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Continuing in the family tradition, Stroh is an oil painter and sculptor specializing in animal portraits and landscapes. With this foundation, Stroh returned to her love of painting after following other professional, personal and artistic pursuits. A class member of L. I have been making art, in one way or another, for most of my life.
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I feel fortunate to be able to experience the joy that comes from being creative. After studying art for many years, learning about different techniques and a variety of media, I decided to forget the rules and experiment. Observing how children make art with no parameters, I was inspired to explore my creative process with such freedom. I work intuitively with each piece. I have some overall themes in mind when I begin, but once the first few strokes are on the canvas, the painting takes over and decides my next step.
My interest in abstraction, geometric shapes, color, and line, greatly influence the construction of each painting. Artist Mike Sivak has a varied professional and creative background. Born and raised on the eastside of Detroit, he spent his college years playing bass in the Bluegrass band Stony Creek while earning a B.
After winning the lottery while in L. Soon after graduation, he moved north to the Bay Area to work for an internet startup company. In , Mike returned to Michigan, taking up residence in Ann Arbor with his wife Julie Renfro, also a professional artist, and their many cats. His work has been exhibited in galleries and fairs throughout southeast Michigan.
Throughout his life Mike has pursued art making and processes, and he continues to explore different techniques and mediums. His body of artwork includes painting, collage, mixed media assemblage, and sculpture. MaryAnn has been doing ceramics for 30 years. She has taught children and adults and has been a studio potter making functional and decorative ceramics. She received her BFA in ceramics from College for Creative Studies where she also was an adjunct instructor for eight years. Currently Mary Ann teaches ceramics at Historic Pewabic Pottery in Detroit, and also maintains a studio in downtown Detroitwhere she focuses on conceptual and sculptural work.
I seek to preserve the energy of nature with clay and honor my sense of wonder of the architecture of seeds, pods, and leaves.
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I continually explore new avenues to problem solve different arenas by combining a multitude of shapes within a contained format. I am drawn to positive and negative space and how it relates to the total arrangement of form. Spatial relationship serves to compliment the vignette of repetitive patterning and elevate the details.
Botanical shapes are used tocreate images in clay to compliment each other with a simplified harmony and invite the viewer for a closer observation of the design elements in our surroundings. I am inspired by the dramatic effects of light and shadow and I continue to explore this through my practice as I believe it brings a new interactive dimension to my work.
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Mary Ann Grauf. These mixed media paintings begin with lines. Lines drawn out-of-doors with rapid gestures from my Asian brush dipped in a paper cup of ink. Back in the studio, I glue layers of colored papers translucent Japanese kozo sheets, French opaque Mi-Teintes, candy-wrapper foils… over the original drawings, sometimes razoring through the colored papers to reveal the lines below.
A final layer of acrylic protects and unifies the many layers. In this way, drawings that begin in the visual world of individual flowers and Great Lakes grasses quickly become abstract, focusing on the rhythms and layered patterns of our world much as jazz or classical music bend and transform simple melodies into musical journeys. He practiced with a large law firm in Detroit for 36 years.
David has enjoyed success in one-person and group shows in Detroit, Grosse Pointe, Cleveland, Ohio, in addition to San Miguel de Allende, Mexico, where he spent winters for more than 10 years. The finished product is not the only story told by my work. It starts with a sketch, to the layers, and builds an image from blank canvas to the final piece hanging on the wall. Each one of my pieces tells a story unto itself. I do not like to stay stagnant; I push, move and constantly evolve as a person and as an artist.
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This is how you become great. I started as a painter but soon became interested in printmaking. Enjoying the process of the print, I began layering the color and chemically amending the components of the inks, deeply fascinated with the way ink reacted with pigments, varnishes and various mediums. This interest in reactionary versus stable colors has changed the palette in which I paint and the way I perceive color.
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My desire to paint stems from a need to express the compulsion of a repetitive movement, on the way to becoming the artwork. I find myself drifting into the tension between these forms, based on both a rational dialectic of design, and an irrational weave of color and spatial elements.
The technical possibilities of each medium, the watercolor precision, the flexibility of oil on canvas, or the stark formal air of printmaking, lend a special texture to each kind of tension. And there seems to be no end to the weave. Lisa Farris has been working in ceramics for over 30 years, at first as a part time passion and more recently as a career.
How great and strange and uninhibited their art was when they saw themselves as nothing more than a giant head, long skinny legs and maybe some hair.
gelatocottage.sg/includes/2020-01-14/2635.php Then I think about cave paintings and African masks and celebratory tribal costumes with crazy juxtapositions of shapes and scale. I think of all the old stuff I love in the Met or the Field Museum -- all of those ancient objects dug up from some long-lost island or jungle or desert. I think about Egyptian mummies and their crazy-elaborate necklaces and baubles. How when they died, they loved their objects so much, they had to be buried with them.
These vast and varied influences get all jumbled up in my brain -- to me it seems like everyone, for thousands of years, is just trying to express joy in the everyday world. Most recently, Lisa has ventured into the art fair circuit, where she has won numerous awards. Years later after taking a ceramic class at Oakland Community College, Kelly fell in love with clay and built a studio in her home in Ferndale, Michigan. The creation of my forms using hand-building techniques, with minimal use of tools, enables me to further the idea of clay as a natural material.
In a visceral conception, my hand in clay produces a powerful finished piece, which captures a moment in the process. The nature of my methods is embodied in my work, and each serve as narrative to the other. All of my functional pieces are organic and fluid which makes them comfortable and exciting to use on an everyday basis. Kelly Kaatz Ceramics was started in and focuses on contemporary hand-built creations that are sculptural and functional. Christian Helser. Christian Helser b. Atta Girl Says. Wispy Petals. Rosy, translucent tissue paper packs an ethereal punch when layered into bursting blooms.
Lia Griffith. Baker's Bounty. Patterned cupcake liners make a respectable stand-in for carnations or peonies with a little trimming.
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Classic Play. Sunny Wreath. Dip-dyed cotton swabs are the starting point for this circle of happy daffodils. Layers of Crepe. Flexible, colorful crepe paper is a handy material for crafting realistic-looking flowers and a cute watering can doesn't hurt either. Add Crystal Clear glitter to the butterfly with Dries Clear glue on a fairly dry sponge and then adhere the butterfly to the to right of the diamond as shown.
Die cut the sentiment out using the second smallest banner die from the HCD Arrows and Banner Dies and shape and adhere to the bottom right as shown. Other Products: Handmade paper, green floral wire, green floral tape, Soft matte gel, satin ribbon. Instructions: Click here to see more photos of this project. To prepare flowers, first stamp small sweet peony flowers on foam paper using buttercup archival and cut with coordinating die. Apply same ink on the center of the flowers. Shape the flowers using hot iron. Tie stamens on floral wire and add shaped flowers using designer glue.
Create multiple flowers using large and small stamps and dies. To prepare leaves, stamp cheery pansy leaves using olive green archival and cut with coordinating die. Color the leaves using acrylic color dilute the paint using water. Shape leaves using shaping mold. Cut and glue leaves on floral wire using designer glue. Color the strip using leaf green archival and cut thin slits on it. Heat and twist the slits.
What You Need:
Glue these strips on floral wire using hot glue. Once all the elements are ready keep them aside. Take floral wires and join them using floral tape and make that 26" long. Fold from one end and make a loop. Arrange flowers and leaves on the wire using floral tape.