printed on metal.
“My goal [with this piece is] to show the beauty of this stoneware sculpture by the Japanese artist, Fujikasa Satoko, which is in the Walters Gallery of Art in Baltimore. I am currently working on a series at MOMA of iconic art works and visitors to the museum.”
M. Alexander Gray, Hardware River Aqueduct III, engraving
“My goal was this piece was to create a more advanced version of an earlier piece, “Hardware River Aqueduct.” The earlier piece was also an engraving and was only the second engraving I completed, and as such did not have a high level of sophistication; leading me to revisit the same subject with the aim of capturing more of the detail and atmosphere of this compelling structure. I am working on several other pieces right now: other local landscapes and scenes that have the same evocative quality that the Hardware Aqueduct holds for me.”
You can see all of these pieces, as well as IMPart and Pete McCutchen’s “Pattern+Texture” exhibit through December 2 in The Art League Gallery!