Jane Hamilton, from Jane Hamilton Fine Art, a gallery in Tucson, happened to be in Denver during the Cherry Creek Art Festival and stopped into my booth. She was enthusiastic about my work and placed an order for her gallery. Here are some of the pieces you can find there if you are perchance in Tucson, AZ.
Her web address is JaneHamiltonFineArt.com. Her address is 2890 E. Skyline Dr., Suite 180. If you stop in, let me know what you think.
This was not something I expected when beginning, and it took some time before I acknowledged it as a fact. Talking to other artists, they had the same story - at least one day of recovery is needed after a show. I've tried to "hit the ground running" after a show, but inevitably, at some point that very week, fatigue sets in and I need a day off.
It doesn't seem like the hard work of setting up or taking down is the cause. I enjoy that mostly. There's something about the relative physical inactivity that is draining, especially if much travel is involved. Others of you might be able to relate to that.
It could also be that switching gears takes some mental time. Cleaning the studio and the house is a good way for me to transition back into the work routine, or pulling weeds. But there's still that day of sleep and rest.
After the French Revolution, out of rebellion against how the church had so been part of the system of oppression, a new week was established of 10 days instead of 7. It didn't last long. Animals used for plowing began to get sick or die from overwork. Our chickens, each one, will lay an egg 6 days out of the week, not every day.
After first starting to do pottery, any time away from it at all felt like a forced vacation, like when Mom used to make us take a nap. Boring, couldn't wait to get back into the studio. Now, however, it's become a refreshing break to hike, nap, read, etc. I even look forward to it.
New work from this summer - about 10 of these Garden Gate tiles, many inspired by French impressionist paintings. In this one, my poppy tea set is part of the garden scene. Approximately 10" x 14" x 2" deep $250 Hangs from a wire in the back.
COMMUNITYHow 260 artists are chosen to be part of the Cherry Creek Arts FestivalOnly 260 of the 2,138 artists who applied to the 2018 Cherry Creek Arts Festival were chosen to be a part of one of the most competitive juried art shows in the US.
Author: Amanda Kesting
Published: 4:34 PM MDT July 2, 2018
Updated: 5:33 PM MDT July 2, 2018DENVER - The Cherry Creek Arts Festival, coming up this weekend, is one of the most competitive juried art shows in the country.
But what does that mean? And how are the artists who do get to exhibit at the festival chosen?
A juried show means each artist who wants to exhibit his or her work has to first submit an application to a jury.
This year, the Cherry Creek Arts Festival received 2,138 applications from artists who wanted to be a part of the festival.
A panel of five artists, consultants and curators then have the job of choosing the exhibitors. They don't know who submitted each piece and are asked to "select work based solely on artistic excellence of original, handcrafted work."
Eventually, the jurors select 260 artists to participate in the festival. Only about 12 percent of those who apply make it through.
Learn more about some of the chosen artists on our Instagram page!
In the 2018 Cherry Creek Arts Festival, those artists will represent 13 different media categories and 62 of them are first-time exhibitors at the event. Thirty-six are from Colorado.
The Cherry Creek Arts Festival takes place July 6 - July 8 in the Cherry Creek North Shopping District in Denver. Booths will be set up between 2nd and 3rd Avenues from Clayton to Steele Streets.
MORE | Cherry Creek Arts Festival...A World-Class Tradition In Denver
Along with the juried art show, the festival includes food booths, a community mural, an interactive children's area, live music and other performances.
Admission to the festival is free. Learn more here: http://cherrycreekartsfestival.org/.
Editor's note: 9NEWS is a sponsor of the Cherry Creek Arts Festiva
© 2018 KUSA-TV
For a long time I have been trying to do California poppies on my pieces but was dissatisfied with the results. I just looked for photos to show you the earlier pieces, but it's a sign of how dissatisfied I was that I must not have bothered to take any pictures of them. They began by being too pale, so next I blended orange stain with the yellow on the brush, but the orange I had was a burnt orange that surprisingly made the flower more dull.
Then I found a couple of new ceramic stains from Mason - a brighter, more intense yellow and an orange. The yellow was an improvement, but the orange, although it looked like it might work before it was fired, came out neon. Garish. I let the endeavor go for a while - until the CA poppies came up again in the garden this spring.
This time I mixed the garish orange with the brighter yellow, maybe a touch of the older marigold yellow and a tiny bit of burnt orange. Will I be able to duplicate it? Hope so. I was very pleased with the results.
I made these vases in response to a surprise request from my husband who wanted to try doing classic designs on classical forms. Why it was a surprise: he, although generally supportive, has never shown any interest in doing painting or drawing, hates art shows, only peripherally has an idea of my work, and will often ask, Is that new? No, I've been making it for two or three years.
A confession: I liked the piece on the right so much that I appropriated it and figured I can make him another one after he practices on the other two. Here's how it turned out -
Greek Vase with Pink Poppies 14" height $295
When Don decorates the other two, I'll post them so you can see the results. He has spent time researching and making patterns for the vases. But right now he's doing demolition on the upstairs bathroom, taking out crumbling plaster and tile and an ancient bathtub.
Sometimes after all the work has gone into them, pieces come out of the final firing with fatal flaws: the glaze crawls, white dotting covers them in a blizzard, tiles or pot bottoms crack. Majolica can be a frustrating process.
As have so many others, I've been much tempted in the past to switch to a different process or medium. Paintings you can fix. With this process, there's one shot at getting it right. Trying to fix and re-fire only causes more problems. But over the years, and with the generous help of others (Linda Arbuckle is a good example), I have fewer failures.
When we were in Italy, it was delightful and inspiring to see what happened to broken majolica. It was plastered into walls and fences. I'm not at all inclined to stucco our fence or house, but I have initiated an ongoing garden project in our back yard. All the pieces you see above came out of the kiln with some "fatal flaw," or they broke at some point with all the hauling and setting up shows.
This was expected. I knew when I decided to accept this challenge that the gardening season would interrupt - not the whole season, but the planting time. Perhaps more than usual this year because, after a winter of drought, we had a rain that caught us up to normal water levels in one day. Spring exploded onto Denver, and the weeds, too. So, the last few days have been spent planting seeds, building beds, transplanting, and weeding. The last was not something that could be done at paced intervals because they grew to maximum and were going to seed in one week!
However, this challenge is more enjoyable than I expected, and even if I don't catch up to a painting a day on schedule, I want to continue past the 100 days until I've done 100 paintings.
I decided to move beyond the normal Italy theme to try something new. Some spring from impressionist paintings by Camille Pissarro, some are Colorado themed.
Here's a few of the works so far: unfired mini-triptychs, mugs, a box with lid; and, on the fourth row, 2.5" x 3.5" artist trading cards. Each day, when a painting was finished - or partially finished - I snapped a picture and posted it on Instagram (Peggy Crago).
I decided the daily challenge would be a small painting, not to necessarily finish one every day, but to devote at least 10 minutes a day to it. Already I have missed the first day but am not fretting. I'll miss more, pretty sure. Here's the first - a majolica painting on a triptych that was glazed and waiting for decoration in the studio. It's approximately 6 x 6, I think, and took an hour to do. I broke from the Italy theme that usually goes on these and tried something different.
In preparation for the 100 days, an hour was spent on Sunday cleaning up the dust and clutter on the drawing table and organizing supplies: watercolors, acrylic paints, colored pencils and markers. I found a packet of "artist trading cards" - 20 - 2.5 x 3.5 blank smooth cards, a mini-canvas board, a blank puzzle, and a 6 x 6 sketch pad. Then, in the studio, I have a stack of triptychs like the one above that have sat there for months.
Everything I plan to use for this challenge is what is already on hand. And an aside: it felt good to clean up the drawing table. It had turned into one of those piles where stuff gets tossed but not dealt with. Annoying every time I walked past it.
That is how much I order at one time, because, like everything else, it has gone up in price and buying a ton at a time gets the best price per pound. I used to pay to have the supplier deliver it; but the driver started complaining about how hard it was to navigate from the alley to the studio (it is pretty tight), so I decided to do it myself. 40 - 50lb. boxes. Not carried one at a time - I have a heavy-duty dolly that I use at shows for load-in & out; but even with that, four boxes is about the max per trip. Then, studio space is tight, too, so the boxes have to go underneath work tables. That's fun. Crouched over under a table and lifting a 50lb. box to the top of a stack. I tell myself that it's exercise and do it carefully in order to protect the back and knees.
Right now, though, our 21-year old grandson is staying with us while he gets situated. You know - some brain and lots of brawn. He has an unusually good attitude about helping out, so I make it a point to not take advantage of him; but yesterday I called in a favor. He loves physical exercise, like chopping wood for the wood stove; and I originally was going to just let him do all 40 boxes; but I couldn't. It's such a hard job and it was cold and rainy and muddy.
The ton will last most of the year. Now I need to start producing in earnest. Cherry Creek Art Festival is coming up.
This is the easiest spot to load into because it's not under a table. I can fit half the ton here.
Last week I received an email about this. Of course, I signed up. It sounds fun, even though I'm still considering whether I want to add this to my plate. I have three ideas for what to commit to for those 100 days, and they are all things I've wished I would commit to as a daily or most-days daily habit.
The first idea, and the one that would require the greatest time commitment, is to do 10 ideas (about anything) every day. The point in doing it is to flex the creative muscle. It didn't sound so hard when I first tried it; but just about every time, I finish six, then get stuck and labor over the last four. (It's supposed to get easier the more you keep at it.)
#2 and #3 would be to set aside 10 minutes a day to write or to draw, both of which improve with practice. Only 10 minutes sounds more do-able.
It starts April 3rd, but you could start whenever you like, and the website for more info is https://thegreatdiscontent.com/100days. They have ideas for things to do, too.