GALLERY | “Rock Paper Paint” by Carol Bollinger Green, Kathleen Loomis & Bridget Green
July 2 - August 14
RECEPTION: Friday, July 9 | 5:00-7:00 PM
GALLERY HOURS: Wed – Fri, 10:00 AM – 4:00 PM | Sat 12:00-4:00 PM | additional hours by appointment
Rock Paper Paint is a tip to the ancient art of playing games. With seemingly less time in the day for rooted wonder, one can remind oneself to take up the old practice by finding simple materials and getting a’going. There is the present.
Each of these three artists has their own way of starting the day and each of the trio adores time outdoors. All three have taught, making while making space for others to create. All three hold space for others to circle up and share in a given moment of inspiration or of silence and calm abiding. They study keys of how to bring spark to the practice: showing up for the page, the clay, the color. All three give time for their part of life to become clear and see how art helps us each listen longer. All three artists are grateful for this coming together, in Rock Paper Paint.
The artists honor those who have lived before as well as those who live today. The artists invite you to take time here with the works and appreciate your time.
- So as there is humility in sharing and grace in being seen,
- may daily astonishment continue ~
- through sequential cups of tea,
- small mountainous folds of paper, and steady steps
- along watercolored paths, unfolding.
CAROL BOLLINGER GREEN of Valley Falls, New York
Intuitive painting is the experience of painting freely, without observing a subject or having a concept in mind, guided by an inner knowing. Process is emphasized over product.
Recent drawings and paintings are created intuitively, using a variety of art supplies, including watercolor, colored pencil, oil pastel, acrylic, collage, ink, on heavy weight papers, canvas or board, often applied in transparent layers. I enjoy preparing the studio, going outdoors for a walk in the woods, and returning to play with the materials.
Color, gesture, mark, and placement are chosen using a body-centered approach. Sensing the moment, what color arises, what movement, shape, placement? Will there be a grand gesture of red, a decisive black line, a cool wash of blue, maybe faint spots of green? Making a mark, and then checking back to sense how this feels, what color surfaces now?
As with dreams, images may come and go and change without reason. Curiosity and wonder invite me to explore, experiment, and take risks, free from expectations, to stay present with whatever unfolds spontaneously.
KATHLEEN LOOMIS of West Rupert, Vermont
I was given scraps from a mill that made filter paper. As I played around with it, I realized that it could absorb much more water than any other paper I had ever used, it did not fall apart when wet and it easily held its shape as I worked with it on the heated tiles of kitchen floor.
This process reminded me of my childhood. On Saturday mornings, my job was to wash the bathroom floors. My mother would hover above me, and shout directions for the proper cleaning of a bathroom, which of course went unheeded. Instead I was engrossed with the water bucket and the wash rag. I had loved swirling the wash rag in the pail of water and then throwing it in the air, delighting in the shapes it made as it hit the floor.
This body of work attempts to capture that delight. It also honors my Mother’s perseverance in attempting to raise four self-sufficient daughters that were also excellent homemakers. I can still see her shaking her fist at me as I studied the shapes the rags had made as they hit the bathroom floor and shouting “popratch” which means something like, stop playing around with water in Polish. I was usually unfazed by this admonishment and most of the time she ended up finishing the cleaning herself so the family could move along to the next activity…or else I would have been in there “cleaning” for hours.
Ma’s gone now and so is my supply of filter paper scraps. This body of work uses Zerkal Butten Copperplate paper. This paper is very different from the industrial filter paper made in the Canadian Douglas Fir forests of the Pacific Northwest. It is made in Germany for intaglio printmaking. It is pristine and archival, however, my method of forming the shapes on the heated tiles of my kitchen floor remains the same as does my excitement about the way they just seem to make sense and feel right. Once they have dried and have been hung on the wall, I can’t stop looking at them.
PROCESS | Intaglio printmaking involves a commitment to the process that can become overwhelming and frustrating. An intimate relationship with the materials and tools used in this process is required as is a knowledge of the protocols of this discipline. But once those are mastered, the love affair begins. There’s nothing quite as alluring as a nice shiny piece of zinc plate, it warms to your touch as its edges are beveled with a special knife designed for the process. Every mark made will be recorded in ink when the print is finally made. Each type of mark has its own tool and process and character. I use engraving for fine lines and aquatint for larger areas. The plate feels like cold butter as the engraving tool glides across the surface. Aquatint involves using a tar like medium to paint shapes on the plate, then a burst of spray paint on the areas not painted. Next come the tiny bubbles rising from the surface of the plate as it is immersed in Nitric acid, all very exciting and bound by precise method. Within these constraints an image emerges and it is time to print. Paper and ink choice and press pressure come into play next.
And then pull the print, such joy!!!
BRIDGET GREEN of Sante Fe, New Mexico
Bridget Rose Green (b. 1978 in Saratoga Springs, NY) is an artist and a first grade educator. She approaches school days and the arts process in a way that maintains a cumulative balance between the novel and mundane; excitement slides alongside ease and calm. She appreciates the call to facilitate engagement within elementary studies, as well as the space in evening and summer lulls where arts and imagination can root and thrive.
Ceramics, painting, writing and sound are key focus points for Bridget’s creative practices. Workshops in Santa Fe and New York are endless, and offer inspiration through new methods and opportunities for community recreation. Cross-pollination supports evolution in her ceramic works – she utilizes handbuilding and wheel techniques, as well as variation in firing methods: electric, gas in reduction, and wood. She values function in form and pays steady attention to whimsy. Two-dimensional works focus on acrylic and pastel. Writing is an integral part of the path; she is currently creating her first book for children.
Bridget currently lives and works in Santa Fe, New Mexico, where the light and sky are just right for growing.