Emelene Russell

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"I don’t know if we find our passion or if our passion finds us. But there I was just the same, with an acetylene torch in one hand and a mitt full of inspiration in the other. One spark, a little oxygen and my nascent career in metal sculpture had begun.

For years I burned the candle at both ends, welding my heart out on weekends while working full-time during the week as an art director: first, in public television and later in commercial advertising and design.

In the early years of my artistic pursuit, I also developed a technique for creating miniature sculptures in both gold and silver, using the lost wax method. I produced and sold many sculptures in gold, silver and welded steel to clients across the country. I was commissioned by an international manufacturing firm to produce fifty miniature sculptures to recognize its dealers for outstanding contributions to company growth and success.

Then I set my passion for metal sculpting aside for a time to pursue yet another passion with the opening of my own advertising agency in Denver, Colorado—Emelene Russell Advertising & Design. The agency has flourished over the years and affords me now the opportunity to once again create gold sculptures and to pick up my acetylene torch and breathe new life and form into welded steel sculpture. "

 

www.emelene.com/sculpture

Allen Littlefield

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Born on October 11, 1940 in Wilkes-Barre, Pennsylvania, the artist spent his childhood years in areas of the United States as divergent as New York City, Pennsylvania, Florida, and the state of Washington. Littlefield later returned to Wilkes-Barre where he graduated in 1967 from Wilkes College with a BA in Art Education.

After four years of teaching art on both the elementary and high school levels in the Kingston City School system of Kingston, NY, Littlefield moved to New Paltz. There he pursued graduate studies under ceramics instructors Kenneth Green and Robert Sedestrom at the State University of New York. He was employed as a graduate ceramics teaching assistant until 1973 when he received a Master of Fine Arts degree.

Allen hand builds each piece individually out of white stoneware clay. The work is then bisque-fired in an electric kiln. The final step in firing involves an ancient technique called pitfiring. This is done outdoors and involves wrapping or positioning each piece with various materials including cardboard and newspaper. After the pitfiring Allen washes each piece thoroughly and lets it dry before applying other colors or attaching them to backgrounds. Since the work is porous it is not recommended for outdoor use in climates where temperatures dip near or below freezing.

As a general statement about his sculpture, Allen Littlefield explains that current work is to be viewed as "future artifacts", objects that foreshadow what may be found in museums 3,000 years from now. The sculpture and fragments might reveal some of our alleged martyrs and saints or ritual and sacred objects.
All great civilizations are known by their gods and human achievements. Our current reliance on hard and soft technology, the "new gods", will in time crumble and be found also to have "feet of clay"        

www.littlefieldstudios.com

       

Boubakary Konseimbo

Boubakary  Konseimbo was born in1978 in Ouagadougou, Burkina Faso, West Africa.
 
A self-taught artist, he started painting in 1996. His abstract style is mixed-media combining, natural pigments (which he grinds himself), clay, gum arabic, acrylics and oil pastels on canvas or wood panels.

Kate Fitzgerald

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“I work in both oils and acrylics as they each bring their own set of technical properties and challenges to the canvas. There are advantages and disadvantages to both. My seascapes are more often done in oil, while my figurative paintings and portraits are mostly done in acrylic.

I enjoy the challenge of representing the human figure in a simply, stylized manner. The gracefulness of line and form stems from my infatuation with painters such as Modigliani and the early works of Picasso.

My love of music is a great inspiration for my work. Not only subjectively, as the depiction of performing musicians, but in the lyrical movement of line and light within the piece. However, I feel that composition is the utmost and foremost aspect of a good work of art. A well-balanced design exuding a sense of ease and serenity is that for which I strive.

Born in Greenwich, CT, I grew up in New York and summered in Casco Bay. Some of my fondest memories stem from those summers. A strong desire to live and paint near the ocean drew me to settle here after college. With marriage came a move to Virginia and after 12 years, I returned once again nourished by the beauty and wonder of coastal living. Maine is my home. I draw great inspiration from her gifts. I am continuously amazed by the rocky coast and its communities, the vast seascapes peppered with islands and sail, magnificently brilliant skies and her diverse inhabitants. I work from my home studio, painting in both oil and acrylic. Seascapes, landscapes, still life, portraits and figures — I find inspiration in them all. My work is in private collections throughout the country."

-Kate Fitzgerald

Digby Veevers-Carter

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Digby Veevers-Carter’s earliest memories are of the Seychelles located off the east coast of Africa, where his family operated a turtle and coconut farm. The Veevers-Carter family left the island in the early 70s to return to England for the children’s formal education.

In 1989, Veevers-Carter received a degree in History from York University and emigrated from England to New York City to pursue a career in sculpting. While living and working in New York, he immersed himself in the arts and studied sculpture, painting, and drawing.

Veevers-Carter began his sculpting career carving stone. He transitioned to modeling with wax where he found greater artistic freedom defining his own boundaries of form rather than having them imposed upon him by the size and shape of a stone. By casting and finishing his own pieces, Veevers-Carter has acquired a deep understanding of the craftsmanship require to invigorate the material, lend depth to the sculpture and illuminate his artistic expression. For Veevers-Carter, working in bronze is the perfect marriage of inspiration and craft.

Carter’s original body of work stems from his desire to capture the essence of unspoken emotion and pulls freely from the religious, literary, and artistic movements of the Greco-Roman, medieval and Renaissance periods. His most recent body of work explores movements and detail in nature. He is drawn into the magnificence locked in seemingly simple aspects of life; an insect’s exoskeleton, the stillness of an ancient tree or the smoothness of an animal’s skin.

Veevers-Carter has shown extensively in galleries and juried shows throughout the United States and designs and sculpts on commission. His bronze sculptures can be found in private collections both nationally and internationally.

Somerset Foundry was founded by Veevers-Carter in 1998 in Truro, Massachusetts. In 2002, he moved his studio to West Bath, Maine, where he lives with his wife and three children and sculpts and casts full time.

Michael Banzhaf

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  Michael Banzhaf's pieces are exquisitely handcrafted to reflect his feelings about the world and in his newest work, reinvent the natural environment. His designs most familiar to collectors demonstrate classic and symmetrical motifs undoubtedly rooted in his classical music training and fascination for Etruscan, Byzantine and Renaissance periods. Other designs are lyrical as they embrace forms inspired by nature. 
   The result is a stunning collection. The range of Banzhaf's creations has included a "Rain Forest" necklace, earrings which resemble lily pads and ginkgo leaves and in homage to his adopted St. John, necklaces titled "Salt Pond Bay", "East End Full Moon" and "Windswept".

ARTIST STATEMENT

"I have developed two distinct styles. The first is classic and symmetrical, using traditional design motifs and reminiscent of ancient jewelry. My more recent work draws upon my fascination with plant life. I find inspiration in natural forms for the stylized interpretations that appear in my pieces.
I sketch designs first and then at the workbench pursue an organic approach, allowing the designs to grow and evolve spontaneously. My work is based on the concepts of durability and quality for daily wear as well as formal occasions.
With the pressing issues of environmental concerns, my intent is that both the wearer and the viewer will be reminded of the beauty and fragility of our planet. I wish to raise consciousness and dignity to these issues, with tributes preserved in the permanence of noble metal and gemstones, two of earth's most enduring materials.
All pieces are 18k gold or 950 platinum. All diamonds are E-F color and VS-1 clarity or better. I select only the finest gemstones of superb cut."

Fernando Olivera

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Fernando Olivera was born in the city of Oaxaca in 1962. He studied art at the Escuela de Bellas Artes at the Benito Juarez University in Oaxaca. He went on to study lithography with Japanese print-maker Shinzaburo Takeda at the Taller de Artes Rufino Tamayo.

In addition to five solo shows in Mexico, Olivera has participated in group shows in Mexico City, El Salvador, Montana, San Francisco, Palo Alto, Chicago and Philadelphia (including five group shows at Indigo). He illustrated the award-winning children's book, The Woman Who Outshone the Sun, based on a Mixtec folk tale, published by Children's Book Press. Olivera's work was included in the 1994 show "Myth & Magic: Oaxaca Past and Present" organized by the Palo Alto Cultural Center. His work was also included in The Tree is Older than You Are, a 1995 collection of Mexican poems and stories published by Simon and Schuster.
The Work - Olivera's vision is grounded in the traditional life of Oaxaca and the myths and legends of its people. But his work also reflects his social and political concerns. Much of his recent work is preoccupied with the ongoing Zapatista uprising in Chiapas.

Santiago Martinez

Santiago was born on August 10, 1963 in Oaxaca, Mexico, where he was raised and still lives today. He grew up with a strong indigenous influence from his Zapoec father, who is also a painter.

In 1988 Santiago moved to the USA and took a job as a dishwasher at a Texas restaurant. Speaking no English and short on art supplies he began painting on pizza boxes as his means of expression. At the age of 27 he sold his first painting, on a pizza box.

After a serious car accident left him bedridden for six months, he explored his passion for art, painting on any material available; scrap paper, tin, envelopes, etc. A gallery owner, impressed with his work, offered him his first show. It was was then that he realized that his calling was to paint.

Santiago returned to Oaxaca nine years later where he continues to paint and develop as an artist. His work has been exhibited in Mexico, the United States and Europe.

Santiago is humble and at times shy, he is grateful for the relationships he has built with the people of Oaxaca and always enjoys conversations with travelers visiting Mexico. He has a reputation of being a kind, sensitive artist who enjoys life and embraces daily economic challenges that face Indigenous artists in Mexico.

The simplistic beauty of nature moves Santiago, and his paintings express this love and surrounding environment. Trees and people morph together connecting them to each other while often expressing something higher unfolding within the ordinary.