Posts Tagged ‘art collecting’

White Pines with Cat

Tuesday, March 4th, 2014

The light hearted couple who requested this commission already had three of my pieces and several of my husbands’. They’d just bought a property in cottage country, Ontario, and wanted a wall piece in their large dining room, where they entertain a lot. They had spent a lifetime canoeing and camping extensively in all parts of Ontario, so it was clear from the outset that the subject matter would be White Pines of Georgian Bay. However as animal lovers and devoted cat owners, they had another request: they would like birds, and a cat, somewhere in the picture.

WHITE PINES WITH CAT 2014S

White Pines with Cat 2014 24×48″
(can you spot the cat?)

I love animals as much as I love a challenge, and this was not the first time I’d been asked to incorporate wild creatures. For one large commission I made in 2008, the client wished for all the genera of creation: plants, fungi, bugs, birds, fish, amphibians, reptiles, and mammals. The toughest part was the mammals…. how to make it all work without looking like a Disney production? Plus the space was filling up! The solution?  To curl a sleeping chipmunk into a crevice underground. Everyone was happy:

7 Days of Creation 2008 sm jpeg

The Seven Days of Creation 2008 – Lots of animals here!

7 Days serpent and ants

Fish, ants, snake….

CHIPMUNK - 7 DAYS

…. and chipmunk, in hibernation

Taking a cue from that experience, I embraced my cat lovin’ side, and settled a sleeping feline at the foot of a White Pine in the piece:

The Cat

This cat is not worried about the weather.

The Mighty Mitochondria

Saturday, February 22nd, 2014
Detail of Microcosm

Detail of Microcosm

I get all kinds of commissions, from very large (17 feet), to very small (6×12”). Sometimes a client simply wants a piece that ‘looks like’ one I’ve already made, but most projects are far more complicated. I rarely turn one down though. Thinking back, some of the most memorable, cherished and not, moments of my art career came to me via commissions.

So, just before Christmas 2013, I got a call from the wife of a retired Professor of Biochemistry who was about to enjoy his 80th birthday. Knowing of my interest in the sciences, she wondered if I might create a wall piece to celebrate her husband’s research in mitochondrial biogenesis. Now I had heard of mitochondria in my Science courses, ummmm…. literally back in the last century, but couldn’t, at that moment, recall a single thing about them. My right brain raced as we discussed practical matters like size, shape and timing.

Then I thought, what the heck… that’s what Google is for, right? And I love abstracts. Thus began the steep learning curve from mitochondrially-challenged to mitochondrially-knows-just-enough-to-make-a-wall-hanging.

Just so all that knowledge doesn’t go to waste, let’s get up to speed on mitos. They are small, really small: less than 1 micrometer in size. They live inside most of the cells of living organisms. They are often described as “cellular power plants” because they generate most of the cell’s supply of energy. Electron micrograph photos show globular forms filled with parallel strands (threads! Yes!), and either alone or nestled amongst others of their kind. They can both divide and recombine. The reasons scientists are interested in them are many – with implications for health, aging, growth and even memory.

Some of this was coming back to me. Could it be my own mitochondria were dancing?

Here is a single mitochondrion.

I’ve always trusted in my ability to rise up to the occasion, however happy or dire. For this project, as with most others, there was research – reading, gathering images, making rough sketches, pondering techniques. I drifted off at night thinking about possible layouts.  After a few weeks, it was time to commit to paper. With a few attempts and some tweaking, this was the result:

A coloured pencil sketch of Microcosm

A coloured pencil sketch of Microcosm

The colours came from electron micrograph images of the interiors of cells. I wanted to show all the energy at the moment of division, so one of the mitos broke out from the border. The dark background provided an atmosphere of mystery while also creating a foil for the bright neon colours.

I sent the drawing off to the client with bated breath. Normally after viewing a first attempt, the client comes back to me with all kinds of suggestions and changes, but not this lady! … It was a solid ” GO FOR IT!”

The next challenge was technique. This design was quite different from recent work and would require more attention to the strong clean lines, to stand clear from all the background details. For the solution, I harkened back to 2002 and 2009, recalling two series of Seed designs I’d made with the same sharp edges (image below). Great! A precedent!

SEED - KENTUCKY COFFEE 2003 17X25

Kentucky Coffee Seed 2003 17×25″
Here I used a collage technique that provided a nice crisp contrast with the background

I cut the globe shapes in fabric, leaving the edges bare and crisp, filling in the centres with other fabrics and clippings. Once the globe shapes were done, I added the interior strands using strips of a semi-transparent print. They looked good but a bit washed out. Would couching a contrasting yarn around them create more contrast? Oh yeah! And it was pleasant, meditative work, not at all the chore I had anticipated. The design did change somewhat – it always does as I’m working on the real thing. That bottom mito needed to be whole, not cut off.

A real closeup

A real closeup, since you asked….

Then came the finishing: backing, batting, quilting, sleeve…. Ta-da!!! Six weeks after that first call, “Microcosm” was delivered, rolled up in a cardboard box we hoped would escape detection until Presentation Day, in early February.  The final word?  Instant recognition, and very well received.

MICROCOSM 2014 36X19S

Microcosm 2014 36×19″ Fabric wall hanging by Lorraine Roy

 

 

The Charity Fundraiser: A good idea for artists?

Sunday, February 9th, 2014

Hello everyone,

I was asked by the Canadian Artists Representation of Ontario (CARFAC) to write about my experience in donating artwork for Charity Fundraisers. There has been considerable discussion about this topic over the past many years, pro and con, and I was very happy to throw my own opinions into the mix. You may have seen this article which has been circulating on Social Media. While I agree with many of the points in the article, I continue to donate in a way that is working for me. I would love to know what your experience is, and how you are dealing with the issues. Let’s have some discussion!

Here is the interview:

– What was your experience with fundraisers over the years?

I have donated work to all kinds of organizations with all kinds of setups for auctioning, from silent to live to online. Results varied wildly from my work being withdrawn for not reaching the starting bid, to selling way over its estimated value. I was getting up to a dozen requests per year (often still do). Over time, it became evident that saying Yes to each one was spreading my generosity a bit too thin.

I now participate in three kinds of fundraisers:

  1. One event  for which I make a special piece each year, because I believe in the organization and want to support it to my utmost
  2. Two to four yearly auctions that give back up to 50% of sales, for which I donate older works
  3. Timeraiser, that pays the full requested value of accepted works

I prefer donating my work to giving money – it’s a more personal way to give back to my community. Plus, I enjoy attending the auctions – when they are well done, they are a lot of fun.

St Ignatius Bean was made specially for the Ignatius Jesuit Centre Silent Auction in 2013

– Have you noticed any negative or positive effects of fundraisers on the sale and value of your artwork (outside of fundraisers)?

I am unconvinced that exposure via fundraisers is beneficial for my career, but by the same token I am equally unconvinced that by participating, I significantly reduce the value of my work. I do believe the public and collectors admire and value artists for their generosity, as they should.

I make a living from my work so I have a vested interest in maintaining its value. I have not noticed any effect from participating in fundraisers one way or the other. I’m secure in the value of my work, and I’m glad there are ways for people to possibly acquire a piece of mine if they can’t afford the full price. I make sure all parties know that I NEVER donate new work, except for the special event mentioned above. Many people have contacted me after auctions, filled with joy, which makes me happy too. Older work would otherwise go into storage, and what use is that to anyone?

Courage was in the Burlington Art Centre Live Auction 2014

– Over the years, did you notice any trends in fundraiser standards? 

Some organizations are aware they depend on a sector of society that can ill afford a constant flow of donations, so they are reimbursing framing costs, or offering a percentage of the proceeds. Of course, this raises their chances to acquire good work, so it’s a great incentive for them.

– Do you have suggestions about how to deal with organizations that are not considerate when it comes to fundraisers?  

It’s important to remember that organizers always have the best of intentions, and most are volunteers: they are passionate about their own cause but perhaps ill-informed about what happens from the artists’ side. When I explain that artists must submit the value of the piece as income, making the charitable receipt useless in most cases, they are astonished. So all I can say is, please remain polite and calm, give them the information needed to make their own decisions, and then say NO until you are comfortable with the situation.

– What advice can you give other artists considering donating artwork?

1. You can say NO whenever you want, guilt free.

2. Never donate new work. If the organization doesn’t like it, then they may quit asking. So be it. Are you embarrassed to donate old pieces? Think about it: if your new piece gets poor results, it will be even more awkward!

3. Be choosy. You don’t have to say YES to every request, even if it’s a good cause. They are all good causes! Get informed about their audience and promotion: what is the quality of the usual offerings? Are they sensitive to good display or will they simply prop your piece up amongst the fridge magnets in a dark corner? Will they include your contact information with their publicity?

4. Decide on your favourites and stick to them. If there’s any financial benefit to be had, it’s by repeating your presence so the audience looks forward to seeing your work each year. Repetition can pay off, with people remembering and contacting you later. Also, this makes it easier to turn down all the other requests.

5. Don’t donate expensive works to organizations that are auctioning off small items. In other words, find out the most common price point and choose your work accordingly. That way, both you and the organization will get the most out of your donation.

Fissure #4 was purchased by Timeraiser for Auction in 2013

Fissure #4 was purchased by Timeraiser for Auction in 2013

Small Works at Taylor’s Tea Room

Sunday, December 2nd, 2012

On Friday morning, early!, my husband and I hung 14 of my small pieces on the lovely lavender walls of Taylor’s Tea Room in Dundas. The owner, Brayden Erlich subsequently emailed me with the following:

“Lorraine! I have to say thank you so much it’s just how I imagined! Amazing feedback all day long. And I love it!!
So pumped! Tomorrow will be great! The place looks fabulous!”

And it WAS great! The opening was slated for Saturday, Dec 1 from 2-4 pm. It was a busy day in Dundas, so the visitors were pleased to have a quiet place to stop over for complimentary tea and scones. And such enthusiasm! I am truly blessed.
If you are in the area, do drop by! Taylor’s Tea Room is at 11 King Street West in Dundas, ON  905 628-3768.

Some photos from the day:

Brayden Erlich and me

                                                   ….. and a beautiful spread for all to enjoy….

Window on the world

Monday, April 30th, 2012

You may know I make a living from my art. Have been now, for a good 20 years, with the odd few years between, working at ‘real jobs’.

It’s not always easy, as you can already imagine. NOT knowing when and where the next cheque is coming from is not for the faint of heart. My husband makes his living from fine art photography, so he’s in the same boat. The period between February to May is particularly slow for art sales.

Stop waiting for nothing - Sopiko Cherkezishvili

So I do other things. I teach, I do some public speaking, and I sit at this computer dreaming up creative ways to make sure I am not forgotten in the huge and competitive art market. It’s a balancing act. How to ‘keep it real’, and not fall into the commercial maelstrom that eventually sucks our creativity and will to live?

In this way I feel very lucky. I happen to love social media. If they could find a way to insert a chip to keep me eternally connected, I would probably go for it. This obsession for connection probably comes from my lifetime of moving around… most of my dearest friends live in other towns, some of them far away, and email and facebook are perfect for keeping in touch. But now it’s gone deeper – I have decided that it will be an extension of my creativity – so now, it’s not only a necessity… it’s actually fun. And it helps me put food on my table and gas in my car.

Outreach in all its forms is very important for a successful art career. I prefer to call it outreach, rather than promotion, because for me, it’s an extension of the communication that begins with my art. If art making was only about making money, I could think of 1,000 better ways to do it. Outreach is a way to make my art communicate to a larger audience. Reaching an audience – moving them, delighting them, helping make their lives more beautiful, more special, more meaningful – is the prime goal. It provides the most important currency for a true artist.

So a few months ago, my husband, after encountering arrogance and misrepresentation by Art Sales and Rental at Art Gallery of Hamilton (resulting in his asking to remove his exhibition from the community gallery), learned about the possibility of renting a large corner window. This enormous space just happens to be right across the driveway from the main AGH entrance. May was the perfect month to rent it, coinciding with the big Spring Art Gallery of Hamilton Sale, to which neither of us was invited this year. We felt this would be the right opportunity to make a statement about the AGH Art Sales and Rental’s current lack of support and respect for local artists.

Window at King St and Sunset in Hamilton, ON

Janusz set it all up… every inch of space was carefully and lovingly planned. Our contact information is there, including QR codes for the Smartphone set.   The photo on Facebook has so far generated nearly 40 likes and a dozen comments. We consider it our ‘outreach gallery’. Let’s see how it all plays out, around the AGH Art Sales and Rental Spring Sale. Our work will be there until the end of May.

So – for us – this is how we are ‘keeping it real’. Trying to accomplish a lot with a little, while not drifting into the dead zone of commercialism. It keeps us engaged and having some fun. And it plays in nicely with my firebrand husband’s political side… in a subtle and quiet way.

So what do YOU think? Sometimes I wonder if anyone reads these posts. Your comments will be much appreciated!

Preparing for our Studio Tour

Monday, April 16th, 2012

This morning we had an organizational meeting for the Dundas Studio Tour – a yearly event for local artisans. This year our dates are Sept 29-30. My husband and I have been participating for 6 years, since first moving to Dundas. In fact, this Tour was one of the reasons we moved here and chose our property – big enough for a separate studio and gallery.

This is the third meeting this year to date… there is much to do to prepare for a successful tour. I am in charge of intake for new applications. Each one is carefully considered and vetted. This year we have lots of new blood: jewellers, a furniture maker, a photographer, and a couple of potters. There will be 27 artists in all. It takes time to decide where each artist will fit at the 6 studios. Now we need to begin setting up our brochure and website, and organize our promotion. Even though the tour lasts only 2 days, it’s a year-round project for us.

It’s a lot of work!!! But I keep reminding myself that those two days bring in up to 1,000 visitors. Many come to browse, and then they come back, sometimes years later – so it’s always worth the effort and it’s always lots of fun!

Our studio, Dundas Studio Tour 2011

Long Beach, California: Here they come!

Tuesday, June 21st, 2011
SPRING   18X36″

Hello everyone,

As I mentioned in my last post, four of my wall pieces will be on display at the Janome Sewing Machine booth during the International Quilt Festival , in Long Beach, CA from July 29-31, 2011.

SUMMER 18X36″

The theme for this year’s exhibition is The Four Seasons, which is right up my alley!

AUTUMN  18X36″

So I hope some of you will have a chance to see the show, and drop by at the booth to see my babies. AND – they are for sale, each at $1500.

WINTER   18X36″

So now, you probably think I won’t know what to do with myself. NOT!!!!  In true Roy style, I decided to put all this down time to good use.

So – my husband and I will be part of the Hamilton Open Gardens event at the end of June and start of July. This means our ‘Work in Progress’ gardens will be open for viewing, and our Studio will be open as well. Our dates and hours are Thursday, June 30 to Monday, July 4, from 10-5 pm each day. Of course, you are welcome any time by appointment too, so please contact me if you are in the area. We have lots of new work to show you! At the same time you can take advantage of the trip to visit other Open Gardens in the Hamilton area, hike to our beautiful Webster’s Falls, drop by the Royal Botanical Gardens, or just mosey along King Street in our quaint village of Dundas, enjoying our many restaurants and shops.
Here’s our Google location: Hillcrest Studio.

We look forward to seeing you!

Lorraine

ENCHANTED WOODS  30X10″

September update

Sunday, September 5th, 2010
 Courage  2010  24×24″

Hello friends!

Summer was wonderful, classically hot, and steamy. My cottonwoods are already turning and dropping their leaves. It’s time to let go of that lazy hazy feeling, and get back in the saddle. Cool mornings, hot porridge! Although I was working steadily through the summer, I was stricken with a terrifying eye infection in August, which took three good weeks out of my life and added a few gray hairs. But all is well at the moment and it’s catch up time.

The Dundas Studio Tour that was held on October 2-3 was huge success. In spite of terrible, and I mean truly dismal, weather, visitors flocked to our location. It was our most successful tour EVER. We’ll have to remember that for next year! 🙂

 A while back, I was approached by a representative for the Long Island Jewish World, Manhattan Jewish Sentinel and Rockland Jewish Tribune, asking to feature my large commission, the Seven Days of Creation, as the cover image during Rosh Hashanah.They were so pleased with the result that they have asked for more images.

  The Seven Days of Creation 2008  69×80″ 
My quilt, Luck and Skill, has been selected to be on exhibit at the International Quilt Festival in Houston, TX from October 30 to November 7, 2010. It will be part of the Quilters’ SOS – Save our Stories exhibition. This quilt was the subject of an interview with Bernie Herman, the George B. Tindall Professor of American Studies and Folklore at the University of North Carolina in 2008. Here is the link to the interview: Luck and Skill . It is well worth reading. Sometimes I can’t believe I said all that!
 Luck and Skill   2007  30×30″
 I will be teaching a 3-day workshop, Collage with Nets, in London, Ontario, in May 2011. This will be one of the many activities associated with the major Gathering Threads Conference to celebrate the 50th anniversary of the Canadian Embroiderers’ Guild in London. I owe a great deal to this wonderful organization, and if you are a textile enthusiast, I am positive you will find much to see over those 4 days. Visit this link for more information as it unfolds.
That’s all for now… as always, send a note, give me a call, or come and visit. You are always welcome!
Lorraine
Early Snow #5  2010  24×12″


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