Following Governor's mandate for COVID-19
Call 450-6516 or 883-7410
Gallery Hours: 11:00-3:00 PM
Show Closes: November 27, 2020
continuation of a legacy
Porcelain vessels created by past and present UNM students - who are now artists, educators, community service members transforming our city in tile murals, the medical field, and with military honors; MFA students, stoneware potters, internet entrepreneurs and the art of the handmade in business. All are making our community and world a better place by what and how they create. From this diversity, the art of Arita porcelain vessels connects us all.
With gratitude to Sensei Manji Inoue for sharing this artform and for our international relationship.
Professor of Practice
Margarita Paz Pedro
Charles Castillo -Abstract Paintings
Castillo is best known for is layered abstract paintings that incorporate wax, oil paint, acrylic, steel and collage. His paintings are based on the southwest desert landscape although the abstractions and turns of meaning are his own. I used to be more involved in conceptual art, using photography and words to communicate. I am now much more interested in the materiality of the work and taking people to a place of mindfulness and calm with my art. i want people to incorporate my paintings into their lives. His emphasis is on materials and gesture, much of which he learned while doing graduate work at SVA in New York and having such mentors as Walter Darby Bannard and Gregory Amenoff. While his early influences included artists like Martin Kippenberger and Sigmar Polke, he seems to be more in the Diebenkorn camp these days.
Two Visions of Earth
An exhibit of artworks by:
August 7, 2020
Jenn Noel (Pottery)
Alice Webb (Oil Painting)
From: 3:00-7:00 PM
Our Patio is open and lots of new gift items
New Hours: 11:00-3:00 PM
Your Support Makes A Difference
Show Closes: September 25, 2020
Jenn Noel states, "As a ceramic artist, I enjoy transforming clay into a functional piece of pottery. each step of this ancient journey commands your complete attention and has taught me to slow down focus, and pay more attention to create functional ceramics, and strive to infuse beauty into the objects that we use everyday. I want to challenge the way we see utilitarian objects by showing that they can be both useful and artistic. I enjoy making simple shapes that you want to hold and use in your daily life and feel this gives me a connection with the people that use my artwork. I have studied the Arita method of Japanese porcelain under Kathy Cyman at UNM and continue to incorporate these techniques into my stoneware. I work primarily on the wheel, and use an electric kiln so that I can control how fast the kiln cools down. I am currently exploring firing low-fire glazes to a high fire temperature, pushing the limits of what they can do. By having a carrier glaze, and a glaze that stops the flux of the low-fire glaze, I am able to create unique, one of a kind pieces".
Alice Webb states, "As an artist, the creation of images that the viewer can reflect on and be rejuvenated by has always been my top priority. When I moved to Taos in the early 70's I found myself surrounded by a landscape so immense and filled with such a fierce beauty that I began to focus my work on these natural shapes and colors. At that time I was a tapestry weaver. Later I turned to painting in oil, and began to work with other artists, whose inspirations were similar to mine and to learn the various techniques I still work with and expand upon today. For many years I worked outside in the landscape, in the rain, snow, wind or heat, finishing the works on the spot. At that time I painted on large canvases, sizes up to five feet wide, using an easel specifically designed for working on over sized canvases outside. Today, the work has grown in complexity and depth and takes much more time to complete so I work inside. However, those early years when I studied light and shadow, the movement of the earth as it circled the sun and the almost imperceptible changes that occur in nature as the seasons slowly pass, are an indispensable underpinning of my work. Today, when I do venture out into the landscape. I use small supports to take color and compositional notes and I take lots of photos. While, I have experimented with acrylics and will occasionally use them for underpainting I primarily work with oils since they are capable of producing a greater luminosity. Back in the studio I may create a more completed study before I enlarge the image. I might also move a mountain or a river to suit my vision. I work by first applying very fluid and transparent layers of color to large areas. Then I increase the viscosity of the paint until it is opaque for the details. It is important to leave small areas of the transparent layer peeking through though since this creates the illusion of depth. Hopefully then I create feast for your eyes. Please enjoy!