Sampling: A Showcase of Ideas in Layers
The Sampling department of our September/October
2007 issue features work that says something with its layers.
Through a buildup of both materials and ideas, these artists
take their work to the next level. Here we show additional
works by our featured artists.
Mavin Staub Ambrose
Milisa M. Galazzi
Mavin Staub Ambrose’s
work explores the dreamlike and ethereal effect created by layering drawing and
painting with silk organza. She is intrigued by the relationship between women
and the elements. Combining figurative imagery with the symbols of myth, memory,
archetypes, and everyday experience, her work encourages the viewer to explore
themes of time and space by looking through the surface to see what lies beneath.
As the point of view changes, the images shift and overlap, mixing hues and changing
depth and definition.
(Left to right): Old Bag, 2005; painted and drawn-on silk organza over
ink and colored-pencil drawing with watercolor on illustration board; 24"
x 21". Photo by the artist. Hope, 2004; painted silk organza over
graphite and colored-pencil drawing on illustration board; 30" x 15".
Photo by the artist.
Milisa M. Galazzi uses the tools of
traditional sewing and mending to create a marriage of old and new within her
pieces, which are a conversation both about her family, past and present, and
about her ongoing struggle with the tension between “traditional craft”
and “fine art.” She feels that by making art in reference to and with
objects from generations of women’s domestic work, she is elevating the
long-devalued work of women. She feels that this process speaks to both her connection
with past generations of women and her present place within her own family.
(Left to right): She is Still With Me, 2006; encaustic, oil paint, found
objects, collage painting; 5" x 5". Photo by the artist. Everyone
Needs a Mom, 2007; encaustic, oil paint, found objects, collage painting;
5" x 5". Photo by the artist.
Arlene Gitomer’s work reflects
the emotional impact of the issues and events of her life. Formally trained as
a painter, she switched to textiles in college. She fell in love with edges and
the color of handmade paper at a workshop, and it become her medium of choice.
She felt it best fit her feelings and emotional response to her life. Gitomer
creates dimension on the flat paper surface by adding paint for pattern and color
and stitching for lines and texture.
Mapping the Journey (with detail), 2006; handmade paper; dyed, painted,
stitched, layered, cut; 14" x 34". Photo: Jerry Gitomer.
You Are Where? (with detail), 2007; handmade paper; dyed, painted, handstitched,
layered, cut; 14" x 32". Photo: Jerry Gitomer.
Lorraine Glessner’s work explores
the physical mark left by all living things and the cyclical nature of life. By
utilizing images of decorative patterns and domestic environments, she hopes connections
are made to everyday life. Through these connections, she is interested in raising
questions concerning want vs. need, the overabundance of choice in a commercial
society, and the waste it produces.
(Left to right): Seed, 2006; encaustic, digital prints, photographs, paper,
oil paint on composted and branded silk; 12" x 12". Photo by the artist.
Seep, 2006; encaustic, digital prints, photographs, hair, paper, and
oil paint on composted, rusted, and branded silk; 36" x 36". Photo by
Daniella Hefter illustrates time and
order between human beings through inanimate objects. The subjects of her images
radiate human qualities and illustrate the unspoken emotion around us. Hefter
intends the interpretation of her pictures to be shaped by the personalities of
the viewers and what they make of the objects’ relationships.
(Left to right): That One Day, 2007; embroidery, acrylic paint, and fabric
on linen; 35 1/2" x 47 1/4". Photo by the artist. Night Out, 2007;
embroidery and mixed techniques on linen; 17 3/4" x 21 3/4". Photo by
Karen Henderson evokes the emotions
she associates with natural occurrences through the use of color, line, and texture.
Interested in the connections between self, place, emotion and time, she uses
different dye techniques, sewing, weaving, and fabric piecing to illustrate her
interpretations and these connections.
(Left to right): Crisp, 2006; handwoven linen, rayon, and silk/stainless
steel, linen, and silk fabrics; dyed, stitched, collaged; 14" x 14".
Photo: John Sterling Ruth. Spring Fog (detail), 2006; handwoven linen
and silk, linen fabric, iridescent paint; dyed, stitched, collaged; 14" x
14". Photo: John Sterling Ruth.