Showing posts with label vermont. Show all posts
Showing posts with label vermont. Show all posts

January 20, 2013

BURKE WINE & ART SNOWCASE


What do you get when you combine Wine, Art, Hors D' Oeuvres and Live Music with Local Community and Area Visitors at beautiful Burke Mountain Resort in Vermont's renowned Northeast Kingdom?

You get a very special evening full of good things and great people — and you have an opportunity to support The Burke Area Arts & Cultural Series with the inaugural event!

Please join us for an intimate evening of wine tasting with a knowledgeable sommelier, the chance to view a diversity of art and personally interact with a variety of area artists, dine on delicious hors d' oeuvres, listen to lovely live music — and enjoy each others' company.

Saturday, 26th January, 2013 at 7pm at the Burke Mountain Base Lodge, East Burke, VT.

Tickets, which can be purchased here, are limited!

January 14, 2012

10' TALL SUNFLOWERS TO BE PLANTED AT THE NORRIS COTTON CANCER CARE BOUTIQUE!

Rough concept of the final design choice.


I am delighted to announce that I have begun creating the mosaic mirror for installation in the new Circle of Care Boutique currently under construction at the Norris Cotton Cancer Center located on the campus of Northeastern Vermont Regional Hospital in St. Johnsbury, VT. The underlying theme and logo involves sunflowers and the mirror needs to accommodate people of all shapes and sizes, including those in wheel chairs, within a 46" wide space between two doors. Below are the 4 design options submitted to the board back in October and at left is the final choice. Materials used will include recycled dishware and china, tile, mirror, salvaged tempered glass and other bits and baubles that I can scrounge up. The project, spearheaded by the NVRH Auxilliary will be the only American Cancer Society designated facility in Northern New England to provide a range of supplies, services and support to cancer patients during treatment. While construction was delayed somewhat, everyone is hoping for a Grand Opening on Valentine's Day so I will be very busy for the next month!
But is it BIG enough...?! Checking out size, perspective and installation requirements at the construction site with mock-ups. The group of about 7 - 9 sunflowers will range from 16" - 24" in diameter, have leaves 9" - 12" long and sit atop stems up to 8' tall.

The four designs originally submitted to the planning board. Two in consideration of construction plans calling for a 20' tall ceiling and two for a 10' tall ceiling.


November 6, 2011

SOME GLASS IS BETTER TEMPERED THAN OTHERS...

I got the tempered glass, which I used to create the chilly looking sky for this piece, from old refrigerator shelves and learned that some glass is better tempered than others! Other materials used in this piece include quartz slag and resin tile bars on 'environmental' MDF with sanded and non-sanded grout. Size ~ 5.5" x 10" (click image to enlarge)
Because it is free, facet-nating, versatile and found in so many places I tend to frequent, I use a fair amount of Tempered Glass — or "TG" — in my work. I have mostly used auto glass salvaged from the auto wrecking yards and am familiar with it's wide range of peculiarities and challenges. It comes in a variety of shades of blue, gray, green and occasionally black. It is many different thicknesses and some brands shatter in different patterns than others. Front windshields tend to be tempered AND laminated, which is not generally conducive to mosaic-making, and it's best to avoid windows with metallic automatic defroster filaments embedded in them unless you plan on making them part of the overall "look" of the finished piece. I can tell you from first hand experience, nipping those filaments out of the glass bits is t-i-m-e consuming. Shower doors are not too hard to find and can give a nice effect depending on what type of surface treatment the glass was originally given as a matter of "privacy decor". A few times I've been lucky enough to end up with someone's fabulous old TG plate glass window: they are clear and nearly colorless, usually break cleanly, are all one thickness and almost always have the advantage of NOT being covered in dirt, grease or soap scum. 

Because they were there (being there is half the game) and they were colorless (and colorless is not always easy for me to come by) and they were free (my favorite kind) and I thought they would be fun (fun is the other half of the game), I scavenged a few shelves out abandoned refrigerators in the discarded appliance yard at the recycling center. Part of the fun of using tempered glass, if you are fortunate enough to be getting an entire intact piece (like I had just scored with those shelves), rather than scraping it up off the ground or out of the back seats of junked cars, is the act of breaking it. There is something delicious about setting everything up just the way you want it then ceremoniously and oh-so-gently tapping the side of the glass with a hammer and watching it start to crackle and then spread, with a subtly satisfying little sound, from one side to the other until what was once a solid piece of transparent material with a strong specular reflection develops into randomly shaped and sized gem-like bits of pure sparkling goodness.

However, this is NOT what happened with my refrigerator shelves. I tried tapping them gently, then harder, then even harder — then so hard that they flew across the studio floor and landed, intact, under the big work table. I tried wrapping the whole thing up in a towel, putting it on my concrete studio floor and whacking it with a sledge hammer — the hammer bounced! The harder I hit it with the hammer, the harder the hammer bounced. I was flummoxed, I was fascinated...and I was growing frustrated. I climbed on my table and dropped the shelves. Stil wrapped in the towel, they bounced. I climbed onto the counter (a whole foot higher) and threw the shelves. They bounced and skittered, although one lost a sharp sliver of the corner — and it did NOT resemble safety glass. I gave up at that point, set them aside and began working on the parts of the piece pictured above, PERCH ON A BIRCH, that did not involve TG. 

A couple of weeks passed (I am, by nature, slow, and it was a tedious piece!) and then I really needed clear, colorless TG in order to finish that little cardinal's snowy realm. So I got out the refrigerator shelves and considered: a.) trying to use my big, wet scary tile saw on them; b.) put them on the concrete garage floor and run over them with the car; and c.) call my husband. But first I wanted to have one more go. I was going to video the awesome bounce of this TG for posterity's sake — who would believe it? And then I was going to double check to make sure the shelves really were composed of TG and not some sort of modern miracle plasti-glass product. To get warmed up, I wrapped one of the shelves in a towel again, put it on the concrete studio floor, grabbed my sledge hammer, stabilized my cell phone, started the little video camera on it and swung half-heartedly. Suddenly, the glass gave way! I could hear and feel it, and sure enough when I opened the towel, it revealed that the fridge shelves had cracked into REALLY tiny, absolutely separate pieces. No clinging clumps or larger bits to be laid onto the mosaic in interesting patterns, just teensy, tiny, nearly microscopic little pieces fit only for tweezers and magnifying glasses.

As I started to put the bits into their containers, mentally counting the hours I would spend laying those bits down to create the mosaic, I realized that underneath the shelf had been an old wing nut (and what's a good story without a good wing nut?), about the same color gray as the concrete floor, but fairly good sized. I can only surmise that the wing nut, by keeping the shelf from being flat against the floor, provided the extra stress needed to finally fracture the glass. So I did the exact same thing with the other shelf, which for some reason broke into the most beautiful, long thin strands of glass, some up to 3 or 4 inches long and only an 1/8th - 1/4" wide — not necessarily my idea of "safety" glass, but it looks super cool and I'm going to have some fun with those! And the next time I see some lovely, clear, colorless refrigerator shelves gleaming in the sun at the dump, I'm going in for them!

September 29, 2011

FEELING FALL IN A BIG WAY...


12" x 36"; discarded dishware, salvaged tile bits and mirror scraps on leftover 1/4" Hardi-backer board with thinset and sanded grout. Prepped and sealed for outdoor use in temperatures above freezing. By R. F. De Lorme, ©2011 (click image to enlarge)
Fall is fabulous in Vermont, but all too short so I made a tall tree to celebrate the season. This piece stands 3' tall and the trunk makes use of the backs (with the manufacturers stamps) as well as the fronts, of various shades of white, cream and grey plates. The leaves are hand-cut rounds, to give the piece a sense of fullness and volume. There are also a few slivers and bits of mirror in the trunk to give it a bit of twinkle when the light catches it. This panel was created on hardi-backer board with thinset and specially sealed so that it can be displayed outdoors in temperatures above freezing — or in a shower stall — or as a kitchen backsplash.

May 19, 2011

YOU'RE INVITED! OPEN STUDIO WEEKEND MAY 28th & 29th

(Click image to enlarge for easier reading)
Vermont has a thing for the arts and one thing we do every year is open our studios up to the public for the annual Vermont State Open Studio Weekend.

I suspect it's partly the fact that we are finally reaching the end of our long winters that has us throwing open our doors and kicking up our heels — just like all those happy cows newly released from their barns in spring — that makes this event so welcome to both the artists and the visitors. I also think it's a peculiarly Vermont thing to be both resolutely independent and contentedly solitary while still maintaining a staunchly strong sentiment for the value of community and a consistent, but really rather inconspicuous, no-fuss, make yourself-right-at-home-we're-glad-to-see-you, warmth of hospitality. This attitudinal lifestyle makes a perfect fit for artisans, craftsmen — and farmers — who you'll find throwing open their doors, and maybe even kicking their heels up a bit, on Open Studio Weekend, Saturday 28th and Sunday, 29th of May throughout the entire state of Vermont.

You can download a booklet and map of the more than 200 artists participating here and consider this a personal invitation from me, to you, to stop by Studio Fresca to say hello, check out the works in progress, try out the tools yourself, enjoy fresh baked goods by Hearty's, hang out on the deck or stroll the paths on 5o lovely acres at Heart Winds House in East Burke, VT. We're definitely planning on kicking OUR heels up all in the name of art, community, visitors and spring and we'd be delighted to have you join us!

August 7, 2008

SEABA Art Hop in Burlington, Vermont on September 5th & 6th - The Little State of Vermont's BIG visual Arts Festival and Celebration!

An official Juror's Selection at the SEABA Art Hop Juried Show:

STEELING A WINTER'S NIGHT - From the Vermont Place Settings Series - Pique Assiette and Mixed Media Mosaic Landscape (direct method) created from salvaged boken ceramic pieces, hand cut dishware, scrap stained glass, rescued stainless steel flatware knife handle and soup spoon, discarded broken drinking glass with iridiscent coating; framed in salvaged aluminum channel and scrap wood molding



















CHLOROPHYLIA - A Green Piece (Shown here as a Work In Progress)
Pique Assiette, Tempered Glass and Mixed Media Mosaic Vessel (direct method, glass on glass) created from recycled slumped glass; tempered glass from car windshield salvaged at auto wrecking yard; reclaimed vintage dishware, rescued broken antique china with 22K gold trim; scrap stained glass; found vintage jewelry brooch; freshwater pearls; iridized glass paint; sanded and non-sanded grout

April 4, 2008

Working Backwards Works For Me




ON THE ROAD BACK TO KANSAS WITH A CUP HALF-FULL OF AHS... Mixed Media Mosaic and Pique Assiette Art Piece and Kitchen Organizer with stainless steel hooks for keys or towels, half-cup pocket for pens or cell phone, and magnetic message board. Created from recycled, reclaimed and salvaged dishware, flatware, ceramic spoon rest, old pie pan, scrap stained glass and hand-painted glass gems by craftystitchingcreations (turned into magnets).

I suppose I’m a bit backwards when it comes to my mosaic art. I start with the materials that I find and let them suggest a concept to create — rather than coming up with a concept then finding the materials to express it. This is my own process and the discipline I enforce on myself, to use at least 75% recycled, reclaimed and salvaged materials in every piece, is also my own. No one is making me do it this way, except myself, and while I see some rationale to my method (as well as some madness!) sometimes I do wonder why I do it the way I do.


















TWILIGHT IN TAHITI - 14" x 14" created from recycled and retooled aluminum dish, vintage Nippon Lustreware china, broken dishware, scrap stained glass, iridescent glass chips, iridescent glass seed beads, charcoal grout


I love art of a
ll kinds and spend as much time as I can indulging myself in art in galleries, in magazines, in books, in shops and on-line — way too much time on-line! I see these brilliant, engaging and fascinating concepts, visions and viewpoints other artists manage to convey with a myriad of materials and methods, and I think to myself if only… I let myself buy a few new sheets of glass, a few boxes of new smalti, a few boxes of new tiles — and a few bits of lots of other new stuff that catches my fancy, then I, too, could start with a concept instead of just starting with stuff. Then I spend a few minutes thinking of all the ideas, concepts and visions I’ve had that I would like to translate and express in my art and I am overwhelmed. It would take me several lifetimes and many versions of each concept because as I consider all the options available with the endless choices of new materials, I realize I’m not sure where to start.

It probably stems from some unresolved childhood trauma, but I remember so many instances when I was given a brand new box of paints and a clean white canvas, or an unopened carton of pastels and a blank piece of paper, all of which thrilled me to no end, only to wind up sitting and staring at the empty paper and the endless array of color choices, unable to summon the one idea that was worthy of those marvelous new materials and that one piece of brand new paper. In the end, I always found something to fill the page with, but I was rarely satisfied with my efforts because I never seemed to be able to quite capture what I saw in my head.

With my mosaics, it’s totally different. I find the stuff first (or it finds me!) and it all seems to come together so much more easily because the stuff has a life of its own. It talks to me — sometimes right from the moment I see it I know what it wants to be turned into and sometimes not until I have collected other stuff do I realize that it is absolutely meant to be with stuff I already have. There are no blank papers here, no unused palettes of colors. This stuff has already been used and all it needs is a little creative recombination work to shine again.


When I work this way, there is no hesitation, no uncertainty — just a new adventure for me, and the stuff that comes my way. So for me, working backwards works!

February 24, 2008

There's No Tool Like an Old Tool















Work In Progress - FALLING TO PIECES IN VERMONT from the Vermont Place Settings Series - Pique Assiette mosaic from recycled dishware on "green" MDF board. Some of the tesserae (grass and tree leaves) have been cut, placed and glued. Still n
eeds to be finished, grouted, sealed and framed.

I have a life long love affair with tools and technology. I grow truly excited by any and all contraptions — large and small, simple and complex, old and new, fancy or mundane — that promise to do something, (anything really!) that will make my work better, my day easier or my life simpler. And while I do find myself instantly attracted to tools and technology out of hope that they will deliver on the promises they make, honestly, I’m into them for the novelty, the curiosity and the wonder of it all.













A Few Good Tools -
Cutting (rather than breaking) old dishes into tesserae requires (from right to left) gloves, goggles, tile nippers, my favorite leponittes and p-a-t-i-e-n-c-e. (Wearing shoes is always good, too!)

Whether it’s old tools at garage sales and flea markets that perform some function no longer a priority in today’s society, or old technology discovered in the back rooms of thrift stores and found discarded at the dumps because it has been replaced by something a million times faster, or the very newest, latest and hottest techno-tool trends, I want it — or at least the chance to play with it.

I find the tools and technology beautiful to behold, fascinating to contemplate and wondrous to feel in my hands. I not only want to own them all, I want to use them all; try them out, stretch their boundaries, take them apart and see how they work — then leave my husband to put the peices back together again... I derive hours of entertainment and frustration from this preoccupation because the reality is, that as fascinating as new technology is, I really do quite well with my work, and usually in my life, with what I already have — a few very simple tools that work remarkably well and some moderately current technology that, as it tends to find some balance point between causing me utter frustration and providing me with complete bliss, I continue to use rather than replace.

What I have always known about m
y work, regardless of the latest techno trends, is that my most useful tools are my hands. Simple, (and rather small in my case!), multi-jointed, five-fingered hands with clever little opposable thumbs and calluses tough enough to stop a leponitte blade. It’s true my hands are growing ever so slightly clumsier as I age, and lately I have noticed they are occasionally sore in the mornings after I’ve spent the previous day cutting up tiles and tesserae. However, they are the most amazing and fascinating piece of technology I have access to, as well as my most valued, most favored and most often used tool — and one look at them will prove it!


WORK IN PROGRESS - (detail) FALLING TO PIECES IN VERMONT from the Vermont Place Settings Series

Despite the fact that I have several pair of work gloves, various nippers, tweezers, probes, sponges, scrapers, etc. , and that I do actually understand all the safety ramifications, when it comes to getting my work just the way I want it, I seem to need to feel my way. So, I strip off my gloves, set aside the nippers, tweezers, probes and files, drop the sponges and dig right in with bare hands and naked fingers. This is, of course, why my hands look like they’ve been through several medieval wars. They are covered in scars, often full of glass chips (it’s hard to feel them with all those calluses) and the nail beds are perpetually stained by whatever color of grout I used on my last project. The point is, I have the tools, the technology and (presumably) the intelligence to use them safely, but I just don’t. I like the feel of my fingers on my art work and to me it's just not my art without that part.