Below is a list of some of the artists represented by Lizzard's.Terry AndersonTerry's current work is a lucky and somewhat intentional mix of various backgrounds: a "rock collector" since age 8, an interest in bronze casting and metal work, ceramics and oriental art history, with many study/research trips to the People's Republic of China, and of course, doing something with the 1000's of pounds of rocks collected over 40 years.Dorian BeaulieuSince early childhood, Dorian has created things with his hands using a variety of materials. At age 15, he discovered the potter's wheel. The stimulating process of shaping and giving clay meaning struck a deep chord with him. During high school, he assembled a pottery studio in his parent's home on College Street. He has been working with and helping others experience the wonders of clay ever since.Mary BomanMary Boman's art career includes teaching for John Peyton at the Lake Superior Art Center in Duluth, oil painting at the Indianhead Vocational School in Superior, and private watercolor classes in her home studio. Mary is a graduate of St. Cloud State and has also completed course work in design and watercolor at the University of Minnesota-Duluth.Elsie CookElsie was born in Oklahoma but inspiration for her paintings certainly comes from spending time throughout her life in California, Colorado, Wisconsin, Massachusetts, Germany, and Turkey. We are fortunate to have her in Duluth! A graduate of Oklahoma State University, Elsie taught elementary education for 12 years. Elsie's work has graced exhibits and competitions throughout the United States and in Ohara, Japan. Some of these include: St. Louis Heritage and Arts Center, Watercolor- Oklahoma Adirondacks National Exhibition of American Watercolors- New York Tweed Museum- Duluth North American Marine Arts Society- Gloucester, Massachusetts Oil Painters of America- Chicago Meadow Creek Gallery- Edina Rhea Gallery- Denver and International Exhibit of Watercolors- Ohara, Japan.Patricia CanelakePatricia Canelake lives and works in St. Paul and in Duluth near Lake Superior. The MacDowell Colony, Peterborough, New Hampshire The Yaddo Colony, Sarasota Springs, New York and Harper's Ferry National Park, West Virginia have awarded her painting residencies. She has painted and exhibited in Provincetown, Massachusetts New York, New York The Headland Center for the Arts, Fort Barry, California and throughout Minnesota. Her paintings are in national and international museum collections and in private collections. Her work has been shown at the Minneapolis Institute of Art, the Minnesota Museum of Art, the Tweed Museum, the Provincetown Art Association, the Gayle Elston Gallery in New York, Joy Kops Gallery and Lizzard's Gallery. She is a 1997 recipient of the Jerome Travel and Study Grant, received the 1989 McKnight Fellowship Foundation Award and the 1995 Minnesota State Arts Board Headlands Residency. Canelake recently served a two-year term as a panelist for the Minnesota Artists Exhibition Program at the Minneapolis Institute of Art. In 2000, Canelake was awarded an Arrowhead Regional Artist Fellowship and a McKnight Artist Fellowship.Joel CooperJoel began art screen printing in 1989 having been introduced to the process through a workshop at the Duluth Art Institute. His work has been exhibited at various Duluth Art Institute shows including the Community Foundation, Barnes and Noble, and the Great Plains National Print Show as well as numerous galleries in the region.Adu GindyLike Paul Klee, I, too, am a romantic and see painting, or the creative act "as a magical experience in which the artist in moments of illumination is able to combine an inner vision with an outer experience of the world in the visible rendering of a ‘truth’ that was not ‘truth to man or nature but was itself parallel to and capable of illuminating the essence of nature." Or, as Frank Stella would say, "what you see is what you get."
In my mind, flowers are a universal language. The abundance of flowers in my work is both an indication of my longing for Spring and my desire to reach out to the viewer.Robb GlibberyDuluth, MN - “I have had a lifelong love of wood. With skills and craft, both inherent and acquired, I have the privilige of liberating these objects from their natural form. At times I feel as if I am a prospector on a quest for treasures.Richard Gruchalla &; Carrin RosettiContemporary American RakuWe are a husband and wife team. In the studio, we are also a collaborative team. Ideas are shared. Each of us brings different skills into the process of creating our work. Carrin started out as a fiber artist... a tapestry weaver. She came into the pottery studio, with her sense for color and surface arrangement, almost 20 years ago. I have spent my whole career as a studio potter, first making functonal stoneware and porcelain in the Leach-Hamada tradition, and now working exclusively in raku.
Our pottery is, before all else, a statement of form. We look first for the silhouette of the piece; the lift from the surface, the graceful extension from the foot to the belly into the curve of the body, the strength of the shoulder, the grace of the neck, and finally the finish of the lip. All the parts are connected, and all the parts should be cohesive.
Surface decoration comes aftert that. We can either tell a story, or let the eye silently link the piece to its history. Form itself is sometimes enough to present a narrative to the viewer. Familiarity can often be the catalyst of a conversation between the pot and the audience. Through our work we give a nod to many cultures and styles that have made a connection with us, such as Asia and the Far East. The Mideast and Africa can be seen in some of our pieces. The Southwest of the U.S. and Native-American culture are also apparent. Lately we have been introduced to some of the great ceramic designers from the turn of the twentieth century... Fredrick Rhead, Clarice Cliff, Lenore Asbury, Edward T. Hurley, Kataro Shirayamadani, and the sublime Adelaide Alsop Robineau. Tile makers like Earnest Batchelder and Louis Comfort Tiffany, and those marvelous Saturday Evening Girls from Boston. Their influence can be seen in many of our recent works.
As a team, we each have specific jobs. Being the trained potter, I, Richard, do all of the throwing and building of pots. I get my hands dirty in the mud. We refer to this as the "wet work." I make the pieces, burnish, carve, and design the surface, trim the feet and add handles and other embellishments.
Carrin is the colorist. She is the one who takes the raw, carved and bisque fired pieces of pottery and breathes life into them through detailed application of glazes. Quiet patience and careful glazing techniques give each piece its own narrative energy.
All of our work is then put through the rigors of raku firing to give each piece its final appearance. The pieces are pulled out of a red-hot kiln, cooling quickly to give the surface glaze its characteristic crackle pattern, then finally being placed in a burning bed of wood shavings for the smoky finish. The process, Asian in its roots, American in its innovative use of fire and smoke, leaves its unique mark on each piece. Copper wire is added to each piece after firing as a final decorative element.
We call our style of work "American Raku" to distinguish it from the original, Japanese style of fast-firing and quick-cooling raku. (The Japanese did not put their raku through the smoking part of the firing.) We do, however, try to follow the example of Donyu, the third in line of raku masters, who was noted for his innovation in the use of the raku process. We hope to continue with our innovation of this technique to produce work that will add to the library of contemporary American ceramics.Ann is a native of Duluth, Minnesota. She received a BFA degree in painting from the University of Colorado, Boulder in 1966, a graduate degree in Library Science from Western Michigan University, Kalamazoo in 1968, and did fieldwork at Frick Art Reference Library, New York. She did further study at the University of Oslo International Summer School, and at the Santa Fe Institute of Fine Arts Program in 1993 where she worked with landscape painter Wolf Kahn. Ann Jenkins' work had been exhibited at a number of galleries and museums in Minnesota, Canada, and Sweden. In addition, her work has been reproduced as cover art for a number of publications including "Shenandoah" and the "Women's Great Lake Reader". Ann lives in Duluth with her husband and son. Ann is interested in the abstract rendering of landscape. Her paintings are concerned with the arrangement of fields of color, and she believes that color is a medium which can convey the most subtle and complex feelings, and can give the viewer...a sense of a particular place and time that goes beyond literal visual accounting of that place. She works with oil, acrylic, pastel, and monotype.Aaron KlossWhy do I paint the subjects I choose? I'm simply influenced by the beautiful landscapes around me which feature bluestone outcroppings covered with thick Birch, Maple, and Evergreen forests. Wildlife is abundant, and so is the inspiration to paint and create the breathtaking vistas all around me. I've been painting exclusively on black canvas for the last 15 years, and I often leave the black canvas showing through the paint to outline the different elements of the composition. The exposed black canvas gives my work it's distinctive graphic feel and compels the viewer to explore the image, much like exploring a quiet forest, taking in all the sights and sounds the forest has to offer. My style is primarily expressive, but I enjoy incorporating enough realism to my work so that the viewer can identify with the image. I also like to focus on lighting and contrast, and you'll often see shadows and light filtering through my work. People are often intrigued by the brushstrokes they see in my paintings, and I often complete a painting with only one brush, which gives my work it's unique and distinctive look. I'll often put a painting on a display shelf and view it in different lighting throughout the day, then continue adding color until I'm satisfied. After the dust settles and the painting is signed and complete, I often will look over my shoulder and see that one of my beautiful children has been copying me, creating a little masterpiece of their own, which always brings a smile to my face. :) Artists often agonize over every brushstroke, while children express themselves freely in any medium and any surface .. I hope I never lose that childlike passionate joy of creating. :)
"Every child is an artist. The problem is how to remain an artist once we grow up."
-Pablo PicassoKarin KraemerKarin grew up in Minneapolis and received her BFA in glass working from St. Cloud State University in 1986. After blowing glass in Colorado, Minnesota and Wisconsin, Karin found herself in West Virginia. She began to make clay work and pit fired it in her yard and was hooked. She moved to Carbondale, Illinois and did graduate work in ceramics there. She received her MFA in 1996 and moved to Duluth at the end of 1997, and presently works at the Duluth Art Institute, teaching and making work. Karin's pots are thrown and built with red earthenware, fired to bisque, then glazed in a white opaque tin-based glaze. Next she mixes over-glaze colors of stains and carbonates with the same basic glaze ingredients and paints them on top of the glaze, and fires the pots again to finish them. This is the Majolica process. Karin loves to work with the rich red clay as well as the connection it has to historical Spanish, Italian and Mexican pottery. Painting on the pots allows her to explore color and form relationships between decoration and the pot, and the low-fire process gives a wide palette to work with. The imagery is drawn from the garden and the woods, fish, cooking, and eating... all connected things!Anne Labovitz was born on the shores of Lake Superior, in Duluth, Minnesota. Her grandmother, Ella Labovitz, also a painter, and the Lake both significantly influenced Anne's early work. Anne first watched and learned while Ella painted, which sometimes included sitting for a portrait of Anne. Later they painted together. These joyous times inspired Anne to embark on her career as a full time artist.
The series Lake Paintings is a culmination of a year and a half work that includes a large 8' x8' painting commissioned for the new Maurice's corporate headquarters in Duluth.Alberta MaranaAlberta received her B.A. in studio art and sociology from Hamline University in 1973 and her M.A. in studio art from the University of Wisconsin- Superior in 1995. In 1996 she received a first place award at the XVI Annual Exhibition in Braaadenton, Florida. Other awards include Best of Show- Duluth Arts Institute in 1991, Merit Award- Midwest Pastel in 1998, and the Milwaukee Arts Commission Purchase Award in 1987. Her work has been exhibited in shows throughout the midwest including many solo exhibitions. Highlights include: Fifth Annual National Juried Pastel Competion- La Fond Galleries, Pittsburgh, Pennsylvania UNEAC Exhibition- Pinar Del Rio, Cuba Pastels- Phipps Center for the Arts, Hudson, Wisconsin Remarkable Women- Peltz Gallery, Milwaukee, Wisconsin Pastel Drawings- Grace Chosy Gallery, Madsion, Wisconsin Arrowhead Biennial Exhibitions- Duluth, Minnesota Landscapes- J. Rosenthal Fine Arts, Chicago, Illinois Wisconsin Art Energized- Cudahy Gallery of Wisconsin Art, Milwaukee, Wisconsin Pastels Only- National Arts Club Gallery, New York, New York and others. "As a pastel landscape artist from northwestern Wisconsin, I find my working outdoors can be a very moving, spiritual experience. It's made me aware of where I live, the seasons, the powerful presence of the moon, and the continual rebirth of life. Creating landscapes has attuned me to the peace and joy that can be found in nature. It is a connection to the earth that I strive for in my landscapes."- Alberta Marana.Adam McCauleyAdam McCauley is a visual artist using acrylics and mixed media to create paintings that are abstract in nature. This body of work explores the process and physical act of painting combined with a bold sense of color to create paintings that have a wide breadth of surface, texture, and color. Adam lives and works in Duluth Minnesota. He has received a Bachelor of Fine Arts Degree and a Masters Degree in Art History from the University of Wisconsin Superior.Sharon Meyer PostanceSharon lives on a farm in northern Minnesota and finds her inspiration in the gardens, fields and woods surrounding her home. Her 1969 BA in art history is from the University of Minnesota-Minneapolis. She attended a fiber workshop at the Split Rock Arts Program and ceramics workshops at Sun Valley Art Center in Sun Valley, Idaho and Duluth Art Institute. The fiber workshop introduced her to the medium in which she now works. "I make sculptural vessels (nontraditional baskets) out of paper, often incorporating wire, jute or sisal twine, beads, birchbark or other materials. In these paper mache forms, I combine my interest in three-dimensional form with my love of textural materials to examine and celebrate the natural world." -Sharon Meyer PostanceTerry MillikanArtist Statement for "Surprised by Joy"Terry Millikan grew up in Rochester Minnesota in a creative family. An accomplished colorist with a snazzy sense of design, she captures vitality with color and pattern. Magically she creates rhythm and movement. Much like Millikan’s fresh sense of existence, her work is never static, but lively, energetic and engaging. Influences have included living in Oaxaca, Mexico; her time spent at Joshua Tree, California, and life along the northshore in Northern Minnesota. Her connection to nature is evident in her use of rich ochres, warm reds, deep purples, quinacridone golds, and the colors of the earth, sky, and water.
Stylistically she has roots in abstract expressionism. Her unique forms and individualistic color sense make it her own style. Linked to the emotion of Joy, this series succeeds in conveying delight in color and form. The lushness of the oils paints, their color, strokes, and vividness lead one down the path of pleasure as well.
From the limitations of acrylic paint (plastic polymers) Millikan leaped on the chance of returning to her beloved oil based paints. Terry Millikan has succeeded in using the attributes of oil paints into her effusively rich oil paintings. She has mastered color, form, rhythm and expression into powerful empathetic works of art. It is an honor to look at any of her new paintings and to, yes, experience the joy in her work. Always enthused, intellectual, and excited about making new work, Terry Millikan has succeeded in creating “Surprised by Joy”.Tom MyersMy fascination with pottery began in 1992 on a visit to Phoenix, Arizona when I purchased a beautiful black-on-black Casas Grandes pot. I've never regretted that purchase, for it sparked an interest that has become my second career.
I began my "pottery training" by participating in ceramic workshops sponsored by the Duluth Art Institute. I've also attended seminars organized by Robin Hopper in Victoria, British Columbia and Tom Coleman in Las Vegas, Nevada. And, like most potters, I love to prowl the ceramics exhibits in museums throughout the country.
In 1997, shortly after I retired from my 30 year medical practice, I purchased a small gas kiln and got my home studio going. I wheel-throw my pots with porcelain and enjoy emulating classical pottery forms and experimenting with cone 10 glazes.Carolyn OlsonIt seems to me that life’s experiences are best appreciated at the moment they are happening and even still I paint them. While painting I have time to think about things. I reflect on what has happened and comment visually. Most often I paint images that are stuck in my head like my sons school play, eating lunch with my husband, picking beans in the garden, grocery shopping or washing the dishes. I also paint about issues that as a community we deal with like poverty, education, the struggles of being a single parent or caring for aging family members.
I think most of us care about the same things and hopefully this art reflects our stories.Robinson ScottEach piece of hand blown glass is individually designed and created by myself. The techniques used to produce these works are thousands of years old and have been handed down through many generations of glass blowers. I received my formal training at the University of Minnesota, the Pilchuck School of Glass in Seattle, Washington, and as an apprentice to Swedish Master glass blowers, Jan-Erik Ritzman and Svenne Carlsson.In my work I deconstruct the ideas that are part of our childhood and adult culture. My work also address the future, fragility of the human presence, perseverence of nature and underlying threads of danger that underpin societies.Click on Jo to View the artist workTina Fung-HolderSince 1996 Tina Fung Holder has lived and worked in northwest Wisconsin after moving from the urban city life in Chicago. While pursuing her formal education in Chicago, Tina did extensive research in basketry techniques at the Field Museum. Since moving to the Northwoods she has explored both traditional and new applications of the available natural materials, and thinks that anything that grows flexible is fair game. Tina enjoys developing new basket designs and teaching them in workshops. Her basketry is sold in galleries in the region.Ted JohnsonA physician now retired, Ted Johnson began painting 10 years ago. His understanding of color and design, and appreciation of nature give him a depth that expands past his time creating fine art. "I like watercolor paper, the unpredictability of interaction of water and pigments, and enjoy exploring the wide spectrum of approaches to watercolor painting."
He returned to his birthplace of Maine for the first 25 summers of his life. It was there that he gained great admiration for the beauty of a northern landscape environment. this admiration is partly responsible for his coming to Minnesota for a professional life in Medicine. He also enjoys time in the BWCA, skiing, and sailing Lake Superior, the Latter of which has given rise to a special interest in painting seascapes.
ted has had a life long interest in art, and now takes advantage of the many opportunities to study watercolor with professionals who are open to share their philosophy, techniques and experience. He has studied in workshops with Karyln Holman, Frank Webb, Tony Couch, William Vrscak, Eric Weigardt, and Cheng Khee Chee.Ken KollodgeKen Kollodge has lived and photographed throughout Alaska for 30 years. He is best known for his exquisite color photography of pristine Alaska landscapes and wildlife, brilliant close-ups of flowers, berries and the Alaska tundra. However, the range of his work goes beyond the beauty of Alaska. Ken developed an abstract color show, “Iced Light,” and is continually adding to his black & white image collections: Italy, Musicians, Humor, and 2nd Amendment Issues.
Ken is a straight photographer striving for high sharpness and contrast following the genre of Ansel Adams. Color images are presented in a way that makes the viewer feel a part of the scene. Ken has an intuitive sense for selecting the best lens to accomplish that and then prints to large sizes appropriate for the grand Alaska landscapes. Ken relies on classic composition and makes his photographs without color filters. He has created his images with three different film formats: 35mm, 6×7cm and a 4×5 inch view camera along with a full-frame Canon Digital SLR System and the real gem, a Leica M9 digital with several Leica APO and ASPH lenses.Kathy KollodgeKathy Kollodge earned her Bachelor’s Degree in Theatre Arts from the University of Minnesota in 1970. She spent her first three years at the University of Minnesota Morris campus where she studied drawing for one year under Bruce McGrew. She never lost her interest in art but after studying journalism, pursued a career in radio and television production at the University of Alaska in Fairbanks. A few years before she retired, Kathy started taking art workshops for the fun of it and realized her true love was color! Kathy says, “I feel the color and push it to the extremes to make you feel it too. I sign my name ‘KATHLEEN’ because I feel like a child again when I’m painting and that’s how I printed my name on my first drawings in grade school.”
Kathy’s colorist expresions are most influenced by the work of Picasso, Matisse and Hans Hoffman. Her technique was developed in workshops with David Mollett from Alaska and Rita Baragona from New Jersey who both studied at the New York Studio School. She also participated with a small group of painters who met weekly in the winter months at Jean Lester’s art studio in Ester, Alaska. They traveled and painted together in Kaua’i, Hawaii; Chicken, Alaska; Bonefro, Italy and then held one night shows at the Ester Town Hall to sell their work. Kathy started showing her work in 2001 and had her first solo show at the Well Street Art Company in Fairbanks, Alaska in 2006.
After 30 years in Alaska, Kathy and her husband Ken, a fine art photographer, moved to Duluth, MN in 2005 and were co-owners of Kollodge Gallery for 3 years. Now they both work out of their home and show art by appointment.Teresa KolarI have been painting for approximately 18 years. Most recently I have been working in acrylic paints. My work is displayed at various galleries in Minnesota. Publishers of my work include Pomegranate Publishers and Marcell Schurman. My paintings have also been commissioned for various private collections throughout the country. The inspiration of my art comes from my family, my horses, nature and other artists. I firmly believe one must be creative to be happy.
My mother is a painter, my father an entrepreneur, and my brother a world renowned photographer. I have a sister that sings like an angel and two sisters who creatively beautify homes for a living. I have been surrounded by creativity since I was born.
I live in the town of Duluth, Minnesota located on the great Lake Superior. I am fortunate to have a wonderful family consisting of three beautiful children, a supportive husband, a little maltese dog and three majestic horses.
Nate Lindstrom10 years ago, Nate Lindstrom made the migration to Duluth from Pine City, Minnesota. What was supposed to be a temporary relocation due to education turned in to a decade of exploring Lake Superior’s North Shore with his eyes to the horizon. The addiction to see and capture things through a lens didn’t emerge immediately, but with a history of artistic creation it wasn’t long before photography took over and became a way of life.
Nate enjoys his time on the trails, near the shore, and in the woods searching for hidden streams, open fields and stone formations. From stormy clouds, to blue ice, to fall colors, each day brings a different light and mood that reflect in his images. His favorite scenes can range from a minimalist landscape, to a flowing water feature, or naturally occurring patterns of shapes or colors.Barb SavageI came back to Duluth several years ago, with a sense of curiosity about the Nothern landscape and big lake. I wanted to paint it, and soon realized that painting the lake might take me in directions I had not imagined. I found my work becoming more abstract, less detailed, and ultimately much more emotional, graphic, and expressionistic. The challenge of small paintings about the lake led to the seagull pieces. The lake's strong moods suggested my old icon, the moon, and in the end I found the minimalist moonrise reflected on water embodied much of what I wanted in very simple terms. The boreal forest has it's own magic. Playing with that brought me to yet further exploration of the woodland/lake mystery, reminding me of the Weiner Werkstadt woodcuts I loved years ago, and even some of Grimm's Fairy Tales. The seeds of the new can be seen in the giclees of the earlier pieces. I am so grateful for this unusual opporunity to look back and forward in one exhibit.Robin MurphyColor, pattern, and imagery all strongly influence the physical experience of an object. Seeking avenues of meaning that embody both form and surface and keeping those issues in balace is the challenge. I am curious about the emoitional response decoration triggers. And, I am interested in how glazed surfaces, being the last layers of information added, are capable of affecting form. Glaze decoration becomes analogous to clothes or costume with bits of exposed clay flesh.
I am interested in the potential magic an object can solicit curiosity or project. When the conversation emanating from a teapot has the ability to solicit curiosity or questions then a dialogue is put in motion between the viewer and the piece. When that dialogue invites one to explore it, to circle it, peer down the spout, to try to finish the unseen sentences contained within the teapot, under the lid or foot. That is magic!
Pottery holds decoration and I am motivated to decorate, to emblazen surface with color. Therefore, function provides a context within which to work. It is the framework which allows me to explore and reinvestigate formal and subjective ideas about shape as color rather than form. And, it is the clay that reminds me of my initial attraction to the material; simply that it moves and adapts and becomes in one's hand.Duluth Fish Decoys by David PerkinsI guess it all started when I speared my first northern pike - what a thrill. The onoly thing better was to spear one lured with a decoy I made myself. I made more decoys to spear more fish and found out I liked making decoys as much as spearing northerns. Well, soon enough, my decoy/lunch box had more decoys than lunch. So I laid off the making and stepped up the spearing. Then when the fish tore them up and they scraped up against eachother in the lunch box and they rolled around on the floor of the dark-house they weathered with an aged, charactered, antique patina. It wasn't long before friends paid more mind to my spearing decoys than they did my fish stories. They said they'd like to have some to set on the mantle - said they were folky. So, I laid off the spearing and stepped up the carving. Now I've been making DFD (Duluth Fish Decoys) spearing decoys for longer than I want to admit. What a hoot it's been to create something so enjoyed by others. Along the way our DFD decoys have ended up in The American Museum of Folk Art, on a limited edition print, in a governor's mansion, in Hollywood actors' homes, in fishing decoy books, with interior designers, in art galleries, on a DVD, and now in a coffee table book devoted entirely to DFD. What a hobby it's been - what a blessing of God. I hope to continue as long as my health holds out. These many years later our DFD spearing ecoys are still hand-crafted with that aged, weathered, antique patina. As with all folk art, there's no two alike. The pictures give the length of the decoy but it may vary by half an inch. They all have glass eyes and are hand painted with a brush - no air brush for us. The lead belly weight is stamped DFD. They all function as working decoys - though most people prefer to set them on the mantle.Sara QualeyI've been interested in still life painting for as long as I can remember. In part, this is because my mother was a still life painter. I am attracted to the genre for other reasons, as well. I like the challenge of drawing attention to ordinary, everyday objects and showing that they, too, have beauty. I like the fact that I can invent a separate table-top reality. I can choose the objects, assemble them, arrange the lighting, and determine the composition and perspective. My goal is to see the familiar in a fresh way and turn the commonplace into someting uncommon.
How do I choose what to paint? I like to explore what we all share - objects that we use or consume in our daily routines. These items are worthy of attention, but we don't really think much about them. In addition to traditional still life subject matter, including bowls and fruit, I'm interested in objects from contemporary culture, such as packaging materials. Finally, there are also aesthetic considerations which influence me, such as the color, form and texture o an object.
When I compose a painting, I want to place objects in a context that invites the viewer to look closely. Sometimes, simply choosing an unlikely subject is arresting. Or I might mix traditional objects with very contemporary items. I consider perspective, whether to look down on the objects or to view them at eye level. Lighting is another critical element in organizing the composition. It leads the viewr's eye through the painting, establishes a focal point and gives the illusion of a third dimension on the two dimensional canvas.
In today's society, we are bombarded with visual images. We often don't have time to stop and really look at something. When I paint a still life, I'm forced to pay attention. Hopefully, these paintings will involve the viewer and encourage the viewer to pay attention to the ordinary.Tom RauschenfelsGrowing up in a large family with various creative interests, I was constantly exposed and challenged to interpret the artistic world (including music, art, literature) surrounding me. Therefore, as I started to explore my own artistic growth, I designed and experimented with different media. For me, printmaking fills the need for a graphic, visceral, art-making breakthrough.Arlene RenkenArlene Renken was born and raised in Upper Michigan and is descendant of Finnish immigrants. She was educated at the University of Wisconsin at Madison (BS, MS, and PhD). She is a K-12 Coordinator teachr in Stephens Point, Wisconsin. Her dissertation concerned symbolic ethnicity in art and examined rug making among immigrant Finns. She has one daughter and three grandchildren. She considers herself "primarily a visual artist." Her paintings are hung in galleries in Duluth and in many private collections. She believes that all arts are related and provide different avenues for self-expression. "My family and Finnish heritage," she says, "are important parts of my life."Wendy RouseMotivated by the desire to render the human figure with greater speed and accuracy I went back to school at mid-career for the academic training I found lacking in my undergraduate degree. Two years of study required to earn MFA in painting at the New York Academy of Art has served to slodifiy my conviction that the human form is essential to the art I want to make.
My work combines the figure with still life, landscape, and interiors. The figures do not exist in a void because we are shaped by our evironments, physically and psychologically. The images of my family and friends are portraits, but also serve as metaphors for all people in their search for meaning, fulfillment and beauty in the modern world. Content and story are important elements of my vision, but just as important is the physical application of the paint. Color, shapre, texture, and craft are essential elements in the beautiful objects I want my paintings to be. My recent series of "Mirror Lake" paintings play with our conception of reality. The toys I place on a mirror take on a life of their own, like actors on a stage. What we see in a mirror is a reflection or illuion, just as the paintings are an illusion or reflection of my ideas.Lisa StaufferI am fascinated by the interplay of light and color that I see in the beauty surrounding me. I choose to work in soft pastel for the incredible richness and intensity of the color possibilities. By blocking lights and dakrs into my composition and continuing to overlap layers of pastel I enhance color and texture to create the mood of those special moments captured in my paintings. I can be found painting en plein air all around town and far beyond.Sue PavlatosSue Pavlatos is an accomplished artist, a successful business woman, a community activist, wife and mother. She attended the University of Minnesota Duluth and majored in art. Ms Pavlatos was selected "Teacher of the Year" in 1981 by the Duluth Community Schools. She is a Duluth native with an affinity for its people and natural beauty. Her warmth and friendly manner are reflected in the gallery and framing business she established in 1989, Art Options. Art Options moved to its present location in April of 1997. The gallery carries and markets all Sue's prints selected from her original watercolors. "Painting is a way to capture the moment. I enjoy connecting my life to the earth and water with paint. My images reflect nature's impact on my life."Superior ImagesI was born in Minneapolis in 1942. Some of my fondest childhood memories are of family trips to Lake Superior’s North Shore. My father and one of his best friends (who was a commercial photographer) were responsible for my initial interest in photography. A number of nature photographers inspired me, but none more than Les Blacklock. I have been shooting pictures since the 1960s. As the years pass by, photography for me has evolved from a casual hobby to a passion. My images have appeared on the cover of calendars, in advertisements, in international magazines ,on commercial websites and featured in a story on KARE 11 TV. I have produced a calendar for the past 10 years and also published a coffee table book of photographs of the North Shore.Shawn ThompsonWhen the sun rises over Lake Superior, odds are you’ll find Shawn Thompson ready for the day’s images, camera in hand. From the urban landscape of Duluth to the surrounding boreal forest, Shawn delights in capturing the special beauty that epitomizes northern Minnesota.
Shawn’s love of the outdoors, his passion for photography, and his eye for depth are all readily apparent in his images. Passionate about the art of meaningful photography, Shawn spends his free time exploring Lake Superior’s north shore and surrounding areas, never content with just a pretty picture. From a frost-rimed rock surrounding by steaming water on a sub-zero day, to the riot of color on autumn hillside, Shawn strives to have each photo tell a story. And through his gallery, viewers can experience the full breadth and depth of a landscape that changes by the minute, day, and season.Tom TylerTom Tyler graduated from the University of Minnesota with a B.A. in studio art. He studied under josephine Rollins, well-known regionalist, and nationally-known oil painter, Cameron Booth. Since then Tyler has been influenced by his studies of Chaim Soutine and the German Expressionists who worked during the first have of the twentieth century.
Tyler concentrates on acrylic painting and water color. Currently, his work hands in private collections throughout the country; and he exhibits in galleries in New Mexico and St. Paul.
Tyler's paintings have appeared in national and regional shows where he has won numerous awards. His aret has also been used on the cover of a CD album.
"For me the important things in a painting are color, intensity, and power. You can see these attributes in all great art from a fifteenth century Pisanello to a twentieth century Chagall. When art has these strengths it will deliver eternal pleasure. It will never become ordinary, or too familiar."
Tyler's paintintgs show intense expression whether in a figurative work or in a landscape. In all of his paintintgs he uses intense color and often applies paint in thick layers, which adds to the expression of the work.
He lives and teaches art in Minneapolis, Minnesota.Marce WoodI am a bead and fiber artist. "Painting with beads" is how I describe my work. Beads are my "paint." Needle and thread are my "brushes." Wool fabric is my "canvas." My paintings express my sense of PLACE, my deep appreciation for and unique relationship with the shores of Lake Superior and forest trails of Northern Minnesota. From this picture book world I paint my impressions of the familiar yet ever changing patterns of light and color that delight and excite the senses. Through my work I invite the viewer to share a connection to nature, the abundant variety, peace, and beauty of this Place.