February 2015

Currently in progress: Selfie # 3

Textures

"Currents Above" in progress 

This past year I took a path into textures and layers in my work. You can see some of that in the last post of my selfie in progress. Much of the work is not for public display...they are studies with a huge learning curve. I'll post the most recent one here. And explain a bit. 
FYI - the photos don't do the work justice - I just can't capture, reduce and keep the feel of depth, layering and texture in these paintings.

Texture and oxidation study in progress

Several years back, I learned in a workshop how to make my own paint. Watercolor, acrylic, oil and tempera, even pastel sticks. I noticed the acrylic paint home-made was so much different than the commercial art paint available and wasn't crazy about it at the time. Fast forward about 7 years and a workshop in texture somewhere in between, and I began toying once again with the idea of mixing my own pigments to the strengths that I want. 

I discovered new binders and additives, which added so many possibilities for layering textural effects. By layering these effects, I noticed the color was being suspended, one layer over another, and that my work was beginning to feel like floating in imaginary outer space, or underwater. Which led me to create a huge painting (still in progress) that I've titled "Currents Above."  While the other works were more accidental in nature, this one was entirely controlled, in the sense that I let the painting speak with each layer and chose what effect to create next. 

In the meantime, I was invited to participate in a huge collaborative project, Art Roulette, a fund-raiser sponsored by artSpace Richmond. Normally I avoid fund-raising projects (another story for another time,) but this one included a host of local artists that I hoped to work with. This project gave me the opportunity to experiment with some Golden Paint products I'd just learned about in a workshop. Micaceous Iron Oxide and Coarse Alumina along with Copper Iridescent paint and some old Cobalt Teal were a part of this process.  I noticed after two weeks, the Teal color had changed to a deeper, richer blue.  The paint was oxidizing.  Whoa. 

This is one part of a collaborative piece. The paint is quite reflective and is bouncing off light. 

Which is what has led to the painting you saw at the top of this page. I'm curious as to what will happen with the teal with the Alumina alone and with the Iron Oxide. These may wind up in the experimental closet for another visit, or they may evolve and land on the gallery wall.  I'm not sure. But for now, it sure is a lot of fun. 

Selfie

It's been a long while since I last posted.  I've spent the last 5 months or so making art and teaching. I have more art to make. 

Here's a self portrait in progress until I get back here again. 

And another to give you an idea of the size. 

This began as a challenge to my art class for our upcoming student exhibit.  It's become something else for me. A series. About perception. 

What's There?

Completed June 2014

 sold July 2014 at Crossroads Art Center.  

"What's There?"
©2014 Adele Castillo AllRightsReserved
5 x 5 acrylic on canvas

 I began this tiny piece in class one evening in late May when all of my students were "in the zone" with their own paintings, finished it and put it on my wall at Crossroads before heading to the beach for a July 4 vacation.  A phone call this week let me know it sold to a fellow artist and teacher as a gift for her daughter.  It is always an honor to be appreciated by one's peers!  Thank you Sue!  

 

It's Summer

I'll be back shortly.  

It's kinda been one of those months.  

In the meantime, enjoy a fresh painting that will help you think of cooler days.  "Saint Charles" went home to a collector yesterday.  

"Saint Charles" © 2014
Adele Castillo AllRightsReserved

Chance Meetings

Last evening I walked into Crossroads Art Center to resume teaching classes after taking off the month of May.  I had been in earlier to drop off some supplies and noticed a school bus in the parking lot, plus a young couple hauling in some quite random objects, not even connecting the two.  I assumed the couple was setting up for a workshop and simply said a courteous "hello."  When I came back for class I learned, (by asking - I am curious, or nosy, depending on who you ask) that the woman had come in to Crossroads after a chance discovery of the gallery to ask if perhaps there was a space where she could paint.  and there was, thanks to Jenni Kirby owner of Crossroads and an empty classroom. 

I stopped briefly and chatted with the artist shortly before my students arrived.  I found out she was from Australia and traveling from San Francisco to New York, before I had to go teach.  I was able to resume our conversation this afternoon when she returned. 

The young lady is Hayley Welsh.  and this is her website.

And this is why she is in Virginia.  And this is where she is headed.  
I spent a while asking her all sorts of questions, but why try to remember it all when she has it perfectly well described on her own pages?  Follow the links above when you are done here.  

The school bus parked in front of Crossroads Art Center.

Hayley is from the U.K. living in Australia with her partner Andy, who is also traveling with her.  Both are artists and they are touring the U.S. in a short school bus from the west coast on their way to an exhibit of their work in New York.  Hayley is charming and soft-spoken, seemingly serenely confident that all will happen as it should even if the method of "getting there" is unorthodox.  Her work is intriguing.  She's even left a bit of it behind along the way.  Today she was back at Crossroads, tables and easels filled with her paintings on found objects. Her name and website grace the back of the vest she wore that reminded me of a long chamois cloth.  Hayley was more than willing to talk about her work and had great praise for the photography of her partner, Andy, whose work is fascinating 3-D visions mounted in old toy viewfinders.  

a table full of work in progress by Hayley Welsh

On the tables I saw a skull with horns covered in drawing, a trash can lid, road signs and old prints all altered with her signature creatures that are mostly large eyes, some with ears or legs. She explains these representatives of positive or negative thoughts here. I loved the way she incorporated her creatures into the old prints and paintings, as if they had been a part of the original all along.  (an aside here :  Hayley takes time to research any art she purchases to be sure it is in public domain so that she is not infringing on copyright law before she repurposes it.  That alone was enough to make me a fan for life!)  In other pieces the creatures float or hang out or take over the original object - like this charming piece on a yield sign.

photographed with permission, copyrights to the artwork belong to Hayley Welsh

I am ever and continually amazed at what life brings, if only we take time to pay attention to others and listen to our curious selves.  What if I had not bothered and simply passed by this stranger - what I would have missed!  

I love that Hayley and Andy have packed up everything they own, traveled to another continent on a temporary visit and planned this crazy adventure for the love of their art.  I love that they happened to land in the parking lot at Crossroads Art Center and on a whim asked if Hayley could paint inside while in the area.  Who does that?  Because of happenstance, kismet, karma, who knows?  I met this creative young lady who graciously chatted with me about her trip and her art, about searching for the right vehicle to travel, live and create in, about gathering items and painting for their show along the way.  Even more, I loved finding out once home and perusing her websites that she has written and illustrated two books and already at her young age is a well-received exhibiting artist.  Hayley's enthusiasm for her art and her travel is tangible.  Getting to meet her was my good fortune.  

KittyCat has a new home

I was inspired to paint a little differently when a friend of mine texted this photo taken on his cell phone.  

© Adele Castillo 2013
12 x 18 acrylic on canvas

Recently it was sold from Crossroads Art Center.   Thank you to my newest customer.  And thank you Scott, for sharing your little buddy. 

Productive Time Off

Taking time off from teaching has been one of those things I did fairly reluctantly, but am I ever glad that I did.  The time has been productive.  These were recently finished.   They are claimed and will head to their new home soon.   

© 16 x 20 acrylic on canvas
AllRightsReserved

© 16 x 20 acrylic on canvas
AllRightsReserved

Time Off, but Not Really

"Thin Blue Line" 

That's a painting I began in 2012 or 2013, using homemade acrylics.  I ordered binders and pigment dispersions and thickeners and other fun things from a wonderful company in New York, Guerra Paints and Pigments .   

Point is, it isn't finished.  I thought it was, but I decided to splurge and have a consultation with another artist / teacher whom I admire and respect.  It was well worth every dime.  I spend my time as a teacher, so I don't get to paint as much as I'd like and when I do, I find my fellow artists generally don't give me feedback unless asked.  ( I suppose that's actually a good and polite thing!)  So prior to taking time off from teaching for most of the month of May, I scheduled the consult and now have some ideas about what I wish to do next.  

However, the entire point of taking off was to complete the backlog of paintings I've begun and set aside in the last 7 years.  Yep!  SEVEN years.  So that's what I shall do first. 

As of this afternoon, I am officially on vacation, but not really. I'm on a Paint-cation.  and looking forward to every moment.  

Puppy Butts!

Yes, I am painting puppy posteriors. 

This is number five in a series of small acrylic paintings on cradled wood panels.  

Puppy Butts Five

This one is 4 x 4 inches and is currently is available at Crossroads Art Center.  Price for 4 x 4 panels is $50.   

Finished and Sold

This is Callie.

"Callie" acrylic on canvas 12 x 12
copyright Adele Castillo AllRightsReserved

I began this painting in one of my Paint Along workshops.  That's where students come in and we generally paint the same image. I demonstrate and students copy my technique to get started, but after the initial layers are done, and some valuable technique and color mixing information is shared, students move along with their own interpretation.

Callie's Mom offered her as subject matter for the group that weekend.  She loved it so much, she offered to purchase it.  So Callie was finished up and went home this past week.  

Thank you, Callie's Mom! 

Painting and Teaching

"By Learning you will Teach, 

           by Teaching you will Learn."  

                                                                attributed to Latin proverb and to Phil Collins lyrics. 

Painting in Progress

I've been told I was probably a dog in another life.  If such things are true, it's probably so.  According to Animal Wisdom, I am Coyote.  (ok, that's not exactly what I had hoped - Wolf was what I imagined.)  In this life, I am woman, painter and also, teacher.  

Trying to paint AND teach is challenging.  I manage to do both.  Some will argue you can't do both and do either well.  There is some truth to that.  Only in the sense that you can't be in both places at once.  In my case, it means that I don't paint as often as I like.  

Monday night class

Which is why, in May, for the first time in 4 years, I'm taking a month off from teaching to concentrate on painting.  I'm looking forward to it - chomping at the bit, actually, for May to come NOW.  Not that I don't love teaching or my students.  I DO...beyond description.  But it's time for me to paint.  

New Works and Sold

"Smiling"
6 x 6 acrylic on wood panel 

"Puppy Butts Two"
4 x 4 acrylic on wood panel

Thank you to recent buyers who have purchased a few of my smaller paintings.  These little ones found homes in the last couple of months.  

"Scotty" 4 x 4 acrylic on wood panel

In addition, I have two more small pieces in the Puppy Butts series ready for sale.  These are each 

5 x 5 inch acrylic on canvas.  

"Puppy Butt Three"

"Puppy Butt Four"

More work still on the easels will completed and posted soon.  

Thank you for stopping in.  

2014 in the Studio

 Since October:

Painted for Richmond Animal League Auction 5 x 5 on canvas.
Yes, this is Eugene. 

I've seen several paintings find new homes recently (hooray!) and I have several more on the easels that will hopefully be heading to new homes soon.  

A collector sent this photo yesterday after hanging her latest addition
on the lower right.  All original paintings © Adele Castillo

Workshops are a new addition to teaching my regular classes.  So far, they are going well.  A woman who is a regular student of another teacher in the gallery had been interested in taking a class, but not committing full time - her medium is watercolor. This student specifically requested a demonstration style class, so I came up with a cross between the currently popular paint party concept and a technique workshop.  It's been a success and the participants step away with basic lessons in acrylic painting and color mixing, even though we all use the same image as reference. 

My goal for 2014 is to 

Paint more. Teach more.  Live more. 

So far, so good. 

Eugene - December 1999 - October 29, 2013

Inspiration for so many paintings.  My protector, teddy bear, official guest greeter, rabbit hunter, squirrel chaser, therapy dog.  Angel Dog. You are missed, every day. 

Thank you, for choosing us. 

We loved every single moment. 

On Judging an Outdoor Art Show

"Crater Valley, El Valle,  Panama" copyright Ed Obermeyer
  used with permission

I recently wrote about my experiences jurying two art shows in a gallery setting.  This weekend I had the honor of judging and selecting winners for an outdoor art festival.  And wow, was that a different beast entirely. In the gallery shows, I not only juried in the art, I chose the winning pieces.  The art surrounded me, so I could compare.  I had only the art to speak to me. In the outdoor show, the artists were juried in by someone else.  I had an entire booth (aka "body of work") to peruse and the artists were there to discuss their work.  Then I moved on to the next booth.  Comparing work was difficult, as each booth was a separate environment.


Once I accepted the request to judge the Ocean View Art Show,  I knew that my main goal was to meet and listen to each artist tell me about their work.  At first, I thought the show would be no more than 80 participants - 64 were already juried in by the time I touched base with the show organizer.  This show quickly grew to just over 100 artists.  hoo boy.

I'll back up a bit and explain the outdoor show process.  Artists apply, usually sending in a jury fee and a booth fee in the event they are selected for exhibit.  Most of these shows are sponsored by organizations that either promote the arts, promote a non-profit, or are run by for-profit businesses.  The fees generally are used for award money, to pay the judges, for advertising, site rent and expenses,  then what is left is given to the non-profit or is salary to the for-profit business.  Artists make their money by selling their art.  Some outdoor fests will take a percentage of sales, but that's rare and often in lieu of a booth fee.    

As an exhibiting artist, one of my pet peeves has always been the aloof judge who walks by my booth and never bothers to enter and see what I actually do.  Much of the time I look up to see the "judge's dot" placed on my name card and have no clue what the judge even looked like. I understand taking a quick sweep of the festival, but I have always thought it to be rude for a judge to pass by an artist without even a hello.  In shows where there is more than one judge, there is no excuse.  I have always respected the judge that takes even just one moment to make eye contact with me and at least see my work close up.  Passing by a booth is the equivalent of judging art on-line...the nuances and workmanship may be hidden or overlooked.  I set myself up with a goal that, as the show grew, began to seem unattainable.  I can tell you I fretted the night before, dividing the number of artists by hours in the show to figure how much time I had to spend in each booth.  I didn't think I could do it.

I also knew from my show days that the work would be incredibly varied - and I wasn't disappointed.  It's like comparing apples to kiwis to bananas to pumpkins.  Fine craft was included, and none of those could be lumped into any one category.  The wood carvers, metal smiths, felter, glass blowers and potters had to be considered equally with the painters, sculptors, jewelers and photographers, to name just a few of the categories.  Challenging is an understatement.

"Think. No Evil." copyright Kate Negri
 used with permission

"Think. No Evil." copyright Kate Negri

I arrived about an hour early and casually walked the show.  It gave me a chance to be incognito and see some of the work quietly and gather some first thoughts about what drew me in.  Of course, not everyone was set up, but that wasn't a problem.  I'd see everyone officially later. Thankfully, I had an assistant for the day, who kept track of the time, artists, comments I made, her own thoughts and the paperwork for our trek through the show.  Tonya turned out to be a great match for me and shared my enthusiasm for meeting and greeting.  Often, I was able to take a closer look at the work while listening to the conversations she was having with the artists.  Later, when I had to narrow down some choices, it was helpful to learn she'd had much the same thoughts as I.

Thankfully, I WAS able to see and chat with each artist, even if briefly. The ones that drew me in, that I wanted to know more about, are the ones I considered for awards.  Their works were unique, skillful, consistent.  Most of the artists were very willing to share their techniques or process with me. (Note to artists: Don't go seeking out the judge, put your arms around the judge or tell the judge how many awards you've won unless asked.  It's quite distracting and inappropriate.)  Most artists had personal stories to tell about why they create as they do.  I loved listening to the elder gentleman explain about his walking sticks (each one was entirely different) as well as learning more about a certain jewelry making process from three of the artists.  A young man with a varied display of blown glass intrigued me as did another young man who created intricately detailed paintings of outer space using cans of spray paint.  One potter created her own glazes and one jeweler created sculptural faces using precious metal (silver) clay.  Photographs ranged from heavily manipulated to straight-up, shoot-to-print images.  Narrowing down the awards to just a few artists is not an easy task with so much variety and talent.  In the end, I had to select, so those works that stayed with me the most and made an impression each time I made my rounds were the ones that I eventually chose for awards. Not every one will agree with my choices and that's to be expected.  But I can say that although not every artist that deserved an award received one, the ones that did receive awards deserved them.

Here are links I had for the winners.  (although some of the links are to Facebook posts and may not be retrievable)
Thank you to Ed and Kate for giving me permission to post their images on this blog. 

Kate Negri - Best in Show  - Felting

Ed Obermeyer - First Place  - Painting (acrylic)

Pamela Hill - Second Place  - Painting (oil)

Geoff Coe - Third Place  - Photography

Nate Avery - Honorable Mention  - Glass 

Tracy Anderson - Special Recognition   - Painting (acrylic)

My Big Dog

My big dog is not well.  You can't tell by looking at him. 

Until he begins to move. 

This is my Eugene, in a photo taken this summer. The big guy on the floor. He still eats well and is in general, a happy dog. He's often somewhere near Gregory, or Gregory is somewhere near him. His spine and nerves are deteriorating, making it difficult for him to walk, and harder for him to control his body or even get up on is own.  Yet, he still looks forward to a walk in the neighborhood where on a good day he can sniff the grasses and check out the doggy bulletin boards. He just can't go very far.  

On a bad day it's difficult and trying, exasperating really. Hard for others to watch. Sadly, his condition is much like having human ALS and will not improve.  So we count each day as a blessing and hope we have the strength to say good-bye when it's time.  We've had that talk with his veterinarian already. 

It just seems like yesterday we went through this with our Gracie.  It was only a few months after her death when Eugene began his decline. We suspect it won't be long before he won't be able to get up at all. We watch the days and compare them, to be sure his good days outnumber the rough ones.  And when they don't any longer, we'll have to make that awful decision to end his life before his body becomes a burden he can no longer carry.  

Eugene has been an extraordinary dog - a therapy dog, a watch dog, a gentle giant that never left my side if he could help it. We were once filmed for an episode of Virginia Currents during a therapy visit. He never met a stranger, but didn't take kindly to perceived threats and he'd put himself between me and another in a heartbeat, in the gentlest way, just in case.  He loved to ride in cars and still does, loved being anywhere we were and still does. Eugene, as my friend Polly will say, is magnificent.  So we celebrate the time that remains. 

On Jurying an Exhibit - Part III - Talking with Artists

When I accepted the invitation to jury and judge two simultaneous art exhibits in July, it didn't occur to me at the time that I might be accosted by artists rejected from the shows.  And, whew!  thank goodness I wasn't. I DID have a few noteworthy conversations with several of the artists following the awards presentations on opening night.  Here are a few:

After presenting the awards for the "Reigning Cats and Dogs" show, we moved to the gallery on the other side of the building to present awards for the bi-monthly All Media show. One gentleman in particular was staring at me, listening intently. I found it a bit disconcerting. As he introduced himself, and we shook hands, I realized who he was and I knew what was coming next.  "I would like to know why you did not accept my painting into the show.  Do you know my painting?"  "Yes, I do.  I know exactly which was your painting." I proceeded to describe it.  and explain.  

This gentleman is a realist painter - a trompe l'oeil artist.  Which means "to fool the eye."  This type of painting can appear as if you can touch and move the objects around.   His pieces are distinct - usually on board and, painted as if on wood, the backgrounds are often dark and LOOK like wood. I've never seen him show a bad painting. Although (in only my opinion) it was not one of his stronger paintings, there was nothing wrong with it.  In putting the show together, it simply didn't fit in.  If he'd had more than one, or had there been another group of similar pieces, no doubt I would have included it. It remained as an option until the last rounds of elimination.  It simply did not work in the exhibit as it evolved. He seemed satisfied that I did know his painting and could express honestly why it wasn't included.  I am sure he disagreed. I saw him later in front of my wall of art in the gallery, scrutinizing my own paintings.  I would have done the same thing.  It made me smile.  

My next chat was with a gentleman who created an amazingly complex piece with multiple layers.  A ghostish figure resides in the center, and the corner edges of the piece were intentionally cut off.  Quite crudely.  I almost eliminated the piece because of that, but everything else was so thoughtfully placed, I knew it had meaning.  I honestly thought the creator was a college student.  Instead he was a 70+ retiree who loves making art.  Indeed he confirmed the sharp edges were meant to be part of the story.  I thoroughly enjoyed talking with this animated man filled with ideas. 

The next encounter caught me off-guard.  It was the first place winner of the animal show, Jeanne Minnix.  This is her work : 

"Hound" copyright Jeanne Minnix, used with permission

I had just left the gallery after chatting with Mel Talley, 1st place winner of the all media show. He shook my hand and thanked me, then laughingly told me "You must have been in a very dark place when you selected this exhibit."  To see what he means, you have until September 9th to see the show at Crossroads Art Center.  This is his work:  

"Life Force" copyright Mel Talley, used with permission

So back to Jeanne.  I heard my name called as I walked back to my studio. My head was filled with thoughts from talking about the show I'd just left, so I didn't connect who she was.   I did, but my brain wouldn't transition to carry on a sensible conversation about her piece.  It was a little awkward as we exchanged hellos. It wasn't until later that it all clicked and I was back in my own studio.  What I would have said was " I loved your work and am fascinated with your process. Let's go take a look."  I would have enjoyed talking to her with her painting in front of us, to learn more about it.  A lost moment I regret.  I hope we meet again.  

The last encounter was with a fiber artist. Milica Decker. I chose her necklace, "Peaceable Kingdom," for an honorable mention in the "Reigning Cats and Dogs" show.  Because I had at one time been a fiber artist of sorts, doing weaving and quilting, I had  appreciation for her piece and how perfectly it was put together.  Little did I know her story, until my friend Sarah and I found her selling her woven jewelry at a table near my studio.  

"Peaceable Kingdom" copyright Milica Decker, used with permission

I introduced myself to Milica and she began her tale by thanking me for the award.  As she correctly noted, fiber artists don't often receive accolades for their work.  She then proceeded to show me her process, along with a book of photos of many of her pieces, along with the work she had on her table display. One of the pieces in the photo images had quite a story and history. 

This work, a series of three, The Trilogy of Tears, was created after the death of Milica's husband, in order for her "to finish the grief cycle and find closure." Each was in the shape of a tear, the Tear of Grief, the Tear of Remembrance and the Tear of Joy. (Her story and explanations are long, so I'll not retell them here.)  The pieces were sold together to a friend of Milica's, to give to the girlfriend he'd broken up with, because she was unable to cry. This man wished for his former love to understand how important it was for her to cry. 

Later, Milica realized the piece might be able to help those in hospice, or their families, after learning of another person going through a grief issue.  Although the original is long gone, she had photos and the explanations she'd written for the gentleman who bought the  original.  Milica put together a packet and donated it to Hospice care, to share with anyone  dealing with grief whom it might help. A full circle and lovely story about how one woman's emotional journey translated to art. 

"Trio of Tears" copyright Milica Decker, used with permission

I would have known NONE of this had I not paid attention to her necklace in the first place and then stopped to talk with Milica at the end of the evening. The ability of art to heal, to soothe, to entertain, to speak, is universal.  

To those who believe that judging an art show is about "picking the pieces you like," my experience has been quite the contrary.  I would not choose to live with most of the works I chose for the shows, but I appreciate all of them.  From the rough "outsider" tiger painting, to the found assemblage, to the exquisite colored pencil rendering of a single dog, and many others that didn't make it to exhibit.

All in all, this was an enlightening experience for me and one I'd not hesitate to take on again. 

On Jurying an Exhibit - Part II - Winners

I recently had the honor of jurying and judging two simultaneous art exhibits.  The previous post explains the beginning of that process.  This is Part II - Selecting a Winner. 

Once the work has been chosen for a show, the next task is for the judge to select those pieces that to him or her, are worthy of accolade.  Every judge has their own criteria, based on their background. My parameters are broad because my experience is in teaching, which requires that I be proficient, although not necessarily excel, in most media, plus have some art history background. In my case, that includes photography, sculpture, painting, crafts, jewelry, clay and fiber arts.  My criteria for choosing winning selections included technical skill, formal elements and reaction.  

I admit it was a daunting task to see so many paintings, so much art and try to narrow it all down, then select those deserving of an honor.  What was I thinking, taking this on?  So many artists tell me they hate judging shows, or they wouldn’t even consider it.   

I judged the show “Reigning Cats and Dogs” first.  I made a quick sweep of the show the day before judging, since I have a studio in the back of the gallery.  My first thought was, “wow, this is going to be a nice show.”  I returned the next day to begin the process.  So many more pieces had been entered and the size of the show nearly doubled in that short time.  One in particular caught my eye, from the beginning.  Several caught my heart, since I’m a dog painter.  But judging art is a different thing from loving art.  I immediately saw references to Marc Chagall, a Russian painter, then a little Paul Klee and Joan Miro in this compositionally strong work. I had to get close to see what was happening.  Titled “Hound,” I kept wondering “where IS the hound?”  While looking at this painting, I noticed the marks, the application of color, the subtle suggestions of other animals. Done in pastel and mixed media, the work is clean, engaging, and a self-contained bundle of energy.  Even though I found so many other works in this show as well done and lovely, or curious and engaging, this one not only kept calling me back, it had it all.  First place went to this painting, titled “Hound,” by Jeanne Minnix.  

copyright Jeanne Minnix - used with permission

The rest of the choices were harder still.  Now I had only 2 more awards, plus honorable mentions to give.  This was a strong show to judge, with excellent work by accomplished artists.  To be sure I chose based on what, not whom, as I did not look at any  names on the entries until after my selections.  Of course, there were styles I recognized and two of my students entered, but overall, I had no idea who did what.  Again, I had to narrow down by what spoke to me, once all other things were considered.  I decided to sleep on it and make final choices when I returned the following day. The rest of the exhibit and winners can be seen at Crossroads Art Center 

The next day, I returned to judge the larger all-media show.  This is the one where everything imaginable can be entered, and was.  Again, once the show was selected I had to choose a winner.  

This one came a little differently.  I remember as we were eliminating pieces (I would decide and Jenni Kirby, gallery owner, would remove them) at some point I turned and saw this piece.  I mentioned it in my gallery talk, the reaction was so visceral.  I gasped.  This tiny bird, reduced to skeletal fragments, rested or floated somehow in the hands of a human reaching to scoop it up.  As if the soul was rising from the deterioration into hope.  I told Jenni, “I just want to weep.”                                                                       

First place was awarded to "Life Force" by Mel Talley.

copyright Mel Talley - used with permission

Granted, all of this is my interpretation.  But the artist did with photography what any good artist does - manipulated his materials and made color and compositional choices to convey a message...a message vague enough for interpretation, strong enough to  evoke a response.  Wow.  Just wow.   Had this piece been tiny, or colorful, or the size of the subjects been changed, or framed differently,  it would read as an entirely different work.  I think (my opinion) that often those who judge art don’t take the time to look and really see what is going on.  I understand the limitations of time and space dictate how one may decide on a winner, but each artist typically makes thoughtful and critical decisions about their work all along the way, and those artists deserve more than a passing glance.  

My last thoughts in this Part II post concerns “winning” in art.  I don’t consider art to be a competitive sport.  Yet, this is how juried art shows are set up - as competitions.  With judges and winners.  Which somehow suggests losers on the flip side.  Those of us in this “game” (another sports reference) have become accustomed to being selected or rejected from exhibits, and know often it has nothing to do with the merits of our work.  It can be as simple as not having enough space.  Yet, when we receive those awards, we feel validated.  If the show is prestigious enough, we can boast that we’ve been acknowledged, that we have arrived!  I like a juried show - from an artist’s point of view, it means there is some stability or certain quality, depending on the venue and juror, that I can rely on.  It’s a great way to see what another thinks of my art.  It’s a good way to find a fit for my art and draw in the kind of customer more inclined to purchase my art.  

I suppose, until a better way is found, juried shows with awards is the best way for new and seasoned artists to continue to exhibit their work on a regular basis.   

Part III coming soon.  Conversations with two of the artists following the awards presentation.