ARTISTS: Join us on Feb. 13 from 5:30-7:00 PM and hear from one of our current exhibiting artists, Pete goldlust. Learn how he makes his living as an artist and what his days look like. On Feb. 4 we hear from our other exhibiting artist, Kristy Kun. Don’t miss these talks!
These are just a few of the topics to be discussed and as we explore the business of art. Learn first hand how to be more a more successful artist.
$5 Suggested Donation
Pete Goldlust received his MFA from the School of the Art Institute of Chicago in 2001. Since that time, Pete has shown his work in venues throughout the U.S. and abroad, including solo exhibitions in Chicago and Los Angeles. His work has been featured in publications ranging from Art in America to Ripley’s Believe It Or Not!, and from Elle Belgium to Raising Arizona Kids.
Pete and his wife and collaborator, Melanie Germond, and their two young sons recently relocated from the small artist community of Bisbee, Arizona to Eugene, Oregon. They are currently enjoying the novelty of being rained on. When he’s not sitting in meetings, Pete enjoys spending time looking under rocks for curious, inspiring, squirmy things.
Pete’s public artwork includes commissions for the cities of Tempe, Tucson, and Scottsdale; the award-winning Children’s Museum of Phoenix; the Walnut Creek (CA) Public Library; a bike path in Loveland, Colorado; a nature center in Cedar Rapids, Iowa, and a pediatric clinic in Douglas, Arizona.
Emily Steele graduated from Oberlin College in Liberal Arts, and furthered her studies in the newly revived field of glass art with Richard McDonald, noted stained glass craftsman in Boston, Massachusetts, and C.B. Anderson of Portland, Oregon where she learned the Tiffany technique used for windows in the 19th and early 20th centuries.
After moving to Oregon, she established her own studio, and employing these techniques as a basis for her work, developed a unique form of sculpture for free-standing, three-dimensional art forms in antique stained glass. She has expanded the traditional copper foil-lead technique by a special process which permits the use of steel and other strong metals as support under the lead. Using stained glass as a medium for her sculpture, the viewer is provided with different impressions from multiple angles as different shades of color are superimposed. These impressions can be further heightened by different direction and intensity of light source.
All glasses used in Ms. Steele’s sculptures represent the finest quality of hand blown materials throughout Europe and the United States.
The Arts Center is the Trustee of the Emily Steele Sculpture Collection. The Steele Family donated eleven works for display and enjoyment by the public.
–Excerpt from an article by Terry Lawhead, Glass Art Magazine February 1975
Emily Steele works with hand-blown antique stained glasses to create three dimensional free-standing sculptures that inspire, in the freshest most direct manner, an appreciation of all that is bright and clear and possessing natural strength. The play of light upon surface—be it wood, still water, or stone—involves us in one of our most enchanting experiences. An observer renews a forgotten innocence, lost or misplace in the turbulence of modern living, that affirms the unity of our being with all the beauty around us. Emily’s sculpture, composed of cut pieces of stained glass enclosed in thick bands of lead, is organized in such a manner as to affect the passage of light using the same delicate qualities as an object in nature. The many sided figures are endlessly new and unique as the viewer alters his perspective. Much as a mountain stream in sunlight presents an infinite set of sparkling reflections, the impressions of the glass evoke the delightful expectancy one senses in organic movement.
The time devoted to such sculpture dictates a passion which transcends cleverness or pride in workmanship: an energy is released and is linked to the growing identity of the creation. Each sculpture inhabits a place in time as a consequence of the effort expended in design and exacting work, but far more important is the lasting emotion the figures kindle in the eyes and heart of the beholder. If these glassworks could talk to us they would sing. Enthusiasm and earnestness is suspect in a time of doomsday ethics and reserved hopes, but the almost magical brilliance of the sculptures remain with the viewer as he walks away and returns to the demands of living in the world. The image retained is not easily put into words, but again Emily has a favorite poem. It is the final stanza of the poem After the Storm by Boris Pasternak, from a collection of poetry translated by his sister Lydia Pasternak, and it speaks of our holy attempts to resurrect wonder and regain beauty and grace in our lives:
It is not revolutions and upheavals
That clear the road to new and better days
But revelations, lavishness and torments
Of someone’s soul, inspire and ablaze.
Hours: Tuesday – Saturday, noon – 5 PM
For Quilt County 2017 The Arts Center presents a larger than life theme on the log-cabin pattern.
For this exhibit, fiber artist Clay Lohmann creates a 3-dimensional cabin, constructed from panels in the historical log-cabin pattern. Each logcabin square measures about 36”. Lohman uses basic patterned cotton (as in older traditional quilting methods). Visitors to the exhibit will be able to enter the cabin. A video connects visitors to the pioneer character of the houses homesteaders built.
Lohmann invited artists Julie Green, Anna Fidler and Kerry Skarbakka to create the surroundings of the log cabin.
At 8 a.m. each morning for past fifteen years, Julie Green documents the garden view.The first dozen years were video, and now it is sumi ink on paper. She divides the paper up in rectangles representing the day of the month. Each day she paints 1 rectangle. The result is as pieced quilts are: one object that is built up out of smaller elements. Because she paints only one part of the image each day, there are small differences.
Anna Fidler is debuting a monumentally scaled work on paper inspired by the Triadic Ballet of 1922. The work consists of silhouetted autumnal trees and witchcraft as a theatrical backdrop to Lohmann’s cabin. Fidler worked with high school students at her studio to help make the piece.
Kerry Skarbakka interprets the human element, creating a representation of an resident of a rural, forested home.
Anna is an Instructor and Julie and Kerry are both Professors in Oregon State University’s, School of Arts & Communication.
The Garden at 8 a.m. 2002-2017 (ongoing) by Julie Green.
Detail of series: Feb 2016, sumi on 8.5 x 11 inch paper