Showing posts with label Sandy Pendleton. Show all posts
Showing posts with label Sandy Pendleton. Show all posts

Friday, August 8, 2014

Just Say “No” to Canvas!

By Judy Feldman | www.wildemeyer.com

Since I’m a fairly traditional artist, I paint on canvas or, sometimes, wood panel. But, I’ve discovered, after talking to other artists at the gallery, that it can be fun to paint on other surfaces.

That’s not such a new idea. Aside from really early paintings such as petroglyphs, traditional art was made on wood panels, before canvas came into use in the early 1400s. According to Wikipedia, panel painting remained more common until the 16th century in Italy and the 17th century in Northern Europe.

But, walls and wood panels are pretty ordinary surfaces. How about vintage windows; mixed media with glass and paint; sheet metal and ceramics? That’s what I saw looking at the Wilde Meyer website, so I decided to give those artists a call.

Melinda Curtin is done with canvas. She’s entranced with glass art. “Ever since I started painting on glass, I didn’t want to paint on anything else,” she said. Her favorite surface is old glass windows, which she finds at salvage yards. But, she says, “People hear about my work and bring me their old windows!”

Melinda enjoys the process of painting on smooth glass. She uses acrylic paints, often layering to get the desired effect. However, painting on glass can be challenging. Melinda says that it’s a reverse process, so she has to paint all the details first, and then the large spaces afterwards. If you look at “Casa Blanca,” you can see that the house, cacti, mountains and clouds are all outlined in black, and the big shapes are mostly flat paint. Sometimes Melinda leaves a little space between the outline and bigger shape to let a little of the transparent glass show through. She’s also designed a frame of gold leaf on the glass, which fits inside the window pane.

“El Parajo” also has its own painted border. This painting, too, has a folk art aspect to it. Melinda told me that in Europe, painting on glass was generally folk art, so she also chooses themes in this tradition.

Aside from loving the process of painting on glass, Melinda says that this support medium gives her images a very luminous effect. And, the vintage windows are a great conversation piece: just look at “The Farm.” A great way to recycle!

Josiane Childers enjoys painting on smooth surfaces, too. She’s chosen thin sheets of steel, as well as plexiglass to support her beautiful abstract paintings. She works with her husband Justin, who prepares the surfaces, grinding parts of the steel and plexiglass to create texture. He also creates the frames on which the steel pieces are attached.

When she paints on plexiglass, Josiane works on the frosted side, but presents the painting on the smooth side. She encounters the same challenges as Melinda, since she, too, is painting in reverse.

You can see the ground textures in Josiane’s dreamy landscape entitled “Captivate.” They take the paint pigment differently, and since they are darker, they appear to be behind the other images. She’s also created a beautiful reflection of the vertical tree shapes with softer strokes and tones. “I find it exciting to paint on other surfaces,” she said. “It makes my work look more diverse.”

Thin steel gives Josiane another option to present her art. The two pieces of her vertical diptych entitled “Invoke” are uniquely shaped and curved, welded to a flat frame. Again, the textures on the steel show through, offering spontaneous shapes, grabbing color in a different way than the smoother areas. Josiane paints intuitively, using bright colors, and these surfaces seem to work so well for her.

She hasn’t abandoned canvas, but when she does paint on that surface, she textures it as well, using molding paste and then, thick paint. “Materialize” is an example of her mixed media technique.

Nancy Pendleton and her sister, Sandy are both artists. Nancy is a painter and Sandy works in glass. Often, they combine their talents to create mixed media pieces on wood panel. Although that surface is traditional, their collaborative work is not. Nancy paints an abstract ground for Sandy’s glass centerpiece. “We’ve worked out a technique,” said Nancy. “I often use a centerpiece in my art, and Sandy came up with glass pieces that work well in my paintings. You can see examples of this sibling partnership in “What You See Is What It Is #2 and “Oasis.”

Kathryn Blackmun was a graphic designer and illustrator living in Los Angeles. When she moved to Santa Fe, she decided to study ceramics. Now, her whimsical images of dogs, cats, cowboys and cacti are painted on greenware plates.

Kathryn’s challenges are different from those of Melinda’s. She doesn’t paint in reverse, but since she works on gray-colored clay, she can’t see colors accurately when she creates her images with underglaze paint. “The greenware has to be fired for seven hours, and cooled for several hours before I can tell if the colors are what I wanted,” she said. “It’s definitely unpredictable!”

This labor-intensive process ends with a coat of clear glaze, and another firing and cooling. To look at a happy piece such as “Dog Trek,” you’ve never know it was so time-consuming! “Cowboy Palomino” is a good example of Kathryn’s folk art style, which is well-suited to this type of ceramics.

After I finished interviewing these artists, I went to a local thrift shop. Poking around, I found three wood frames with glass inserts. Guess what I’m going to try? But, I’m not abandoning canvas. I have too much inventory!

Friday, December 7, 2012

All In the Family


Desert Companions 10"x12"
by Roger Alderman
I’m still thinking about the possibility of an “art gene,” since I discovered that there are two sets of siblings who exhibit their work at Wilde Meyer.

Although their parents were not fine artists, Roger Alderman and Acacia Alder probably do have the art gene. According to Acacia, her family loved “making things” for their 100-year-old home, such as furniture and crafts, and they appreciated beautiful surroundings.

“Our house was always buzzing with a project,” she said. “Our parents felt that you should have a personal relationship with your environment, and a belief in yourself that you could make things. They felt that if you could put trust in your hand and your brain, and if your heart was in it, you could succeed at making something.”

Seen Its Better Day  9" x 12"
by Roger Alderman
Roger remembers visiting the Cleveland Museum of Art as a child, and being “knocked out” by what he saw. He later studied Industrial Design and Fine Art at The Ohio State University, Columbus, Ohio. He’s also studied studio art at the Pima Community College, the Tucson Museum of Art School, and The Drawing Studio, in Tucson, Arizona. Roger has developed his own unique painting style through years of painting and drawing, using bold colors and expressive palette knife work. He often paints outdoors, in the areas around his Tucson home.

“’Cloud Burst’ depicts the summer build up of clouds we get in the Tucson area during the monsoon season,” he says.
Cloud Burst 30"x40" oil on canvas
by Roger Alderman

“Desert Charmer” was inspired by a visit to the Saguaro National Monument during the spring, when the hillsides are carpeted with yellow flowered Brittlebush. 
Desert Charmer 31.75"x 37.5" oil on canvas
by Roger Alderman

Sundown by Roger Alderman
Acacia Alder also has a contemporary view of the landscape, but she prefers to paint in her studio. Although you can appreciate her love of the outdoors, her paintings are quite stylized.

Golden Light by Roger Alderman
For example, “Sundown” and “Golden Light” both depict the Aspen trees, yet Acacia paints their trunks, rather than the leafy tops, focusing on the unique bark of these trees. They’re outlined in red and black, which makes the trees “pop” against their background. In “Sanctuary at Purgatory Chasm,” the trees, rocks and mountains again have that outlined style, which gives the painting a modern, interesting look – and a little like stained glass. Acacia says she has been influenced by Van Gogh and Cezanne. I think you can see that in her work!
Sanctuary at Purgatory Canyon 60" x 40" acrylic on canvas
by Acacia Alder
The Pendleton sisters have a wonderful collaboration going that produces mixed media pieces in paint and glass. Sandy Pendleton says that her father was a carpenter and made a living with his craft. But it was her grandmother who loved art.
Amber Sunset 12" x 36" triptych
by Sandy Pendleton
glass panels

“She did china painting, greenware ceramics, quilting and made dolls,” Sandy said. “Whenever we’d visit her, she’d always have an art project for us to do.”

Celestial Geode 12" x 15" x 2" plus base
by Sandy Pendleton
Sandy liked to make things, but she followed her interest in math and science to have a career as a programmer and project manager with IBM. When she retired, she started working with glass. “I think I like this medium because it requires some technical knowledge, in terms of chemistry and temperature control. And, it’s so much fun to experiment!” “Celestial Geode” looks like it took quite a bit of experimenting to achieve this interesting piece. “Amber Sunset Bowl” almost looks like ceramics, but it has the beautiful iridescence of glass


Nancy Pendleton, Sandy’s sister, has always loved art, drawing as a child, and, later on, obtained a BFA in graphic design. While she was working as an illustrator, she also pursued her interest in fine art, first in figurative images, and now in an abstract style. She loves mixed media, and started using handmade paper, with acrylics and natural objects. Her painting entitled “Studio Recycles Red” is a good example of her skill with different materials.
Sweet Spot 15"x10"
by Nancy Pendleton and Sandy Pendleton


Studio Recycles Red 14" x 18"
by Nancy Pendleton
When her sister became proficient in making art glass, the two decided to work together.

“We’ve worked out a technique,” said Nancy. “I often use a centerpiece in my art, and Sandy came up with glass pieces that work well in my paintings.” You can see examples of this sibling collaboration in “Bursting” and “What You See Is What It Is,” as well as some charming dog paintings such as “Sweet Spot” and “Flirting with Fido.”
 
Bursting 60"x48"
by Nancy Pendleton and Sandy Pendelton


What You See Is What It Is 24"x24"
by Nancy Pendleton and Sandy Pendleton

So, maybe there is an art gene! And, as Acacia said, it can just be that love of making things that’s passed on from one generation to another. What a gift!

Play with Me  15"x10"
by Nancy Pendleton

Monday, April 9, 2012

Transparent Art

Totem 6 by Tom Philabaum
The year 2012 marks the 50th anniversary of the development of studio art glass in America. To celebrate this milestone and recognize the many talented glass artists, many glass demonstrations, lectures and exhibitions will take place in museums, galleries, art centers, universities, organizations, festivals and other venues across the United States throughout 2012.

Here’s a brief history of the glass art movement, taken from a post from the Milwaukee Art Museum. “Fifty years ago, in 1962, Wisconsin artist Harvey Littleton and glass scientist Dominick Labino introduced glass as a medium for artistic expression in two workshops at the Toledo Museum of Art in Ohio. Littleton and Labino developed small furnaces and a glass formula with a low melting point, making it possible for individual artists to work with glass outside of an industrial setting. In 1963 Littleton taught the first glass-blowing class in an American college at the University of Wisconsin–Madison.

“This combination of events kick-started the American Studio Glass movement and introduced a generation of trained artists to glass as a medium for individual, creative expression. In other words, glass moved out of the factory and into artists’ studios.”

In Scottsdale, glass artistry by some of Arizona’s finest artists will be featured during the “Glass Act” art walk on Thursday, April 12, from 7-9pm.

At Wilde Meyer’s Colores Gallery, four glass artists will be featured: Tom Philabaum, Sandy Pendelton, Dave Klein and Sue Goldsand

Tom Philabaum is a veteran accomplished glass artist. He built his first glassblowing studio in 1975 in downtown Tucson, and opened a gallery in 1982. Since that time, the Philabaum Glass Gallery has been showing artists from across the country. Tom continues to spearhead the studio of blown glass, and the more current sculptural and site specific art, using a broad array of techniques, including kiln casting, fusing, slumping, and dalle de verre.

 At Wilde Meyer, you can see pieces from his Precarious Rock Series. Some have scavo surfaces, a difficult Venetian glass-blowing technique that results in giving a blown glass object the appearance of an artifact dug-up after centuries. (Scavo means unearthed in Italian.) Others in the series celebrate bright color combinations. The precarious notion comes from the fact that the “rocks” are faceted and laminated in seemingly gravity-defying positions.
Three Heads are Better than Two by Tom Philabaum


Colores also shows paperweights, vessels and disk sculptures made by Tom, such as Teal Egg, Rock Bowl and Large Jade Disk.
Teal Egg
by Tom Philabaum
Jade Disk
by Tom Philabaum
Rock Bowl
by Tom Philabaum

I think that glass artists and collectors are all interested in the effects of different lighting on glass. These changes give glass art life and make it different from two-dimensional work. Sandy Pendleton’s glass pieces have an iridescent quality to them and many textured surfaces that allow light to bounce around. Sandy notes that they change with the light over the course of a day and become more dramatic in the evening. I can see this happening with her “Violet Geology” Bowl and her “Sapphire River” piece.
Violet Geology by Sandy Pendleton

Feather Stone by Sandy Pendleton

After a lifetime of artistic work in other media, Sue Goldsand discovered fused glass and knew she had found her passion. She likes this medium because it allows her to use strong colors and bold designs to depict her charming animal figures.

Each piece has its own personality. “Teets”, her colorful bird, “Blue Standing Dog” and “Cool Green Cat” are examples of her work.

Fused glass cat art by Sue Goldsand
Cool Green Cat by Sue Goldsand

Sue Goldsand, fused glass
Blue Standing Dog by Sue Goldsand
Dave Klein started blowing glass in Prescott with Michael Joplin in 1980. He enjoys the constant challenge of combining techniques to produce unique works. Dave is the director and co-founder of the Sonoran Glass Art Academy. His statement about glass art conveys the excitement of this 50-year-old art form: “It is the dawn of the ‘Glass Age’, glass technology is racing as never before, new techniques, materials and discoveries are literally exploding in the industry. Glass artists can now take advantage of many new materials and techniques to push the industrial and artistic envelope.”
At Wilde Meyer, Dave glass bowls and display plates are beautiful examples of his proficiency in this medium.

Yellow Bowl with Red Threads by Dave Klein


Waterborn #3 by Dave Klein


Rednot by Dave Klein


Tuesday, July 5, 2011

An Arizona Journey

I Love the Rain 22"x32"
by Alix Stefan
Yes, Scottsdale sizzles in the summer. Yes, we think twice about going out in mid-day, and everyone is jockeying for that primo parking spot under that mesquite tree. But summer is also a great time here. The restaurants are less crowded and offer many specials. The hotels offer great deals for both out-of-towners and locals who want to take a quick drive to a gorgeous resort to chill out around a beautiful pool.

And, speaking of “chill,” this coming week’s Summer Spectacular Artwork is sponsored in part by China Mist Iced Teas! The July art walk is always a very cool event – if not literally, at least in the “great scene” sense.
After the Rain is Over  23.75" x 23.75"
by Alix Stefan
This is actually the 22nd annual event, and Wilde Meyer will be participating with the other galleries on Marshall Way and Main Street. The Wilde Meyer show is called “Arizona Journey,” and it showcases diverse art by its local artists.

Alix Stefan’s landscapes bring our Sonoran desert alive with bright colors. In her painting entitled “After the Rain is Over,” she contrasts a stormy setting with bright red flowers in the foreground, and the red-tipped graceful ocotillo cactus.
"Uplifting Breeze"
by Nancy and Sandy Pendleton
oil on canvas 72" x 24"
Nancy and Sandy Pendleton are sisters. Their collaboration is a combination of abstract painting and textured fused glass. Nancy does the painting; Sandy does the fused glass.

In this work, entitled “Uplifting Breeze,” a fused glass panel hovers about one inch over Nancy’s brilliant red painting. It’s mixed media at its best!

Ka Fisher’s work depicts intimate scenes of Arizona, with a focus on our Native American culture. Her loose brushstrokes, slightly abstracted shapes and unique perspective create a distinctive, expressionistic style.
Sneak Preview oil on canvas 60" x 72"
by Ka Fisher
I really like her painting entitled “Sneak Preview,” depicting a “pop-up” rug show at an open air site, between a herd of sheep and the forest. It’s such a painterly way of showing an event many of us have seen in our travels around Northern Arizona.
"Looking West"
by Barbara Gurwitz
oil on canvas 40" x 50"

Wilde Meyer artists are known for their love of color, and Barbara Gurwitz is no exception. Her landscapes vibrate with bright colors, as you can see in this painting, “Looking West.”

Village Garden 60"x48"
by Barbara Gurwitz
Barbara pulls us into her paintings with a non-traditional view, often showing villages set in a valley surrounded by mountains. I think she has a charming, na├»ve style, but it’s not wimpy! Each painting makes a bold, exciting statement.

There will be many other local artists work on display (mine, too!) at WM, and of course other wonderful art in the neighborhood’s galleries. So, mark your calendar for July 7, from 7-9 p.m. and plan to wear your “coolest” clothes!