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baltimore

Artist, Embroidery

Part Tapestry, Part Friendship Bracelet: Weavings by Alicia Scardetta

Included in Coordinate Disregard

Above: includ­ed in Coor­di­nate Dis­re­gard

This past week­end, I went to the open­ing of Coor­di­nate Dis­re­gard at the Ter­rault Con­tem­po­rary in Bal­ti­more. There, I saw the work Brook­lyn-based fiber artist Ali­cia Scardet­ta, who I’ve been fol­low­ing on Insta­gram but hadn’t before seen her col­or­ful weav­ings in per­son. And let me tell you, they are awe­some. Intri­cate and jubi­lant, they com­bine a vari­ety of weav­ing tech­niques and are “part tapes­try, part friend­ship bracelet.”

To pro­duce these metic­u­lous pieces, Ali­cia uses frame tapes­try looms and cre­ates para­me­ters for each weav­ing. Through this, she explores the pos­si­bil­i­ties and lim­i­ta­tions of the “grid struc­ture that forms woven tex­tiles.” The process isn’t unlike illus­tra­tion. In both fields, there are guide­lines you must oper­ate with­in, and part of the chal­lenge is fig­ur­ing out how to let your artis­tic voice shine.

If you’re local to Charm City, make sure you check out Coor­di­nate Dis­re­gard. It’s up until Sep­tem­ber 26 and in addi­tion to Ali­cia, includes work by: Ran­dall Lear, Elis­sa Levy, Gabriel Luis Perez, and Cur­tis Miller. Plus, it’s curat­ed by my pal Amy Boone-McCreesh, who is also an amaz­ing artist!

Alicia Scardetta Alicia Scardetta Alicia Scardetta Alicia-6 Alicia-5 Alicia-4 Alicia-3 Alicia-2

Embroidery, My Studio

My Studio: ‘Favorite Bites in Baltimore’ Embroidery — Complete!

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At the end of July, I post­ed about an embroi­dery project I was work­ing on: Favorite Bites in Bal­ti­more. I’m hap­py to say that it’s done (!!) and fea­tures some of my favorite things I’ve eat­en dur­ing my 10+ years of liv­ing in the city.

The foods I embroi­dered:

  • Top left: S’mores in a Jar (from Hamil­ton Tav­ern)
  • Bot­tom left: Dirty­boy (from Bun Shop)
  • Mid­dle: Greek Piz­za (from Joe Squared)
  • Right: Fried Oys­ter Mush­rooms, Feta Cheese, Arugu­la, and Hot Sauce (from Mush­room Stand at JFX Farmer’s Mar­ket)

There will be text on top of the embroi­dery that explains the project—I’ll post that once it’s done.

Now that Favorite Bites is done, I’m going to go back to embroi­der­ing dec­o­ra­tive flo­ral scenes. But I do have plans to con­tin­ue this food series. Cleve­land is next!

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Embroidery, Illustration

My Studio: ‘Favorite Bites in Baltimore’ Embroidery

Sara Barnes embroidery

It’s been a while since I’ve shared a glimpse into my stu­dio! Here’s a fun embroi­dery I’ve been work­ing on the past cou­ple of weeks. It com­bines two things I love: stitch­ing and good food.

The [work­ing] title for this piece is called Favorite Bites in Bal­ti­more, and it will include a half dozen of my favorite things I’ve eat­en while liv­ing in Bal­ti­more. So far, I’ve com­plet­ed S’mores in a Jar from Hamil­ton Tav­ern and the Dirty­boy from Bun Shop. Now, I’m in the mid­dle of a slice of piz­za from Joe Squared.

I’m plan­ning on embroi­der­ing a few more foods, but nar­row­ing down the choic­es has been real­ly hard. Bal­ti­more has some great restau­rants!

(Fol­low me on Insta­gram to see reg­u­lar updates of what I’m work­ing on.)

Sara Barnes embroidery

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BPB Projects, Ceramics, Sculpture

Hey! I Curated an Exhibition! ‘In the Palm of Your Hand’

'In the Palm of Your Hand' - Lisk Feng

Many, many months ago, I was approached by Car­ly of EMP Col­lec­tive to curate a show in their mul­ti-pur­pose art space. Locat­ed in down­town Bal­ti­more, EMP is used for gallery shows, live per­for­mances, writ­ing work­shops, film screen­ings, and more. The space is also HUGE. It’s in one of the old build­ings down­town and has beau­ti­ful archi­tec­ture and a raw, indus­tri­al look to it. Here’s part of the space to give you an idea:

EMP Gallery space

As you can see, the square footage is daunt­ing. I’d attend­ed oth­er exhi­bi­tions there, and most cura­tors chose to try and fill most of the space with work. I decid­ed I’d do the oppo­site. Instead of find­ing big work to hang, how about tiny pieces that I’d arrange?

That’s how In the Palm of Your Hand was born. EMP and I worked to build a small room (about 6FT by 8FT) inside of their gar­gan­tu­an space. Then, I made it like a room in someone’s home; I includ­ed a din­ing table and chairs, a shelf, a lamp, and a few oth­er knick­knacks besides the work.

Sev­en artists and illus­tra­tors were kind enough to lend me their work for the exhi­bi­tion: Leah GorenGre­go­ry EuclideAmy Santo­fer­raroPUTPUTLisk FengKarin Hagen, and Hiné Mizushi­ma. And, I must say, that pic­tures don’t do them jus­tice. The work is intri­cate, beau­ti­ful­ly craft­ed, and at times, pre­cious too.

The open­ing for the show was Jan­u­ary 10, but In the Palm of Your Hand will be up for a few more weeks. I’ll be at EMP for gallery hours from 12 — 4 on Feb­ru­ary 15! The fol­low­ing are some of the images from the show, but I took a lot more. Check out the whole set on my Flickr.

'In the Palm of Your Hand'

'In the Palm of Your Hand'

'In the Palm of Your Hand'

'In the Palm of Your Hand'

'In the Palm of Your Hand'

'In the Palm of Your Hand' - Amy Santoferraro (front) and Karin Hagen

'In the Palm of Your Hand' - PUTPUT (left) and Karin Hagen

'In the Palm of Your Hand' - Amy Santoferraro

'In the Palm of Your Hand'

'In the Palm of Your Hand' - Hiné Mizushima

'In the Palm of Your Hand' - Hine Mizushima & Leah Goren

'In the Palm of Your Hand' - Leah Goren

'In the Palm of Your Hand' - Leah Goren (far left), PUTPUT (middle), and Karin Hagen

'In the Palm of Your Hand'

'In the Palm of Your Hand' - PUTPUT

'In the Palm of Your Hand' - Gregory Euclide

'In the Palm of Your Hand' Gregory Euclide

'In the Palm of Your Hand' - Gregory Euclide

See more here. 

Painting

Studio Visit: Zach Storm

Studio Visit with Zach Storm

Zach Storm’s stu­dio is locat­ed in a tree-line neigh­bor­hood at the edge of Bal­ti­more City. It seems to be a peace­ful set­ting, full of detached sin­gle-fam­i­ly homes. Here, in a large shed (with no heat!) is where Zach keeps his stu­dio. Per­son­al­ly, I’m jeal­ous; his space has amaz­ing nat­ur­al light, airy, away from dis­trac­tion. It real­ly feels like a place to escape.

I first wrote about Zach’s work after I saw these paint­ings in a show at MICA. They are vibrant and glit­ter-full (Lit­er­al­ly. He used glit­ter spray paint in these works on paper.):

Zach Storm - Surface Tension at Gallery 500

Zach Storm - Surface Tension at Gallery 500

Look­ing at his work then (2012) to now (2013), I still see the same artist’s hand, but with his new series of works, they are more refined. Zach said he has a ten­den­cy to over­work things, and the paint­ings cur­rent­ly in his stu­dio are a result of the sys­tems of he’s cre­at­ed when work­ing. This guards against this incli­na­tion. The paint­ings are worked on simul­ta­ne­ous­ly and sequen­tial­ly in an order­ly fash­ion, and give Zach the free­dom to move from piece to piece if he’s frus­trat­ed or feel­ing stuck.

Studio Visit with Zach Storm

Studio Visit with Zach Storm
Studio Visit with Zach Storm

Studio Visit with Zach Storm

Cur­rent­ly, these paint­ings are on alu­minum, using auto­mo­tive primer, pig­ment and ure­thane. Despite my ini­tial assump­tion that Zach knew a lot about mate­ri­als, he said he didn’t! The process of learn­ing and react­ing to the mate­r­i­al reac­tions with each oth­er is very much apart of these works. At times, he calls the reac­tion between mate­ri­als “unnerv­ing,” such as the way the pig­ment slides or resists primer, but ulti­mate­ly an impor­tant to the painting’s devel­op­ment.

Studio Visit with Zach Storm

Studio Visit with Zach Storm
Studio Visit with Zach Storm
Studio Visit with Zach Storm
Before I vis­it­ed Zach’s stu­dio, I went through his past work on his web­site, writ­ing down words that I asso­ci­at­ed with his work. I described them using “ethe­re­al” and “splen­dor” — there’s sort of a whim­sy (dare I say) to be asso­ci­at­ed to those words, which is actu­al­ly what he tries to cap­ture in these paint­ings. He said he gets “excit­ed by light shin­ing through the trees,” and tries to repli­cat­ed emo­tion­al states like that.  This lead to an inter­est­ing dis­cus­sion. Zach col­lects old ani­ma­tion cells, specif­i­cal­ly the back­grounds. Think of car­toons like Looney Toones or Ren and Stimpy. They have amaz­ing and beau­ti­ful­ly paint­ed back­grounds that col­or fields inspire him. There’s also a rhythm to ani­ma­tion, a rep­e­ti­tion and way of work­ing that is akin to Zach’s process, too. Not only that, but the act of paint­ing in a Bugs Bun­ny car­toon also makes Zach con­sid­er the way he works. Watch the first 10 sec­onds of this clip and you’ll under­stand:

As some­one study­ing illus­tra­tion, I loved that ref­er­ence. I would have nev­er thought of that when look­ing at his work, but it makes per­fect sense.

Zach has his first solo show, Solitare, open­ing soon at the Johannes Vogt Gallery in New York City. If you live in the area, head to his open­ing on Thurs­day, March 28, from 6PM8PM. More details on Face­book.

Studio Visit with Zach Storm

Studio Visit with Zach Storm
Some tools of the trade. Pig­ment, primer, inks.

Studio Visit with Zach Storm

Studio Visit with Zach Storm

Noth­ing is too pre­cious. You can always peel it off, sand it again, and start over!

Thanks, Zach!

Illustration

Julianna Brion

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I’ve fea­tured the work of Julian­na Brion on Brown Paper Bag before, and men­tioned her last week because she’s apart of my newest exhi­bi­tion for my online illus­tra­tion gallery, eyra. Julian­na is includ­ed in the exhi­bi­tion Don’t Call Me Hon­ney, a show about the city of Bal­ti­more.

Julian­na is local to me, a trans­plant to Bal­ti­more by way of Con­necti­cut. It’s inter­est­ing to see her take on the city, in a series that she’s titled Bal­ti­more Hodge­podge 1–4. A mish­mash it is! She cap­tures the banal­i­ty of row homes, high­light­ing them with bright accents. Roof decks were new to me when I first moved to Bal­ti­more, so I enjoy that she makes ref­er­ence to that. 

You can own the orig­i­nals of this work and prints as well! Take a peek in the eyra shop.

 

 

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Illustration

eyra illustration gallery // new exhibition — Don’t Call Me Honney

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I was silent yes­ter­day — my apolo­gies. It’s because I was busy putting the fin­ish­ing touch­es on eyra illus­tra­tion gallery’s newest show, Don’t Call Me Hon­ney. The exhi­bi­tion cen­ters around my home, Bal­ti­more. All of the par­tic­i­pat­ing illus­tra­tors are liv­ing and mak­ing work in the city! I also wrote about Don’t Call Me Hon­ney, think­ing about it in terms of how we iden­ti­fy our­selves and how we become inspired.

The show is com­plete­ly online, so view it here!

Illus­tra­tors fea­tured with­in the show are Andrew Liang, Cor­nel Rubi­no, Christo­pher Adams, Jan­na Mor­ton, Julian­na Brion, and Jun Cen

I don’t want to spoil the sur­prise of the show, but below are some works includ­ed in the exhi­bi­tion. I’m hap­py with how it turned out, and I hope you like it, too!

Andrew Liang

cheesefish

Christo­pher Adams

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Cor­nel Rubi­no

Rubino

 

Jan­na Mor­ton (these are all brooches!)

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Julian­na Brion

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Jun Cen

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Artist, Sculpture

Conectado: Connecting

This past Sat­ur­day I attend­ed the open­ing for Conec­ta­do: Con­nect­ing at the Cre­ative Alliance in Bal­ti­more. I per­son­al­ly know the artists col­lab­o­rat­ing on the piece, Jaime Ben­nati and May Wil­son, and I was real­ly impressed with the instal­la­tion they had put togeth­er. Jaime and May had real­ly trans­formed the space, with a totem-like struc­ture of cement cylin­ders (cast­ed by May) and ship­ping pal­lets, inter­twined with wire. Not only was this a visu­al­ly com­pelling piece to view, but also was inter­est­ing to look at the indi­vid­ual assem­blage.

Both artists have spent time in Rio de Janeiro, Brazil, (with Jaime spend­ing upwards of a year there), and Conec­ta­do: Con­nect­ing is a reflec­tion on the vibrant street cul­ture present in this city. Wires present in the fave­las, can­dy and fruit sold on the street — Jaime and May have ref­er­enced it in their instal­la­tion. The large pal­let and cylin­der struc­ture felt mon­u­men­tal, lum­ber­ing over the atten­dees of the show, a remark on the rapid speed of Brazil’s grow­ing econ­o­my. Also, pro­ject­ed on one wall (which I failed to cap­ture), were bus routes on Google Maps, flip­ping through dif­fer­ent streets at a rapid, almost dizzy­ing pace. 

Conectado: Connecting

Conectado: Connecting

Conectado: Connecting

Conectado: Connecting
Cast out of resin.