 Peter Sims "Final Draft" Acrylic on Canvas 72" x 48" ©2015 PETER SIMS |
 | LOVE TRAIN Artists' Valentine's Day Exhibition February 2 - 18, 2017 Opening Reception Saturday, February 11 Open Microphone |
ARTISTS' CALL FOR ENTRIES
LOVE TRAIN
Deadline for Entries:
January 31, 2017
OPEN JURIED EXHIBITION
All Artworks 14 x 14 inches or smaller
Theme is open to interpretation.
2-D works must be ready-to-hang
All mediums.
Everyone is welcome to exhibit up to 3 pieces.
Entry fee is $20 for one piece ($30 for two and $35 for three)
90% of Sales to Artists
Drop-off Dates: January 30 and 31, 2 to 5pm
or by appointment.
Contact Sooz 805 701 1156 or [email protected]
Inspired by the upbeat soul single “Love Train” released by the O’Jays in 1972, Gallery 525 is gathering artists and their works for a Valentine’s Day group show in February. Encouraged to interpret the theme imaginatively, artists of all mediums are being asked to get on board in an Artists’ Call for Entries for small works of all media sized 14” by 14” or less. The deadline for submissions is January 31st. Further entrance information is posted on the www.gallery525.com website.
All are invited to the Opening Reception of this highly creative showing of small works on Saturday, February 11th, 5 to 8pm at Gallery 525 for art, music and open microphone.
LOVE TRAIN
Deadline for Entries:
January 31, 2017
OPEN JURIED EXHIBITION
All Artworks 14 x 14 inches or smaller
Theme is open to interpretation.
2-D works must be ready-to-hang
All mediums.
Everyone is welcome to exhibit up to 3 pieces.
Entry fee is $20 for one piece ($30 for two and $35 for three)
90% of Sales to Artists
Drop-off Dates: January 30 and 31, 2 to 5pm
or by appointment.
Contact Sooz 805 701 1156 or [email protected]
Inspired by the upbeat soul single “Love Train” released by the O’Jays in 1972, Gallery 525 is gathering artists and their works for a Valentine’s Day group show in February. Encouraged to interpret the theme imaginatively, artists of all mediums are being asked to get on board in an Artists’ Call for Entries for small works of all media sized 14” by 14” or less. The deadline for submissions is January 31st. Further entrance information is posted on the www.gallery525.com website.
All are invited to the Opening Reception of this highly creative showing of small works on Saturday, February 11th, 5 to 8pm at Gallery 525 for art, music and open microphone.
Symbol & Syntax: the art of the print @ Gallery 525 December 3, 2016 through January 14, 2017
1/2/2017
Gallery 525 celebrates the holiday season and rings in the New Year with a stellar exhibit of fine prints. An opening reception on December 3rd launches the season with good cheer, libations and an array of beautiful, thought-provoking, museum-quality art.
In the simplest of terms, printmaking is a process of transferring an image from one type of surface (stone, metal, wood) to another, most often, paper. The important thing to remember is that a fine print is not a copy or reproduction. It begins with an original image that is specifically created by an artist for the purpose of a limited edition. And, since most artists do not have their own printing equipment, the prints are often collaborations between the artist and a master printer.
For hundreds of years, the fine print medium has had many passionate and loyal fans. Most museums, in fact, have entire departments devoted to print collections. However, many individuals confuse fine prints with their more commercial, mass-produced, counterparts like those produced by photo-offset lithography. Or, they find the technical terms that define specific types of prints to be esoteric and mystifying. Trying to understand a broad term like intaglio, for instance, which includes engravings, dry-point and mezzotint, can make one’s head spin. But for most collectors and curators, it is the symbol (the image, the lines drawn) that is alluring, while the syntax (the technical process of surface, texture, and light) appeals to those individuals for whom complex mechanical processes are intriguing. And yet one cannot exist without the other—both symbol and syntax are necessary components of the fine print.
The exhibit, Symbol & Syntax—the art of the print at Gallery 525 is a rare opportunity to see works by an international group of artists who have made beautiful and intriguing contributions to the medium outside of an urban center. On view will be an engraving by William Blake from Illustrations of the Book of Job, a woodblock (ukiyo-e) by Toyohara Kunichika depicting actors in a Kabuki play, a lithograph portrait by the pre-Raphaelite artist, Sir Edward Burne-Jones, a monotype with chine collé and collage by contemporary Santa Barbara artist, Dug Uyesaka, and prints and broadsides by Ojai artist and master letterpress printer, Norman Clayton.
Fine prints have a texture and quality that is not found in other mediums. And, because they are generally more affordable than paintings, prints are a great entry point for the beginning collector who can own an original work of art by an artist they admire with the understanding that its value will gradually increase in tandem with the market value of the artist’s other works. And, because prints are usually created in limited editions, the collector can also take pride in knowing that their print is in a museum collection. Some examples in this exhibit are the Blake engraving, which is in the British Museum’s collection (and many others); a color aquatint with drypoint, “Line, Essence, Color” by Enrique Chagoya, which is in the collection of the Fine Arts Museum of San Francisco; etchings by Max Klinger and serigraphs (screen prints) by Sister Mary Corita Kent are in the Los Angeles County Museum of Art’s collection.
Symbol & Syntax: the art of the print is not an historical overview, but it certainly provides an entry point. It is also an opportunity for savvy collectors to augment existing collections with new discoveries. And, since this is the season for giving, a gift of original art enhances the recipient’s quality of life in deeply soul-satisfying ways.
http://www.gallery525.com/symbol--syntax.html
In the simplest of terms, printmaking is a process of transferring an image from one type of surface (stone, metal, wood) to another, most often, paper. The important thing to remember is that a fine print is not a copy or reproduction. It begins with an original image that is specifically created by an artist for the purpose of a limited edition. And, since most artists do not have their own printing equipment, the prints are often collaborations between the artist and a master printer.
For hundreds of years, the fine print medium has had many passionate and loyal fans. Most museums, in fact, have entire departments devoted to print collections. However, many individuals confuse fine prints with their more commercial, mass-produced, counterparts like those produced by photo-offset lithography. Or, they find the technical terms that define specific types of prints to be esoteric and mystifying. Trying to understand a broad term like intaglio, for instance, which includes engravings, dry-point and mezzotint, can make one’s head spin. But for most collectors and curators, it is the symbol (the image, the lines drawn) that is alluring, while the syntax (the technical process of surface, texture, and light) appeals to those individuals for whom complex mechanical processes are intriguing. And yet one cannot exist without the other—both symbol and syntax are necessary components of the fine print.
The exhibit, Symbol & Syntax—the art of the print at Gallery 525 is a rare opportunity to see works by an international group of artists who have made beautiful and intriguing contributions to the medium outside of an urban center. On view will be an engraving by William Blake from Illustrations of the Book of Job, a woodblock (ukiyo-e) by Toyohara Kunichika depicting actors in a Kabuki play, a lithograph portrait by the pre-Raphaelite artist, Sir Edward Burne-Jones, a monotype with chine collé and collage by contemporary Santa Barbara artist, Dug Uyesaka, and prints and broadsides by Ojai artist and master letterpress printer, Norman Clayton.
Fine prints have a texture and quality that is not found in other mediums. And, because they are generally more affordable than paintings, prints are a great entry point for the beginning collector who can own an original work of art by an artist they admire with the understanding that its value will gradually increase in tandem with the market value of the artist’s other works. And, because prints are usually created in limited editions, the collector can also take pride in knowing that their print is in a museum collection. Some examples in this exhibit are the Blake engraving, which is in the British Museum’s collection (and many others); a color aquatint with drypoint, “Line, Essence, Color” by Enrique Chagoya, which is in the collection of the Fine Arts Museum of San Francisco; etchings by Max Klinger and serigraphs (screen prints) by Sister Mary Corita Kent are in the Los Angeles County Museum of Art’s collection.
Symbol & Syntax: the art of the print is not an historical overview, but it certainly provides an entry point. It is also an opportunity for savvy collectors to augment existing collections with new discoveries. And, since this is the season for giving, a gift of original art enhances the recipient’s quality of life in deeply soul-satisfying ways.
http://www.gallery525.com/symbol--syntax.html
The luminescent Three Lustrous Women exhibit continues online and by appointment. If you would like to see or purchase pieces of the fabulous lustred ware and sculpture in the show, please contact Sooz at [email protected].
http://www.gallery525.com/three-lustrous-women.html
Sooz Glazebrook, Isabella Kocum and Myra Toth are the three artists in Three Lustrous Women, and not only do they create stunning ceramic art forms that range from traditional vases and bowls made on pottery wheels to hand-built sculptural forms, they all employ lustrous glaze surfaces on their artworks adding luminescense, play of light, color and rich, varied textures. Hailing from the three different continents of New Zealand, Europe and North America, the artists bring an exciting showing of lustred ceramic pieces with divergent perspectives to Gallery 525, Ojai.
Lustre or luster glazes refer to metallic and shining glazes on ceramics that are creating during the kiln firing process. Mineral elements interact with each other at high temperatures in the kiln to form opalescent and irrisdescent glazes. Lustre-glazed ceramics, originally only available to monarchs and nobles, historically traces back to the middle ages. To obtain this effect is no easy task. The glazes must be layered on the ceramic pieces in such a way that the different elements interact chemically at designated high temperatures. In hearing Artists Myra Toth and Sooz Glazebrook refer to the process, one appreciates the difficulty and rarity of firing a ceramic piece to emerge from a kiln with a specific opalescent surface in mind. There are many go-rounds in the kiln until a desired or “surprise” effect is achieved. The results are sheer magic, and the three women in Three Lustrous Women are all ceramic glaze alchemists in their own rights. In their studios you’ll find shelves of jars with colored minerals and raw material elements, along with coded notes and tests of how they achieved their coveted results. The road to obtaining their iridescent, shining surfaces is a long one, and it’s no wonder they wish to keep their glaze recipes secret.
Myra Toth discovered ceramics and sculpture at a young age and studied with Antonio Prieto, Robert Arneson and Ruth Duckworth, amongst others. She received her B.A. from Mills College and M.F.A. from San Francisco State University. She is as adept with use of the wheel as she is with her hand-built sculptural ceramics which are inspired by subtle natural forms. She became a master of lustre ceramic glazes decades ago, and taught art, ceramics and glaze-making at Ventura College and at longtime-friend Beatrice Wood’s studio in Ojai. Currently, she is offering lustre glaze workshops at her Pyramid Studio in Ojai. www.Pyramidstudio.com
Mary Galbraith on Myra Toth (from Focus on the Masters):
"Myra Toth is a bit of an alchemist, at home with hundreds of jars filled with chemicals that transform clay into objects of stunning beauty. ..... To say that Myra draws her inspirations from nature somewhat misses the point. Myra is able, in a most intimate way, to connect twigs, branches, ears of corn or a bird’s nest with clay, taking us with her on a spiritual journey."
It was at one of Myra Toth’s glaze-making workshops at the Beatrice Wood Center for the Arts in 2009 that Sooz Glazebrook and Isabella Kocum met. They were both artists and ceramicists themselves but wanted to learn the art of applying and firing lustred surfaces to their works. A friendship was struck between them and Myra Toth and the three of them have been in touch and inspired by each other since.
Sooz Glazebrook grew up on a sheep farm in Hawkes Bay, New Zealand that according to Ms. Glazebrook provided an “endless variety of artistic inspiration.” She received her B.F.A. from Ilam School of Fine Arts, Canterbury University, New Zealand, moved to Ojai in the late 1990s, and has been creating ceramics, jewelry and bronzeworks since. Gardening, color and spiralic shapes inform her work as does the magic of kiln firing. www.soozglazebrook.com
According to Sooz, she enjoys
“the thrill of never exactly knowing what a ceramic glaze or lustre will be when opening the kiln."
London Artist Isabella Kocum studied Art and Gold-leaf Gilding in Bern, Switzerland and then spent many years as a Dancer in New York via the Alvin Ailey Dance troupe and in Paris where she received a scholarship for Dance from the Cite des Arts. She moved to London in 1990 where she returned to Art and Gold-leaf Gilding which led to frame restoration at the National Gallery where she works currently. In 2008, she took up ceramics and has been incorporating gold gilding and lustre firing into her pieces. Her works incorporate figurative elements and are inspired by Dance. www.IsabellaKocum.com
According to Isabella Kocum,
“When light hits a golden lustrous object, a spectrum of colours reflects as if it has a soul within itself.”
--Kelly Luscombe Bea
Lustre or luster glazes refer to metallic and shining glazes on ceramics that are creating during the kiln firing process. Mineral elements interact with each other at high temperatures in the kiln to form opalescent and irrisdescent glazes. Lustre-glazed ceramics, originally only available to monarchs and nobles, historically traces back to the middle ages. To obtain this effect is no easy task. The glazes must be layered on the ceramic pieces in such a way that the different elements interact chemically at designated high temperatures. In hearing Artists Myra Toth and Sooz Glazebrook refer to the process, one appreciates the difficulty and rarity of firing a ceramic piece to emerge from a kiln with a specific opalescent surface in mind. There are many go-rounds in the kiln until a desired or “surprise” effect is achieved. The results are sheer magic, and the three women in Three Lustrous Women are all ceramic glaze alchemists in their own rights. In their studios you’ll find shelves of jars with colored minerals and raw material elements, along with coded notes and tests of how they achieved their coveted results. The road to obtaining their iridescent, shining surfaces is a long one, and it’s no wonder they wish to keep their glaze recipes secret.
Myra Toth discovered ceramics and sculpture at a young age and studied with Antonio Prieto, Robert Arneson and Ruth Duckworth, amongst others. She received her B.A. from Mills College and M.F.A. from San Francisco State University. She is as adept with use of the wheel as she is with her hand-built sculptural ceramics which are inspired by subtle natural forms. She became a master of lustre ceramic glazes decades ago, and taught art, ceramics and glaze-making at Ventura College and at longtime-friend Beatrice Wood’s studio in Ojai. Currently, she is offering lustre glaze workshops at her Pyramid Studio in Ojai. www.Pyramidstudio.com
Mary Galbraith on Myra Toth (from Focus on the Masters):
"Myra Toth is a bit of an alchemist, at home with hundreds of jars filled with chemicals that transform clay into objects of stunning beauty. ..... To say that Myra draws her inspirations from nature somewhat misses the point. Myra is able, in a most intimate way, to connect twigs, branches, ears of corn or a bird’s nest with clay, taking us with her on a spiritual journey."
It was at one of Myra Toth’s glaze-making workshops at the Beatrice Wood Center for the Arts in 2009 that Sooz Glazebrook and Isabella Kocum met. They were both artists and ceramicists themselves but wanted to learn the art of applying and firing lustred surfaces to their works. A friendship was struck between them and Myra Toth and the three of them have been in touch and inspired by each other since.
Sooz Glazebrook grew up on a sheep farm in Hawkes Bay, New Zealand that according to Ms. Glazebrook provided an “endless variety of artistic inspiration.” She received her B.F.A. from Ilam School of Fine Arts, Canterbury University, New Zealand, moved to Ojai in the late 1990s, and has been creating ceramics, jewelry and bronzeworks since. Gardening, color and spiralic shapes inform her work as does the magic of kiln firing. www.soozglazebrook.com
According to Sooz, she enjoys
“the thrill of never exactly knowing what a ceramic glaze or lustre will be when opening the kiln."
London Artist Isabella Kocum studied Art and Gold-leaf Gilding in Bern, Switzerland and then spent many years as a Dancer in New York via the Alvin Ailey Dance troupe and in Paris where she received a scholarship for Dance from the Cite des Arts. She moved to London in 1990 where she returned to Art and Gold-leaf Gilding which led to frame restoration at the National Gallery where she works currently. In 2008, she took up ceramics and has been incorporating gold gilding and lustre firing into her pieces. Her works incorporate figurative elements and are inspired by Dance. www.IsabellaKocum.com
According to Isabella Kocum,
“When light hits a golden lustrous object, a spectrum of colours reflects as if it has a soul within itself.”
--Kelly Luscombe Bea
Author
Kelly Luscombe Bea
Swimming in the Stream
Artist, Musician
Co-Director of Gallery 525
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STOP And Other Signs
Symbol & Syntax: The Art Of The Print
Three Lustrous Women
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