Larry’s gallery, Square Corner Artworks, anchors a corner in downtown Clarksville and has always been the site of the “opening night” reception for artists participating in the Clarksville Fine Art Festival. To quote from Larry: “We had a grand time and had a real crowd at the reception…standing room only, but then, I went out and three more people came in”. Larry, never at a loss for words, always kept things moving, always kept the spirit of any event alive and never stopped trying to further the scope of success for all things dear to him.
Fascinated with all forms of art, Larry worked in pencil, charcoal and pastel drawings, watercolor, oil and acrylic paintings, metal sculptures, pottery and mixed media. His desire was: “to touch the positive emotions of the viewer. Love, Desire, Passion, Wonderment & Delight”. Fully involved in life, fully involved in the arts, Larry will be deeply missed by all.
“Life is an accumulation of our emotions.
Art is the communication of life”
The ART Region of Texas will resume meeting with quarterly meetings in various locations in northeast Texas. The next scheduled ART Region meeting will be held on Thursday, October 17th at 1:30pm…location to follow. It will take many of us, working together, to honor the generous spirit of Larry.
President-ART Region of Texas
The Red River County Historical Society has established the Artist in Residence program to bring both established artists and emerging artists to Clarksville. This program will provide a creative environment for the artists and enrich the community through their exposure to working artists. The program will eventually expand to include writers (journalists, novelist, poets), filmmakers and musicians.
Click here for more information.
Scott Harvey of KETR Radio interviews Sandy Page from the ART Region of Texas!
Check it out here: ART Region on KETR
BankTexas has teamed with the ART Region of Texas to spotlight local artists at their Winnsboro Store. The creative works of sculptors Bonnie Sir Kegian, Georgia Lange Moore and Alder L Moore are now displayed at BankTexas for the upcoming months.
Al and Georgia Moore work from their Bent Pine Studios in Winnsboro, producing pieces of sculpture that never fail to connect with the viewer.
Working primarily in stone, organic forms seem to emerge from the sea, or other water related sources, as Al Moore’s creative hands moved about the limestone for production of his “Dordogne Head”. This carved Austin Limestone piece depicts the fossilized skull of a Dragon rising from the waters of the Dordogne River in France. A single tooth of marble is inset into the limestone body. A surprising abstract and lyrical quality emerges from this artist and adds to the viewing pleasure, especially when knowing the artist’s engineering and software background. This “balance” was maintained earlier in his career by working in the “lost wax” process creating custom jewelry. Al’s focus, now, remains on sculpture.
Georgia Lange Moore is well known for the strength and emotional depth depicted in her clay works. Her “Circle of Friends” depicts three children of varied races holding hands and “connecting their worlds” with one another. The children, in this stained stoneware piece, project a realism that immediately captures the viewer, bringing forth similar experiences of “connecting with life”. Georgia taught art in Dallas, and, also, taught Sculpture and Clay Processes at Northeast Texas Community College. Georgia’s stained stoneware pieces include many “Heads”, which are intimate “sketches” in clay. She, also, has created a specialty form known as her “Spirit Vessels”.
Bonnie Sir Kegian’s “White Lotus” draws the viewer into a glowing realm of beauty. Her process of direct carving on this alabaster piece seeks to follow the path of simplicity to reveal the “true beauty”. The silhouette she works to produce seeks to find that perfect portrayal of what should be removed and what should remain as she, the artist, puts her “signature” into the alabaster. Bonnie’s influences come from nature, mythology, Greek classicism, poetry, and ancient traditions. She, also, works in black & white photography, hand coloring some of her pieces. Earlier in life, Bonnie worked as an educator and a photojournalist. Working from her studio at Hunter’s Moon Farm, her “stories” now emerge in marble, limestone and alabaster.
All three sculptors belong to the Texas Sculpture Association, Art Professionals of Texas and the ART Region of Texas. The ART Region of Texas is a not-for-profit organization dedicated to promoting the art and artists of northeast Texas. To explore the many facets of the organization, go to www.artregionoftexas.com.
Sandy Page, President of the ART Region worked with BankTexas to arrange this sculpture exhibition.
BankTexas has set out to be more than a just a bank, but a partner in the community. Since opening its doors there in 2011, BankTexas has embraced the Arts Community in Winnsboro by sponsoring the stage at Crossroads Music Co. and by displaying artwork from the ART Region of Texas. With its store designed to be like a community living room where people can sip a fresh cup of coffee and enjoy free WiFi, BankTexas is pleased to offer their lobby as a space where visitors can now view the work of talented local artists. The sculptures currently displayed are a great addition to the Bank lobby, arranged in a sitting area that is perfect for viewing the pieces.
“BankTexas in Winnsboro is excited to have the opportunity to work with the ART Region of Texas. Our customers have already commented how beautiful the art is and that it enhances the décor of the Bank,” says Carolyn Burns, Winnsboro Store Manager. “We would like everyone in the community to come by and see what pieces are on display and the talent of our local artists.” The public is welcome to view the sculptures during the Bank’s lobby hours which are 9:00am to 4:30pm, Monday through Friday.
BankTexas is a community bank focused on “helping you live well” through world-class service, convenience, and community support. It is unique among financial institutions in that it is owned by local shareholders. It was founded in East Texas in the 1890’s and operates location in Holly Lake Ranch, Kilgore, Lindale, Longview, Mineola, Quitman, Tyler, and online at www.BankTexas.org.
Deborah Paris has upcoming online classes that offer a unique learning opportunity for the artist or art student.
2013 Fall Online Class Schedule
Painting the Magic Hours September 6- October 4, 2013 (prerequisite Luminous Landscape)
Drawing & Painting Trees October 11 – November 8, 2013
Composing the Landscape November 8 – December 6, 2013
2014 Winter Online Class Schedule
Practical Color Mixing for Landscape Painters I January 3-31, 2014
Practical Color Mixing for Landscape Painters II January 31- February 28, 2014 (prerequisite Color Mixing 1)
Class sizes are limited and they go fast. Register or find more information at this link
-by Al Moore from Bent Pine Studios
In late 2009, Jack Ainsworth, a ‘Renaissance Man’ friend, began showing me photographs he was taking of birds which fed daily in the lake immediately in front of his home. I was fascinated by the photos, which showed birds with their wings in positions I have never seen in almost 40 years of birding.
This fascination lead to a determination on my part to do a life size piece in Limestone of a gull, just rising in flight from a wave crest – capturing the essence of some of these photographs. This posed a few new challenges for me in scale of work, materials acquisition, handling and work space. When completed, this will be the largest piece I will have done in stone.
To produce a full size gull required a block of stone 30″ X 24″ X 20″ which would weigh in at close to ½ ton. This size stone block is not available at most local stone yards – at least at a price an artist can afford. Lifting it, moving it and the required work space in which to carve it would need to be addressed. It was immediately obvious that this would require finding a Quarry source, arranging transport and obtaining some heavy duty materials handling equipment at my Studio.
I found Quality Stone about 15 miles west of Salado which was interested in helping me out, including offering custom cut quarry blocks (standardized chunks of stone 5′ X 2′ X 2′ and weighing 2500 lbs) of specific coloration with special cuts to give me the size blocks I would need for this and other planned large projects.
Next, I had to solve the transport problem. To avoid a rather significant delivery charge, I would need to pick up the stone at the quarry. Having sold my pickup a few years ago, it was obviously time to buy another, or rent a truck to do this. Being a guy, in Texas without a Pickup, I bought one.
In order to move the stone when I got it to my studio, I chose a 2-ton capacity mobile Engine Lift which could be rolled about with the load in place, then folded up and stored in a very small space when not in use.
By May of 2010, everything was in place for bringing home the stone. It took two trips between the Studio and Quality Stone’s quarry to get the Quarry Block, cut in half lengthwise, home to the Studio.
The 1100 Lb Limestone block for the Gull piece just in from the Quarry, is being positioned for work to begin:
With placement equipment removed, the Limetone block set on cribbing blocks & ready for Roughout to begin:
The selected stone block for the Gull piece was set on cribbing for work height, and a ‘First Chip’ ceremony done to keep my inspiration source involved.
Before any work begins, a Little Champagne is poured on the Stone for good luck before ‘First Chip’:
Friends, Ron Clinton, Betty Whitlock and Linda Ainsworth watch as Jack Ainsworth performs ‘First Chip’:
Jack Ainsworth, whose wildlife photography inspired the work, gets the honor of performing ‘First Chip’ on the stone. Everyone got their turn, of course!:
I normally work free-hand and direct, with only rough guide lines laid onto the stone. Many sculptors – especially those working in representational or portraiture/statuary work – do a detailed maquette from which to develop the final, full size piece in the chosen medium. In fact, August Rodin, even though fully knowledgeable and skilled in all aspects of completing a stone or bronze piece, often did only the Maquette, paying skilled stone carvers or a Foundry to complete the work in Marble or Bronze from the maquette.
After scribing center lines on each face of the stone block, the angle (off vertical) of the gull’s body was marked on the ‘sides’ and the centerline marked on the ‘front’ and ‘back’ of the block with black marking pen.. Stone removal then began, working top-down, to reveal the roughed out bird (pics Gull 6 – Gull 9).
Al begins the process of releasing the Gull from the stone block – ‘Roughout’:
Roughout of the Gull begins, and it appears to ‘Rise’ from the block:
As Roughout continues – Top Down, the Gull continues to take rough form:
As Roughout continues and the Gull is further revealed, the form is continuously refined. The lines visible on the stone are reference lines to help assure correct positioning of the Gull form:
Due to the fact that much of the wing form of the bird will be only indirectly supported when complete, the rough-out proceeds in 4-inch increments, with buttressing quantities of stone left supporting the form until rough hollowing out of the space between the wing and body, as well as semi-final shaping of the wing form itself is completed by slowly elongating and thinning the overall rough wing form. The body of the bird is also refined as to angle of inclination, shape and relationship to the wings after each 4″ increment. (Pics Gull 9 through Gull 13)
As more of the Gull is revealed, the wing form is modified and thinned to relieve support stress and to refine it. This will continue until final thickness if achieved just before final polishing:
A view of the back of the piece shows the vertical elongation of the wing form, but that it is still thick and not yet near it’s final form. The wing to the right has just been trimmed down, while that on the left is awaiting the same modification:
As material is removed from both the outside and inside of the wing forms, the overall shape moves toward the final ‘Roughout’ target. The piece has also been moved inside to protect the thinning wings from possible falling limbs, hail, etc:
At this stage (Gull 13) the junction of the Bird and the wave form from which the Gull is rising must be integrated into the overall work as the next 4″ increment is achieved.
The vertical rise of the form is very apparent from the side. Transition from the wing/body to the wave form beneath will now begin. Once that is done, refinement of the bird will continue:
editor’s note: This is a work in progress, to see more about this work and others by Bent Pine Studios be sure and check out their website.