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Kathy Boortz - Shears Toucan
We didn't really plan this thing. Anna came by at 11 — I'd thought I could get up and off by 10 but didn't. We looked at the map and decided to visit Kathy Boortz' studio first. That's it behind the big-beak shears Toucan above. Cluttered but real, her studio is filled with creation. Works and ideas in suspension and progress. Art by Kathy and by friends. Materials and tools and reference in high density compression. A clutter wonderland of visual concepts. Process all over the place.
Kathy Boortz - Hi!
This extended page, like this extended tour, is about showing process. Many ingredients go into the process of making art. Not always easy to describe in words. Mostly just guessing. These photographs hint. We went at this tour in the usual scattershoot. What appealed at the moment of click.
Eagle and Birdlets on Kathy Boortz' Work Desk
Speaking of clicks. Mine here are all from a new camera. Littler. Lighter. With image stabilization and a serious zoom. I figured out a lot about it today. Eventually I'll probably have to read the manual. Today, I practiced. Learned by doing and failing to. Some issues with focus up close. Otherwise, I'm amazed. I always get temporary buyers' remorse after a major purchase. Coming up for air after seeing these.
Conte Drawing on Cabinet
I'm assuming art by a friend. Doesn't look Kathy's style. Perhaps a young friend but with artists, there are no guarantees.
Kathy Boortz - Spare Parts: Hand-painted Clay Hands and Feet
First step is looking. Then comes finding a piece of wood or metal or something that looks like it could become something else with a little artistic finagling. Eventually, add hands or feet or eyes carved from wood or clay.
Kathy Boortz - Goose Head (detail, title not known)
If it looks anything like a bird it becomes an art bird. Kathy keeps her prices down on purpose. Careful not to price herself out of her own market. A little difficult dealing with galleries, perhaps, because they want a healthy percentage, but she sells enough to keep going and clear space for more.
More art by Kathy Boortz may be seen on her DallasArtsRevue Member Page
Art Cat on Art Coffee Table with Art Magazines and Candy
Silvia Frazier Thornton's house full of art is always a special treat on the cul de sac in Lakewood in a house lush with art and objects and textures and color. The art in the living room was too reflective to photograph straight, so I concentrated on the lifestyle all around, lush with visual treats and treatments.
Silvia Frazier Thornton's Bedroom
Anna doesn't remember this bedroom. Probably because she's much less nosey than I. I loved all the soft textures and muted colors. Seeing this photo, now she wishes she had gone back and looked in. I've photographed this artist's bathroom windows before, and didn't manage to include any official art in this shot, even in the mirror reflection, but you have to understand this is process. Artists don't stop arting just because they're asleep. We dream.
She always has fascinating objects in her windows.
Backyard with Green Obelisk- Object
Lynn Wilkes Armstrong's elegant and spacious back yard was a delight to wander our way to her cottage studio back and around the house and under the tree house. Once there, process was everywhere.
Lynn Wilkes Armstrong - Color Chart
In fact, there seemed more of her process there than art.
Lynn Wilkes Armstrong's Busy Desk
This is process city. High density how it's done. Obviously a workspace, one that's used.
Lynn Armstrong with a visitor
Lynn Wilkes Armstrong's Lace-embossed Ceramics
This is the only display I saw of Armstrong's finished art. Maybe she sold all the rest. Can you imagine using any of these pieces? Would you put a big buttery turkey on that platter?
Large Real Iguana Resting in Inside/Outside Cage
David Hickman - People Cutouts Clustered in an Upper Corner
David Hickman makes very large sculpture for very large entities like governments and corporations and State Fairs.
David Hickman - Fish — photo by Anna Palmer
David Hickman Work in Progress Maquette
for the Edsel Building on Woodall Rogers
We enjoyed listening to David talk about this piece that will go on the grand ceiling of the lobby in what we've been calling "the Edsel building" on Woodall Rogers past downtown Dallas.
David Hickman Shows Work In Process Drawings
David shows detailed plans for the medallion that will enliven the ceiling.
David Hickman Forest
Carol Cook - Persephone
reinforced concrete - 33 inches high
The Hickman home keeps expanding. This is the new garden area with its steel wall fencing.
David Hickman - Maquette for An Intriguing Project
Always involved in a multitude of big projects in various stages of products, David has a board showing projects extending well into 2008. This maquette is in one of the cubby-holes along the back wall in their ersatz gallery.
Art Warning with Hard Hats and Frisbee
The Hand re-Made Hickman Hummer
Sculpture Materials Awaiting Art
More art by David Hickman may be seen on his DallasArtsRevue Member Page
Yarn Wall — photo by Anna Palmer
White Rock Weaving Center: I didn't go in, because I've been in there before and tend to take the same pictures each time. I rested in the car and deleted images I couldn't use while Anna visited. She loved the warm, fuzzy feeling of all the tactile materials and friendly people. Everybody there was weaving, talking about weaving or thinking about weaving. Total process.
Frame Outside Creative Art Center
The Creative Arts Center is a school I've had dealings with before, but I take the opportunity, once every year, to go in and wander around, knowing that their idiot board of directors would rather I didn't (perhaps because I did not accept their legal papers requiring me to agree never to darken their doors). I smile big, am friendly and polite and always see good art and people learning how to make it there. Ours is a slow process but ongoing.
Student at CAC
We visited a mosaic class in progress. Lots of friendly people more than happy to show their process of making art and craft.
Arlene Shiver - Fleur de Fer at CAC
In the hallway there's always a piece by a CAC student that sets my chickens free.
Here's a force fusing flowers from ungainly shapes. Forging ugly heavy metal forms into an unruly floral arrangement, prying beauty from not. Like good magic winning over bad.
Glowy Ceramic Bits
Sculpture In Progress in the Roofed
Outdoor Sculpture Classroom in Back
Marco Rubino's Studio Display — photo by Anna Palmer
Marco Rubino's studio is a must-see. His work is always different, always amazing. But this year it was also very difficult to see, so I've done a little creative masking to keep the busy backgrounds from intruding on our vision.
Marco Rubino Sculpture Photoshopped
Out of its Complex Environment
Unlike photographs, in real life we can sometimes ignore cluttered backgrounds, and they seem to disappear when we're focused on an object. One of the major themes threading through a major tour like this is the display of art. Some artists have it, know and understand. Others struggle.
Marco Rubino - unknown title - Sculpture About Shape
Artists have to use what they have to separate their art from the tumult of a normal working space. I like this work, because it's about shape and shapes and shaping art from strangely spliced pieces. Strange unwieldy shapes interweaving and intersticed into an unwieldy whole. That sings a special song of ultimate balance.
Marco Rubino - Dragon, $60
Anna appreciated this simple dragon, whose fluidity she really liked.
Topiated Tree on the Way down to Marco's Studio
Three and Two Dimensions by Marty Ray
Marty and Richard Ray's studio is always a highlight of our WRLASTour. Lots of people there, many of them friends. And lots of art, much of it new every year. She forms ceramics. He paints.
Richard Ray - wall of Self-Portraits
Usually reticent to show his work, here's a whole wall of him being Richard painting Richard.
Richard Ray - Garland Bridge, 2007
oil on canvas
We didn't visit every stop, but Richard Ray's were the only art instances of White Rock Lake we saw on this so-called White Rock Lake Artists Studio Tour that depicts that body of water and the natural and unnatural forms around it, though the map flings off in some odd extrapolating directions that don't always have anything to do with it, except it's back there somewhere.
Richard Ray - Cycling at White Rock Lake, 2007
oil on canvas
Marty Ray's Ceramic Materials
As one of the founders of this tour, and a teacher anyway, Marty naturally showed lots of process. Tour or no tour, this is where Marty makes her art.
Marty with Work in Process
I startled Marty by asking her aloud to smile. The first time she's ever heard me ask anyone that. It worked.
Raku Pot by Richard Ray
They often collaborate.
More art by Marty Ray may be seen on her DallasArtsRevue Member Page
More art by Richard Ray may be seen on his DallasArtsRevue Member Page
Ken Boatman - Bottle Tree
Rebecca and Ken Boatman's studio is just down the street. Ken said he sold every one of his bottle trees, and someone even wanted to buy his chairs hanging from a tree. Seems to me anybody who sells everything he makes every year on this tour, should pay more to be on that tour. Many of the artists and craftsperson on WRLAST rarely sell anything. We didn't see any of Ken's process, but Rebecca showed lots. Maybe participants' price to join WRLAST should be higher if they don't show process.
Rebecca Boatman - Figures that were in the War and Peace show at The MAC
Materials for Rebecca Boatman Figures
Some of that process we were talking about. Raw and slightly processed materials.
An Africa Figure — Material for Inspiration
Inspiration has a lot to do with process.
More art by Rebecca Boatman may be seen on her DallasArtsRevue Member Page
Molds for Glo Coalson's Ceramic Pigeons
Glo Coalson had signs up prohibiting photography, so I didn't shoot a lot of the art until we got permission, and by then we were leaving. I snuck this shot when nobody was looking. According to Marty Ray, Glo has sold more than 20,000 of her molded pigeons and 2,000 of the hand-made ones, over the last few years. Glo showed plenty process. It was everywhere. We talked more extensively about the pigeons on last year's tour.
These molds are beautiful. I know they're for making art, not so much about being it. But accidentally maybe, perhaps with some aforethought or other, they have become art, and probably not just in my photographs. Contrast for a few moments here, these rough, solid exteriors lined with pull-apart cracks for removing the birds born thereby, to be painted and stained. These forming eggs are all about holding in and keeping safe for awhile, and their soft, smooth, liquid yellow interiors are about receiving and shaping, then releasing.
Clothespins on Clothesline
I keep photographing this same clothespin tree every year, because I see color and shape and texture and a complexity of lines and dynamics, tension, balance and structure in it. For not being art, it's arty in the best use of the term. I used to have a column, oh, somewhere, called "But Is It Art?" fully realizing that it doesn't matter if somebody else thinks it is. It is, almost by just asking the question.
Chris Lyons Enjoying a Beautiful Day
Sculptor Chris Lyons's studio is behind his house. We went around it into an area of littler houses and studio barns where beautiful flowers abounded. Only trouble was we didn't see much new there. Chris was the same friendly guy, and there was wood everywhere and lots of people looking and talking about art, and that's certainly a part of what we call process.
Red and Yellow Flowers
Upstairs at the Little Blue House
We also photograph this intensely colorful little two-story building every year, and it's still fascinating in vivid colors and shapes, but my oh my ain't it a skinny little house? reminding us of place people stay at renaissance fairs, timeless, if not entirely space-less.
Old friend Nancy Ferro skipped last year's tour, missed doing it, and came back. Nice that the tour lets artists do that. It might be the only way any artist actually on the tour could ever see any of the other artists on the tour. So very difficult to recommend where to go next for visitors with time running out.
Crayons for Children and the Kids in All of Us
Good and practical an idea to have something for children to do while mom buys, learns or talks about art with the artist.
Nancy didn't make these chairs, but they're so
similar to her work, she loves them. So did we.
The chairs were created by fellow artists and neighbors Tom and Lisa Jenkins. Unique. Colorful. Comfortable.
Notice how the fine white line wraps the colors and browns, attaches them to the unfinished-looking whole. Like bandages on a wounded soldier. Mosaic or stained-glass windows reflected in the dark browns and ochre's. Black around opposing legs. The striped white and gray tufted pillow a surprising antidote for the melange of colors and stripes and areas of tone and color. Gorgeous.
8' Kayak Hanging from Nancy's Studio Ceiling
Nancy works in a variety of media, prints (her press is in the corner). Her paintings have appeared in New American Paintings,
Nancy Ferro - title unknown
Charlie Robert Redford, Nancy Ferro's cat
Charles was guarding the garden outside Nancy's bright, backyard studio that used to be a garage.
More art by Nancy Ferro may be seen on her DallasArtsRevue Member Page.
Car Lot Decor at T.Stone's. The neighbors must love it.
Again, we had to wonder how Teri Stone's neighbors liked her Used Car Lot front yard decor, but it was obvious where this studio stop was, and that wasn't always true on the extensive tour.
A Sign Proclaimed This as a Parts Pile
I want the symbol drum.
It does look like it belongs to a pole holding it up or out or over, but it's crazy to be in a junk pile, with obviously already a lot of work gone into it. I don't recognize most of those symbols cut into its circumference, but I can't wait to see it in a finished state. If it really is refuse, I'll take it. Seems to us, the possibilities are endless.
Art Bazaar at T. Stone — Photo by Anna Palmer
Looking back where we came in, around the house (on the right here) from the sculpture-adorned front yard, this is a view from behind the pool. Not neat, exactly, but brimming with a variety of art in a variety of price ranges.
T.Stone - Water Meter Cover Tables
An elegantly simple, solution to presenting street reality and bringing it up near our own.
T.Stone - unknown title - Big Hairy Screamer
I haven't felt the urge to write about much art lately. This one has grown on me in the more than a month since I started this page. Simple knock-down ballasted balloon shape flat in staining steel standing on a disk. Three circles makes a face open in surprise. The long yellow-tipped filamentous projections, like organic exclamation points exaggerate the bozo face. It may not be a screamer, but it screams.
T.Stone - unknown title - Pink Shovel Bird
Some real imagination happening to make these disparate pieces a bird or art biped. The concept is familiar yet this presentation is very un-Boortz-like. More T.Stone-ish. Unique. Not just standing there, this bird is on its way somewhere. In motion, captured perfectly. I even like the price tag, though I did not lean over and look at it.
Seattle Washington Memorial Fish
T.Stone's Spike Art Dog — Photo by Anna Palmer
Hot dog on a bun as we left. We were hungry, then impressed. Delicious.
More art by T.Stone may be seen on her DallasArtsRevue Member Page.
Orange Art Cat at Artistic Gathering
We weren't all that excited about Artistic Gathering in Casa Linda. Listed on the map as an art center, along with the Bath House, Creative Arts Center and White Rock Weaving Center, it is neither nonprofit nor a center of art, which was conspicuous in absence. It's not even much of an art supply store, though it was pleasant and its people friendly. The only object of interest I noticed was this Garfieldian trite but cute cat.
Entrance to Snooty People's House
Connie Chantilis' stop was our worst of both days. The low point. Snooty with no process to discover. Gave us a bad taste for the tour even though we knew better. Recommended as an architectural wonder, we were eager to check it out. Later turned out the recommender hadn't been there, just heard it was. But it wasn't.
Noticed the parrot right away, despite the raw architecture, or lack thereof. Cheapness incarnate. We were not architecturally impressed, but we liked the pretty chickens in a cage not far from the kitchen, though the human residents couldn't name their species. They were strictly for show.
No process in sight, except architectural, if you can call it that. We were not impressed.
When she saw our cameras, the lady of the house yammered about people having the audacity to photograph her bedroom. I'd photographed a bedroom in another home earlier and found it a wonderful expression of whom lived there, certainly a peripheral of process. Of course, the door was open. All this woman had to do was close the door and stop hyping the architecture. We even saw an orange police line tape across another door in another place.
We felt sorry for the chickens.
Connie Chantillis - STrand of Pearls - $1250
The art we saw there was quite nice, though there wasn't much of it. How it came to happen was not shown on site. The crazy cheap architecture seemed its own and nearly only show going, except for colorful chickens and a parrot clinging to its cage, and you can always tell a tacky gallery by the I.D tag stuck to the work not the wall.
The exotic chickens were behind chicken-wire and very difficult to photograph, or we probably would have. I kept remembering another, more spacious, less turned in on itself home on another tour in the last few years with wild birds, corrugated metal walls, multiple decks and xerascaped gardens. But that place had a bowed wood bridge and overtly friendly people.
Leaving the Architecturally Challenged House
Some stops we wanted to linger. Not this one.
One of Several Colorful Umbrellas
We did not chart our path through the winding map of the WRLAS Tour, whose numbers made no locational or logical sense, so looking back through our many photographs does not necessarily make a lot of geographical sense. Some of what struck our photographic eyes was neither art nor process, perhaps we were more impressed by the setting than the art.
We're not at all sure whose place this was. Neither the umbrella nor the frog that caught J R's attention were original, and apparently he didn't find anything else worth shooting there.
Kevin Obregon's Studio with Work In Progress
We were pleasantly surprised by Kevin Obregon's colorful digs, and he was very personable.
License Plate Gate at Kevin Obregon's — photo by Anna Palmer
We don't know why his plates say "Kinder." but it made for a nice arrangement with that skull.
Kevin Obregon - Painting Over the Toilet
Not exactly presented for public view, I found this in the bathroom when I needed to visit. It's purr-fect bathroom art. A little risque, something we've all seen and can identify and even identify with. Nothing fancy here. Fun, funny and a little revolting. Art that can do all that is worth having around. What better place.
Kevin Obregon As Photographed by J R Compton, Front and Back
As Anna says, "The gray-haired guys."
Kevin Obregon Self-Portraits
All artists make self-portraits. We're the only models we sometimes have available. And learning who we are is an integral part — first-person singular process — in learning to make our own art. The unique art that expresses more than almost anything else we do who we are. Only then have the freedom to let go and make it happen, right before everybody's eyes.
Flowers in the Backyard
Go Around Back
Kevin's Porch Couch
Have a seat. Stay awhile. So homey and comfortable. Very inviting.
Rebecca Romanek Johnson - Stained Glass On Mirror Holder-Upper
Rebecca Romanek Johnson, like many artists in general, find it difficult to present their work in the best light.The best light for translucent work is light coming through it. A mirror, however, doesn't hack it, because it also reflects the piece, making of it a double vision in which it's difficult to discern which is which. So this "solution," if that's what it is, is colorful and bright, but visually confusing.
Hanging it in a window might be better, except windows aren't always where we want them, or accessible to potential buyers. Maybe the best bet for translucent objects is its own flat, light source, like photographers use to illuminate transparencies. That could be hung on a wall or placed under a vivid plate like this one.
The back room we saw this in was dark with work on dark surfaces. A booger to photograph. Can you tell where the above object stops and its under-mirror begins? Me neither.
If I could see it plain and without its doppelganger I'd might like watching its dense, rich shapes, though I sill worry it might be simpler than it seems. The top layer appears more replete than the mirrored image below. Anna wasn't impressed. J R may have been overly impressed. With such a mixmaster display, it's hard to tell.
Rebecca Romanek Johnson - Wave Runner
Very commercial work with not so much process available in the dark studio or outside. But off the path along the house from the balloons and sign out front, there was, if you're nosey like me, a smallish space tucked away off the carport/garage that contained a work in progress laid out to show its pieces in great, soft light on a white strata.
Rebecca Romanek Johnson - Work In Progress
I don't remember if there was a keep-out sign protecting this space, and this angular space certainly was not beckoning visitors, but I went in and was delightfully rewarded by an obvious bit of intensely visual process, the most at this stop. It didn't feel like it was there for all of us to see, and I got the distinct impression she did not want me or anybody else to see her process. But there it was for the really adventuresome.
Nice plant and flower. Fabulous representation of roots.
Nearby Box of Glittery Glass
Rebecca Romanek Johnson - title unknown
Asterisk Sculpture — One of the Prizes of the Tour
J R was entranced by this rusting dreamcatcher. Anna sees an old-timey fan cover or a spider web. It was on the fence enclosing the hidden workspace off the garage. It was not presented in any official capacity as art. But it was. And it's one of our favorite pieces on the tour. Simple. Direct. Funky.
Cecilia Thurman - Painting in Front Room
Cecilia Thurman greeted me heartily when I came in her front door, then insisted I come back to her working studio. She had, she said, something she wanted to show me.
Cecilia Thurman Explains Process
What she had to show, was process. She walked me through the whole of it, step by detailed step. I wish I had a video of the whole thing. Fascinating, like her art, pocked with hidden details and textures.
More art by Cecil Thurman may be seen on her DallasArtsRevue Member Page.
Michael O'Branovich bowl
Michael Obranovich's was a multi-purpose stop. He had great food — including sushi and salmon and a full-up, easy-operate Belini machine, too. Yum! — and very distinctive work I don't think I'd ever seen before, though I've known Michael off an on for several years. I guess it never came up. Nice stuff. I won't soon forget those uncommon drips.
Michael O'Branovich mugs
Jerry Allegro's Back 40
A big, beautiful back yard, filled with visitors and friends and a greenhouse full of orchids, complete with a guide explaining the care and feeding of the exotic flowers.
According to Marty Ray, "
"Michael Obanovich shares Jerry Allegro's studio during the tour. It is Jerry's yard you pictured, not Michaels. Jerry is a past ceramic student of Michael's and they continue to share the same kiln (at times) and work together on glaze testing. Jerry's own work progressively gets better and better (though he is a "new" ceramic artist in his own mind). His special focus is on handbuilt textured clay garden forms. (I have purchased several for my own yard). It is Jerry's wife that inspires the beautiful garden setting and greenhouse you pictured.
When Michael moved away from the Creative Art Center - his main studio was no longer in our Tour area - so we "grandfathered" Michael into the Tour (he is one of the founders after all) and Jerry is nice enough to let him show there - and too, they do often collaborate on ceramic glaze and firing."
Path to Hukill's House
Jeff Hukill 's was one of the more tasteful entryways on the tour, a long, tree and shrub-lined mulch path past a wood gate on a tall wood fence. Lush, private.
Inside showed lots of process and outside on the front porch were...
Jeff Hukill - unknown title painting
Large, distinctive paintings. Once you've seen one you always recognize another. That's an accomplishment in a me-too world. New Agey ethereal replete with meaningful back story and solid technique, but it still leans heavy on the hokey, although we have both enjoyed his work we've seen in recent years. So much so we looked forward to seeing his studio. Nice to have, finally.
Sponges with Color Chart-a-matic
Horses with Jeff Hukill Paintings Displayed Outside
This image startles me every time I scroll past it. Anna loves the horses, as she loves every horse she sees, large, small or miniature. I like the juxtaposition, ironic as it is. The fantasy horses, the neatly tied-together wrought-iron bars on the window and the set-free paintings crooked on the front porch in all their bright sunlight glory.
Art and Tools on wall
Kay Thomas - Stained Glass in Window
Placed in a window with lots of outside light pouring through, Kay Thomas's slightly three-dimensional platish bowl shows all its lush constituent colors without competing reflections or electricity.
Kay Thomas - glass wave
This, too. Easy to show off work that literally stands on its own, with its own multi-dimensionally parallel diffusion plate. With or without the white, this is one gorgeous, simple, direct piece of art. Hardly goes with the other work we saw there. Lush and amazing uncomplicated. Directly accessible. Representational. Wonder how much it cost?
Wasn't much J R truly lusted after on this tour. But wow! It looks like what it has to be — a wave crashing undulating liquid, bubbles and dynamic undercurrent colors.
Oof! I been arted.
When I spoke to Kay Thomas just before posting this story, she told me she'd gone to Hawaii, and when she came back, she made this.
Gary Huntoon at Work in His Studio
Gary Huntoon has been described as a ceramist's ceramist, and we enjoyed our winding visit through his garage studio, out an upper door, around the yard into a display space back yard.
I think he was the only artist on our tour who was busy making art as we came through his space. He did not stop, merely directed us on through to the backyard where more of his work was on display and on sale. He was friendly but never distracted from his ongoing process.
Gary Huntoon Totems in Back Yard
Gary Huntoon Matching Bots
Gary Huntoon - Semi-Circle Pot
Gary's work is known for its unique textures and shapes.
Gary Huntoon - Textured Pots
Gary Huntoon - Wheeled Dillo
Gary Huntoon - Ears?
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