Douglas Pierre Baulos received his MFA from the University of New Orleans and a Bachelor of Fine Arts from the University of Alabama at Birmingham. He regularly teaches workshops and lectures on his research in book arts, drawing and visual ecology. In 2009 Baulos won the President’s Award For Excellence In Teaching at UAB.
He currently is the Assistant Professor of Drawing at the University of Alabama at Birmingham and the curriculum director at Studio by the Tracks, an art center that provide free art classes to emotionally conflicted children and adults with Autism Spectrum Disorder or other mental illnesses. His drawings, installations, and books have been exhibited/published both nationally and internationally. His current works are explorations (visual) and meditations (poetry) centering on his ideas of spirituality, love, death, shelter, and hope.
“Although I work with the feelings of loss, mortality, and the power and delicate nature of memory, my work is a reflection of my attempt to live my life in fragile exultation.” To read more of Doug’s Artist Statement, visit his website at https://dougbaulos.com
Jerry is currently based in Austin, TX. “As an artist I want to make work that is a reflection of my thoughts and feelings regarding the natural environment. I’m interested in encapsulating the shelter, comfort, and connection I feel when in natural spaces and making them tangible for an audience through the creation of objects. These objects usually manifest as drawings, prints and animation. For me the woods are a place for healing, a place to learn through observation. It’s not an ecstatic state, it’s not always filled with pure joy, but rather a consistent and unfolding wealth that sometimes challenges me and yet allows me to connect with my surroundings and myself. There is a profundity to this feeling that I want to explore and share.” To see more of Jerry’s work, visit his website at https://www.moviesthatmayneverplay.com
The Camera Club provides members, from beginners to professionals, with educational and skill building opportunities in the art of photography. Membership in the Eastern Shore Camera Club is open to anyone with an interest in photography and all skill levels are welcome. The club meets once per month. Find more information via their website at www.escamera.org
This year’s Judge is JoAnn Cox.
Judge’s Statement: “I am a painter and graphic artist, not a photographer. I have very little knowledge of the technical aspect of photography. And although the tools, techniques and skills used in painting, drawing and photography differ, I believe as visual artists we share much in common. We share a need to express ourselves, to convey emotions, to tell our stories. And we share our attempt to learn to see.”
Best of Show
Jennifer Clifton “Lily of the Nile”
Online bidding is going on now! Visit https://event.gives/esac or text “esac” to (843) 606-5995 to join! Exhibit opens August 7, 2020. Auction closes August 28, 2020 @ 6pm.
PINKY BASS / WEEZIE BRABNER / MARY ANN BRECHUN
EDLYN BURCH / ADRIENNE CLOW / bj COOPER / JACK DAILY
DIANE LESTAGE-DAVIS / STACY HOWELL / LUCY HUNNICUT
BEN KAISER / MARY ELIZABETH KIMBROUGH / JIM LAUGELLI
JEAN-MARIE MCDONNELL / JUDY OXFORD / JO PATTON
CAT POPE / NANCY RAIA / STEPHEN SAVAGE / JANE SELLIER
JULIE SNIDLE / MICHELE TRAUM / B’BETH WELDON
All proceeds benefit Eastern Shore Art Center
THANK YOU to our event sponsor: BancorpSouth!
Via Slate Gray Gallery: Fran Nagy, a relatively new artist in Slate Gray’s stable, has Native American DNA. Working with acrylic and resin on canvas, like Modigliani, the paintings of this multi-disciplinary artist feature elongated form – but Nagy also depicts her figures with their backs to us as they forward march into an unknown future.
Some of her faceless shapes are stretched to the point of abstraction. Stretched any further and they might disappear into a simple line with no clear identity at all. Nagy’s forms could easily be read as exclamation points at the end of a story about what happened to Native Americans in a country that prides itself – or used to – on being a melting pot.
Native American art has developed over centuries, tracing its roots back to cave paintings, stonework, and earthenware. Typically linked to a deep connection with spirituality and Mother Earth, Native American art comes in many different styles and forms to reflect the unique cultures of diverse tribes.
“My Native American subject matter was inspired by cultural assimilation and my own dwindling genetic makeup. I am the last descendant who carries any physical trace of Native American Indian ancestry. The content of this work speaks for thousands of people who were forced to make a journey down a path of assimilation.”
Nagy’s timing appears to be spot on. Not only are Native issues finally being heard in the media, some of the loudest and loveliest voices are those of artists like her, an American, a native and (in her case, part) a Native American. Think of Fran Nagy’s paintings as commentaries on the complex relationship between Native and U.S. history and contemporary culture. Her work delivers a powerful message and speaks eloquently to “the ones who are remembered – by how they were forgotten.”
Continuing she says:
“As an artist and through my hands, I have found a voice to create art that is imaginative and also very personal. My work is influenced by my own ethnic and cultural experiences. My paintings, ceramics, and photographic art is abstract and contemporary, with a focus on the human form.”
Letty Oratowski began her career as an art teacher, having received a B.A. in Education from Newark State College (now Kean University) followed by an M. A. in Art from the University of Iowa. She practiced as a studio potter in Maplewood, N. J. for fifteen years, using a high-fire stoneware kiln that she built outside of her studio. After this she changed direction completely and earned a BSN degree in Nursing from Rutgers University. Soon afterward Letty discovered a new artistic direction, pouring her energy into painting, and was successfully balancing both careers for three decades.
While living in N.J. her work was shown at the Somerset Art Association, the Mountain Art Show in Bernardsville, the Raritan Art Gallery, the Ridgewood Art Show, and the Paper Mill Playhouse in Millburn, as well as corporate galleries at Pfizer, Nabisco, and ADP. She exhibited with N.J. Watercolor Society, the Garden State Watercolor Society, the Essex Watercolor Society, and the Exhibitors’ Co-op of South Orange, N.J., receiving numerous awards and recognition for her work.
Having moved to Fairhope in 2014, she joined the Kiln Studio and resumed making pottery and teaching. She became a member of ESAC, exhibiting her paintings in numerous juried shows there. Then in 2019, she discovered figurative sculpture in stoneware and has been consumed by that medium ever since.
Ashley Terrell is a Mobile artist who earned an Art degree from the University of South Alabama. She has experimented with all types of mediums and genres, keeping it fresh by always trying something new. She currently paints with mixed media and uses an old-world type glazing process in her soft, tranquil landscapes of the Gulf Coast. She switches it up with bold graphic textures and colors to create abstract pieces that make a statement. Ashley has clients all over the country and feels that she is blessed that she gets to spend time doing the things she loves.
The Members’ Juried Show showcases various work from the Artist Level members of the Eastern Shore Art Association. Artist Members were able to submit 3 original works done in any media, including painting, photography, pottery and more. This year’s judge was Carmen Lugo. 2020 Award Winners listed below online gallery.
Best of Show- Karen Roloson, “I, Malocchio”
Judge’s Notes: “This piece leapt out at me the minute I walked into the room, then continually danced around in the periphery, demanding my attention while I was moving about the gallery. The red hat and scarves throw my eye into a triangle and keep me moving throughout the painting, yet the red doesn’t overwhelm the subjects- it draws interest to them. If my eye tries to wander, the strong verticals draw me back to the subjects, and diagonals create a sense of space. The woman in the hat is directly confronting me with her steady gaze- at one point I almost felt like I should look away, as if I were being rude by staring. Everything about this piece draws me in- the composition, use of color, value, the texture of the coats, the sense of place, the suggestion of a narrative. This is a painting that commands you to look, then tells you WHERE to look, makes you feel engaged, and gives you a story to consider.”
First Place- Julie Snidle, “Parade”
Judge’s Notes: “I chose this piece for many reasons- the artist strategically weaves color across (and sometimes beyond) the surface of the wax to flesh out the composition of the painting, and keep the eye moving throughout. This also gives the painting a “conversational” quality- it is somehow both spontaneous, and deliberate. Non-objective abstract work often requires a delicate balance of value, color, and texture- (it can feel a bit like artistic Jenga) and I think this is successfully executed, here. Combine that with the energetic line layered in the wax, and the luminous quality of the encaustic medium, and this piece is a winner.”
Second Place- Bruce Larsen, Mobile Bay
Judge’s Notes: “I found this piece to be evocative in both concept and medium- I love that material from an old ship was used to create this piece. Looking at this piece, I feel the “weight” of it- it feels heavy, a bit haunting, and I feel a narrative swirling around it. This is one of the pieces that created a visceral reaction, as well as a synesthetic reaction- looking at it, I could “smell” the wet wood, and the salt air. The variety in the placement and movement of the nails gives this piece a bit of extra energy, that brings it all together for me. Lovely piece of art.”
Awards of Merit:
Cat Pope, “Under Southern Skies”
Judge’s Notes: “This painting is delightfully atmospheric, and the texture calls to me. The directional strokes and change in value that lead you back to the air stream trailer, the warm light peeking through the grey clouds, and the touch of hot light bouncing off the surface air stream all give this painting a sense of energy.”
Durand Seay, “Modulas”
Judge’s Notes: “This piece feels alive. I’m called to the energetic, organic feel of the lines that weave, meander, and overlap to create shapes, and the value changes throughout the line. The layers in this painting give me the sense that the shapes are suspended, floating. The large shape at the bottom of the canvas feels like it is beginning to break the plane of surface, yet it’s nicely balanced by the bits of red floating behind and above. I almost feel like I could reach into this painting, and interact with it.”
Pat Abernathy, “Blue Door”
Judge’s Notes: “I’m especially attracted to the brushwork and repetition of shapes of the petals in this piece -it creates a lovely rhythm, and the flowers almost seem to be dancing. I am also drawn in by the composition of this piece. My eye first lands on the contrasting values of the smaller red and light pink flowers near the center of the arrangement, then travels in an arc along the flowers in the back, lands on the largest bloom in front, is guided from foliage to the lines in the fabric, through the glass vase, and back to the focal point.”
“This body of work explores the relationship between people, plants, and structures and how we each adapt to our physical conditions. Like layers of skin, each environment you immerse yourself in layers to form your physiological DNA. The organic pattern found throughout some of these works derives from tissue found in the human heart. However, it looks very much like plant cells, or even stones. Like stones that show their geological history, people themselves are layered with different seasons and experiences to form the person they are presently, and we either conform to or rebel against the framework of our past. We adapt.”
Join ESAC as we celebrate the life and work of one Mobile Bay area’s most prolific artist, Fred Marchman. Visit our Courtyard Gallery and find yourself immersed in the “Mind of Marchman”. Vibrant abstracts and evocative thematical work coupled with his numerous handmade journals allow us a glimpse of the late painter, sculptor, and illustrator. From Southern Pop Culture to Spiritual Experience, see what you can “see” in the Art of Fred Marchman.
This exhibit offers ESAC members at artist level or above the opportunity to display and sell their work at the Eastern Shore Art Center. Each member may submit one piece and if sold can bring in a replacement. This gallery changes out every other month.
The exhibit will focus on wood fired pottery of the coastal area in conjunction with this year’s Alabama Clay Conference (located in Gulf Shores). In particular, those ceramic artists associated with the Eastern Shore Art Center and the Gulf Coast Kiln Walk Society. The exhibit will also feature a 12 to 15 pieces by Mr. Masayoshi Shimizu, the Japanese artist that visited, worked and exhibited earlier this year in Florida.
Masayoshi Shimizu is from Iwade City, Wakayama Prefecture, Japan. He studied under Mr. Kaoru Tachibana, a ceramic artist in Wakayama from 1973 to 1999. In 1995 Mr. Shimizu opened Negoro Ichijo Kiln Studio and built a Noborigama kiln in Wakayama.
In January and February of 2019 Mr. Shimizu was a guest of Gulf Coast Kiln Walk Society in Navarre, Florida. His schedule of activities included workshops and an exhibition of his exquisite pottery at Anna Lamar Switzer Center for the Visual Arts at Pensacola State College.
Participating Coastal Artists:
“This exhibit represents the culmination of my nearly three year journey of studying and painting flowers in an interior with windows. I chose this subject after seeing a beautiful flower arrangement in front of a window in an art gallery. The scene was my inspiration for this series of painting about color and light. Art is and has always been such an integral part of my life and gives me so much joy that my hope is that the viewers will see my love of color and light and feel joyful and happy while looking.”
Turner’s outsider art is almost exclusively made from driftwood, reclaimed wood and found objects. The artist was initially inspired by local artists Bruce Larsen and Lawrence Trotter and has no formal training. “Although most of my work is coastal oriented, myths and legends are used as a creative base for many pieces.”
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