another way of keeping a diary san luis obispo museum of art November 2015
Cover: Happy Crossing, by Mira White
another way of keeping a diary san luis obispo museum of art november 2015
Organized by Lola Baltzell and Flo Bartell Curated by Ruta Saliklis
Juror's Statement I sincerely appreciate the opportunity to be the juror for 'Another Way of Keeping A Diary.' I would like to thank IEA for the honor of selecting the work to be included in this important exhibition. I did not take this responsibility lightly. As an artist myself, I tried to make my choices from a place of respect for the creative journey. I based my selections on a select set of criteria. I hope that by understanding my thought process, you will be able to make sense of the show when you actually see it. I chose work that best represented, for me, mature and accomplished expressions of art making, as well as those that exhibited a mastery of encaustic. I also looked for work that appeared to push encaustic to its limits. Most important to me was,'Did the artist allow themselves to release their creativity?' The work chosen had to have made a sincere effort to honor and explore the theme of this exhibit. Also, the work had to evoke mood, emotion, drama, story, or memory. I chose work: - That felt very personal in nature. - That constructed a story through layers and then freed that story from under the surface. - Whose surfaces and layers appeared to have been excavated to reveal secrets, or were seeded with objects, images and writings with personal meaning. Much like a diary. - In which a mysterious surface was created, which allowed the artist to suspend their private thoughts. I was not looking for just a landscape or a portrait or a cityscape or a still life. I was looking for something more. I was looking for work that transported me. Somewhere. Anywhere. I was looking for work that made my heart respond. That woke up my soul. That peaked my interest. I was looking for work that was interesting to look at, to ponder, and to try to understand. Do I respond to this piece? Does it make me smile? Would I like to live with it? Does it cause me to be amazed, delighted, surprised, or moved? Do I feel a connection with the artist who created it? I also looked for strength in the foundations of picture making. Specifically: design, composition, shape, color, value, line, texture and edge. Lastly, I looked for work that was brimming with the joy of process. I thoroughly enjoyed spending time with the artists' beautiful work. It has been my distinct pleasure and honor to be your juror for 'Another Way Of Keeping A Diary.' David Limrite
Forward Another Way of Keeping a Diary An IEA Juried Exhibition International Encaustic Artists (IEA) strives for excellence in fine art created in encaustic and encourages interest in the encaustic medium within the art world and with the general public. This exhibition is an outstanding example. Open to all IEA and San Luis Obispo Museum of Art artists, this exhibit is based on Picasso’s declaration that “Art is another way of keeping a diary.” The fifty-seven pieces of art chosen by juror David Limrite showcase the versatility of the medium, the extraordinary technical skill achieved by our artists, the beauty of art created in wax, and the variety of ways in which fine artists tell their stories. We honor our exhibiting artists, we thank our juror and the volunteers who have given their time and energy to make this exhibit possible. We are also grateful to our host, San Luis Obispo Museum of Art. Thank you for allowing us to share this collection of work with you. Please enjoy our exhibition. Lola Baltzell, IEA Exhibition Director Flo Bartell, Exhibition Committee Member International Encaustic Artists Board of Directors
GENERATION SERIES #7 Patti Akesson 14” x 10.5” Sherman Oaks, California
The International Encaustic Artists (IEA) is a nonprofit, professional artists’ organization that seeks to raise the level of excellence in fine art encaustic work by providing a global information exchange and by raising interest about encaustic in the art world and with the general public. Founded in 2005, IEA remains the oldest and largest professional membership organization for encaustic art, and is a nonprofit, 501(c)3 educational institution. We encourage innovation in the rich tradition of art made with wax through publications, electronic media, exhibitions, conferences and retreats, which offer workshops and presentations. IEA is funded through membership dues, its education program, as well as corporate and member donations. The membership of IEA includes over 375 artists spanning three continents with members in thirty-four states in the U.S., five provinces in Canada, and artists in Mexico, Europe and Asia.
The Space Between Shannon Amidon 24” x 36” San Jose, California
The San Luis Obispo Museum of Art began as the San Luis Obispo Art Association in 1952 with the mission of serving as a central location where artists and patrons would meet to exhibit and view art. In 1967, the Art Association moved to its current location at 1010 Broad Street in downtown San Luis Obispo. A year later, a gallery addition was completed, and the new Gray Wing gallery was dedicated. From 1968 until the present, the premier art exhibitions at this Museum have been shown in the Gray Wing. In 1997, the name changed to San Luis Obispo Art Center to better reflect its expanding mission to provide and promote diverse visual arts experiences for people of all ages and backgrounds through exhibition, education, creation, and collaboration. The Museum’s permanent collection preserves an artistic legacy on the California Central Coast. In 2011, the name was officially changed to the San Luis Obispo Museum of Art (SLOMA) to better reflect the quality of its exhibitions and programs. The Museum has five active artist groups affiliated with the Museum — painters, printmakers, fine craftmakers, photographers, and sculptors. SLOMA serves 500 children and youths in our community through after school classes, spring break, and summer art camps. Adult educational offerings range from trips to other art museums, workshops, and art film screenings.
Ravaged Flo Bartell 22” x 30” Los Osos, California
The Museum is open free to the public, seven days a week during the summer and Wednesday through Monday the rest of the year. The Museum averages 40,000 visitors a year.
David Limrite
David Limrite was born in Salinas, California, a small farming town on the central coast. He received a degree in fine art from San Diego State University and a degree in illustration from Art Center College of Design. He has worked as a freelance illustrator, a staff artist for a newspaper, and a muralist. He is an educator, an exhibiting artist, and spent seven years as the Director of Education for the Brentwood Art Center in Los Angeles. He spent several years training with the Creativity Coaching Association and with Eric Maisel, Ph.D and now is helping visual artists be better artists and empowering them to “create with artistic fire.” David aims to encourage, inspire, and create every day and live a life of passion, energy, focus and courage, both in and out of the studio. He lives and works in San Luis Obispo County.
Undone Flo Bartell 24” x 30” Los Osos, California
Counting in the Boneyard Lyn Belisle 16” x 16” x 3” San Antonio, Texas
Right Brain/Left Brain Rebecca Yaffe 10” x 10” Denver, Colorado
Landscape and Memory #2 Terri Yacovelli 12” x 12” York, Pennsylvania
With The Hands Michelle Belto 20” x 16” San Antonio, Texas
Memoire Lisa Bick 24” x 16” Santa Fe, New Mexico
Connections ~ Reflections on Sea and Sand Dianna Woolley 30” x 30” Walla Walla, Washington
Blue Rain Judith Williams 12” x 12” Mill Valley, California
Gulf Coastal Child Laurie Borer 12” x 16” Walla Walla, Washington
Totem_And So It Goes Karen Bright 10” x 40” hinged panels Little Silver, New Jersey
Mix Judith Williams 12” x 12” Mill Valley, California
Happy Crossing Mira M. White 24” x 30” Walnut Creek, California
Vessel Eve Chartrand 12” x 36” Paso Robles, California
Fragmented Layers Sheri Chillingworth 40” x 30” Palos Verdes Estates, California
Burnt Offerings: Recording Water Shannon Weber 15” x 6” x 4.5” Cottage Grove, Oregon
Burnt Offerings: Running in Circles Shannon Weber 9.5” x 5.5” x 6” Cottage Grove, Oregon
Float I Emily Clawson 20” x 20” Redlands, California
Repository of Secrets Joyce Coolidge 6” x 24” Anchorage, Alaska
Memory Stick 5 Nan Tull 30” x 30” Boston, Massachusetts
Calligraphic Harriette Tsosie 54” x 12” Albuquerque, New Mexico
The Story Would Remain Without Ending Nancy Crawford 12” x 12” Langley, British Columbia
Easier to Bear Nancy Crawford 12” x 12” Langley, British Columbia
Happenstance Melissa Tseng 20” x 30” Toronto, Ontario
Entanglements Robin Tripaldi 36” x 36” x 4” Thousand Oaks, California
Always a Moment Nancy Crawford 12” x 12” Langley, British Columbia
Interlocking Greens Robert Dodge 12” x 12” Los Osos, California
Thank You Michelle Trahan Carson 24” x 18” San Antonio, Texas
The Nest Silvia Torres 31” x 26” La Quinta, California
adj. not stopping, not finishing Kari Englehardt 12” x 12” San Antonio, Texas
sf 6 Susan Freedman 6” x 6” Portland, Oregon
Deadly Fear of Bathing Suits Gail Steinberg 9” x 12” Petaluma, California
Winter Jan Schnurr 14” x 11” Napa, California
sf 5 Susan Freedman 6” x 6” Portland, Oregon
Rondo a la Rununculus Francesca Fuller 24” x 24” Vashon, Washington
Raw Cascade Francesca Saveri 36” x 36” Berkeley, California
Propagation Melissa Rubin 17” x 21” New York, New York
To Seeing Inside Francesca Fuller 12” x 12” Vashon, Washington
Life Intersections Rinat Goren 24” x 24” Woodside, California
Subsurface Series Lia Rothstein 18” x 88” Hanover, New Hampshire
Meiji #1 Joy J. Rotblatt 20” x 16” Studio City, California
Dark Matter 2 Katie Gutierrez 23 x 24 San Jose, California
Bipeds Stephanie Hargrave 10.25” x 8.75” Seattle, Washington
Dear Diary Josie Rodriguez 8” x 6” x 2.75” San Diego, California
Leaving Home Michelle Robinson 28” x 28” Los Angeles, California
Gravity 15 Elizabeth Harris 15” x 12” Andover, Massachusetts
Tear Bottle Michelle Hayden 11” x 22” X 24” Richmond, Kentucky
december 2, 2014 Selene Plum 9” x 9” Albany, Wisconsin
Caught #1 Barbara Nilsson 8” x 7.5” Folsom, California
1936 Brenda Hurst 11” x 14” Los Angeles, California
Longing and Belonging 1/2 Beate Kratt Each 31 cm x 31 cm Hamburg, Germany
Inside the Golden Boat Ahavani Mullen 48� x 36� Chicago, Illinois
Memory Series, Part II Soni Martin 9” x 12” Fayetteville, North Carolina
Into the Maelstrom Candace Law 14” x 18” Berkley, Michigan
Night Fishing, a Repurposed Dream Journal Joyce Lombard 12” x 6” x 6” Ventura, California
Braille Tapestry V Barbara Maricle 50” x 13” Berkeley, California