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Category: Art

Everything Under the Sun: Artist Interviews

Susan Mariano, CMNH Intern

Barbara Albert

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Q. Barbara, I really like the way that you have added dimension to your painting by affixing the smaller canvases of the two children on top of your hillside background canvas. The way the string of the balloon appears in the foreground and balloon itself in the background, makes it seem as though the balloon belongs to the children, yet has a separate existence of its own outside of their play.

What feeling or message are you hoping to invoke with the viewers of “The Red Balloon”?

A. Children often struggle with sharing. My painting of two kids with a red balloon, tells a story about making choices. Look closely at the boy on the left. Does the way he is standing suggest that he wants to hold the balloon, too? You can feel the boy wanting to hold the string while the girl on the right seems unwilling to share her prize. Do you think the girl on the right will let him? Will he convince her to let it go? Will the balloon escape at first opportunity? If it was your balloon would you share it?


Yong Chen

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Q. Yong, the detailed facial expressions in your paintings are very moving and being able to watch you actually paint a portrait during the artists’ reception was incredible! The watercolor paintings that you have chosen for this exhibition truly capture the emotional element of childhood play when there is not a care in the world but the moment that you are living in, and the sense of security found in spending unhurried, quality time with treasured parents.

What is it that catches your eye and creates the desire within you to paint a particular person?

A. Whenever I see happy children under the sun, I want to put them in my paintings, because I would feel the genuine, unselfish love from the parents. I hope that my paintings will inspire my viewers to spend more quality time with their children.

My core belief that guides my parenting is that children are happier when they're outside, in the sunshine, playing, enjoying, exploring and learning about the wonderful world they live in. I'm experiencing the same struggle as most parents do of how to balance life and work in the modern technologically obsessed environment around us. For many working parents, it is very difficult to consistently make their children the priority. In each of my watercolor paintings in this series, there is one story to tell, and behind it a very happy child. We should see the love, caring and sacrifice from the parents. As an illustrator, I am trying to use my paintings to connect the parents with their own happy childhood memories, when in those times there was not much technology, and share my thought with them that they should make time to bring their children outside and play.


Taylore Kelly

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Q. Taylore, the golden circular shapes in the center of all of your mixed media artwork convey a sense of warmth and security, as they surround the delicate creatures within.

What statement are you making with the vintage printed backgrounds that you have chosen for each of your pieces?

A. I like to up-cycle the vintage pages from damaged antique books that would have otherwise found their demise and give them a new life by creating on them.

Q. Would you share your thoughts on your unique title choices?

A. Then All the Sky Which Only, the hummingbird, has the specific background because I saw the sentence, “Nature of Matter and Mind” within it and I turned it into my belief system of nature being grace, and that I do not understand, nor do I need to understand the mystery of grace. The title is simply a sing song way to say “Look what the sky holds! Hummingbirds!” Words have melody when we look and search.

By All and Deep by Deep, the whale, has a mathematical equation background because when I squinted my eyes the equations looked like music notes. Well let’s be honest I am far sighted and thought, indeed they were music notes. I love the songs whales sing. The title is because whales seem to live very deeply on all levels, figuratively, literally, musically, richly.

Whatever a Sun will Always Sing is You, the fox in the eclipse, is on a page about insanity, but the page is reversed. Tarot Cards meanings at times will be the complete opposite if inverted. Actually a lot of symbols mean the opposite when inverted. A subliminal message of how rabies seem to get these lovely creatures quite often, but not this one. She is sleeping in a soft eclipse of her own music.

Open You the Biggest and All, the deer, is in a sun nest. She is open and feels one with the Universe and what is bigger than that? I can not think of anything. She is on upside down equations as well because I thought they were music notes. Sometimes these things happen and I just flow with them!


Gina Perry

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Q. Gina, I really love the way that your colorful illustrations have captured the whimsy of a child’s imagination, the details that you put into your work, and how each person and creature is sharing time with others, yet in their own little world.

What made you decide to become an illustrator?

A. My short answer is usually that a very big part of me is STILL a child, and I'm making pictures that make that part of me happy! But here is the long answer, as well. Books were a huge part of my childhood. They allowed me to see into other worlds that as a child I couldn't travel to on my own. I also loved art from a young age but never thought of illustration as a career path until I was in art school. Even then, I studied computer animation - and I think what most attracted me to that profession was the visual storytelling. Once I was working in animation, I understood how little personal vision I could put into a project and that I wasn't working with the audience I loved the most - children. I didn't put the pieces together until I was taking a children's illustration class - suddenly I knew exactly what I wanted to do! It really felt like a light deep inside me finally clicked on. I love learning, so I soaked up everything that would help me reach my goal. Over the years I took lots of classes, joined critique groups, attended conferences, read mountains of picture books, and worked incredibly hard to find a place in children's book illustration.

Q. Do the authors set “rules” for you limiting you to their vision or do you get to express what you see within your own imagination?

A. Most projects allow me to set lots of rules - from how the characters look to the size of the book itself and where the text breaks up throughout the book. Other projects come with more guidelines, usually from an editor or art director, but there is always room for my own approach and vision. Finding ideas and characters that the author didn't originally state, but that add to the story, is one of the most exciting parts of my job!

Q. What medium to you use to craft your illustrations?

A. I use a mix of gouache (opaque watercolor), soft pencils and Photoshop.


Michal Smiglowski

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Q. Michal, you are known for drawing incredibly detailed black and white penciled portraits and illustrations. In this exhibition you have traveled in a totally different artistic direction, leading you to the creation of fascinating 3-dimensional, illuminated worlds inside of cigar boxes. In conversation you eluded to a future endeavor using yet another medium.

Please share what it is that truly inspires you to boldly go where you have not gone before.

A. On a visit to our favorite Maine 'Dowling Walsh' Gallery, located in Rockland, we came across artwork the likes I had never seen before. I was immediately fascinated by the medium, craftsmanship and story. The artist is Anne Emmanuelle Marpeau from Brittany France. The works were of dioramas of the coast, sailing and sea. I was so taken with them I got to thinking about creating something similar on a smaller scale, and so after much experimentation and development my boxes were born.

Less exacting than my pencil portraits and entirely different, I loved the change in medium and the unending and imaginative ideas you could create.

I am always coming up with new ideas and creative projects, adding them to my repertoire of artworks. The part I quite enjoy is figuring out (engineering) how these 3 dimensional projects can work, and yes, I have yet another idea in my mind… here we go again. It's so much fun!

In the world of hi-tech, the hand-crafted creative is both rewarding and therapeutic.


Debra Woodward

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Q. Debra, I like that you selected photographs of children from France, Mexico and Italy for this exhibition as your photos serve as a reminder that the essence of being a child has no international borders. Your statement that “Photography is so much about ‘seeing’ and not just taking snapshots,“ rings so true with your photographs. As the viewer continues to gaze at one of your photos, it seems that there is more going on than just a quick glance can reveal.

Do you see these nuances as you are taking the photo or discover afterwards that they were what compelled you to capture the image?

A. Thank you for saying that my photographs are not snapshots, but more about seeing. That is what I strive for. As for whether capturing the essence of being a child was intent or a lucky result of my shooting (which I admit can absolutely happen!) on those days in Mexico, Paris and Tuscany, I think I can fairly say that with these particular photos I was excited to see what was happening in the world around me and sought to capture the moment. The child in Mexico was playing with some of the jewelry that her parents crafted and sold and I could see that she was just so beautiful. In Tuscany, I shot many images of those boys playing soccer but was happy that I stuck around to photograph their camaraderie afterwards. And in Paris, I was very excited to see that little girl on her scooter in front of the carousel. It was an image I would never be able to capture close to home. It was so Parisian. She reminded me of the little girl in the Madeline books!

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​Finding the Summer in STEAM

by Sarah Terry, Museum Educator

Could it finally be summer in New Hampshire? This winter child is a little sad (and hauling up the air conditioners from my basement…), but it’s hard to feel too badly when all the trees and flowers are in bloom!

I’ve been watching our museum garden start to grow out back – we have a ton of different herbs, all kinds of vegetables poking their stems up – and contemplating my unfortunate black thumb. I’ve never really been able get anything to grow except aloe plants (which apparently thrive on neglect), so I’ve been thinking a lot about the science behind growing things, the way plants and animals fit into their environments, and the effects, both positive and negative, that human beings can have on those environments.

It’s with those thoughts in mind that I’ve decided it’s high time to dirty up our fancy new STEAM Lab a bit! For the month of June, all of our lab activities are going to be focused on ecology.

I chose ecology in particular because it focuses on how all the elements of our environment work together. Ecologists look at plants, animals, soil, people – all the pieces of the puzzle. That’s what I’m hoping kids and parents will get a taste of in the lab this month.

And taste may be literal! I’m planning on growing some oyster mushrooms in the lab for kids to inspect, as well as planting some pea plants. We’ll be looking at strawberry DNA, making seed bombs, learning about beavers, making biomes in a bag, and even raising some butterflies!

We’ll be posting our STEAM Lab schedule weekly, so make sure to check our Facebook page and calendar for updates!

And who knows – maybe I’ll even get to upgrade my black thumb to something a little greener! Wish me luck!

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MOSAIC: Artist Interviews

By Susan Mariano, CMNH Intern

BECKY FIELD

Becky-Field-Photos.jpg?mtime=20160519223Q. Your photographs capture the optimistic joy of childhood and the strong desire to embrace and rejoice in the freedom to express, celebrate and share one’s colorful cultural heritage. While the immigrants and refugees from Africa and Southeast Asia may outwardly look and dress differently than those born here in the United States, they share many of the same family values as their fellow American-born neighbors and should be respected and appreciated for their differences.

Many of the people you have immortalized on film have come to New Hampshire seeking safety and a better life for their children. However, it was a shameful local act of hate that inspired you to begin your photographic journey. What signs have you seen that the tides of understanding and embracing cultural diversity are changing here in New Hampshire?

A. The act of hate that inspired me to do this photographic project was immediately countered by a large community response that started the "Love Your Neighbor" Coalition. The hate was from one person, the response was from a whole community. Since then, my photography has been shown in many exhibits and talks that I have given in several New Hampshire communities. I have seen in the response to those events that feature the lives of our immigrant and refugee neighbors, and in the out-pouring of interest in by book, Different Roots, Common Dreams, that there is a growing interest and desire to welcome for people of different cultures who resettle in our communities. Through these photographs, the broader public has come to know our immigrant neighbors, and that knowing has planted the seeds of understanding and compassion.


SKIP SMALL

Q. The photographs you have taken of Chinese children living their everyday lives, hanging out with friends, riding on a bicycle and playing outside in the dirt illustrate that the simple things that bring one joy during the days childhood are pretty much universal.

As a retired pediatrician who accompanies groups of prospective parents on the journey to meet their adoptive children for the first time, what would you like to say to couples who are considering becoming parents to children from other cultures?

A. My advice to people thinking of adopting children from a different culture would be no different than I would give to any potential parents. Raising children is a demanding challenge whether they are naturally yours, adopted from your culture, or adopted from a different one. If you are afraid of challenges, don’t have kids. If you embrace challenges, go for it!

SAYAKA and SETH BLEWITT

Q. The images and objects that you have curated, providing a glimpse into the life of a child from Japan, were uniquely enlightening. Finally, I understand the significance of the Japanese cherry blossoms! The celebrations of Hina Matsuri and Tango no Sekku show how truly important and respected children are in the lives of the Japanese.

What message are you hoping the people who view your collection will take away with them?





A. I'm glad that the exhibit had that effect of providing some insight into Japan through a child's eyes. Think of the first moment when you saw the topics posted on the wall of the

exhibit. Perhaps you had never seen a lunch box decorated to look like Mario...or you've not yet had the chance to sit underneath cherry blossoms and enjoy the company of others while the petals fall around you. If any of the topics were new to you, what did you feel when it was something you'd never seen before? This feeling is what I want people viewing the collection to take away with them. And this is the feeling that kids have all the time as they are growing up and encountering something for the first time.

Curiosity, wonder, bemusement, and excitement for something new are a little harder to come by when you're older, unless you look for it. In exploring another culture, adults can feel like a kid again because they encounter a barrage of new experiences. So hopefully in the short term visitors, adults and children alike, have found these wondrous emotions. And in the long term I hope that this exhibit has motivated adults to seek out new experiences for themselves and to share with others.

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​A MOSAIC of Cultures to be Explored

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Becky Field, "Young Somali Woman, Manchester, 2013"

Gallery 6, the space reserved for art inside the Children’s Museum of New Hampshire, will have a new exhibition opening on March 5 and featuring art from many different cultures. MOSAIC: Exploring Our Multicultural Neighborhood will be paired with a special celebration of cultural exploration on Saturday, March 12, where guests can taste North African cooking, enjoy traditional Bhutan dancing and music, try their hand at Chinese brush painting and take part in a community art project.

The art on view in MOSAIC will include photographs of immigrants and refugees living in New Hampshire taken by Becky Field from her book Different Roots, Common Dreams, which came out in the Fall of 2015. Photographer David Hiley, who traveled to Haiti with a group of Seacoast, NH medical professional volunteers in coordination with the Haitian Health Foundation, will present his series of Haitian “selfies” of children and parents. “My eye was drawn to the tension I saw between wrenching poverty and the vibrancy and dignity of these children,” shared David. “Allowing the children to take selfies captured the curiosity and joy common to children everywhere.” Also on view will be photographs of children from China taken by retired pediatrician Skip Small and a glimpse into the life of a child from Japan curated by Sayaka and Seth Blewitt. Also on view will be selected dolls from the Museum’s collection of dolls from around the world.

The special celebration of MOSAIC promises to be just as diverse as the cultures represented in the art itself. The event will be from 11am-2pm on Saturday, March 12 at the Children’s Museum of New Hampshire in Dover. Guests who come in traditional cultural costumes (super heroes and princess costumes do not apply) will receive half-off their individual admission. From 10:45am-Noon European classically trained chef Patrice Gerard will demonstrate North African cooking and guests can taste his vegetarian tagine with couscous. Becky Field will be on hand to talk about her photography project and her work documenting cultural, ethnic and religious diversity in NH. At 11:30am and 1pm dancers from Bhutan will demonstrate traditional dance and music in the Museum’s Muse Studio. David Hiley will be walking around the Museum taking “selfies” of guests who come dressed in their traditional costumes. Runjuan Huang will demonstrate Chinese brush painting and guests can try their hand at that or help create a community weaving project, which, when completed, will be installed on the exterior of the Children’s Museum. The opening celebration events are free with regular museum admission.

The MOSAIC exhibition will be on view through Tuesday, May 31 and is sponsored by Optima Bank and Trust, the New Hampshire State Council on the Arts and the Fuller Foundation. In addition to the art on view and special celebration event, every two weeks the Museum educators will focus on the cultures of different countries and feature country themed crafts and activities in the Muse Studio. The countries, in order of appearance, will include Tanzania, Peru, Haiti, Iceland, Japan, Pakistan and Canada. At the end of May, art projects and facts about all seven countries will be displayed together in the Muse Studio.

As always, no admission fee is required to view the art in Gallery 6. Regular admission applies for families who wish to also explore the rest of the Museum.

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Un MOSAICO de Culturas

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Becky Fields, "Somali Cousins, Manchester, 2013"

Un MOSAICO de Culturas para ser Exploradas en el Museo del Niño de New Hampshire

Galería 6, el espacio reservado para el arte en el Museo del Niño de New Hampshire, tendrá la apertura de una nueva exhibición el 5 de marzo, y presentará el arte de diversas culturas. MOSAICO: Explorando nuestra comunidad Multicultural, simultáneamente llevará a cabo una celebración especial de la exploración cultural, el sábado 12 de marzo, en donde los asistentes podrán degustar la cocina del Norte de África, disfrutar el baile y la música tradicional de Bután, probar sus destrezas con el pincel en la pintura China y formar parte de un proyecto de arte comunitario.

El arte visto en MOSAICO incluirá fotografías de inmigrantes y refugiados que viven en New Hampshire tomadas del libro Raíces Diferentes, Sueños en Común de Becky Field, el cual salió en el otoño del 2015. El fotógrafo David Hiley, quien viajó a Haití con un grupo del litoral, profesionales médicos voluntarios de NH en coordinación con la Fundación Sanitara de Haití, presentarán las series ‘selfies’ de niños y padres Haitianos. “Me llamo la atención lo que vi entre la desgarradora pobreza y la vitalidad y dignidad de esos niños”, “comentó David”. “Permitiendo capturar la curiosidad y alegría en común que todos los niños tenían por todas partes”. Asimismo serán expuestas fotografías de niños de China, tomadas por el pediatra jubilado Skip Small y se vislumbrará la vida de un niño de Japón capturado por Sayaka y Seth Blewitt. También estarán en muestra muñecas de alrededor del mundo seleccionadas de la colección del Museo.

La celebración especial de MOSAICO, promete ser tan diversa como las culturas presentadas en el arte mismo. El evento se llevará a cabo de 11am-2pm el sábado 12 de marzo en el Museo del Niño de New Hampshire en Dover. Los asistentes que vengan en sus trajes típicos (disfraces de superhéroes y princesas no aplican) pagarán la mitad en su admisión individual. De 10:45 am-a mediodía el chef Patrice Gerard capacitado en Europa, hará una demostración de la cocina del Norte de África y los invitados podrán degustar su tajine vegetariana con cuscús. Becky Field estará accesible para hablar de su proyecto fotográfico y su trabajo de documentación cultural, étnico y la diversidad religiosa en NH. A las 11:30am y 1pm bailarines de Bután harán una demostración de su baile y de su música tradicional en el Estudio Muse. David Hiley caminará alrededor del Museo tomando “selfies” a los invitados que vengan vestidos con sus trajes típicos. Runjuan Huang hará una demostración de la pintura China con pincel y los asistentes podrán también intentar hacerlo o ayudar a crear el proyecto comunitario, el cual, una vez completado será colocado en el exterior de Museo del Niño. La apertura de la celebración de los eventos son gratuitos con su admisión regular del museo.

La exhibición MOSAICO estará a la vista hasta el martes, 13 de mayo y es patrocinada por Optima Bank and Trust, el Consejo Estatal de Artes de New Hampshire y la Fundación Fuller. Además de la exposición de arte y la celebración especial, cada dos semanas los educadores del Museo harán manualidades y actividades culturales de diferentes países en el estudio Muse. Los países, en orden de aparición, incluirán Tanzania, Perú, Haití, Islandia, Japón , Pakistán y Canadá. A Finales de mayo, proyectos y situaciones acerca de los 7 países estarán juntos en exhibición en el Estudio Muse.

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Gallery 6: Out of this World

Artist Interviews

by Taylore Kelly


Beth Wittenberg

Q. Your pieces are very whimsical, light and energetic. The color is phenomenal and seems ultra intuitive. The bird theme is enticing. How do you bring your creatures to life?

A. I have no preconceived notions or ideas when starting a painting. I start with the white of the paper. I begin by laying colors down rapidly. I allow the paint to dry. Once the paint has dried I turn the paper in all directions and spend a good amount of time looking at the colors and shapes until I "see" something. I begin by making the first marks with a pen. One mark informs the next until the drawing is completed. My process is similar to looking at clouds and finding hidden creatures. I allow the colors and shapes to speak to me. I am always in a state of wonder when i see what is revealed. My process is very exciting for me because I never know what is going to show up. I hope the viewers have enjoyed the exhibition.



Bill Baber

Q. Your work has an extremely deep, calming and electric ambiance to them. They drew me right in and I wished I was there, at those places. It should be this way was a beautiful title. What did you mean by that title?

A. Most of my images bring together elements from many photographs. It should be this way is different in that it began and ended with a single photograph. I am always at a loss to explain how my images come to be. Most of my life is consumed with the search for clarity out of a sea of objective data. Creating these pieces allows me to go to a totally different place where things just happen. This piece happened to an image that began with considerable natural beauty. It moved from a place I experienced to a place the way it might be had the image come in a dream thus "It should be this way."


Wolfgang Ertl

Q. I noticed the title Reverie, was thematic in your work, and know that definition to be a state of being pleasantly lost in one's thoughts. Your work actually drew me in and gave me a relaxed far away feeling. This happened before I read the title. Did you plan on engaging and drawing the viewer in or are these beautiful, colorful pieces about something else?

A. Thank you very much for your kind comments. Your observations concerning my “Reverie” series are certainly spot on. The abstract pastel “Reverie 5” reflects a calm and playful disposition and invites the viewer to enter and explore a world of colors, lines, and forms. While based on observing and experiencing real landscapes like my more representational paintings, the oil “Reverie” is an imaginary landscape. Like the pastel “Reverie 5” it can be seen as an “inner landscape,” perhaps a bit more enigmatic or mystical than the abstract pastel. Some of my artwork is consciously or subconsciously influenced by my lifelong engagement with literature, especially lyric poetry.


Sue Pretty

Q. Your work has a very tranquil quality about it. It definitely reminds me of pointillism. It seems one would have to have a lot of patience to work the way you do. It's beautiful and admirable. Noticing that one of the pieces is called "Balance" made sense to me, because your work felt very balanced.
Each one of your paintings has flowing clouds in them and a cup, what were you thinking about when these were created?

A. These pieces are part of my China Series. My grandmother emigrated from England. I have quite a collection of you china, even a tea set of Royal Dalton. The thread of the environment and its destruction and fragmentation has run through my work as an obsession for a number of years. I have trucks and heavy equipment destroying the landscape. Rather than bulldozing my message through (which is not always very well received) I thought I'd try to tackle this with humor and a lighter touch. I think the china makes a good jumping off point. Each piece of china in Balance has a different environment. The teapot has an underworld with brightly colored fish, another flamingos in the everglades, caribou on the tundra and the plate a snake in the grass. These fragile environments very precariously balanced. It also reflects in my personal life an effort to bring everything into balance. The painting Cup with a Desert Landscape on a Snake Table Cloth deals with are efforts to reduce nature’s beautiful landscapes into a item for sale just a decoration, not experienced firsthand and in danger. The painting Moose Cup With a Eurasian Milfoil Table Cloth looks at invasive plants and the destruction they cause. The Eurasian milfoil just one of the many plants. These plants are transported on the propellers of the boats to other bodies of water not infected. I’m not sure if the bright orange and yellow equipment bulldozing the landscape or the more playful china images are more effective in getting my point across. Multiple approaches reach hopefully more people.


Phillip Singer

Q. Where do your ideas come from? The relationship between the animals and their environment and each other is a force to be reckoned with! I found them so riveting and beautiful. What is your most important artist tool? Is there something you can't live without when making art?

A. Thanks for contacting me. I’m flattered and I’m glad you like the work. I am always asked “where do my ideas come from?” Whats funny is I mentally shrug my shoulders when people ask that question and think to myself. …. Ummm “I don’t know” However when I see other peoples work I think, “Where the heck did they get that idea from?”.. So I do understand why people ask. I really don’t have a surefire process for my ideas. They are a mix of so many of the artists I’ve admired since my school days. Surreal artists, my mentor Marvin Mattelson, and Illustrators I’ve loved. But we’re also bombarded with imagery every day. I’m always playing with images in my mind. So If I see something I like… an animal or a plant, I just play with it in my mind and on the drawing pad until I get a juxtaposition that intrigues me. Sometimes it’s quick and sometimes its not. The quick ideas are few and far between. Is there something I can’t live without when making my art? Yes, GOOD BRUSHES! I have many many brushes. Old brushes get used to create textures. Some brushes are stiff, some are soft but when I get towards the finish I need good brushes that hold their shape.



Victoria Elbroch

Q. There are times when a subject has trouble coming to life but clearly this is not the case with your beautiful theme of trees. They have a real mysterious quality to them. How has your style changed over the years?

A. I have always drawn trees but started with line etchings from sketches and now use many mediums from ink to dry pigments. I used to render each twig but am starting to let the viewer fill in what is not complete, adding to the mystery. Thank you for a great question!


Brian Cartier

Q. Your work of art in the show really draws you in with the energy of what appears to be a Phoenix like creature? The title Evolat is latin for "to fly"? Is this correct? What was your creative process when creating this painting?

A. Evolat is indeed a Phoenix, and was commissioned by a local woman who has since become a very close and special friend. The piece is actually very special to me, as the timing of her reaching out to ask me to create it, was just as I was beginning to 'rise out of the ashes' myself after a failed attempt of starting my own business, which I had literally put everything I had into. It was one of my first commissions of 2015, which has been my most successful year as an Artist thus far (2016 is certainly building off of that momentum). So the piece itself is representative of having to sometimes reach your lowest lows, to experience your highest highs. If you look very closely, within the wings, you'll find the quote "Alis volat propriis" which is a favorite of the client, along with her love of the fictitious bird and triumphs in her own life challenges, ultimately her inspiration to commission the piece. Another reason this piece is also special to me, is because I had actually attempted to paint one a few years ago, and was so unsatisfied with it that I covered over it, and had always been wanting to try again, it's rare that a custom commission is something your excited to create. This piece was certainly a challenge, I achieved the affect of the fire by using different smudging techniques and washing out areas with very diluted paint. This particular piece of art was created from a place of found solace after experiencing one of the most challenging times in my life (so far), and I wanted to challenge myself to achieve something in this painting that I previously could not.


Sam Paolini

Q. Your creatures all seem so dynamic and happy and alive. Very energetic and bold! Is there a work of art you have done that you are particularly proud of? If so why?

A. My creatures are happy because I was not when I made them. It's like a kind of therapy; I force the smile out with bubbly cheery critters and they can cheer me up, and hopefully cheer up other people too. I also imagined the dark cold winter approaching, and because I get depressed in the winter, I thought everyone could use a little brightening up when they drive through downtown. So far its worked for me! I am most proud of the public artwork that I've done. It's such an honor to be featured in a place that anyone can see my art without having to seek it out, walk through a door, or pay a fee. My mural at the Dover Skatepark was my #1, but now it's definitely the Children's Museum!


Fleur Palau

Q. I must ask if you have bunnies? There seems to be a theme in your paintings with these furry creatures. These two paintings show such a strong character in each and every one of their faces. What is it about Rabbits/Bunnies that inspires you so much? They are beautiful, I love them!

A. About what inspires me about my rabbits...it's really impossible to explain. The mystery of it leads me to include them in my work either as the main subject or as an antidote. Sometimes they are a vehicle for pure fantasy and sometimes just an element of wild nature as a contrast to the human. But if I were to figure it all out and explain it what purpose would that serve? Only to flatten out and limit the possibilities for myself and the viewer.
So that's my paultry answer. I really don't know!


Marina Forbes

Q. The texture in your paintings is quite vivid and draws the viewer in. Is there an element of art you enjoy working with the most?

A. For me, my creative work is always joyful and rewarding. I have a “Russian soul,” and my art is infused with my heritage and my unique perspective on the world around me. In my contemporary work, I integrate traditional themes with the freedom and exuberance of new artistic forms. My contemporary work is always well researched and filled with diverse traditional themes and styles combined with the freedom and exuberance of Constructivist forms. My ultimate goal is always to satisfy my creative impulse by producing lasting works of great imagination, strength, universality, dignity and spirituality.




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Out of This World

A Gallery 6 art exhibition preview

Fanciful Out of This World art exhibition debuts at Children’s Museum of NH’s Gallery 6

This winter, the walls of Gallery 6 at the Children’s Museum of NH will take the magical and fantastic impossibilities of our imaginations and present them in a way that is real and believable. Out of This World, on view December 3, 2015 through March 1, 2016, contains fanciful creatures in playful and whimsical settings and promises to take viewers on journeys to strange worlds.

Out of This World shines a spotlight on Fantasy art and invites the viewer to suspend disbelief just long enough to view a new realm of possibilities, unhindered by our own expectations. “Believing the ‘impossible’ comes very naturally to children, so this Fantasy theme is a perfect fit for an art exhibition within a Children’s Museum,” shared Tess Feltes, Gallery 6 Curator.

Also on view on the exterior of the Museum is an installation by local artist Sam Paolini. “Sam’s art is all about other worldly creatures existing in fantastic and colorful environments, so we wanted to have her art greet guests as a way of saying, ‘Hey, anything is possible here!’” said Exhibits Director Mark Cuddy. The Gallery 6 art exhibitions are supported by Optima Bank and Trust, the NH State Council on the Arts and the Fuller Foundation.

Close to forty works of art have been selected for the Out of This World exhibition, ranging from anthropomorphized forms to detailed illustrations. These paintings, prints and mixed media pieces are mostly available for purchase and a portion of the proceeds goes directly to supporting the programs at the Children’s Museum of New Hampshire.

Featured artists in this show include: Bill Baber, Cori Caputo, Brian Cartier, Victoria Elbroch, Wolfgang Ertl, Tina Fazio, Marina Forbes, Theresa LeBreque, Fleur Palau, Sam Paolini, Sue Pretty, Phillip Singer, Beth Wittenberg and Shi Yue. The public are invited to join the artists at an opening reception, generously sponsored by Optima Bank and Trust, on Thursday, December 3 from 5:30-7pm.

Out of This World can be viewed in Gallery 6 during regular business hours at the Children’s Museum of New Hampshire: Tuesday – Saturday 10am-5pm and Sunday noon-5pm. No admission fee is required to view the gallery only. Regular admission applies for families who wish to also explore the rest of the museum.

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Gallery 6: Flight

Artist Interviews

By Taylore Kelly

GORDON CARLISLE

Q. Your work felt very nostalgic and dream like. The collage and acrylic medium really worked well together to form a united story. Does creating your work come easy to you?

A. I've been making collages since about 1973, the same year I graduated from San Francisco Art Institute. Back then, I was interested in converting these collages into etchings. Soon, I became less and less enchanted with the etching process, and wanted the collages to just exist as themselves.

I've always found the act of creating them very liberating. Initially, I try not to get too much in the way of where they seem to want to go. Then I jump in and help them get there. Creating collages on my own, I don't work with themes. But I've found Tess's (Gallery 6 coordinator) imposing of a theme a worthwhile challenge.

Here, she asked for two or three collages from me. However, the way I work, I like to lay out a couple of dozen at once and see where they take me. Then, it's a process of winnowing out the less effective ones in favor of the better. By the way, I'm often asked if these are made digitally. They're not. I still use old school materials like X-acto blades and spray mount adhesive.

Nearly all my collages include the use of acrylic paint to help blend the collaged elements to each other, so that the scenes become a little more seamless.

The nostalgia comes from my love of older published magazine elements. I collect all these in portfolios marked "Men", "Women," "Women with Appliances," "Animals." etc. Born and raised in the 1950's, these are the type of magazine elements I grew up with as Life, Look and The Saturday Evening Post came to the door. There's a beguiling innocence to the way those magazine models have been posed that speaks of another time. I enjoy juxtaposing this innocence with more contemporary situations.

Does it come easy? Sometimes. It's important to know when to stop. Sometimes there's technical difficulty assembling just a simple collage, what with complex cutting and gluing and pre-planning the sequence of events. And to be honest, after all that, some just don't cut it, and have to be shelved. In the end, I hope to have more successes than failures; at least the 2-3 Tess requested of me.

In my best dreams, I do fly, and it feels as natural as can be, my arms outstretched as I whoosh through rooms in the house, downstairs, out the door and over canyons and river valleys.

CORI CAPUTO

Q. Your work really seems to have a playful and dreamlike feeling of calm to it. I, as the viewer wanted to dive in and be a part of what was going on in your pieces. What are you trying to communicate with your art?

A. Because there are a variety of themes in the paintings I have in Flight, I would say their messages range from humor, expressing the simple, sheer joy of weightlessness, adventure, independence, escape, searching for answers or a world-view of a situation. However what I ut on the paper and what the viewer discovers about the art can be two different things depending on their mood when they view the work. It could be deemed as ridiculously silly or it could motivate them to cast off their old life and start fresh. That is the joy of Art, it can be many different things to many people.

TESS FELTES

Q. Each and every one of your pieces truly feels like the subject manner is a living, breathing animal. They are evocative and moving. What is your relationship with animals?

A. As a shy child growing up on a farm in rural Ohio, I can honestly say my first best friends were animals. Countless hours were spent surrounded by nature, observing and forming life-long bonds. I was always drawing in an attempt to capture and respond to the beauty and mystery of the natural world.

It was when I had the opportunity to learn scientific illustration through the Field Museum of Natural History in Chicago that I was finally given the tools to hone my skills and to more accurately portray my subjects.

This has lead to an interesting and gratifying career creating illustrations for journals and books. Lately, however, my goal is to animate my subjects, concentrating on the illusion of movement. It is a privilege to exhibit these attempts at the Children's Museum.

LARRY ELBROCH

Q. What better way to see the world than from a hot air balloon? The imagery looks like layers and layers of other images and seems to tell a story. How has your work influenced your life?

A. I have had several careers, but my photographic work has enriched my life for two reasons. First, traveling to countries like, India, Nepal, Tibet, Myanmar and Bhutan has exposed me to various cultures centered on spirituality. These amazing experiences started my creative journey. Second, meeting these people enhanced my understanding of self. We are more the same than different and we should respect these differences.

BARBARA ALBERT

Q. This group of work really draws one’s eye in, with its metallic movement and beautiful composition. Did you choose the subject matter first as flying saucers and then create these pieces? What is your creative process?

A. The holographic movement of my circle paintings when lighted comes from silver acrylic paint applied thickly and scraped thin with a palette knife. I experimented with different size canvases and a variety of contrasting backgrounds to suggest environments for these reflective circles. Both the seemingly three dimensional round shapes and the flickering motion suggested flying saucers to me and I was delighted to show them in CMNH's Gallery 6 exhibit about Flight.

SUE PRETTY

Q. The combination of weaving and painting is such an innovative and beautiful display. This, united with the subject matter was quite breathtaking. How many different mediums do you work in?

A. The piece in the Flight exhibition, Soaring above the Fractured Landscape is a combination of digital images. The photo was manipulated in Photoshop: two variations of the image with a layer of text against the background. The images were then printed, cut apart and re-woven. I then glued these down and highlighted with gouache. I have 2 separate images: the background and the three trees in the foreground and an eagle, each with variations. I like the fact the reassembled image tends to not always perfectly align. This enhances the fracturing of the landscape concept.

My paper weavings are like sketches. Tapestry is a very slow process, which means I can work through images and thoughts with these. The different media feed each other. I think it is important to experiment to open new avenues of exploration. I have done quite a few paper weavings. I work on multiple drawings and paintings before starting a tapestry.

In general I work in tapestry, digital, multimedia, painting, beads, dying, photographs and sculpture. I have worked in oils, encaustic and quilting. I think it is all part of a whole – creative play.

KATE HIGLEY

Q. The pieces in this show have a lot of energy and seemed to have method of free-rein motion. The imaginary insects have an amazing frenetic energy that resembles real life, this combined with the colors and how the medium was used is quite spirited. Which is more important to you, the subject of your painting, or the way it is executed?

A. The subject of these works was part and parcel of how they were executed. They are actually monotypes, one-of-a-kind prints with the addition of acrylic paint and pastel. I began the print with the teeth several years ago and had it stored in a flat file. Every few months I would take a look at it and wonder what to do next. When the theme of the exhibition was announced, I knew it was time to finish the work. The initial energy was still there and I began to make silly details like the teeth, the feet and colored toenails. When it was completed, I knew I needed a companion. Initially, I began with something quite different, but when it was well started, I knew it was too static. I started over and copied the basic body shape of the first insect but with more vibrant colors. The proboscis was the final bit because I wanted a conversation between these two critters and it certainly seemed that he might not be able to fly with that appendage. So, the subject informs the execution. I love insects and in the past have done some highly realistic drawings of insects while viewing them through a microscope. A field zoology class in graduate school at Wesleyan introduced me to insects and the myriad ways they are assembled. These two pieces are purely imaginative, while knowing that insects often have "hairy" bodies and appendages like a proboscis. They certainly don't have toenails.


SUSAN SCHWAKE

Q. The pieces in Flight seem to almost tell a story. They also remind me of what music would look like if it were painted: a beautiful collaboration of birds, insects and flowers. Who and what are your influences?

A. My three paintings in the exhibit were painted in late winter when my thoughts turn to summer. They came on the heels of a February/March visit to my husband's parent’s home in Germany where spring comes at that time. They live in a tiny village surrounded by farm and woodlands and we do a lot of biking around the woods. My love of everything nature and working with children are my greatest influences. Nature never disappoints me and the freedom children have with art inspires me.

TAYLORE KELLY

Q. Your pieces, as well as the titles, are very poetic and dream-like. Did you create the two pieces specifically around the theme of Flight, and do you name your pieces before or after they¹ve been created?

A. Any gallery exhibition I am asked to be in I always create the work specifically for that individual show. I never use pre-existing work. I feel like I am cheating if I do that and am selling myself and the "soon to be born" work short. There is a lot of art wanting to be born and waiting to be created. That's why I am an artist, so any opportunity I have, I cowgirl up and create. It's an amazing way to be and I am quite fortunate to be attuned and wired this way. It's the same with commissions. I would never give someone something I had already done, I want my work to feel special and the person who has it to know it was specifically made for them, or the show. It feels important and vital to constantly make new art and not just back log and recycle my work and I am lucky and fortunate enough that most of my work is bought and goes to new homes. That's the point.

As for naming of pieces, I wait until I am done with the piece and ask it what it's name is. I sit down quietly with the piece and just start writing the words I see in my mind, after asking, and thus the title. It's really like creating beings for me. I don't know how to do it any other way. It's like giving life and with that comes responsibility and care. When it comes down to it, I just care a lot. I want that to show in everything I do, including my art.

NEVA COLE

Q. The natural world imagery is peppered throughout your work, and is quite eye-catching in its jeweled, vibrant colors and almost musical feel. Like one can "feel" your work, sometimes musically, sometimes with it's breathing….What kind of creative patterns, routines or rituals do you have when creating?

A. I work in a lot of different mediums and each medium seems to have it’s own routines. For the tile/alcohol ink pieces (the butterflies and birds), that series started with a lot of free experimentation with a fun new media. I stumbled upon a reference to alcohol inks online and after purchasing some, just played with it for about a year, off and on. I tried it on glass votives, textured tile, old porcelain plates from Goodwill, and then finally on the bright white bathroom tiles. Initially I wasn’t trying to make any kind of recognizable shapes. I just liked the way the paint interacted with itself. There weren't any patterns, which I love. I like the randomness. But inevitably, after the chaotic randomness is created, whether it’s with the alcohol inks or with the painted paper I use to make my paper collages, I always end up going back to very ordered and precise work to tie it together. For instance, with the tile pieces, I end up taking things a step further and adding and subtracting the ink until I’m left with some kind of animal form, be it butterfly, bird, octopus, etc. With the paper collage, I use a very precise routine involving tracing paper, exacto knives and ink. I actually enjoy using ink on the very edges of the paper to create the illusion that the piece is a painting or drawing, and not a collage of many hundreds of pieces of paper. For me, the combination of chaos or experimentation and precision and detail is really satisfying.

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