Friday, March 16, 2018

Art on Paper, part 1

Art on Paper took place in New York last week, post nor'easter number 2. I was fortunate to be able to meet a couple of friends and hop the train into the city to experience this wonderful show.

I thought to share those works that caught my eye and demanded my attention. As often as possible, photos were taken of the information tags as well so that the pertinent info can be listed, however, in editing the photos, I realized that a few were missed. Also, where possible, the artist's name is a link to their website.

In hopes of not causing art on paper overload, I am going to share my favorites in a series of 5 posts. Please pardon the occasional reflection of light on a frame or odd angle. Much of the art (paintings, drawings, photographs, etc.) was framed and under glass so it was necessary to get creative with the shots. Enjoy!


Michele Brody, Reflections in Tea, photo credit Jennifer Coyne Qudeen

Michele Brody, Reflections in Tea, detail photo credit Jennifer Coyne Qudeen


Matthew Shlian, Unholy 48, photo credit Jennifer Coyne Qudeen

Matthew Shlian, Unholy 48 detail, photo credit Jennifer Coyne Qudeen

Unholy 48, 2016
Three-dimensional, five color monoprint collage
printed on white Rives BFK
60 x 60 x 5 inches


Matthew Shlian, Unholy 85, photo credit Jennifer Coyne Qudeen

Matthew Shlian, Unholy 85 detail, photo credit Jennifer Coyne Qudeen

Unholy 85 (Go Down Moses/There's Fire in the Woods)


Norma Marquez Orozco, Diary (in 4 parts), photo credit Jennifer Coyne Qudeen

Norma Marquez Orozco, Diary (in 4 parts) detail, photo credit Jennifer Coyne Qudeen

Diary (in 4 parts), 2018
20 x 20 x 1/4 inch (10 x 10 x 1/4 inch each)
paper, translucent paper, ink and gel medium


Seckim Pirim, You, 2016, photo credit Jennifer Coyne Qudeen

Seckim Pirim, You detail, 2016, photo credit Jennifer Coyne Qudeen

You, 2016 
300 gr bristol paper cut out
47.24 x 35.63 x 2.56 inches

Seckim Pirim, She, 2016, photo credit Jennifer Coyne Qudeen

Seckim Pirim, She detail, 2016, photo credit Jennifer Coyne Qudeen

She, 2016 
300 gr bristol paper cut out
47.24 x 35.63 x 2.56 inches

Thursday, March 1, 2018

At a crossroads...of the rusty kind

How do you know when it's time to let go?

How do you know for certain that it is time to move on?

These are a few of the questions that I've been pondering of late - 

most recently this morning as most all of my rusted cottons and organzas 

were transferred from 3 work drawers into 1 storage bin.

Discharged cottons

as well as a few that were eco printed found their way into a second bin.

When visions of pieces yearning to be created flit through my mind, these days they are not of the rusty kind. do you know when it's time to let go? And just what form does letting go take?

Do I put the bins in the basement where out of sight will equal out of mind, but where they will be accessible if some future day finds me dreaming rusty dreams again?

Or, and this is a bit scary even though it is what my brain says makes the most sense, do I truly let go and offer the lot for sale as yardage? Fat quarters or bags of...bags of what exactly? Bags of rusted cottons? Would it be priced by the piece or pound? Would anyone even want it?

In truth, I feel as if I already have moved tea bags and other scrumptious papers. Did I just answer my own question? Probably. But will I listen to myself? Hmm...

I could really use your help on this one. What do you do with old materials when you move on?

Thanks in advance!

Sunday, January 28, 2018

Baltimore - 2 Churches

A disclaimer seems appropriate given the photographic content of this post. I am not a religious person by anyone's definition. On my best days, it could be said that I am spiritual, but even that is sketchy. At the end of the day, though, churches fascinate me. It's the architecture - the creativity and skill that went into the designing, planning and constructing of such buildings. Like any big city, Baltimore is filled with churches.

One of my favorites is the Mount Vernon Place United Methodist Church. Located near the George Peabody Library, this Victorian Gothic beauty dominates the skyline along Charles Street.

The building is made [of] six of different types of stone. Its extraordinary color (especially when wet) comes from the use of the now rare green serpentine metabasalt from the Falls Road area of Baltimore County, and buff and red sandstone trim.  (from the church website)

The stone carvers' marks, evident on every stone, 

 bring to mind hand stitching.

It is impossible, for me, to pass this beauty without touching the carvers' marks and wondering at the history and stories behind them. Did each stone carver have a signature mark? Did it vary based on the stone? What thoughts occupied the carvers minds while their hands produced such beauty, etc.

I would love to see the inside as well. A kind lady stopped while I was photographing 

and assured me that the inside is just as spectacular. 

I did try the front doors, but they were locked. Perhaps on a future visit...


The Baltimore Basilica's facade is quite a contrast. 

It presents a very imposing front, complete with  majestic columns.

I must admit to being a bit baffled and disappointed as I walked up the steps, finding this church more akin to a federal building than my idea of a cathedral. And then I entered.

 The lightness of the interior stopped me mid step and all disappointment fled 

to be replaced by awe.

Thursday, January 25, 2018

Baltimore - George Peabody Library

Greetings from Baltimore, Maryland! I'm in town for a few days to visit friends and explore the city. Yesterday, I strolled along Charles Street and stopped in at the George Peabody Library.

I've seen photos of this glorious library before, never realizing that it is open to the public. Walking through a smaller room to step into the doorway and be greeted by this spectacular site was one of those jaw dropping, breathtaking moments that will forever be remembered.

The Peabody Library building, which opened in 1878, was designed by Baltimore architect Edmund G. Lind,  

in collaboration with the first provost, Dr. Nathaniel H. Morison.  

Renowned for its striking architectural interior, the Peabody Stack Room contains five tiers of ornamental cast-iron balconies, which rise dramatically to the skylight 61 feet above the floor.

The ironwork was fabricated by the Bartlett-Robbins Company.*

This architectural gem is truly awe inspiring. A second visit was required on my way back to the hotel later in the afternoon. Many of the tables were occupied and I couldn't help but wonder what one would think if I sat down and took out my stitching. Another time...

*exerpt from George Peabody Library History
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