Wehrman likes the level of precision that colored pencil allows. It’s also portable, versatile, and clean. Additionally, color pencil can be applied to a variety of surfaces such as wood or porcelain, which she uses in her work. Recently, Wehrman has been experimenting on fabric, where she is learning to incorporate silk ribbon embroidery. “This is really different,” she said about adding a third-dimensional element.
Upon viewing Harry Starr’s landscape photography, one is struck by the captured beauty within his work. “Fall Blanket” depicts a barn isolated within a field of early November snow. The colors are stark – red barn, white snow. And yet, there is a textural softness to the piece that pulls you in, revealing hints of autumn- leaves and sticks momentarily suspended, insulated by the sudden burst of weather.
The Gallery is closed, and the walls have been stripped of work. On the floor is where the action is. A new exhibit is about to take form. Paintings are unpacked and laid out, staring up as Shawn Cornell determines the larger piece that will anchor the midpoint. From there he decides the breathing room that is critical in sustaining the energetic installations for which Cornell is known. He will play with spacing and the arrangement of every piece until he achieves the visual pulse he is looking for. “I much rather have each piece have some breathing space,” Cornell says. “I do my best to give as much space in between so that there’s almost like an EKG going on.”
One of the ways to take one’s art to the next level may be hidden in the shadows. When asked to identify the color of a shadow, it is common to respond that it would be a darker color of whatever is in shadow. A shadow of a tree on green grass would be a darker green. A shadow of the same tree on dirt would be a darker brown.
It’s Saturday morning at the Galleries at Heartland Art Club. The sold-out figure drawing workshop has nine artists situated behind their easels. Their focus is on Violet le Fae, the model who is standing counterpose in a slightly forward lean. Her left arm crosses her body, and her right arm rests gently aside. Her eyes look far across the room.
Throughout this immersive two-day workshop, Gino will delve into a myriad of captivating subjects, including materials, composition, color theory, values, edges, framing, and even the often-overlooked realm of social media. Indeed, the latter holds immense potential for artists, yet is frequently underestimated.
Nicole Petrescu spent the first part of her life in Romania, whose rich culture and people she loved. It was the country’s dictatorial regime she could not accept. “I proudly participated in the anti-communist revolution of 1989,” says Petrescu. It was a movement that liberated Romania from the autocratic, socialist regime of the previous 45 years.
Threads began in 2019 when Carter, who resides in the City’s Tower Grove East neighborhood, became interested in the growing, vibrant immigrant community there. Initially, the artist made connections to her subjects through the nearby International Institute and at the annual Festival of Nations celebration.
What do you think about when you hear the word nature? Green, soothing, fresh, natural? I am a botanical artist whose greatest joy is rendering what Mother Nature so artfully created. The color combinations are second to none. The curves and intricacies of flowers intrigue me. Even faded flowers take on a new softer hue. They are so beautiful, even at the end.
Have you noticed how the world looks a little different from season to season? It isn’t just the presence or absence of leaves and snow. The light itself seems to take on a different look. Consider the comments we often hear about a winter day being “clear and crisp” or the “light being thin.”
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