GAP IV WORKSHOPS
JULY 27 -AUGUST 21 / VENEZIA ART HOUSE
PALAZZO CA’ZANARDI
2016
GAP : (global art project)
http://chamazone.wix.com/gap2016#!artists/cfvg
Here is a composite of what GAP is about:
Originally Carl Heyward (San Francisco, California USA) and Lorna Crane (New South Wales, Australia) began a friendship and correspondence via Heyward’s KNEE(jerk) Fragmentation (mail art ) PROJECT in 2011 which consists of a one-for-one exchange of post card sized art works made exclusively for the project that has attracted over 500 artist- participants and produced over 3,000 individual art works. The idea of fragmentation is central to his aesthetic mission in that the pieces of a culture, the debris, the archaeological products of waste and discard give evidence of culturally assigned value and worth; of conscious and sublimated preoccupations of contemporary culture and that their combination through collage, assemblage and other art methods allows a reading of place and time that includes and transcends these elements. Heyward is currently considering museums, galleries and archives to donate part of this collection and is preparing traveling exhibitions.
He and Crane developed a dialog in the course of this project recognizing the resonance of their personal imagery and founded ZIMBABWE(two-step) to encourage their own practice as a collaborative device, each marking a canvas or surface and sending intact or as a fragment to the other shortly after launching KNEE(jerk).
In the course of these electric endeavors, both artists have exhibited in their respective countries as well as having participated in international shows. In expanding their inclusion of other artists in the aforementioned and similar projects, Heyward and Crane added painter Joan Stennick of San Francisco (she has exhibited widely in two-person shows with him as well as her own solo exhibitions); Akiko Suzuki an award winning contemporary quilt maker from Osaka, Japan; the hugely popular self-taught Vered Gersztenkorn (Tel Aiv, Israel) a painter-collagist; and Chaewon Laura Oh of Seoul, Korea a multi-media artist and accomplished portraitist, completing the GLOBAL ART PROJECT in November 2013.
Our work reflects individual, personal and global concerns by virtue of intention. We are creating and exhibiting work that allows the freedom of expression by the very opportunity to communicate beyond language and culture with diverse artists form all over the world while remaining open to the opportunities of the moment accessed through this circumstance in a settings such as Mazatlan Mexico, Marin County, San Francisco and Benicia, California as well as Venice, Lecce and Treviso, Italy, sites of our workshops, demonstrations, workshops and studio environments.
We are linked by activity in mixed-media art practice, which may be reduced to working with the materials at hand and has antecedents in collage, assemblage, found-object and related practice.
GAP ( global art project ) a group of international artists working in various media, promoting collaboration, experimentation and mutual development of art practice meet again in Lecce, Italy after exhibitions and workshops in Mazatlan, Mexico at Museo de Arte de Mazatlan, Marin MOCA, The Arsenal in Benicia, Ca., Tonio Jazz Festival, and Ca’ Zanardi (GAP Venice JULY 2014). 2015: two rotating exhibitions at Gallery Cittadino and Fondo Verri augmented by intensive private mixed-media workshops at Monna Lisa studios (September 20-October 4) followed by collaborative studio practice.
This is an international, multi-cultural, multi-national, pan-ethnic conglomerate.
The diverse group of painters, mixed-media artists, textile, photo and collage practitioners share a common interest in what they term FRAGMENTATION: the taking of disparate elements (FRAGS) not ordinarily associated with art practice and combining them with creative passion, inventive ingenuity and above all, a belief in the democratization of the art process from inception to execution to presentation to acquisition.
GAP champions collaborative activity as a vehicle for stimulation and enhanced creative discovery having experienced the rewards of group interaction and the illuminating effect in enhancing personal practice.
Having corresponded for a number of years via electronic social media, the nascent GAP members initiated exchanges of shards of paper, fabric, photos…found objects, whatever caught their fancy and built, initially depending upon the vagaries of international postal systems, vibrant surprising collages, paintings and constructions reflecting the international flavor of the gathered, exchanged, rotated and deconstructed elements; the sensibility and selection of the artists, one adding a frag here ,another a mark there, in an adding and subtraction, expansion and reduction of aesthetic impulses in exercises that produced works on fabric, paper and canvas in the spirit of FLUXUS, COBRA and EXQUISITE CORPSE, perhaps the spiritual antecedents of GAP activity.
GAP has been invited for additional residencies in Chicago and Mumbai and returned to Italy in September
2015 with workshops and exhibitions at sites including Gallery Cittadino, Association Fondo Verri andMonna Lisa Studios, curated by Monica Lisi and Mario Catalano.
We have recently confirmed a return to Palazzo Ca’ Zanardi July 27-August 21, 2016
at Venezia Art House for workshops, exhibition, studio colaboration and residency.
GLOBAL ART PROJECT :
Carl Heyward USA mixed-media arts, writer , photographer
Akiko Suzuki JAPAN contemporary quilt and fiber artist
Vered Gersztenkorn ISRAEL painter
Chaewon Laura Oh fiber, mixed-media arts
Lorna Crane NEW SOUTH WALES AUSTRALIA painter, mixed-media arts ( currently on leave of absence)
Jennifer Amy Homer-Hynes USA: painter, print maker, mixed-media
Robert Reed USA visual artist
satellite GAP members
Glen Rogers MEXICO print maker, sculptor, writer, painter
Gregory J Rose USA painter, professor
N Masani Landfair Wisewaters USA mixed-media arts , assemblage
Alvaro Sanchez GUATEMALA mixed-media arts, print maker
GAP Associates
Ron Weijers NETHERLANDS painter, mixed-media arts, museum board
Ron Shelton USA writer, artist, publisher
John Crabtree UK mixed media arts publisher
Massimo Nota ITALY painter mixed media arts
Heather Wilcoxon USA painter print maker
FRIENDS OF GAP:
( fiscal and logistical support with collaborative participation)
Suzanne Jacquot USA: painter
Violet Skipp Haffner USA : assemblage artist
Annie Lindberg USA : mixed-media artist
Sarah O’Hala USA : mixed-artist
Macha Mélanie FRANCE : choreographer
Maria Allocco USA : spoken word
Rosalyn Salters Acosta USA : movement
Sigurd Elleflaadt ISABELA : writer
Serenella Dodi ITALY : artist
Bea Last UK : artist
Monica Lisi ITALY : artist, curator
Mario Catalano ITALY : artist
GAP IV WORKSHOPS
JULY 27 -AUGUST 21 / VENEZIA ART HOUSE
PALAZZO CA’ZANARDI
2016
”
We will create new free -style
mixed-media quilts without limitation of technique, materials or tradition. Hand stitching or sewing machine techniques are available but most important
is
your attitude of openess and exploration;
what you feel and the intention you bring to the workshop. Participants are encouraged to bring their own materials and hand stitching tools, but are offered my own original stamped and dyed materials as well. ”
”
This workshop is structured around a research project: that of a state being. It requires no technical expertise. Students follow the path of their own dance. It begins with stretching (inspired from yoga),
and extends through directed improvisations, where we explore the infinite treasures of dancing
(exterior space, inner space, the game of bones which slide inside the flesh, the sensitivity of the skin …
the exchange between the body and gravity, relative to the ground, air, music …). Listening to our
“dancing beast”, these workshops have always improved the merits of movement, trust and harmony
within the group, and the famous “letting go” that allows you to be fully available to innovate! Once
fluidity is found in the body through improvisations, it can be expressed in other ways (automatic
drawing etc.) ”
Current Professional Activity :
Modern Jazz and Contemporary Dance Teacher
Graduate : Dance Teacher’s French State Degree (teach dance since 2004)
Still practice many Dance classes & workshops with many teachers including :
Intensive training with Ohahd Naharin and the Batsheva Dance company dancers in Tel Aviv in july/august 2015.
Artistic Director, Choreographer, Performer
Companie Puls’art, (Montpellier, France)
Artistic design, performing and staging many live shows. Including a collaboration with “Yura Yura feat. Melanie Macha” (Hands label) :
Lives of electronic music with dance performances and video projections
Shlagstrom Festival in Berlin (2010), Noxious Art Festival in Paris (2010), Festival Novosonic in Dijon (2011), “Superette Festival” in Switzerland (2011), “Liaisons Dangereuses” Bajkonur in Poland (2012), “Form of Hands” Bönen in Germany (2013)
More recently : “One”, dance-theater production with 10 dancers, played in 2014 and 2015 in Montpellier (France).
Visual Artist
Graduate : Superior Study at Royal «BEAUX-ARTS» Academy (Brussels, Belgium)
LODGING :
|
……………………………………………………………………………………………………………………………………………………………………….2015:
AKIKO /japan
CARL /usa ALVARO /guatemala
LORNA/ new south wales
LAURA / s. korea
Glen Rogers/ mexico :
N. MASANI WISEWATERS / usa
VERED / israel
GAP is currently taking reservations for participation in our proposed workshops and studio sessions.
Enrollment is limited( probably no more than five (5) participants in any one session.
We hope to repeat this experience, possibly adding mono-print making and sculptural workshops to the roster allowing artists at all levels of experience to participate in a nurturing, supportive setting which promotes as well as questions habitual creative methods.
Your reservation is a vote of confidence for the project; supports the project and encourages others to participate in a wholly unique experience.
Please contact me for further information, though many of us have already been in touch and this outreach is a response to your query.
Consult the GAP albums, facebook page and website to reference the Venice July 2014 experience.
If you decide to move forward today and make a reservation for the GAP workshops:
remit 150 euro ( paypal ) and select ONE of the following workshops…
DRAWING
MIXED – MEDIA
COLLAGE
PAINTING
CONTEMPORARY QUILT MAKING
*each workshop session will be conducted for four (4) hours
*material fees may apply
the paypal account associated with GAP II is:
artspeak2020@yahoo.com. Each workshop is 150 euro and you can add additional ones later if you like…the paypal information is above (artspeak2020@yahoo.com) I invite and encourage you to respond with registration asap and let others know…while this is participation in workshops for you, it also includes the experience to participate in interactive collaborative art practice and an exchange of techniques and ideas that you might not be exposed to otherwise.
Thank you for your interest; looking forward to communicating with you and seeing you in Italy in SEPTEMBER 2015 for GAP II.
Carl Heyward
GLOBAL ART PROJECT
http://www.utsanga.it/?p=140
https://spontaneouscombustionlanguageimagelab.wordpress.com/…
https://www.youtube.com/watch?v=bLcJHzOHAqE
thank you so much Camelia Mirescu for this beautiful document of our project in GAP Venice JULY 2014…please visit us in Lecce, Italy Sept 19- Oct 4 for our workshops and exhibitions curated by Monica Lisi at Mostra al Cittadino 52 artisti per 52 settimane and Fondo Verri :
*
we encourage you to register early to assure placement and confirmation of the workshop class of your choice: message your email address
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envelope collage # 4
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ZIMBABWE STEP TWO SERIES
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Our participation in the 3rd ANNUAL LECCE BIENNIAL is greatly anticipated by our group of six international artists combined Whose Efforts have coalesced into activities promoting international art practices in the form of exhibitions, workshops, lectures and a tour during the month of July 2014 to Venice, Treviso and Lecce, Italy.Beginning July 15th, for the period of one year, GAP individual works from each member will be displayed at the Palazzo Vernazza. Additionally, a collaborative work will be created in conjunction with our workshops at Ca ‘Zanardi in Venice where our joint study combines practice with collective investigation into mixed media, painting, fiber arts (contemporary quilt making) and collage producing a truly global artifact representative of the dedication, risk and trust between disparate, yet like-minded artists from all over the world in the setting of an up and coming center for European culture: Lecce.THE PROJECT
For Lecce’s 3rd Annual Salento Biennale our purpose is to Demonstrate the impact of a wide reaching far-flung group of international artists who have maintained communication and collaboration through an exchange of ideas and art works over the period of 3-4 years having initially met via electronic media.Originally Carl Heyward (San Francisco, California USA) and Lorna Crane (New South Wales, Australia) Began a friendship and correspondence via Heyward’s KNEE (jerk) Fragmentation (mail art) PROJECT in 2011 Which Consists of a one-for-one exchange of post card sized art works made Exclusively for the project That has Artist- Attracted over 500 participants and produced over 3,000 individual art works.The idea of fragmentation is central to His aesthetic mission fatto che the pieces of a culture, the debris, the archaeological products of waste and discard give evidence of culturally assigned value and worth;of conscious and sublimated preoccupations of contemporary cultures and That Their combination through collage, assemblage and other art methods Allows a reading of place and time That includes and transcends These elements.He and Crane developed in dialog in the course of this project Recognizing the resonance of Their personal imagery and founded ZIMBABWE (two-step) to encourage Their Own practice as a collaborative device, each marking a canvas or surface and sending intact or as a fragment to the other shortly after launching KNEE (jerk) .These works will be Exhibited in Australia in 2015 while the KNEE (jerk) Project will be Traveled as a segmented work Exhibited in various sites in combinations of 250-500 venues.In selected works in the course of These electric endeavors, both artists have Exhibited in Their Respective countries as well as having Participated in international shows.In expanding Their inclusion of other artists in the aforementioned and similar projects, Heyward and Crane added Stennick painter Joan of San Francisco (Heyward’s partner who has Exhibited widely in two-person shows with him as well as her own exhibitions only);Akiko Suzuki an award winning contemporary quilt maker from Osaka, Japan;the hugely popular self-taught Vered Gersztenkorn (Tel Aiv, Israel), a painter-collagist;and Chaewon Laura Oh of Seoul, Korea in multi-media artist and accomplished portraitist, Completing the GLOBAL ART PROJECT in November 2013.WE RESONATE TOGETHERWE ECHO TOGETHER
GAPOur work for the Biennale Lecce Reflects individual, personal and global Concerns by virtue of intention. We are creating and exhibiting Work That Allows the freedom of expression by the very opportunity to communicate beyond language and culture with various artists form all over the world while remaining open to the opportunities of the moment accessed through this circumstance in a setting (Italy) dear , yet completely foreign to us all.What might be produced? What might happen? What reaction might be? How will, we be changed? What of value might we give? What might we receive?What within US will be changed?Without this experience, how can we know?We learn from each other and are willing to be vulnerable and open to the experience.
Be willing to witness this process; be willing to join us in Lecce.
GLOBAL ART PROJECT
beginning July 15th 2014 GAP (the global art project) Carl Heyward / Lorna Crane / Joan Stennick / Vered Gersztenkorn / Chaewon Laura Oh and Akiko Suzuki Their present individual works as well as collaborative creations at the 4th Annual Biennial Lecce in southern Italy. Lecce The Biennale is curated the city of Lecce. This exhibition marks the coming of age of the Biennale and is an extension of the GAP international exhibitions and workshops during the month of July 2014 in Venice at Ca ‘Zanardi (July 5th – July 30th) and a special workshop in the town of Treviso in Veneto Sunday July 13th from 3-5 pm:
Former Church St. Anthony
Address Piazza La Rotonda
Badoere of Morgano (Treviso)
Sponsorized to municipal Department of Culture Morgano (Treviso) and Ass. cult. Art Gallery Museum NabilaFluxus
Curator Virginia Milici
lorna crane
GAP | Global Art Project
GAP – Global Art Project
Carl Heyward (USA), Joan Stennick (USA), Gersztenkorn Vered (Israel), Lorna Crane (Australia), Akiko Suzuki (Japan), Chaewon Laura Oh (Korea)
Starring at the Biennale of Salento, the artists of the GAP, the Global Art Project, led in Palazzo Vernazza, in Lecce, a tangle of languages in combustion, words and signs crumpled and are made clear in the accumulation as in subtraction. Dominant elements, the medial gap, increasing pervasiveness symbolic that appears in the development of signs of the group members. Sign, signs, multiply and subtract each other. The space is the work area of reprisal. Aggressive encirclement, assaults, leaving no time to lay eyes that already it is tempting to turn him and point to a new special, discovering new dimensions that populate the work. The surprise is constant attraction. Messages emerge and attempt criticism, the ambush to the cliché, the thought already.
# 1 GAP COLAB detail
# 2 CARL HEYWARD language
# 3 CARL HEYWARD detail … language
# 4 Carl Heyward
# 5 GAP Colab in progress
# 6 CARL HEYWARD row three
# 7 GAP Colab in progress
# 8 GAP COLLABORATIVE ARTIST’S BOOK
# 9 Carl Heyward and Vered Gersztenkorn row four:
# 10 Carl Heyward and Vered Gersztenkorn
# 11 GAP Colab
# 12 Carl Heyward row five
# 13 Carl Heyward
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“2013 review GLOBAL ART PROJECT (gap) ART
WORKSHOP: VENICE, ITALY July 2014 ”
Global Art Project (GAP) LABORATORIES OF ART: VENICE, ITALY July 2014
February 5, 2014 / /
GAP (global art project)
2014
WORKSHOP A CA ‘Zanardi GALLERY VENICE, ITALY
THINK DESIGN
by Australian artist Lorna GRU
Ca’Zanardi Venice July 2014
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>>>> >>>>>>>>>>>>>>>>>>>>>
The workshop three hours
This seminar explores the ‘idea of design with a fresh approach and intuitive. It will be a laboratory of ideas, exploration and self-discovery. A time to take a leap of faith in the search for unique visual language of each artist by building a series of small works on paper – each no larger than A4.
Be prepared to work quickly creating a platform to make a leap of faith – to see the perception of a mistake as fresh and challenging opportunities and be surprised with some final results exciting and revealing. Process includes the construction of a base layer of interest to over-draw and paint.
Materials list
Required> acrylic paint, markers, black ink, pencils assorted, small stapler, assorted graphite pencils, brushes, water container, scissors and glue stick
Optional> pages of books, paper, cloth found, works on paper scrap that can be used as collage
base map must be heavier to withstand some work collage to act as a base for excessively then draw with a means fluid
The final results will be a series of small works on paper> or some may be completely solved in the ongoing work to complete in their own time.
MIXED -Media / collage WORKSHOP
facilitated by
American artist:
Carl Heyward
and
Korean Artist:
Laura Oh Chaewon
Duration: 3 hours sessions available and encouraged
Oh:
“I’d like to make small collages (extrapolating on the development of my bag
and cardboard Collages Collages)
using envelopes, fabrics, buttons, cardboard, found objects, photos, pages torn from books,
and lettering, molding, attaching wire mesh pencil drawings charcoal and painting with
acrylic as background or collage elements overlapping.
Focus centers on the free flow of energy … make collages for fun. ”
Heyward:
… In every package of objects, waste paper, note discarded, forgotten and commercial product photography is a comparison with the values of our culture, the glut of information available is overwhelming and presents a challenge to simple linear understanding, perhaps work of ‘art mixed -media offers the opportunity of a nearly meditative sort of chaos in and out …
Collage and materials found are the
focus: Newsprint, photos, magazine
pictures … anything with meaning can be
made to mean more, the sum of
the
materials can be manipulated to
create
works of art narrating personal
observations on ‘art,’
culture,
politics and personal history.
materials:
photos, writing, discarded books, blank books, found paper objects. glue sticks, pencil, color materials: acrylic paint and oil stick, markers etc.
ABSTRACTIONS in QUILT MAKING:
with the Japanese artist
Akiko Suzuki
aims:
Creating a small quilt abstract using the ancient Japanese kimono as a starting point
Creating a quilt made up of clothes paintings
Creating a quilt that combines Japanese kimono and clothing painted
involving hand-stitching
Materials also supplied iron.
* PARTICIPANTS note: as this is a labor intensive workshop ask the participants to be prepared for all day or half-day sessions and to consider the possibility of multiple daily sessions to complete these quilts.
Vered Gerzstenkorn:
Israel is an artist whose approach to painting offers complete freedom to the impulses of the child artist.
“Most of my collages (if not all) are
the fact of my drawings / paintings, I
difficult to use material found to create them. I
I am going to use my way to work
workshops alongside technical acrylic. ”
Workshop Vered will prove to be innovative and experimental nature put the participant possibly off-balance
in unfamiliar territory and then gently usher back with painting the wall with eyes closed and then opened; extrapolating
drawings and paintings in both formats and unusual juxtapositions and unexpected;
Required materials: oil pastels, house paint, pencils, everything that makes a mark.
Drawing workshop:
facilitated by American artist
Joan Stennick
… It’s a high energy class based on the tools essential
to life drawing, objects and imagination accompanied by music and the verbal direction and encouragement from Stennick approach which can accommodate all skill levels. You explore new methods of
mark-making awakening new relationships with the materials to work through an intuitive approach to artistic practice.
JOAN AT GDG PAINTING W photo of Peggy reskin November 2013 acrylic
“I monitor an interior landscape with various levels of connection with reality physical, I never planned ahead, but allowing it to happen as is clear … when it feels right in my body … and making the sign when I see the shot. ”
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
for registration information and leave a tariff comment and a facilitator will contact you via email
+ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
RelatedGLOBAL ART PROJECT (gap) LABORATORIES OF ART: VENICE, ITALY July 2014
Ronald Chase / Carl Heyward / Joan Stennick: WINTER TIME
With 145 commentsA tapestry SORROW: AKIKO SUZUKI
In “1)” Small abstract “2)” Eat your bones “112x95cm 44” x37 “Cotton and hand-dyed silk organza”
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respond
margadirube
February 5, 2014 06:08 (change)
Very interesting! I feel great! .. And with great artists! congratulations for a great idea! !
respond
JWKouwen
February 5, 2014 at 19:09 (change)
hm … Venice …. (> | -.)
reply
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GAP: global art project
Carl Heyward
Lorna Crane
Joan Stennick
Oh Laura Chaewon
Vered Gersztenkorn
Akiko Suzuki
GAP will expose ‘new artwork and will build’ laboratories mixed media, collage, creating quilt and
design with six international artists, during the month of July in Venice and at the end of the month agreed
the invitation to participate in the Biennale in Lecce in southern Italy.
DATES be determined
WORKSHOP FOR INDIVIDUALS
50 EURO
PACKAGE OF THREE SEMINARS
100 EURO
MATERIALS PROVIDED
Each workshop consists of a minimum of FOUR HOURS
WITH POSSIBILITY ‘OF EXTENSION OF TIME TO ALL DAY OR HALF DAY IF
SHOULD
<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< <<
THINK DESIGN
with the Australian artist Lorna GRU
Ca’Zanardi Venice July 2014
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>
About three hours workshop
This workshop explores the ‘idea of the design with a fresh approach and intuitive. It will be a laboratory
ideas, exploration and self-discovery. An ‘opportunity to seek the unique visual language of each artist
with the realization of a series of small works on paper – each no larger than A4.
Be prepared to work quickly by creating a platform that allows you to feel like a failure
a ‘fresh and challenging opportunities and to surprise you with some final results exciting and detectors. The
process includes the construction of a base layer on which to draw and paint.
Materials List
Necessary> acrylic paint, markers, black ink, pencils assorted, small stapler, pencils
graphite assorted brushes, water container, scissors and glue sticks
Optional> pages of books, paper, cloth, discarded works on paper that can be used as
collage
The base paper must be heavier to withstand working dii collage and to act as a base for later
overlay designs with a fluid medium.
The final results will be a series of small works on paper> some completely resolved, as other
“Work in progress” to complete in their own time.
<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< <<
Mixed media and collage WORKSHOP
American artist:
Carl Heyward
is
Korean artist:
Oh Laura Chaewon
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>
Duration: 3 hours sessions available and highly recommended
Oh:
“I’d like to make small collages (extrapolating on the development of my bag and cardboard Collages
Collages) using envelopes, fabrics, buttons, cardboard, found objects, photos, pages torn from books, and
lettering, pressing, attacking wire mesh, pencils, charcoal drawings and paintings with acrylic as
background or overlapping elements of collage. Staying focused on the free flow of energy … do
collage for fun. ”
Heyward:
“The collage is the sense in the chaos that surrounds us”
… In every object, piece of paper, notes discarded, forgotten photographs and parcels of commercial products c ‘
is a comparison with the values of our culture, the glut of information available is overwhelming
and it represents a challenge to the simple linear understanding; Knows’ that the work of art in mixed media
not offer the opportunity to put some order in an almost meditative chaos inside and outside …
Collage and found material are the core: newsprint, photos, images … In any magazine
What that means something you can ‘add a greater value, the sum of the materials can’
be manipulated to create works of art that tell personal observations on ‘art, culture,
politics and personal stories.
materials:
photos, writings, discarded books, blank books, paper objects found, glue sticks, pencil, material color: Color
acrylics and oil pastels, markers etc.
<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< <<<<
ABSTRACTIONS in QUILT MAKING:
with the Japanese artist Akiko Suzuki
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>
Aims:
Creating a small quilt abstract using ancient Japanese kimonos as a starting point
Creating a quilt made up of clothes paintings
Creating a quilt that combines Japanese kimono and clothing painted with the use of sewing
hand
The material will be ‘provided including iron.
* NOTE for PARTICIPANTS: since this is a highly developed and intense workshop ask
participants to be prepared to invest a whole day or half-day sessions and take in
consider the possibility of multiple daily sessions to complete these quilts.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>
Israeli artist
Vered Gerzstenkorn:
<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< <<<<<
His approach to painting offers complete freedom to the impulses of the child in the ‘artist.
“Most of my collages (if not all) are made of my drawings / paintings,
difficult to use material found to create them. I’m going to use my way to work
workshop together with the use of techniques acrylic. ”
The Workshop of Vered will prove extremely innovative and experimental, putting the participant
possibly in unfamiliar territory, then ushering back with painting the wall with their eyes first
closed and then opened; extrapolating drawings and paintings in formats and unusual and unexpected juxtapositions.
Materials needed:
oil pastels, paint from home, pencils, everything that is able to make a mark.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>
DRAWING
facilitated by American artist
Joan Stennick
<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< <<<<
… Is a high-energy class based on the essential tools of drawing inspiration tranedo
from life, from objects and fantasy with music and under the direction and encouragement
of Stennick whose approach will be ‘able to accommodate all skill levels. She esplorarera ‘new methods
of mark-making awakening new working relationships with materials through an intuitive approach to
artistic practice.
J.W.Kouwen 
larrywstrong 
jamie edwards 
mdalcin 
oscar verrico 
Cristina Bittante 
spontaneouscombustionlanguageimagelab 
GAP (global art project)
Ron Shelton Produces HAF (HIGH ART FRIDAY’S Which profiles contemporary arts and art activities on FACEBOOK)
this interview Appeared August 7, 2014
https://www.facebook.com/groups/496221567165118/permalink/634060736714533/
Questions for Carl:
1) Carl, how did GAP 2014 Venice Workshop come to fruition?
Specifically the workshops came into being after examining our presence in Italy for the exhibition at CaZanardi as well as the invitation to participate on the 3rd in Lecce / Salento Biennale; I learned only through a series of exhibitions last year in Ceglie Mesapica and Lecce That there is great interest in contemporary art practices, especially the mixed-media process in the Fine Arts Academie settings, by the emerging artists who operate in an environment rich with antiquities and the whole history of Western art at Their doorstep That is oddly bereft of a contextual format That seriously addresses many aspects of current practice. So we made ourselves available during the course of the exhibit, between our own study time, to conduct sessions in drawing, art from nature, mixed media, collage, contemporary quilt making and painting.
2) What criteria did you employ Selecting the 6 artists?
I have known individuals in the group from a period ranging from two to six years; have Collaborated extensively with all of them, especially Lorna Crane who has joined me in the KNEE (jerk) Fragmentation PROJECT since about 2011 Involving Opinions more than 500 artists worldwide Resulting in Opinions more than 3,000 A-5 (roughly 6 x 9 inch) sized pieces in a one-for-one art exchange between the participants. She immediately responded to the notion of “fragmentation”, refuse salvaging materials from the studio floor, the trash bin, found the scrap, discarded the gesture That contained a germ of salvageable intent That, combined with another “frag” might result in a whole That new work risen from heap … That add to the collected frags coming in from all over the world, re-combined and then cut up and re-distributed as fresh new works with the participation of Involved creative people, well, all of this proved to be very rewarding and stimulating.
That community of artists and continues to expand the core group came from GAP Those energies: Akiko Suzuki, Laura Oh, Joan Stennick (my partner) and Vered Gerszrenkorn.
We share a similar aesthetic, combine disparate elements in the creation of our work, but maintain individual and unique identities in the overall practice of each artist. We meet at the intersection of mixed-media yet maintain divergent philosophical Paths That define each, perhaps, for who they / we are.
These are artists who do what I can not do, do what has not occurred to me to do, create simple magic through dint of Their dedication to the creative process. All are dedicated practitioners Whose work I admire deeply.
And of course the sad “YES”!
3) How did the overall chemistry of the 6 artist impact the direction and outcome of the workshop?
We expected to have the jerk, the first woman; to have drama and discord … “in the course of human events” and all that … it NEVER happened. We had the most incredible experience making art together, teaching, improvising, learning, traveling together, brainstorming … making it up as we went … incredible meals and conversations. We Knew from the gate That this is / was and continues to be a unique and special experience. Add to That the phantasmagorical environment of living in a 15th century palace in Venice, Italy..give me a break.
It was “lemme pinch myself” every day for a month.
There exists in telepathy, an unspoken communication That I have only experienced in an intimate or improvisational musical jam sessions That is very high and very special; this is what the month of July was like; every moment an opportunity to be completely present, to create or impart some idea, to witness others grapple with challenges and aesthetic solutions, alternatives from the canvas to Selecting the right route to the Rialto Bridge to Deciding the menu for dinner … and trust serendipity Seemed to be the credo for the GAP experience overall.
With the Additions of British artist John Crabtree and later the Italian Cinzio Cavallarin we were challenged and privilege to create fast-paced works at an incredible rate without thought or reservation Which proved to be an invaluable stimulus to the group dynamic and informed the individual workshops That Were Opinions more formal and structured.
We faced fifteen artists at Treviso’s Art in the Rotunda situated in a massive round of buildings traditionally used as an ancient market place stall converted into spaces for artists marketing Their Work. This proved to be an exhausting exercise in crowd-control and improv theater Resulting in the bonding of the GAP unit into a “rise to the occasion” MASH unit of artists-paramedics.
4) What was the reaction of the community That took part in the workshop sessions?
Completely positive. Most acknowledged That they had never worked in Within the formats or Considered That the suggestions we made to loosen up and escape the tyranny of the precious object, make a mark and tear it up, combine with another. The notion That One wold create a masterpiece or rany completed work In These sessions Entirely went out the window. Once participants accepted the premise That they could Entirely free and responsible for the direction of the sessions you could see and feel the joy of liberation That accepted and the concomitant responsibility with freedom.
5) How did the artist’s workshops in collaboration impact the project?
This was a very important element of the GAP experience. We all Witnessed the process of the other.Sometimes immediately, sometimes over a period of days. Handing a work in progress over to Akiko, for instance, I was amazed where she took things … she is a consummate “finisher,” I am a good instigator; Lorna is a masterful teacher; Vered is just magical to watch and all the Opinions more charming Because she is so self-effacing; she has no clue just how valuable she is, and Laura is completely indispensable to the entire process, she is there with what you need before you realize That you need it.
I was puzzled as to just how to collaborate with her (Laura); she, like Akiko, use fabric and exotic papers in her creations … nonetheless two of the most satisfying pieces created in the collaborative process came from my work with Laura and I am very very pleased.
Something arose from just jumping without knowing That the parachute would open and the experience remains amazing with very satisfying results. We are all gratified and I believe changed for the better. It remains to be seen how this experience will impact our individual practices.
6) What story did the Book Art collage convey collaborations of GAP Venice 2014?
This is the portable gallery. This is the act of being in the moment and synthesizing the immediate experience without fiction or editing. This is the raw unadulterated truth of our experience and is a shorthand of That experience put into visual poems.
7) What future development direction will go from the information collected through the GAP project?
We shall see. Certainly increased At confidence in group and individual practices. GAP is / was an experience, a group for people who eschew the group idea … a social experience for hermits … an Entirely unique and special experience. Attempting to duplicate the experience will fail? Possibly. But if there is one thing That We learned it is this:
A creative risk is a risk worth taking. Nothing compares to the process. Nothing compares to the result. Nothing.
GLOBAL ART PROJECT / GAP
Ron Shelton Produces HAF (HIGH ART FRIDAY’S Which profiles contemporary arts and art activities on FACEBOOK)
this interview Appeared August 7, 2014
https://www.facebook.com/groups/496221567165118/permalink/634060736714533/
Questions for Carl:
1) Carl, how did GAP 2014 Venice Workshop come to fruition?
Specifically the workshops came into being after examining our presence in Italy for the exhibition at CaZanardi as well as the invitation to participate on the 3rd in Lecce / Salento Biennale; I learned only through a series of exhibitions last year in Ceglie Mesapica and Lecce That there is great interest in contemporary art practices, especially the mixed-media process in the Fine Arts Academie settings, by the emerging artists who operate in an environment rich with antiquities and the whole history of Western art at Their doorstep That is oddly bereft of a contextual format That seriously addresses many aspects of current practice. So we made ourselves available during the course of the exhibit, between our own study time, to conduct sessions in drawing, art from nature, mixed media, collage, contemporary quilt making and painting.
2) What criteria did you employ Selecting the 6 artists?
I have known individuals in the group from a period ranging from two to six years; have Collaborated extensively with all of them, especially Lorna Crane who has joined me in the KNEE (jerk) Fragmentation PROJECT since about 2011 Involving Opinions more than 500 artists worldwide Resulting in Opinions more than 3,000 A-5 (roughly 6 x 9 inch) sized pieces in a one-for-one art exchange between the participants. She immediately responded to the notion of “fragmentation”, refuse salvaging materials from the studio floor, the trash bin, found the scrap, discarded the gesture That contained a germ of salvageable intent That, combined with another “frag” might result in a whole That new work risen from heap … That add to the collected frags coming in from all over the world, re-combined and then cut up and re-distributed as fresh new works with the participation of Involved creative people, well, all of this proved to be very rewarding and stimulating.
That community of artists and continues to expand the core group came from GAP Those energies: Akiko Suzuki, Laura Oh, Joan Stennick (my partner) and Vered Gerszrenkorn.
We share a similar aesthetic, combine disparate elements in the creation of our work, but maintain individual and unique identities in the overall practice of each artist. We meet at the intersection of mixed-media yet maintain divergent philosophical Paths That define each, perhaps, for who they / we are.
These are artists who do what I can not do, do what has not occurred to me to do, create simple magic through dint of Their dedication to the creative process. All are dedicated practitioners Whose work I admire deeply.
And of course the sad “YES”!
3) How did the overall chemistry of the 6 artist impact the direction and outcome of the workshop?
We expected to have the jerk, the first woman; to have drama and discord … “in the course of human events” and all that … it NEVER happened. We had the most incredible experience making art together, teaching, improvising, learning, traveling together, brainstorming … making it up as we went … incredible meals and conversations. We Knew from the gate That this is / was and continues to be a unique and special experience. Add to That the phantasmagorical environment of living in a 15th century palace in Venice, Italy..give me a break.
It was “lemme pinch myself” every day for a month.
There exists in telepathy, an unspoken communication That I have only experienced in an intimate or improvisational musical jam sessions That is very high and very special; this is what the month of July was like; every moment an opportunity to be completely present, to create or impart some idea, to witness others grapple with challenges and aesthetic solutions, alternatives from the canvas to Selecting the right route to the Rialto Bridge to Deciding the menu for dinner … and trust serendipity Seemed to be the credo for the GAP experience overall.
With the Additions of British artist John Crabtree and later the Italian Cinzio Cavallarin we were challenged and privilege to create fast-paced works at an incredible rate without thought or reservation Which proved to be an invaluable stimulus to the group dynamic and informed the individual workshops That Were Opinions more formal and structured.
We faced fifteen artists at Treviso’s Art in the Rotunda situated in a massive round of buildings traditionally used as an ancient market place stall converted into spaces for artists marketing Their Work. This proved to be an exhausting exercise in crowd-control and improv theater Resulting in the bonding of the GAP unit into a “rise to the occasion” MASH unit of artists-paramedics.
4) What was the reaction of the community That took part in the workshop sessions?
Completely positive. Most acknowledged That they had never worked in Within the formats or Considered That the suggestions we made to loosen up and escape the tyranny of the precious object, make a mark and tear it up, combine with another. The notion That One wold create a masterpiece or rany completed work In These sessions Entirely went out the window. Once participants accepted the premise That they could Entirely free and responsible for the direction of the sessions you could see and feel the joy of liberation That accepted and the concomitant responsibility with freedom.
5) How did the artist’s workshops in collaboration impact the project?
This was a very important element of the GAP experience. We all Witnessed the process of the other.Sometimes immediately, sometimes over a period of days. Handing a work in progress over to Akiko, for instance, I was amazed where she took things … she is a consummate “finisher,” I am a good instigator; Lorna is a masterful teacher; Vered is just magical to watch and all the Opinions more charming Because she is so self-effacing; she has no clue just how valuable she is, and Laura is completely indispensable to the entire process, she is there with what you need before you realize That you need it.
I was puzzled as to just how to collaborate with her (Laura); she, like Akiko, use fabric and exotic papers in her creations … nonetheless two of the most satisfying pieces created in the collaborative process came from my work with Laura and I am very very pleased.
Something arose from just jumping without knowing That the parachute would open and the experience remains amazing with very satisfying results. We are all gratified and I believe changed for the better. It remains to be seen how this experience will impact our individual practices.
6) What story did the Book Art collage convey collaborations of GAP Venice 2014?
This is the portable gallery. This is the act of being in the moment and synthesizing the immediate experience without fiction or editing. This is the raw unadulterated truth of our experience and is a shorthand of That experience put into visual poems.
7) What future development direction will go from the information collected through the GAP project?
We shall see. Certainly increased At confidence in group and individual practices. GAP is / was an experience, a group for people who eschew the group idea … a social experience for hermits … an Entirely unique and special experience. Attempting to duplicate the experience will fail? Possibly. But if there is one thing That We learned it is this:
A creative risk is a risk worth taking. Nothing compares to the process. Nothing compares to the result. Nothing.
GLOBA