Dia de los Muertos or Gatos or Mercats???
We have the ‘What’s New’ page that currently has some really great new stuff on it but we just got some more new stuff that I’ll be needing to update it with. I thought I’d update here first.
The most timely would be the Dia De Los Gatos or Mercat Day of the Dead cards and prints Sissy Rose has brought in to celebrate the event. Her special Cat-Mermaids pose sweetly in Warhol style for a card to gift on the holiday or an homage to the alter or decor. These fun Mer-chicas will be hanging around afterward along with new Yuletide Cards and other humorous offerings.
Color Shibori Style
If you were wondering how you were going to add some unique zing to your Fall wardrobe, Leslie Pelotas has you back in a literal way. She has dropped off new, chic hoodie styles with wave patterns, Maxi Skirts, and even locally stitched clothing to brighten your Autumn days.
When Karen Britt started back into creating jewelry inspired by the Oregon native stones, the first styles were ‘Embraces’. Karen wanted to set the stone without covering it in a unique way that put the stone’s natural beauty first. She has since pulled many other techniques out of the old jewelry bag of tricks for presenting stones and has circled back to the simplicity of the Embrace for some stone projects. New work will be landing daily in the Ozone during November for gift shopping and online Sales with shipping can happen for your out of state shopping needs.
The Ozone is blessed with plenty return patrons and we thank you all. Duncan here, the Great Blue Heron, is a happy return shopper. We must have the most delicious Anchovies in the bay because Duncan has been hanging out daily for about 2 1/2 weeks now. Come see Duncan and the wonderful offerings in the gallery.
The Bayfront has quieted down and the summer craziness has slowed to a much gentler pace. This is the time, for us artists, to indulge in 'creative hermit' time off. We are left to hours of stormy weather inspiring energized sessions of grandeur.
These are some of my home studio-mates and critics. They are cute, but let me say that they can be cut-throat when assessing a work in progress. Don't even think about approaching them about a new jewelry design or painting without bribes of slugs and lettuce.
I might have mentioned before that I vowed never to bezel set another gem. I vowed never again to use a jewelry saw. Can I blame it on the Ducks? They're a tough crowd. I also might have mentioned before that I have been dopping small material and polishing rough that looked nice from our last trip hounding. That was no mistake. The gems have been inspiring, enough so to set them in bezels and bring out the jewelry saw for all its glory.
I wrote about the the rough that the bottom stone is from in the Jewelry Blog. The piece is in New Jewelry, and I'm ready for more creative time in the gallery. You are, as always, invited to come up and see what's newly inspired in the gallery and, if you like, you can come see the ducks too.
Morning on the bayfront is awake and alive way before coffee has animated most folks. The commercial fishing boats are coming in and out, factory workers have been canning all night long, businesses are preparing for the visitors of the day, and all the wildlife around watch us bustling like humans do.
I key the door to enter the warm, eastern sun heated gallery to watch the reflected ripples of the bay on the high vaulted wooden ceiling. Polishing more rocks is the order of the morning and getting to work couldn't happen fast enough with all the anticipation of opening up these beautiful presents.
The morning sun is great for seeing what's really going on inside the stones like this plume agate with marcasite. I often get here very early and when it's time to open the gallery, I put out the signage and leave the door open on beautiful days like this day. Even though there's some glitchy jazz going in the background, the sounds in and out of the gallery can be heard like the sealions barking or people coming in to have a look around.
A strange set of noises broke the fabulous zone on the rocks and abruptly brought my attention to the fact that a pigeon had decided to come hang out INSIDE the gallery. This has happened before and birds like pigeons and seagulls seem to want to add to the paintings with some of their own paint if you catch my drift.
Some herding and a cloth draped over a very freaked out bird later, the gallery was back to just me and the artwork. Not for long, though. Some of my favorite visitors were next on deck to drop off some killer bags and hang out.
Here's Kat and Edy, Kat makes the bags and Edy models them for mom. There's much fun to be had with Edy exploring the gallery and it's so great when kids can get the exposure and appreciation for art at such a young age.
The day blazes by with more stone work, more fun people coming in to the gallery to chat with, play 'lets make cool art arrangements' with, and finally sending art home to happy new owners. The rewards within the gallery far exceed the funny discomforts (like an odd fish smell stuck in your nose some days). Every day is different and new just like the fabulous artwork brought in by the talented, local artists. What a cool job.
The Ozone is a wonderful environment in which to create. It offers a studio space, in addition to the gallery, with great light and breathtaking views. How can one not feel totally inspired inside? Today's printmaking order of the day was 'encaustic collograph mono-printing'. Yeah, say that fast five times.
What I am talking about is; the procedure of applying a printing surface with encaustic, printing that with mixed media collographic embellishments, then creating yet another printing block with organic collograph materials and imposing that onto the first print. Easy Peasy. The outcome is deliciously textural and seemingly complex with differing recognizable details within abstractions of color and line qualities.
Kindra Crick turned me on to this encaustic collograph method and I believe Amy Royce uses this too (both in the gallery and featured for the 'Fit to Print' show). I broke my plate with the enthusiasm of printing to find that plain glass might not be the best plate for pulling the collograph. This sweet monoprint has an addition of 1 and has 3 other relatives before the plate broke.
The Hydrangea blossoms were from my front yard and the wax used for the encaustic is local and organic. Even the inks are from the Pacific Northwest so this is a medley of ingredients sourced locally and organically.
Work like this continues through the show run as I pull mono-prints, collographs, and woodcut prints live daily in the gallery.
We rode our bikes down first to see if we could make it in the 'wander-rig'. There was a dot on the map that in no way implied what we were about to experience, though the bombing downhill on the bikes would have been worth getting skunked. In the belly button of painted hills and soaring canyon rim, a river ran through land that had been occupied for at least 1000 years. For all those inhabitants, we were two of the very few souls within many, many miles. This remote beauty was left to the deer, rabbits, cougar, coyotes, bats, and lots of bugs.
As an artist, I get a knee-jerk reaction to create when struck with places like this. If there are ghostly voices of history story telling in left over buildings and artifacts, it's a full on seizure of inspiration I can barely contain. If little flies hadn't wanted so much undivided attention, and to fly into my ears, I may have been able to paint on site. Instead activities to keep moving were in order, and I'm glad, because if I paint, I miss out on everything else.
Against the cliff face, almost to the end, a low wall has stood the test of time. It's easy to imagine the group moving in for the winter season safe from predators. To stay and live off the bounty of this land must have been incredibly appealing. We made this our home for a very short while, fully ready to stay indefinitely in our hearts.
The title for this blog appeared on the 'Events' calendar and I was asked exactly what that meant. It literally meant that we were going out in the wilds of Oregon to open studio, gather inspiration, materials, and have a serious 'cleansing of the head'.
Where one goes to shake the cranial etch-a-sketch is completely up to what tends to float your boat. For a really good synaptic shampoo, I like deep wilderness. Instead of putting my feet up, I'd rather spin revolutions taking us on explorations into the frontier. Rather than set up camp, we have the tendency to wonder what is around every canyon corner and behind every tree and to wander there.
Don't get me wrong, even though the eyes want to be bathed in ever-new sights, we do stop. Being still to smell the rain in the sage, to feel the wind embracing you with its power, to sense the frog on the bank, owl in the tree, or doe in the grass happens. Maybe the mandolin and guitar come out to jam with the crickets chirping along in D as the cosmos radiates the glimmering stage lights overhead.
In the end, there's never enough time adventuring and it's always hard to leave. Though the love of home is strong, the necessity of this kind of immersion is inarguable.
Inspiration is easily gathered by the promise in the horizon.
We are finishing up the walls for the new 'Fit to Print' show. This show is the product of a lifetime of living with a fine art printmaking mother Judy Miller Johnson, being asked 'what is a fine art print?' over and over, what is the difference of a glicee and art print?, and having so many really talented print-makers in the gallery that it became a 'no brainer. The questions will be answered and the prints are now, deservedly, displayed.
Amy Royce is a featured artist for this show and presents why fine art printmaking in contemporary media is so important and compelling. Her work strikes the eye with fresh, bold textures and gentle, undulating tones. Unlike anything I've seen before, her unique blend of printmaking, sculpture, and encaustic hang on the wall like bas reliefs from the newest empire of art.
Michael Guerriero creates Serigraphs of the most sophisticated form. Pictured, Michael is able to build an image with a series of registrations made by screen printing. The scene at the front door of the gallery, in the morning, illuminated by a sodium light from a fishing boat, the Ozone Fine Art sign can be seen on the wall next to Michael's visual rendering of a forecast.
Other notable artists in print media at the Ozone are Judy Miller Johnson, Ron Zaneveld, Laura Aldridge, Kindra Crick, Karen Britt, Kimry Jelen and Michael Main. Several other artists including Rhonda Chase, Susan Farnham, Sandra McCourry, Mark Yanowsky, Robert West, Rosemary Achelpohl, Cammy Davis, and Tash Wesp have work dealing with the use of printed media in their work. It turns out that work in print has a tendency to inspire artwork one way or another very often.
We all invite you to this show. Also, during the course of the show; we invite you to witness demonstrations, try printmaking yourself (with our interactive art projects), purchase work made right in the gallery from woodblock and screen printing to hang and wear, see the changing show due to new presentations through the show run, and learn about why print-making is such a wonderful and useful art media. See you here!
Nothing could prepare one for the experience of the Eclipse. Sure, there was plenty of hype ahead of the event including news of mass amounts of people crushing in on Newport melting the infrastructure. In the end, the lack of any of that was as surreal as what did happen to our landscape. As the moon closed in on the sun, so too did the marine layer enveloping us in a wet blanket for our party. In the nick of time, the clouds parted enough to see the darkness take a bit out of the sun. As the bite got bigger, the surrounding fog and beach was tinted a moody color of blue. When it reached totality, it was not like night, but like an underwater filtering of light. Viewing with the glasses off, the sun blazed sweeping brushstrokes of heat from behind the black moon as the temperature dropped on us. The most exciting part was just when the moon started slipping offline so the pink diamond ring exploded out the side. There's no way to capture that in art but I did work the new palette into the 'Eclipse over Agate' woodcut/electric painting print. The story about that exact location and the print will be in the printmaking section on the website soon and the print will be available until sold out (currently about 1/3 into the edition).
Welcoming all summer visitors, yes, even the bandits on the fish factory rooftop. This mom and her two kids are experiencing all that the Newport fresh fish industry is chocked up to be. It was awfully nice of them to come by the Ozone and be part of the show here as well. We always love a little performance art though they'd better watch out or they're likely to get painted by a local artist.
When the precious opals came out of the vault to become jewelry, after 25 some odd years, no ordinary setting would do. Bringing the finest metals and most ancient jewelry art forms to frame the gems seemed only natural. Keum Boo is an ancient Korean method of fusing gold to fine silver at the molecular level without solder. In this way, it's elegant, clean lines and intriguing textures are beguiling.