Lynda Schlosberg Blog

I have a painting (Volcanic Mangrove) in this group show comprised of 53 artists. The exhibition was juried by Dina Deitsch, Assistant Curator at the deCordova Sculpture Park and Museum. Here are the details:

Collective, The First Annual Juried Exhibition
Galate Fine Art
460-B Harrison Ave
Boston, MA 02118

www.galateaart.org

Show runs August 6 – 29, 2010
Artists’ Reception: Friday, August 6, 2010, 6-8pm
Gallery Hours: Wednesday-Friday 12-6pm, Saturday & Sunday 12-5pm

Artists: Aimee Belanger, Aimee Debose,  Alison Williams, Alya Romeos, Amy Giese, Ashley Kircher, Benjamin Fedosky, Beverly Rippel, Brian Hart, Christianne Lippeveld, Cindy Stephens, Constance Bigony, David Whittaker, Diane Bowie Zaitlin, Dilla Tingley, Elizabeth Hoy, Elizabeth Thach, Ellen Fisher, Eric Zamuco, Holly Popielarz, Jan Corash, Jane Hipple, Jenny Walker, Jill Kolva, Joan Mullen, John McCaughey, Kristina Martino, Laura Osterweis, Laurel McMechan, Lisa Barthelson, Lynda Schlosberg, Marjorie Kaye, Mary Hughes, Mathew King, May Deviney, Michelle Sarkisisan, Mitchel Ahern, Neil Wilkins, Carpenito, Paula Estey, Rama Brown, Richard Dolan, Roberta Stone, Ronnie Gould, Ruth Daniels, Ruth Lague, Ruth Segaloff, Sandra Cardillo, Sarah Lubin, Tim Heavican, William Scully, Zehra Kahn, Zoe Perry Wood.

PRESS RELEASE:

Galatea Fine Art thanks Dina Deitsch, Associate Curator at the DeCordova Museum in Lincoln, for jurying its upcoming First Annual Juried Exhibition entitled “Collective”. Dina’s respected work with the DeCordova Museum was recently praised by the Boston Globe for the extraordinary 2010 DeCordova Biennial showcasing a broad variety of artists in all media. For “Collective”, Ms. Deitsch chose 53 artists of varying genres from New England to participate in this eclectic and energetic exhibition. “Collective” will be shown at Galatea Fine Art, Boston’s newest cooperative gallery, a large space which will be hosting the selected paintings, sculptures, installations, prints, photography and mixed media.

Ms. Deitsch surveyed over 412 images and selected work that creates a balance between irony and pure aesthetics. Her sense of the ironic vacillates between the humorous and mysterious, the common denominator being direct and sometimes surprising observation. Ms. Deitsch also chose work that investigates the purity of form and its relationship to surroundings. In the entirety of the exhibition, she has revealed a direct involvement with the manner in which aesthetics create and define the nature of environment. The work selected creates a vibrancy reflected in the unbridled energy of the evolving and current day, focusing on a greatly desired, but unknown destination.

Below is a second painting in my “earth” series (Arctic Desert being the first). This one is titled Volcanic Mangrove. I documented this painting at each step (well  almost, I missed documenting one layer). I wanted to have the whole process in one blog post so I added entries chronologically, with the most recent entry at the top and the full history below it.

Dimensions of this piece is 16 x 16 inches and it is acrylic on panel.

Layer Nine:

Layer Eight:

Layer Seven:

Layers Five and Six:

Layer Four:
(this needs to be color corrected and re-posted, I’ve moved computer systems around with my studio move and I need to go find the original to this shot.)

Layer Three:

Sometime back at the start of the year I created a series of grounds consisting of pigment that was sprayed onto board, allowed to dry, and then sprayed with a second color and/or third color. In some instances the layers of color were sprayed on wet on wet. The goal was to lay down an initial field of color, as well as create a ground that has an element of random chaos. I’m curious to see if having a more textural ground will require less layers of detailed painting. So this is where the painting began.

Layer Two (red):

Layer One (orange):

I’ve been in the process of moving my studio from the basement of my house to the upstairs where I will have better light and more room. Once it’s finished I’ll have a total of three rooms and about 435 sf.

Here is the main room in process of being renovated.

Here it is with the carpets taken out, the floors all fixed up and a clean coat of paint on the walls.

And here it almost set up…

I’ll build a large painting panel that will hang on the long wall to the right (below) that will cover the “cut out” that is open to the room on the other side. I’ll also be installing track lighting to supplement the natural light.

I have a painting (Matrix 8) in this group show comprised of almost 100 artists from the Northeastern United Sates. The exhibition was juried by Cheryl Brutvan, Curator of Contemporary Art, Norton Museum of Art, Palm Beach, FL. Artists work is on display in two galleries. Here are the details:

Northeast Prize Show
Cambridge Art Association
Kathryn Schultz Gallery
25 Lowell Street
Cambridge MA 02138

University Place Gallery (my work is in this gallery)
124 Mt. Auburn Street
Cambridge MA 02138

www.cambridgeart.org

Show runs May 14 – June 23, 2010
Artists’ Reception: Thursday, May 20, 2010, 6-8pm – Awards: 7pm at University Place
Gallery Hours: Monday-Friday 9am-6pm, Saturday 9am-1pm

New work.

Unlike the Matrix series, this painting did not use any computer technology and was produced entirely in an ‘analog’ manner. I was curious to use the same basic process sans technology to see how, if any, the resulting experience of the work changed. I used satellite photographs of the earth as my source instead of movies scenes of computer animation. And instead of using Photoshop to deconstruct the images to use as my templates, I drew directly onto transparencies from the source? photographs. I also made all color and composition decisions during the physical creation of the painting and not preplanned on the computer. This particular painting mixes images from arctic crevasse fields? to river runoff of the African desert. How do these two disparate ecological environments mix and flow with each other? And how does the interweaving of natural/organic material compare to the interweaving of artificial/digital data?

> Arctic Desert, acrylic on wood panel, 36 x 36 inches, 2010.

> Crevasse field, Fiescher Glacier, Swiss Alps.

> Algae from the crust of alluvial sand along the Tsondebvlei in the Namib Desert, Namibia.

> Crevasse field, Zwillings Glacier, Swiss Alps.

I have a painting (Matrix 6) in this group show comprised of 21 national and international artists.

Artists included are: Aljoscha, Kate Beck, Larry Caveney, Amy Stacey Curtis, Nick Gadbois, Mary Gallagher Stout, Brent Hallard, Tom Hollenback, Sky Kim, Matthew Metzger, Steven Pearson, Bruce Pollock, Anne Polashenski, Linda Stillman, Lynda Schlosberg, Owen Schuh, Scot Sinclair, Craig Stockwell, Grant Vetter, Rachael Wren, Raymond Yeager.

Here are the details:

Fuzzy Logic: Contemporary Painting After a Century of Abstract Art
Thompson Gallery
Garthwaite Center for Science and Art
Cambridge School of Weston
45 Georgian Road
Weston, MA 02493
thompsongallery.csw.org

Show runs April 9 – June 17, 2010
Artists’ Reception: Friday, April 23, 2010, 4-7pm
Gallery Talk: Saturday, May 15, 2010, 1-2pm
Gallery Hours: Monday-Friday 9am-4pm

Below are some photographs of the installation:

Our earth’s frequency is 7.83 Hz, which is identical to human (alpha) brain waves.? With the advent of 900 MHz to 2.4 GHz portable phones, cellular phones, towers, satellite systems utilizing microwaves and our homes filled with every electronic gadget known to man, how is this not effecting our physical and mental processes? It seems safe to assume that our bodies, minds and spirit are being overloaded, overstimulated, or overrun by this influx of [and exposure to] these incredibly high amounts of electromagnetic energy fields.

From The Heart Sutra, a famous? Mahayana Buddhist text:

Form is no other than emptiness
Emptiness no other than form
All things are by nature void
They are not born or destroyed
Nor are they stained or pure
Nor do they wax or wane
Form is only emptiness
Emptiness only form

“It is pointing to the fact that we don’t see the world as it actually is. That things are not static, and fixed, and separate, the way that we tend to think of them being. But things are actually in flux, they are always changing, everything is impermanent, everything is interconnected. You can’t take one part of the Universe and separate it from the rest of the Universe because it is a part of that Universe, it’s interconnected inextricably with it.

“How can it be that things are not the way that we see them?
It is the mind that creates the illusion of separateness.
There are no boundaries.
Everything is not separate from everything else.
Everything is connected.
Everything is interconnected.
There isn’t any permanence.
There is always change.
It’s all one process.
And the mind picks various elements out of this process called the Universe,
and sees them as being separate, assumes that they are separate.”

?Bodhipaksa (Graeme Stephen) from the CD The Wisdom of the Breath: Three Guided Meditations for Calming the Mind and Cultivating Insight. Sounds True. 2009.

Chitta is our core consciousness?the internal ground of the mind. Consciousness, or the field of thought, is a quickly vibrating subtle energy field, which is the basis of all material manifestation.

The physical body consists of mainly heavy elements of water and earth and is a creation of gravity, which moves downward. Consciousness, on the other hand, is composed of lighter elements of ether and air, and is a creation of our thoughts, which like vapor move upward.

?Source: Ayurveda and the Mind: the Healing of Consciousness, by Dr. David Frawley. p77-78.

It is uncertain on inception how I intend to fully utilize the function of this blog over time.

However, it is my initial intention to use it as a place to organize and distill information that I gather as I both expand and refine my artistic practice. I hope to include important notes from various readings, perhaps recent influential experiences, and even documentation of work in progress. A sort of 21st-century version of an artists professional journal.

While I ultimately believe this blogs existence is to serve my own use and purpose, and I am choosing (for now) to make this process open and transparent. So, please feel free to peruse the links to the right to read my professional journal by topic, or click here to read to my posts in chronological order. Keep in mind I’m not writing to anyone in particular other than myself…yet if you would like to add to this conversation, please feel free to post your comments.

> Studio Work in Progress, February 2010