2001 International Juried Art Exhibit
Susan Ashbrook Back to Exhibit Intro
are inspired by intimate moments and memories, and I attempt to re-create
that which aroused my spirit at that special instant in time.
you to contemplate my work and see if it arouses any special memories
and intimate moments at some special time in your life.
in Penobscot Bay, with the anchor set for the night, the crew and passengers
gathered around the warmth of the light from this lantern to recount tales
and enjoy the peaceful night air. Night Light revisits the memories
of that evening.
D.F. Baker Back to Exhibit Intro
I developed my appreciation for Nature during summers in the Adirondack Mountains when I was growing up. Spending time outdoors has always been a passion of mine. With camera in hand I can preserve and share this enjoyment.
The Thousand Islands section of the St. Lawrence River, where I now reside, offers unlimited photo opportunities. I particularly enjoy taking pictures from canoe or kayak so as not to disturb the wildlife.
My work is currently on display at the Islander Boutique and the Clayton Harbour Wine and Gift Shop in Clayton, at the Breakwater Gallery in Cape Vincent, The Arts Association Gallery in Sackets Harbor, The Adirondack Craft Center, Lake Placid, the Silver Dragonfly Gallery in Plattsburgh, and The Artifice Gallery in Syracuse.
In the fall
of 2000 one of my photos, Island Paradise, won first place in the
Clayton Chamber of Commerce photo contest and was published on the cover
of the April 2001 issue of Atlantic Coastal Kayaker Magazine.
I shot this piece when my sister and I were biking up a steep slope in the White Mountains in New Hampshire. When I stopped to take a shot of a huge misshapen White Pine, I was awestruck by the symmetrical arrangement of ferns encircling the trunk. I call this image Eye of the Beholder as everyone who views it sees something different.
Jane Ann Brooks Back to Exhibit Intro
body of work attempts to capture the intimate moments of everyday life
and to celebrate them. These vignettes portray a time and place where
we have all been. These quiet "sets" are ready for the next
players to enter. The common objectsempty chairs, rumpled pillows,
stacked crockery, pots of flowersare all props, waiting for the
next scene to begin. The absence of humans is intentionalto encourage
the audience too come in and be part of the show... Welcome!
John Elwood Cook Back to Exhibit Intro
The assemblage The Best Day I Have Known is a nostalgic piece combining real antique objects with elements of folk tradition. It is part of my North Country Song series where I have attempted to portray lost river days, lost time, and a sense of fading local history in both artwork and music. The fish carving derives from traditional fish decoy stylization and is set in a contemporary assemblage framework made from authentic earlier period antiques and antique fragments. The title derives from an included fragment and seems to say that if you had but one day to remember it should be a North Country day. This artwork was assembled in 2000 from parts of a work completed in 1998.
Thomas L. C. de Souza Back to Exhibit Intro
was inspired by two breeds of cows in adjacent fields separated by an
old wire fence. The cows are placed in a circle, some in the shade and
others in the sunlight doing what they do naturally. The stream and the
footpath are the form of an "S" leading the viewer's eye into
the painting thereby inviting them to explore the many interesting shapes,
forms, colours that occur along the way. The farm hands are shown doing
their chores around the house and barns that are a common sight all over
North America. I tried to depict a tranquil, peaceful, and endearing moment
in the everyday life on the farm. I hope that the viewer thinks that I
Margaret Dewar Back to Exhibit Intro
I love all kinds of art. I have found inspiration in styles ranging from Andy Warhol to Michelangelo to the Where's Waldo books. Art is a channel for me to express some of the crazy ideas floating around in my head. Most of the time I don't have a clear image of the final result when I start a project. Whatever enters my head hits the piece of paper.
Photosynthesis began as a drawing of a plant, and somehow little men in hard hats started running around in the foliage. Where did they come from? I like to express humor in my art, and I got a kick out of the idea of Paddington Bear with an orange umbrella. I like to produce art that people will enjoy, and maybe if I'm lucky, it will make them smile.
Carrie Fonda Back to Exhibit Intro
I have found much satisfaction in picking up my camera again after a number of years. I love the symbiotic relationship that often transpires in the process of photographing. An exchange develops in relating my vision and creating a mood. My subjects, in part, become my tools of expression, as even I can be theirs. There is an unfolding response and the feeding off of each other that evolves when working with people. Sometimes we go on a "journey" together. There are times when I see something in them I want for expression, whispering for and drawing out moreall part of that synergetic process.
Then there's the mystery of what I will discover in the darkroom. How will my camera have been true to my vision, or not? What gift might I come away with?
I transform during the process, whether in shooting or in printing. This is one framework in which I can lose myselffeeling creativity, frustration, excitement, despair, sensualitya gamut of experience that equals sustenance.
Dana Henry Back to Exhibit Intro
My collage series is titled Volant, which means "capable of flight" or "moving with wings outstretched." These intricate mixed-media collages focus on flight as it is found in the expected creatures of flight (birds, bats, etc.) and the less expected (dolphins and spiny anteaters.) These works examine the idea and expression of flight as an escape from pursuit, capture, and the unknown.
In our search
to observe and manage animals, we find tracks, marks, or even feathers
left behind in the escape from our grasping eyes. When we capture an animal,
our view is obscured by the geometry containing the creature
and by the stress of captivity. Even as we study the creature
we are still not seeing it truly. These collages are about this blurry
something glimpsed, and a longing for something unattainable
in that glimpse.
Sandra Hildreth Back to Exhibit Intro
In my paintings,
I try to capture the spirit of the Adirondacks. Because I happen to live
within thirty minutes of the six million acres that make up the Adirondack
Park, I spend a lot of time there, hiking, skiing, and canoeing in the
wilderness areas. The peace and solitude of wild places really touches
my soul and I try to capture that in both traditional landscapes and mandalas.
In Tibetan Buddhism, a mandala is sometimes defined as a graphic representation
of the spiritual universe. The Adirondacks are my spiritual universe.
On the Trail to Bear Den is a pencil mandala that was inspired
by a November hike to Bear Den mountain. Along the way a very fresh set
of bear tracks was discovered in the snow. Adirondack Souvenirs,
however, is a unique approach to portraying something of the history of
the region in the style of 19th century artist, William Harnett.
Audrey Jacobson Back to Exhibit Intro
I have spent the last 27 years as a studio artist here in the North Country. Prior to that, I lived in New Jersey where I ran my own art gallery for 15 years. Before that, I worked for an ad agency in N.Y.C. I am a graduate of Skidmore College and Parsons School of Design.
I am basically
a printmaker. I work in etchings, and lithography. In the summer I do
watercolor landscapes. I also work as a medical photographer.
I have studied and taught etching at Potsdam State U., and have exhibited at the regional shows each year. I have had two one person shows at The Remington Art Museum. I have exhibited in N.Y.C. at the Atlantic Gallery, and at Agora Gallery where I will have a show this March. Currently, my work is on exhibit at the Gallery, 67 Main Street in Canton. In addition, my work has been shown in national print shows from Boston to San Francisco.
Julie Kirker Back to Exhibit Intro
Julie Kirker, of Frog Hollow Studio, Muskellunge Lake, Theresa, is a self-taught artist who has expressed her love of art for twenty-five years. Her style reflects her fondness of nature, which she echoes in her sketches, paintings, lithographs, sculptures and other works of art.
and Case Middle School in Watertown presently employ her as an art teacher.
Julie also instructs art classes at the Minna Anthony Nature Center, Wellesley
Island, the Arts Association of Northern New York, Sackets Harbor, the
Getman Dinner Theater, Theresa Library and other private lessons. She
is well diversified in all areas of art and works in many mediums.
She is involved in writing, illustrating and publishing two books, The History of Muskellunge Lake, and a journal of The Changing Seasons.
Vera LaRoe Back to Exhibit Intro
Since moving to northern New York in 2000, Vera has found inspiration in the diverse landscape consisting of farmlands, the Adirondack Park, and the St. Lawrence River.
Mrs. LaRoe has a new husband, a new life, a new studio, and renewed interest in painting that is a return to her "roots." She has always liked painting the views around her whether it was farms, factories, or scenes from her travels. Living in northern New York has those traditional views that remind her of growing up in Stowe, Vermont, which wasn't always a tourist town.
J. Michael Lowe Back to Exhibit Intro
In recent years, I have re-discovered a wonderful (and expensive) sculptural material: copper. Thin copper stock (16 oz.) can be cut by hand or power tools, folded, rolled, beaten and joined by braze welding to create any variety of forms or images. The malleability of copper is a major attraction for me. I enjoy forming the pieces with a minimal use of power tools, relying primarily on my hands and hand tools, then joining the pieces by welding. Combining copper with other materials (aluminum, wood, steel) offers a wider range of possibilities for the sculptor.
Lowe was born in 1942 in Cincinnati, Ohio, where he attended high school.
He earned his BFA degree at Ohio University 1964 and his MFA degree in
Sculpture from Cornell University in 1966. In 1966 he joined the faculty
of St. Lawrence University as an instructor and currently holds the G.L.
Flint Professorship in Fine Arts.
John A. Morrow Back to Exhibit Intro
World is a wondrous place, rich with texture, color and form, where the
magic of light creates an ever changing stage upon which the drama of
life is played. I feel like an explorer visually sailing into uncharted
bays and inlets. My eyes are my ship, my brushes, my oars, my imagination,
More than 50,000 reproductions of John's artworks hang in homes, offices and public buildings throughout the world. John's paintings have appeared on the cover of several books and magazines including the NY Conservationist and Reader's Digest. John's first limited edition print was released in 1978. Since then the number has reached 100. Each limited print comes with a certificate of authenticity which provides information about the image and comments by the artist.
his wife Brenda live in an historic 1804 house in downtown Ogdensburg,
New York, where John has a studio and Brenda operates a gallery and custom
frame shop. They live one block from the Frederic Remington Art Museum.
Anastasia Osolin Back to Exhibit Intro
My work is primarily about seeking the fantastic within the mundane. By juxtaposing ordinary, everyday objects and images with things such as telescopic photographs of deep space or images of occult subjects, I hope to find the place where two different perceptions of reality intersect: the familiar, everyday-ness of normal waking life, and the sense of awe and wonder we experience in the face of things which defy the human capacity for understandingin other words, the mysteries of the universe and of our own existence.
There is also an element of archaeology in found-object creations. An artifact of any kind, no matter how utilitarian its intended purpose, by virtue of its continued existence throughout several generations of human life becomes a small repository of history and allows us a glimpse into the past. It need not be a Sumerian fertility goddess statue or a Greek vase; recent artifacts can do the same thing, perhaps even more strikingly. In an old phonograph, for example, or a 19th Century advertisement for nerve pills, or antique brass clockwork carefully assembled by hand, we can see a world still recognizable, but profoundly changed. By taking such ordinary objects and subtly altering their context, I hope to also alter the viewer's perception of them, to see them as something extraordinary. At best, this will perhaps provide an opportunity to consider our own place in the larger context, our own brief moment in the passage of time.
Valerie Patterson Back to Exhibit Intro
It is said that our personalities become fully formed during our first few years of life. Thus, the fears, hopes, nightmares, and dreams that we experience very early on can shape and influence us for a lifetime.
I believe that it is the artist's job to move the viewer beyond mere esthetics. While every artwork inevitably contains a sense of the personal, I believe that at the same time it is important that it also contain a social or political dimension.
Light My Fire is symbolic of the cycle of life: beginning and end, and the passing of time. The young girl holds an unlit candle as two candles burn down behind her. She gazes away from her candle, perhaps unmindful of her future.
The three huddled figures in Grieving are locked in sorrow. They form an enclosure in which they may be forever trapped unless they become aware of the hope that the giant sunflower image symbolizes.
Valerie's artwork has won many awards and has been included in numerous National and International Juried Exhibitions including: The Louisiana Watercolor Society's 31st International Exhibition; The North East Watercolor Society's 23rd, 24th and 25th Annual National Exhibitions; The American Artist's Professional League's 71st Grand National Exhibition; The Catherine Lorillard Wolfe Art Club's 102nd Annual National Exhibition; The Viridian Artist's Ninth National Juried Exhibition; The Ceres Gallery's 3rd Annual National Juried Exhibition. As well, Patterson's work has been featured on the covers of Manhattan Arts International Magazine and The 12th Annual Edition of Living Artists. Valerie is a member of The Organization of Independent Artists (NYC) and a Signature member of The North East Watercolor Society.
Dean Richards Back to Exhibit Intro
The work entitled FogbankPolar Bear is a charcoal and graphite drawing on gessoed rag board. My goal is to create drawings that look like they may have been painted therefore the surface texture is a significant part of the equation. In each drawing I run the gamut from large charcoal sticks to finely sharpened pencils and from loose expressionism to tight realism. My specific goal for this drawing was to obscure the bear in fog so he is barely perceptible. I had to use great restraint not to go too far and lose the effect.
There is a special warm and cool relationship between charcoal and graphite that is very critical to the success of each piece I do. The primary challenge is determining where charcoal or graphite will be used and which forms of each to use. Another specific challenge is making the drawing work on the heavily gessoed museum board. The boards are prepared in a completely random way with no regard to the drawing that will be done on them. There are big palette knife blotches, brush strokes and splatters that pose significant challenges during the execution of the drawing but provide the most exciting and spontaneous results.
I currently work from my home studio in Beaver Falls, New York. I have exhibited my original drawings throughout the Northeast in exhibitions such as "Art of the Animal Kingdom" and "Impressions of New England" at Bennington Center for the Arts in Vermont, the "Kentucky National Wildlife Art Exhibit," and the prestigious "Birds in Art" in Wausau, Wisconsin.
F. Douglass Schatz Back to Exhibit Intro
My research intends to bring feeling and thoughts that I have about life and the ever-changing universe to the viewer. If sculpture is the translation of thought into an object, and I think that it is, then my sculptures represent the experiences, emotions, and ideas which are constantly a part of my strange and wonderful life.
many of my works are essentially self-portraits and deal with my own perceived
reality about the connection/disconnection between my body and mind. However,
these experiences are not unique to me. The same feelings I have also
apply to many others at some time in their lives.
I am also currently researching installation/performance work as sculpture by utilizing large-scale steel structures in conjunction with fire, fireworks, and percussive sound. My motivation is to explore the connections that are among us (physical, mental, individual, and collective) as well as the process by which we make these connections both as observers and participants.
Denis St. Louis Back to Exhibit Intro
I have always been fascinated by the forms and symbols of the primitive and ancient arts, particularly shamanic art. It is not my intention to imitate or represent any particular group, but to explore the organic relationships between the elements that will reveal a new sensitivity and dimension. My works extend back in time to prehistoric iconography, into the reaches of primordial life with its shamanistic rituals. The faces, with trance-like expressions, are mounted on circular plaques reminiscent of the archetypal mandala. This circular motif symbolizes the cyclical changes and transformations that occur in nature. The animal skins, fur, feathers, and hides are natural materials incorporated into the works to create a connection with the indigenous images of the past. There is a preoccupation with man's age old concept of survival, of propitiating the spirit of the animal and therefore ensuring a successful hunt. The clay has been raku fired, a process of utilizing earth, fire and water. This ancient method of firing originated in the Orient and is deeply immersed in tradition and ceremony, and is similar to the rites associated with shamanism. This relationship between man, material and the process may on occasion give birth to a new method of artistic expression with its own ceremonial rituals. The transformation and the metamorphosis of forms with its symbols and metaphysical attributes have become a means of communicating my own personal experiences.
Eleanor Sweeney Back to Exhibit Intro
Recently I have been making Polaroid transfers, which are unpredictable and often colorful, after many years of working almost exclusively in black and white photography. Some of my Polaroid pictures are quite large, another change for me having just gone through a phase of making very small contact prints.
I live in the woods by a beautiful lake, and that provides me with plenty of material to photograph. When I travel I enjoy noticing new things and photographing whatever I see. Sometimes I plan in my mind what I will do with certain slides after I get home. As often as not, I do something else entirely, because it works out better that way, or another idea for the finished work evolves.
My work can be seen at the Adirondack Artists' Guild in Saranac Lake, the Wawbeek, the Essex Gallery in Essex, the Adirondack Craft Center in Lake Placid, and in various art shows around the region. From October 19-Nobember 18 several of my Polaroid transfers are in the Triennial exhibit at the Roland Gibson Gallery at Potsdam College.
Alan B. Tuttle Back to Exhibit Intro
After 37 years of creativity, I have yet to define my goals as an artist. I am clear that every piece must satisfy me, not the audience. My daily goal is to create original works and not to fall prey to that which could bring more commercial success, but leaves the soul empty. I love the challenges that each new work presents and revel in the opportunity to incorporate something that I have never done before in each piece.
It is impossible to capture the multi-faceted approach to my work within a brief statement. My life is immersed in the creation of art. There are no distinct lines between when I am creating and when I am not; the mediums, methods, concepts, styles, or 'isms I chose to use; or between rules and conventions of art. The content of my work may be profound or merely touch on the surface of that which is familiar. Though all of my work is created with internally defined purpose, I usually choose not to taint the viewer's perspective with my intent beyond that which may be offered in a title.
My influences come from all that surrounds me. I constantly scan my environment for inspiration and information. What color is the moonlight reflected on the back of a porcupine? What is the texture of the dust cloud created by running down a dirt path? What color is the odor that pervades the studio after consuming a whole pumpkin pie?...and is it really foul? Will the arthritis in my hands cause me to paint today with broader strokes or to jab at the canvas as if fighting back against an invader? And how will all of these things influence what I decide to create today?
James Van Hoven Back to Exhibit Intro
In my work,
landscape is a metaphor for the relationship between human beings and
the world we live in. In this etching, I reflect upon "emergence"
from a dark to a light placeor at least being able to see light
from darkness. To me this has psychological importance in the way humans
can retain a sense of optimism and courage even in the face of hardship
or adversity. The mood created by a landscape can reveal the artist's
thoughts on many subjects as well as prompting viewers to make their own
connections, with the artwork acting as a catalyst for introspection and
Alice Wand Back to Exhibit Intro
After working with handmade paper for 25 years, I've recently become interested in landscape painting. Combining these two areas has been very satisfying to me. I enjoy the unique textured look that is achieved by placing acrylic paint over handmade paper.
The paper is made by dipping a screen into a vat filled with pulp and water. The sheets are made one at a time and allowed to dry on a board. They are then cut into the shapes appropriate for the painting.
Canoeing in the Adirondacks is a passion of mine and so my landscapes are inspired by these northern woods, lakes and rivers. Shingle Shanty Brook feeds into Lake Lila, a lovely, wild lake near Tupper Lake.
Janice A. Westerling Back to Exhibit Intro
Westerling received her formal training in art at the PM Palettes of Pittsburgh's
Carnegie Museum and Pre-College Art at Carnegie-Melon Institute, Pittsburgh,
Pa., The Philadelphia College of Art Pre-college Courses, and at the Tyler
School of Art, Temple University, Philadelphia, Pa. This early training
led to Mrs. Westerling's lifelong interest in the visual arts.
A resident of St. Lawrence County since 1973, Mrs. Westerling enjoys taking her sketchbook and paints along wherever she travels, locally and across the US, in order to capture ideas for future paintings.
Nicholas Wright Back to Exhibit Intro
this piece is one of my favorites, it does not represent my most recent
work. It does, however, give a good indication of what I love doing the
most, and that is being in the wilderness and spending a lot of time behind
the paintbrush. Once when I was deep in the Adirondacks for a weekend,
I came around a trail and this image caught my eye. The way the light
cast almost an innocent, intentional glow on a building that was obviously
part of the landscape for many decades seemed to capture some kind of
"rustic importance." Ironically, about a year after I did this
painting, the camp was no longer there.
Remington: 2001 International Juried Art Exhibit