Posts Tagged ‘painting’

  • Life, death, & strange dreams

    Aug 31, 18 • ndemarino • 5enses, FeatureNo CommentsRead More »

    By Dale O’Dell On April 12, 1992, Joe died. Actually, he’d been mostly dead for a couple of weeks, laying in a coma in a hospital. His injuries were the result of severe trauma, multiple skull fractures, and his brain was effectively disconnected from his spinal cord. Joe was in his mid-30s when he met his end at the hands of an angry teenager with a bad attitude and a 2×4, but this story isn’t about the senseless death and violence that is so common in America. I met Joe in 1982 when he reluctantly hired me to be a computer artist and photographer at a company where he was the production manager. We didn’t exactly get along. He was playing the corporate game at the time, and I was a rather opinionated and arrogant young man fresh out of college. We had opposing views of the corporate world but similar artistic sensibilities. The difference between him and me, art-wise, was he was a trained artist working in a business environment and I was a practicing artist who worked to fund his art. After a year working in a field of cutting-edge art, but for a shortsighted and low-paying company, I bailed out and moved on to another job. Joe stayed and played the corporate game until the company went bankrupt and he found himself in the market for a

  • Paws for art: Clayote Studios

    Dec 29, 17 • ndemarino • 5enses, FeatureNo CommentsRead More »

    By Robert Blood [Editor’s note: The following interview was culled from conversations between the reporter and Dani Fisher, founder and co-owner of Clayote Studios, 8198 Spouse Drive, 610-823-3742, ClayoteStudios.Com.] How and why did you start Clayote Studios? I started Clayote Studios 23 years ago. I’m an artist and and an art teacher, and I’ve worked in public schools and psych hospitals. I learned what works and what doesn’t, and developed my own after-school program and teaching methods. … There are a lot of reasons to have an art program outside of the school. They’ve taken away the right in public schools to hug kids and they’re so worried about standards and testing and liability all the time. It’s hard to teach and reach out in that environment. What’s your background and how did you end up in Prescott Valley? I was born in Arizona. My mom does jewelry and my dad’s a carpenter, so they helped me a lot with art from a young age. I graduated from Thunderbird High School in 1992, then went to NAU, then I went back to school out east. I kept going back to school. I’m 43 and I have eight degrees. This program we’re doing has been going on for a really long time. Most of my time has been in Arizona and Pennsylvania. Mud Puppies, which is our after-school program, draws on

  • Every thing & everything else: The Art of Dana Cohn

    Dec 4, 15 • ndemarino • 5enses, PortfolioNo CommentsRead More »

    By Markoff Chaney A story goes here, but I didn’t write it. It’s not that I didn’t try. I swear I did. I met with Dana Cohn once a month for half a year in pursuit of this. There’s so much to tell but as far as writing goes — and I’m butchering an Ira Glass quote here, so bear with me — my taste exceeds my ability. (See? Less than a hundred words in, and I’ve already invoked a tangential reference (and am using parenthesis gymnastics to explain said reference) despite self-reference and having forgotten that if I can count the words then I should use “fewer” not “less” in this aside, even though the latter is more conversational (as well as the larger issue of my flagrant abuse of the first person (Plus I’m not sure how the use of em dashes affects otherwise necessary commas)).) And, of course, there’s that giant run-on sentence I just wrote. Maybe you should just read my notes. … 2015-05 8 a.m. @ dana’s studio smoking cigarettes and gardening outside. Lots of plants. Big smile. “Hey man, come on in.” talkedabout plant.s STUDIO front room of apartment is his studio tracing paper, sketches, photos, on wall pieces of wood, shells feathers, nature. Plus saints, Greek statues, “It’s a prototype. Kind of a guide for it.” “it” — the big painting on the

  • Chasing the sublime: Russell Johnson learns, relearns, and re-relearns to paint, see

    Oct 2, 15 • ndemarino • 5enses, Portfolio7,232 CommentsRead More »

    By James Dungeon The route looked safe enough, but it almost killed him. Russell Johnson was hiking the Grand Canyon with a friend in 2001 when he detoured under an overhang. “I took a step and there was this sheer drop off. Rocks went tumbling into the water,” Johnson said. “It was scary. There was nothing beautiful about it in that moment.” But there was a singularity that arrested his attention. He didn’t know it then, but that was something he needed to evoke in his landscape paintings. That moment has since become a touchstone. “It’s close to what’s called ‘the sublime,’” Johnson said. “I’m trying to transport you to an experience or a place in my paintings. Often, those places are beautiful, too, but I’m trying to balance that place and that moment.” Johnson’s paintings are a dynamic, refreshing beacon in an otherwise crowded field of Western landscapes. Refining that style, however, has a been a journey that’s been neither singular nor entirely linear. “For a long time, I wasn’t sure what I was trying to articulate with my artwork,” Johnson said. “I needed some purpose and contextual background for what I was doing. … I needed some help.”   Outside pursuits Growing up in Prescott, a middle child among 10, Johnson had two favorite places — his room and the great outdoors. “I was able to get lost

  • Brushwork: Robin Lieske (reluctantly, triumphantly) embraces a new medium

    Jun 5, 15 • ndemarino • 5enses, Portfolio6,371 CommentsRead More »

    By James Dungeon She’d put it off for nearly 55 years. But,after resettling in Prescott around 2006, printmaker Robin Lieske finally picked up a paintbrush. “It was time to do painting,” Lieske said. “I’d put it off long enough.” Her introduction to the medium wasn’t exactly encouraging, though. “It felt like somebody had amputated my arm from the elbow down and just stuck a stick in it,” she said. Over the decades, the physicality of printmaking had taken its toll on her, but Lieske wasn’t ready to hang up the proverbial palette. Painting was supposed to herald her artistic rebirth. Instead, the lodestone had proven to be millstone. “Truthfully?” Lieske said. “I hated painting.”   Life & art The middle child of five, Lieske grew up in Minneapolis mesmerized by the works of Goya, Michelangelo, and Velázquez in her parents’ Met Museum of Art books. She started drawing as a child, but decided to pursue the sciences rather than the liberal arts when she enrolled in Prescott College in 1971. “I didn’t last long, though,” Lieske said. “All I wanted to do was draw.” While she was there, she was inspired by Western photographer Jay Dusard, whom she cited as her first graphic arts teacher. Lieske dropped out but stayed in the area for about seven years. During this period, she met her now husband-of-40-some years, Bill, started a family,

  • Blurred lines: Art imitates artist in this tale of mentor Charles Huckeba & his protégé, Carleen Blum

    Feb 28, 14 • ndemarino • 5enses, Portfolio5,409 CommentsRead More »

    By Jacques Laliberté Picture the spiral. Winding inward. Twirling outward. Back through time. Forward to a new start. Reaching. Connecting. The cosmically bold paintings of Prescott artist Carleen Blum explode inward and break out into the universe simultaneously – just as spirals do. Her paintings weren’t always this way, though. In well-known artist Charles Huckeba, Blum has found the mentor she needed. She’s advanced her expression by tapping into his proprietary techniques and years of R&D. “Charles has an in-depth skill level from years of education, study, and artistry,” Blum said. “His skills combined with his kindness have taken me far.” It’s a blend of practicality, artistic sensibilities, and individual aesthetics. “Carleen came to me and asked me how to get those effects and textures, how to use color,” Huckeba offered. “At the start, she wasn’t interested in doing abstracts.” But in many ways, she was primed for such works. “I am not a realist artist,” Blum said. “Instead, I guess that you could say that I am more interested in abstract, but abstract using symbols, and mandala forms.” The work of Huckeba’s protégé has, in turn, given Huckeba pause. “Her subject matter is iconic (and) symbolic, with washes and textures,” he said. “She really surprised me.” Thus, Blum and Huckeba have become fellow artists, each pushing the other in their respective roles — Huckeba as mentor and Blum as

Celebrating art and science in Greater Prescott.

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