spontaneouscombustionlanguageimagelab

GAP IV WORKSHOPS

JULY 27 -AUGUST 21 / VENEZIA ART HOUSE

PALAZZO CA’ZANARDI

2016

 
GAP IV:
VENICE ART HOUSE
July 27-August 2016
workshops, collaborative and private studio practice, organic exhibition

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…

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GLOBAL ART PROJECT ( g.a.p.) ART WORKSHOPS : VENICE, ITALY JULY-AUG, 2016

 

 

GAP III print

GAP : (global art project)
GAP III
SEPTEMBER  2015 LECCE, ITALY
MONNA LISA STUDIOS, CITTADINO & FONDO VERI
GAP II
MARCH 2015
MAZATLAN, MEXICO
CARLOS BUELNA GALLLERY, MUSEO DE ARTE DE MAZATLAN 
GAP I
JULY 2014
EXHIBITION AND WORKSHOPS AT CA ‘Zanardi GALLERY VENICE, ITALY
 
gap in 2014
>>>>
Lorna Crane
Joan Stennick
Chaewon Oh Laura
Carl Heyward
Vered Gersztenkorn
Akiko Suzuki
*
GAP MEXICO INVITATION ALVARO JOAN IMAGE
<<<<
*
GAP will be exhibiting new art work and conducting workshops in mixed media, collage, quilt making and drawing with six international artists during the month
of July 2014 in Venice and at the end of the month accepted an invitation to participate on in the Biennale Lecce in southern Italy.
GAP ALVARO SANCHEZ LA DUDA DE DIOS
ALVARO SANCHEZ
……………………………………………………………………………………………………………………………………………………………………….2015:
GAP ( global art project ) invites native and traveling artists to view compact evolving exhibitions and participate in workshops and demonstrations of collaborative and mixed-media arts in our ongoing series of international activities for this project. We return to Lecce in southern Italy a year after participating in the Salento Biennale, the Tonio Jazz Festivall and establishing a base in Venice at Ca’ Zanardi to Mostra al Cittadino 52 artisti per 52 settimane and Fondo Verri with the guidance of curatorMonica Lisiwhose Monna Lisa studio space will serve as the site for workshops for visiting and local artists from September 20 to October 4th and center of experiments in art practice by Carl Heyward / Akiko Suzuki and Vered Gersztenkorn – Painter. The exhibitions include rotating examples of individual and collaborative new and existing works from core GAP members Laura Oh and Lorna Crane. Additionally satellite GAP membersGlen Rogers / Gregory J Rose / N Masani Landfair Wisewaters and Alvaro Sanchez round out the project with diverse works various media including print, painting, collage, contemporary quilt making, assemblage, electro-static graphics and other genres….the conglomerate of participants hail from USA / JAPAN / ISRAEL / NEW SOUTH WALES / SOUTH KOREA & GUATEMALA . Join GAP as we invent the face of the necesarily collaborative future.
AKIKO CUPPED RED FACE BART   AKIKO  /japan
WORMSCARL AND ALVARO TERRORISTS  CARL /usa ALVARO /guatemala
LORNA PORT     LORNA/ new south wales
GREGORY / usa   GREGORY J ROSE PORT
GAP LAURA OH BY CAMELIA MIRESCU   LAURA / s. korea
GAP PR IMAGE Glen Rogers 2015Glen Rogers/ mexico :
N MASANI LANDFAIR WISEWATERS PIECE WITH PORT    N. MASANI WISEWATERS / usa
VERED COLORIZED BY CH  VERED / israel
……..
Due workshop sono ospitati dall’artista e curatrice Monica Lisi nel suo studio in occasione dell’arrivo a Lecce degli artisti Carl Heyward Vered Gersztenkorn e Akiko Suzuki . Verranno esposti a Lecce i loro lavori, come anche quelli del gruppo GAP presso il Caffè cittadino ed il Fondo Verri a Lecce.
Domenica 20 settembre e Domenica 27 Settembre, dalle 16 alle 19 si terranno due sessioni al prezzo sociale di 25 euro l’una per dare a tutt* la possibilità di conoscere e apprezzare il lavoro di questi straordinari artisti. Pittura disegno, quilt, mixed media e collage saranno le tecniche utilizzate. Il prezzo dei workshop servirà a finanziare la residenza a Lecce degli artisti provenienti dal Giappone, Israele, Stati Uniti.
Necessaria prenotazione e conferma tramite un’acconto che non verrà restituito in caso di rinuncia. Info 3274288848 monnalisa.71@libero.it
Two workshops are hosted by the artist and curator Monica Lisi in his studio after the arrival in Lecce artists Carl Heyward Vered Gersztenkorn andAkiko Suzuki . Lecce will be exposed to their work, as well as those of the group GAP at the Coffee citizen and the Fund Verri in Lecce.
Sunday, September 20 and Sunday, September 27, from 16 to 19 there will be two sessions a social price of 25 euro each to give to everybody the opportunity to know and appreciate the work of these extraordinary artists.Painting design, quilt, mixed media and collage techniques will be used.The price of the workshop will be used to finance the residence in Lecce artists from Japan, Israel, the United States.
Necessary booking and confirmation through un’acconto will not be refunded in case of cancellation. Info 3274288848 monnalisa.71@libero.it .
GAP colab quilt Akiko assembled frags from Carl and Vered The Road to Lecce

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

*
NOW AND THEN
*
THINKING ABOUT DRAWING
with Australian Artist  LORNA CRANE
Ca’Zanardi Venice July 2014
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>
About the Workshop 3 hours
This workshop explores the idea of ​​drawing with a fresh and intuitive approach. It will be a workshop of ideas, exploration and self discovery. A time to take a leap of faith in the search for each artist’s unique visual language by building a series of small works on paper – each no larger than A4.
Be prepared to work quickly creating a platform to take a leap of faith – to view the perception of a mistake as a fresh and inspiring opportunity and to be surprised with some exciting and revealing end results. Process includes building a base layer of interest to over-draw and paint.
Materials List
Necessary> acrylic paint, markers, black ink, assorted pencils, small stapler, assorted graphite pencils, brushes, water containers, scissors and glue stick
Optional> book pages, found paper, cloth, discarded That works on paper can be used as collage
Base paper Should be a heavier weight to withstand some collage work to act as a base to then over-draw with a fluid medium
The end results will be a series of small works on paper> maybe some fully resolved or be works in progress to complete in your own time.
MIXED-MEDIA / collage WORKSHOP
facilitated by 
 
American Artist: 
Carl Heyward  
and
Korean Artist:
Oh Laura Chaewon
                       
DURATION: 3 hours multiple sessions available and ENCOURAGED 
20140130033043-untitled_envelope_collage__4__mixed_media__19_x_86_cm__oct
envelope collage # 4


Oct., 2013
mixed media
19 x 86 cm 

 
 
Oh:
 
“I would like to make small collages (extrapolating on the development of my Envelope
Cardboard and Collages Collages)
using envelopes, fabrics, buttons, cardboard, found objects, photos, pages torn from books,
and lettering, stamping, attaching knitted wires, pencil, charcoal drawings and paintings with
acrylic as background or overlapping collage elements.
Focus centers on the free flow of energy … making collages for fun. “
Heyward:
 
“Collage makes sense of the chaos around us”
   20140129211138-zimbab_detail_chicken_coca_nudes
 
ZIMBABWE STEP TWO SERIES 
 
… In every object, scraps of paper, discarded notes, forgotten photograph and commercial product package is a confrontation with the values ​​of our cultures; the glut of information available is overwhelming and poses a challenge to simple linear comprehension; perhaps mixed-media art work offers the opportunity for an almost meditative ordering of the chaos Within and without …
 
Collage and found materials are the
Focus: newsprint, photos, magazine
imagery … anything with meaning can be
Made to mean Opinions more; the sum of
the
materials can be manipulated to
created
personal art works narrating
observations on art, the
cultures,
politics and personal history.
materials:
 
photos, writing, discarded books, blank books, found paper objects. glue stick, pencil, materials to color: acrylic paints and oil stick, markers etc.
 
 
Abstractions in QUILT MAKING:
with Japanese Artist
 
Akiko Suzuki
 
Objectives:
 
Creation of a small abstract quilt using the Japanese Kimono Antique as a point of departure 
 
Creation of a quilt Consisting of painted clothing
 
Creation of a quilt combining Both Japanese kimono and painted clothing
Involving hand stitching 
 
Materials provided including electric iron.
20140127070922-img_4918
Black water: series Under my Skin

Nov.2013
mixed media
42x30cm 16 “x12”

PARTICIPANTS * note: as this is a labor-intensive workshop we urge participants to be prepared for all day or half day sessions and to Consider The Possibility of multiple day sessions to complete These quilts.
 
 
 
Vered Gerzstenkorn:  
 
an artist from  Israel Whose approach to painting  offers complete freedom to the impulses of the child in the artist.
 
“Most of my collages (if not all of them) are
 
Made out of my drawings / paintings, I 
 
hardly use found material to create them. The 
 
intend to use my way of working in
 
workshops alongside acrylic techniques. “
 
 
Vered’s workshops will proof to be  innovative and  experimental in nature putting the participant possibly off-balance 
 
in unfamiliar territory then  ushering them gently back with wall painting with eyes closed then open; extrapolating 
 
drawings and paintings  into formats and juxtapositions Both  unusual andunexpected;
 
 
 
Photo
                                                                                                                     vered gerzstenkorn:
 
Materials Required:  Oil sticks, house paint, pencils, anything That  makes a mark.
 
 
 
 
 
DRAWING WORKSHOP:
 
facilitated by American Artist
 Joan Stennick
                       
                                                       
… Is a high-energy class based on the essential tools
of drawing from life, from objects and from the imagination accompanied by music and verbal direction and encouragement from Stennick Whose approach will accommodate all skill levels. She will explore new methods of
mark-making awakening new relationships with working materials through an intuitive approach to art practice.
                                                                  JOAN AT GDG W PAINTING photo by peggy reskin November 2013 acrylic
 “The track an interior landscape with varied levels of connection to physical reality; never planned in advance, but Allowing it to happen as it Emerges … when it feels right in my body … and making the mark When I see the shot.”
GLOBAL ART PROJECT
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 TOGETHERgap in 2014GAPOur 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 TAN WORKS FOR WORKSHOP PRlorna crane
                                                                                                           Photo
                                                               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
image

# 2 CARL HEYWARD language
image

# 3 CARL HEYWARD detail … language
image

# 4 Carl Heyward
image

# 5 GAP Colab in progress
image

# 6 CARL HEYWARD row three
image

# 7 GAP Colab in progress
image

# 8 GAP COLLABORATIVE ARTIST’S BOOK
image

# 9 Carl Heyward and Vered Gersztenkorn row four:
image

# 10 Carl Heyward and Vered Gersztenkorn

image

# 11 GAP Colab
image

# 12 Carl Heyward row five
image

# 13 Carl Heyward
image

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2 Comments

  1. 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.

  2. 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

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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
Leave a Comment

also:

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.

GAP IV WORKSHOPS

JULY 27 -AUGUST 21 / VENEZIA ART HOUSE

PALAZZO CA’ZANARDI

2016

 
GAP IV:
VENICE ART HOUSE
July 27-August 2016
workshops, collaborative and private studio practice, organic exhibition

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 III
SEPTEMBER  2015 LECCE, ITALY
MONNA LISA STUDIOS, CITTADINO & FONDO VERI
GAP II
MARCH 2015
MAZATLAN, MEXICO
CARLOS BUELNA GALLLERY, MUSEO DE ARTE DE MAZATLAN 
GAP I
JULY 2014
EXHIBITION AND WORKSHOPS AT CA ‘Zanardi GALLERY VENICE, ITALY
 
gap in 2014
>>>>
*
GAP MEXICO INVITATION ALVARO JOAN IMAGE
<<<<
*
GAP ALVARO SANCHEZ LA DUDA DE DIOS
ALVARO SANCHEZ

 

GAP IV WORKSHOPS

JULY 27 -AUGUST 21 / VENEZIA ART HOUSE

PALAZZO CA’ZANARDI

2016

THE WORKSHOP DESCRIPTIONS 
 

GAP IV VENICE 2016 / JULY 27-AUGUST

​  21
 
Global Art Project International 
 
WORKSHOPS
 
 
 
mixed-media / INTENSIVES
 
Join CARL HEYWARD / usa 
 
as he leads participants in an afternoon of creative exploration 
using the materials at hand to produce mixed-media works of beauty and visual complexity. 
His workshops in Italy, Mexico and the United States are highly attended sessions of hands-on 
investigations in painting, collage, print making and artists’ books for creative people of all levels 
of experience.
 
Heyward is a mixed-media artist whose recent or upcoming exhibitions include: 
UNLEASHED GALLERY (California); GAP : SF INTERNATIONAL ARTS FESTIVAL 
“Dada Here and Now” 
GAP: ROOM ART GALLERY” By Collaboratve Means” ( Mill Valley, California); 
THE FOURTH WALL GALLERY (Oakland California); GAP: CARLOS BUELNA GALLERY@ 
MUSEO DE ARTE MODERNO DE MAZATLAN ( Mazatlan, Mexico) 
and 10dence GALLERY  ” Poligious Issues”( Rotterdam, Netherlands) 2017
 

Saturday 

​July​

 30

1300 – 1600
3 hour session
Fee: 75 euro
 
or
 

Sunday 

​July 31​
1300-1600
3 hour session
Fee: 75 euro
 
Participants are encouraged to bring works-in progress and any personal materials they would 
like to use in the workshop. Instructor provides all necessary materials at no additional cost.
 
Additional workshops, alternative dates,  private instruction and consultation may be made available at your request.
Contact instructor via facebook messages or at :
 
 
 
 
CONTEMPORARY ART QUILTS & FIBER ARTS WORKSHOP
 
AKIKO SUZUKI / japan:
 

is an award winning fiber artist whose practice has pioneered the forward movement of the Contemporary Art Quilt

​ ​

in Japan and throughout the world via exhibition and workshops. Surprisingly, the introduction of the Western traditional

quilt

​ to Japan​

 took place only in the 1970’s

​,​

 adding another layer to the rich tapestry of Japanese and Asian interpretations of functional and

​ ​

ornamental fiber works.

 
AKIKO SUZUKI: 
 
COPY THE INVISIBLE UNIVERSE ONTO THE SKIN OF CLOTH
 
SEWING SOUNDS THAT OTHERWISE CANNOT BE HEARD
 
TO SHARE MY POETRY WITH YOU
 
WITH SCISSORS, THREAD, NEEDLE AND SEWING MACHINE
 
AND  CONTINUE THIS CREATIVE IMPULSE TILL
 
THE END OF THE WORLD
 
 
​”​

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.

​”​
 
Awards:
2013 Quilt Nihon Exhibition “Seto Award” (Japan)
2010 Quilt Nihon Exhibition (Japan)
2006 Husqvarna Viking Contest (USA)
2005 American Quilter’s Society (USA)
 Pacific International Quilt Festival (USA)
2001 International Quilt Week Yokohama (japan)
2000 American Quilter’s Society (USA)
 International Quilt Week Yokohama Contest Award “Excellence” (japan)
 Quilt Nihon Exhibition (Japan)
 
 
Participants in this workshop will create panels for the completion of larger quilt and fiber works; learn hand sewing and machine techniques, collaborate on mixed-media works under the direction of Suzuki.
 
 
CONTEMPORARY QUILT @ FIBER ART WORKSHOP:
 

Saturday   August 

​6​
1300 – 1600
3 hour session
Fee: 75 euro 
*10 euro materials fee* ( covering the cost of antique kimono, organdy and other fabrics provided by instructor)
 
or
 
Sunday August 7
1300 – 1600
3 hour session
Fee: 75 euro 
*10 euro materials fee * ( covering the cost of antique kimono, organdy and other fabrics provided by instructor)
 
 
 
 
Additional workshops, alternative dates,  private instruction and consultation may be made available at your request.
Contact instructor via facebook messages or at :
 
 
 
 
NEW DRAWING & PAINTING WORKSHOP :GREGORY J. ROSE / usa
 
“My  work is rooted in how narrative intersects with collective memory. The use of fragments is attuned to the notion of scar tissue, 
with the combination of visual language co-opted from the urban landscape, and the history of abstraction in drawing and painting. 
Intimacy, in the moment of violence and intense energy, seems to be what really is the main vein running through my work.”
 
Rose is a graduate of  Pennsylvania State University, he  received his Bachelor of Fine Arts Degree in 2000, and received his 
Master of Fine Arts Degree from the University of Minnesota in 2004 with a concentration in Drawing and Painting. 
Gregory  has been teaching in the  Minnesota State Colleges and Universities system since 2003 and is Fine Arts Faculty at 
Minneapolis  Community and Technical College.
 
Workshop Objectives:
 
Saturday August 13
1300 – 1600
3 hour session
75 euro
 
 
or 
 
Sunday August 14
1300-1600
3 hour session
75 euro 
 
 
Additional workshops, alternative dates,  private instruction and consultation may be made available at your request.
Contact instructor via facebook messages or at :
links?
 
 
 
MOVING BEYOND THE CANVAS : THE BODY IN MOTION 
          ( an ORGANIC TRAINING WORKSHOP)
 
French dancer, choreographer and visual artist MACHA MELANIE is the newest addition to the workshop roster
of GLOBAL ART PROJECT and joins us after extensive experience in collaborative dance and directed
movement exercises whose aim is total involvement of the body, the senses and the creative impulses
culminating in a liberating experience designed to inform the practice of any artist or anyone interested
 in the process of becoming a more “in-touch” creative being. If you can move you can take this workshop.

All levels of experience or interest in the arts are encouraged to participate.

MACHA MELANIE: 
​”​

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.)

​”​
 
 
 Thursday August 18
1100 -0100
2 hour session
30 euro
 
or
 
Friday August 19
1100 – 0100
2 hour session
30 euro
 
 
Additional workshops, alternative dates,  private instruction and consultation may be made available at your request.
Contact instructor via facebook messages or at :
 
MACHA MELANIE: 
 
 
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 :
Visiting GAP workshop participants are responsible for there own living situatio​
There are numerous bed and breakfast inns throughout Venice, many in the area of our workshops which are held at : ​
 
​Venezia Art House
Palazzo Ca’Zanardi​
Cannaregio 4132
Venice, Italy
 
One suggestion we have for visiting workshop participants is associated with Ca’Zanardi and will offer a 10%
 
discount over the prices online; mention GLOBAL ART PROJECT ( Carl Heyward) for the offer.
 
CARRICIO QUALITY INN
 
speak with Illaria or Lidia.
 
 
Ca’ d’Oro
 
​air b n b
 
 
​One participant in our last Venice project notes : ​


 a nice little Hotel called Casa Bocassini for around 35 Euros a night for a (very) small room with shared Bathroom. Clean and friendly and a nice little garden…very recommendable! http://www.hotelboccassini.com/de/rooms.htm

​       


……………………………………………………………………………………………………………………………………………………………………….2015:

GAP ( global art project ) invites native and traveling artists to view compact evolving exhibitions and participate in workshops and demonstrations of collaborative and mixed-media arts in our ongoing series of international activities for this project. We return to Lecce in southern Italy a year after participating in the Salento Biennale, the Tonio Jazz Festival and establishing a base in Venice at Ca’ Zanardi to Mostra al Cittadino 52 artisti per 52 settimane and Fondo Verri with the guidance of curator Monica Lisiwhose Monna Lisa studio space will serve as the site for workshops for visiting and local artists from September 20 to October 4th and center of experiments in art practice by Carl Heyward / Akiko Suzuki and Vered Gersztenkorn – Painter. The exhibitions include rotating examples of individual and collaborative new and existing works from core GAP members Laura Oh and Lorna Crane. Additionally satellite GAP membersGlen Rogers / Gregory J Rose / N Masani Landfair Wisewaters and Alvaro Sanchez round out the project with diverse works various media including print, painting, collage, contemporary quilt making, assemblage, electro-static graphics and other genres….the conglomerate of participants hail from USA / JAPAN / ISRAEL / NEW SOUTH WALES / SOUTH KOREA & GUATEMALA . Join GAP as we invent the face of the necesarily collaborative future.
AKIKO CUPPED RED FACE BART   AKIKO  /japan
WORMSCARL AND ALVARO TERRORISTS  CARL /usa ALVARO /guatemala
LORNA PORT     LORNA/ new south wales
GREGORY / usa   GREGORY J ROSE PORT
GAP LAURA OH BY CAMELIA MIRESCU   LAURA / s. korea
GAP PR IMAGE Glen Rogers 2015Glen Rogers/ mexico :
N MASANI LANDFAIR WISEWATERS PIECE WITH PORT    N. MASANI WISEWATERS / usa
VERED COLORIZED BY CH  VERED / israel
……..
GAP colab quilt Akiko assembled frags from Carl and Vered The Road to Lecce
https://www.youtube.com/watch?v=bLcJHzOHAqE

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

*
NOW AND THEN
*
THINKING ABOUT DRAWING
with Australian Artist  LORNA CRANE
Ca’Zanardi Venice July 2014
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>
About the Workshop 3 hours
This workshop explores the idea of ​​drawing with a fresh and intuitive approach. It will be a workshop of ideas, exploration and self discovery. A time to take a leap of faith in the search for each artist’s unique visual language by building a series of small works on paper – each no larger than A4.
Be prepared to work quickly creating a platform to take a leap of faith – to view the perception of a mistake as a fresh and inspiring opportunity and to be surprised with some exciting and revealing end results. Process includes building a base layer of interest to over-draw and paint.
Materials List
Necessary> acrylic paint, markers, black ink, assorted pencils, small stapler, assorted graphite pencils, brushes, water containers, scissors and glue stick
Optional> book pages, found paper, cloth, discarded That works on paper can be used as collage
Base paper Should be a heavier weight to withstand some collage work to act as a base to then over-draw with a fluid medium
The end results will be a series of small works on paper> maybe some fully resolved or be works in progress to complete in your own time.
MIXED-MEDIA / collage WORKSHOP
facilitated by 
 
American Artist: 
Carl Heyward  
and
Korean Artist:
Oh Laura Chaewon
                       
DURATION: 3 hours multiple sessions available and ENCOURAGED 
20140130033043-untitled_envelope_collage__4__mixed_media__19_x_86_cm__oct
envelope collage # 4


Oct., 2013
mixed media
19 x 86 cm 

 
 
Oh:
 
“I would like to make small collages (extrapolating on the development of my Envelope
Cardboard and Collages Collages)
using envelopes, fabrics, buttons, cardboard, found objects, photos, pages torn from books,
and lettering, stamping, attaching knitted wires, pencil, charcoal drawings and paintings with
acrylic as background or overlapping collage elements.
Focus centers on the free flow of energy … making collages for fun. “
Heyward:
 
“Collage makes sense of the chaos around us”
   20140129211138-zimbab_detail_chicken_coca_nudes
 
ZIMBABWE STEP TWO SERIES 
 
… In every object, scraps of paper, discarded notes, forgotten photograph and commercial product package is a confrontation with the values ​​of our cultures; the glut of information available is overwhelming and poses a challenge to simple linear comprehension; perhaps mixed-media art work offers the opportunity for an almost meditative ordering of the chaos Within and without …
 
Collage and found materials are the
Focus: newsprint, photos, magazine
imagery … anything with meaning can be
Made to mean Opinions more; the sum of
the
materials can be manipulated to
created
personal art works narrating
observations on art, the
cultures,
politics and personal history.
materials:

photos, writing, discarded books, blank books, found paper objects. glue stick, pencil, materials to color: acrylic paints and oil stick, markers etc.
 
 
Abstractions in QUILT MAKING:
with Japanese Artist
 
Akiko Suzuki
 
Objectives:
 
Creation of a small abstract quilt using the Japanese Kimono Antique as a point of departure 
 
Creation of a quilt Consisting of painted clothing
 
Creation of a quilt combining Both Japanese kimono and painted clothing
Involving hand stitching 
 
Materials provided including electric iron.
20140127070922-img_4918
Black water: series Under my Skin

Nov.2013
mixed media
42x30cm 16 “x12”

PARTICIPANTS * note: as this is a labor-intensive workshop we urge participants to be prepared for all day or half day sessions and to Consider The Possibility of multiple day sessions to complete These quilts.
 
 
 
Vered Gerzstenkorn:  
 
an artist from  Israel Whose approach to painting  offers complete freedom to the impulses of the child in the artist.
 
“Most of my collages (if not all of them) are
 
Made out of my drawings / paintings, I 
 
hardly use found material to create them. The 

intend to use my way of working in
 
workshops alongside acrylic techniques. “
 
 
Vered’s workshops will proof to be  innovative and  experimental in nature  putting the participant possibly off-balance 
 
in unfamiliar territory then  ushering them gently back with wall painting with  eyes closed then open; extrapolating 
 
drawings and paintings  into formats and juxtapositions Both  unusual and unexpected;

 
 
                                                                                                                     vered gerzstenkorn:
 
Materials Required:  Oil sticks, house paint, pencils, anything That  makes a mark.
 
 
 
 
 
DRAWING WORKSHOP:
 
facilitated by American Artist
 Joan Stennick
                       
                                                       
… Is a high-energy class based on the essential tools
of drawing from life, from objects and from the imagination accompanied by music and verbal direction and encouragement from Stennick Whose approach will accommodate all skill levels. She will explore new methods of
mark-making awakening new relationships with working materials through an intuitive approach to art practice.
                                                                  JOAN AT GDG W PAINTING photo by peggy reskin November 2013 acrylic
 “The track an interior landscape with varied levels of connection to physical reality; never planned in advance, but Allowing it to happen as it Emerges … when it feels right in my body … and making the mark When I see the shot.”
GLOBAL ART PROJECT
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 TOGETHERgap in 2014GAPOur 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 TAN WORKS FOR WORKSHOP PRlorna crane
                                                                                                           Photo
                                                               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
image

# 2 CARL HEYWARD language
image

# 3 CARL HEYWARD detail … language
image

# 4 Carl Heyward
image

# 5 GAP Colab in progress
image

# 6 CARL HEYWARD row three
image

# 7 GAP Colab in progress
image

# 8 GAP COLLABORATIVE ARTIST’S BOOK
image

# 9 Carl Heyward and Vered Gersztenkorn row four:
image

# 10 Carl Heyward and Vered Gersztenkorn

image

# 11 GAP Colab
image

# 12 Carl Heyward row five
image

# 13 Carl Heyward
image

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2 Comments

  1. 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.

  2. 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

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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
Leave a Comment

also:

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.

The WordPress.com stats helper monkeys prepared a 2013 annual report for this blog.

Here’s an excerpt:

A New York City subway train holds 1,200 people. This blog was viewed about 6,900 times in 2013. If it were a NYC subway train, it would take about 6 trips to carry that many people.

Click here to see the complete report.

GLASS DOOR GALLERY

“Winter Hours” Exhibition through January 5, 2014
245 Columbus Avenue, San Francisco
Tuesday-Saturday 12-7, Sunday by appointment

Review by STEVEN SIMMONS

Image

In an exhibition titled “Winter Hours” at the innovative and eclectic Glass Door Gallery in North Beach the curators have selected works that, according to them, “explore salvage and reconstruction, order and disorder, temperature and mood.” In their widely different explorations of these themes three veteran Bay Area artists in the show stand out: Ronald Chase, Carl Heyward, and Joan Stennick

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Of the three Ronald Chase is the oldest and the best known – as an independent filmmaker, a photographer, an opera designer, and an educator as well as a painter. At the Glass Door he is showing four fiercely elegant paintings he calls “History Lesson”[s]. Three of these are vertically oriented adventures on the grid. Using a color palette of ochre, gray, tan, white and black Chase creates a picture plane composed of small abstract rectangles of varying shapes, rather like an early Mondrian. The power of the work comes its playing off order against disorder, from the tension between the precision of the geometry and Chase’s rough and “painterly” brushstrokes within and across it. Sometimes a mass of paint moves from one rectangle to another, at other time paint drips vertically across the lines of the grid.

Image

Chase’s fourth (and at 60 x 47 inches the largest) History Lesson shares with the others the grid-like form, the subdued colors, and the deliberately rough painting. Here, though, the orientation is horizontal; black shapes become a kind of frame around much of the painting’s edge; and Chase introduces touches of subdued red in some of the painting’s lettering. Yes, lettering, because in this piece Chase has pasted parts of journal pages within selected rectangles.

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The content of these pages vary from fragments of German, Italian, and English phrases, to musical notes, to tiny drawings of buildings, cityscapes, fauna and flora. Because of the magisterial combination of the geometric abstraction and the historical (i.e., autobiographical) content this is the most powerful of Chase’s Lessons.

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ronald chase : collage # 7

The other two pieces of Chase’s in the Glass Door Show are large (35x 27 inches) collages composed mainly of incised, raised, and neutrally colored composition paper. Each of these has a single shape in its center: a triangle in one, a horizontal crescent in the other. Both are deceptively simple and both are very beautiful.

*

 

UNTITLED (crown)  Carl Heyward

 

Image

carl heyward

 

 

*

Like Ronald Chase’s, Carl Heyward’s oeuvre straddles a number of disciplines, in his case writing, photography, conceptual art, digital graphics, and mixed media collages. It is six of the latter, all 18 x 24 inches, which he’s exhibiting at the Glass Door.

Image

The incorporation of “texts” is as important in Heyward’s work as it is in some of Chase’s, but in contrast to Chase’s use of very personal written and drawn material, Heyward’s use of words and images is more about art and social history. He does not hide his artistic forbearers, most prominently mid-century American ones, including the op and pop artists as well as Rauschenberg and Johns. Heyward’s collages here salvage and reconstruct in new contexts a wide range of cultural material, including contemporary advertisements, vintage anatomical drawings, old sepia-tinted photographs, Chinese calligraphy, Latin posters, construction paper, floral wallpaper, a ribbon. In contrast to Chase’s carefully controlled artistic compositions, Heyward’s are exuberantly loose, at times almost anarchistic. While Chase’s color palette is consistently subdued, Heyward’s is varied, brilliant, and at times almost florescent.

Image

Heyward’s best work here is probably his most boldly executed yet most simply composed, for example, a stunning two panel work called “A Two Enso Evening.” “Enso” is a meditative Zen practice based on a circle that includes both light and darkness, and here Heyward explores the contrast between the two by painting the background of one collage gleaming black, the background of its companion piece gleaming white. Against both he has juxtaposed fragments of various and radically disparate types of paper (including, for example, part of a yellowed page of a translation from Chinese to English, part of a used and crumpled mailing envelope, part of a cardboard logo for Bud Light), which form incomplete circles across the paper and suggest that only fragments of a Zen circle are now possible.

Image

In another fine piece, against a background of acid yellows and blues and greens, Heyward uses thick black lines, “X”s, and word fragments (“ZONA LIBRA”- upside down) to create a work that is exuberantly jazzy, tropical, and both politically and poetically evocative.

Image

JOAN STENNICK / ARTIST STATEMENT:

In these paintings I track an interior landscape with varied levels of connection to physical reality; never planned in advance, but allowing it to happen as it emerges…when it feels right in my body… and making the mark when I see the shot. 

Image

Joan Stennick is one of the best abstract painters currently working in the Bay Area. Her work demonstrates how much visual complexity and emotional power can be found in the kind of bold, risk-taking abstraction she practices, how alive and up to the minute the tradition of gestural painting can be.

Two years ago a Stennick exhibition at the Bonnafont Gallery was dominated by a series of predominantly black paintings. There are three of these at the Glass Door in which, as the artist puts it, “sign posts, scraping, adding, subtracting and punctuating” create canvases that both pulse with energy and yet resolve themselves into serene wholes. Of course, none of these are entirely black. They’re punctuated, so to speak, with patches of pale color (white, silver, putty) that shine through the black like lights in the darkness.

Image

Image

Image

In two of the finest of Stennick’s new paintings at the Glass Door she moves away from the means and methods of the black paintings, not only in her introduction of color but in her abandonment of “overall” composition in which no element stands out more dominantly than any other. In a large and very fine, vertically oriented work of grays, whites, gray-greens, and pale greens it’s as though one picture plane is imposed over another. In the background are a series of stumbled slashes and swirls of paint, in the foreground a series of mainly vertical drips. Or is it the other way around? In any case one reads the drips and swirls separately, as occupying two different but overlapping spaces.

Image

An even more daring departure from the black pieces is Stennick’s largest (48 x 58 inches} canvas here, one in which she proves herself a master of color. At the top and on the right side of the painting areas of pinks and various shades of green sometimes overlap, sometimes butt up against areas of black, white, pale grays. The composition is dominated by and somehow made complete by a smallish reddish orange rectangle embedded in charcoal on the lower left side of the canvas.

My immediate response was one of joy: Hello Gorgeous!!

Steven Simmons is the author of the novel Body Blows and a critical study of Jean-Luc Godard, “Modernisms” in Film. His work has appeared in Artforum, The Bay Guardian, Film Comment, Harper’s, and Vanity Fair, among other publications.

VERED … as is the case when we need to hide behind words and concepts and feint of moves shadowing deeds…good or ill…seen or implied….

 

 

something about the CAVE…

VERED GERSZTENKORN : without portfolio

Image

I’m certainly not going to pretend to be someone I’m not.”

v.g.

Image

other than belief

without definition or allegiance

self-taught

beyond portfolio

…her work exists carved out of imaginary space; of distance, observation and depth of experience layered upon the “what it is” of simply being, like a tattoo upon the skin of the soul drummed into being and can’t be drowned out.

“I consider ART as my home land or nationality, as well as my ‘religion’ “

There is a canvas crowded with comical creatures full of humor and lust, of vacant eyed-stares seeing outside and through the cloth; the paint covering the holes and gaps not covered by philosophy or art-world practice; a Boschian prelude to judgement and moral speculation as ambiguous and frustrating in its ruinous innocence that threatens to betray by simply being other than what it appears to be (how can judgement be innocent and who can say that that is what is being judged at all ?) as it is final: the paint, the gesture, the hand is permanent and the canvas is forever stained.

Image

A presumption about the value and accuracy of looking, of seeing but not perceiving, is central to the aesthetic of Gersztenkorn; it is part of her fun and dilemma, I think. Her canvas is full of the drama of dreams and is equally inconclusive in its non-linear depiction of mock horror, sly winks, slippery shadowy segues and transitions of half-drawn creatures full of secrets weighed equally across the board, the length of the canvas, the length of an interrupted dream that defies interpretation.

Image

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“I always feel that apart from the fact that I was born in Israel, nothing really attaches me to this place, and I believe that my paintings reflect this also.”              Image

She lets you in and leaves you flat; her work is an extension of self in a way that expresses a fullness of being sometimes awful and surprising to that very self; is beyond her control or direction and she neither wishes to direct or control it. There is not a meanness of spirit to her process; she is as surprised or stranded in this landscape as any viewer or fellow traveler, which may be the point.

Image

Phenomenology informs her work as does chance and a sort of unconscious bringing to the surface of dream imagery (perhaps) in luscious blinding colors or muted hushed tones ; her “abstract work” is deceptively simple both in tone and harmony of the shapes as well as the mutuality of the color: earth tones grounded in loose grids; seemingly haphazardly attached canvas-to-canvas fragments in the midst of language shards full of disjointed sentiment and off-putting grinning demons or farm animals drawn child-like yet ominous; standing just out of reach of reason and accountability. The non-figurative abstractions expand upon the emotional field and feeling of her figurative work, flattening, then condensing into a concentrate a germ of experience either joyous or understated.

It is all of a kind.

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That fractured space, implied but not fully defined is the magic and attraction of Gersztenkorn’s work; a lopsided hint, a suggestion that continues long after the work is viewed; a secret that leaves an unsettling feeling of both familiarity tinged with foreignness; the familiar with the never seen nor felt; a prickly yet beautiful poisonous sea sponge inviting and deadly and all the more appealing for that.

ImageImageImage

It is not what she whispers. but that she whispers at all.

Hers are the resolution of implications.

Implication is fullness.

There is no further place to go.

DIARY:

BIRTHDAY PARTY / UNDERPANTS / GIRL-WOMAN / MUSTACHE / HEBREW HAT / READING A BOOK / DOG-PIG-BLACK CAT / SMILE STARE GRIN:

CANVAS.

What resides in memory remains there permanently, covered, concealed and self-contained. That which is recalled at will is full of fault; memory is furtive forever and champions imperfection as its core, hiding more perfectly when it is purposely sought and reveals itself in dreams and a sort of trance-forgetting in a process indifferent to our perceived needs to corral and define experience.

Vered leaves all factoring to chance.

USEFUL TIPS WHILE VIEWING VERED GERSZTENKORN’S PAINTINGS:

Access is limited; entry defined by codes whose ability to be decyphered may change without prior notice even under direct observation.

Pay strict attention, then forget about it.   
While there are obvious influences in the work of Vered Gersztenkorn ( so-called “naive” or non-academic traditions, folk art, “primitive”painting, the free uncluttered visual announcements that deliver a child-like quality of a Dubuffet or a Basquiat as well as the rural southern American tradition rooted in Afro-American culture) her production is both highly personal but also respectful of these antecedents, is not imitative but resonates authenticity, sometimes lacking in activity that draws from similar sources in the works of her contemporaries.

Interestingly, Gersztenkorn appreciates the work of an artist she has only discovered in the past year or so whose work, at first encounter certainly echoes her own:   Hannelore Baron.

 

Vered Gesztenkorn on Hannelore Baron :

Her work speaks to me because it’s intimate and fragile but also transmits strength, I like this tow contrasts or oppositions.
Also the way that she uses/combines collages with painting, the soft colors, the compositions…seems all perfect and in harmony to me, she creates a whole world on a little piece of paper, and that’s magical to me.”

800px-Hannelore_Baron_in_Studiohannelore baron:

HANNELORE BARON circa 1980hannelore baron:

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Hers are the formal structures of awareness and her work offers an alphabet (more soup) of these building blocks: very personal and pure having been dredged up from their dwelling places in her other consciousness: the imprint of hope and desire; humor and dread; softness and elusiveness; insistence and sorrow.

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HEYWARD:  

What informs your work?

 
GERSZTENKORN: 
Anything that catches my eyes… a peeling old wall, my studio , a messy table, a piece of dirty cloth, old letters/papers… and of course other peoples art… my impulses/instincts are always visual, never intellectual.
 
VERED SELF 2
                                                                                             vered gersztenkorn
H:
Describe your working process:
G:
I believe that in my  work as in my life, there is similarity concerning spontaneity and “non planning”. I tend to flow with what there is rather then to mark a target and try reaching it.
The feeling is: when I do the right thing at the right time, I’m on the right track. The process of things in life/art is what’s important to me.
 
H:

Please speak about working/living in a certain sort of isolation; how does that affect you/the work ?

G:

Isolation is the result of being the introverted person that I am. It has both positive and negative sides…

Isolation allows me to concentrate on things that are most important to me, without being disturbed or distracted by the “outside world”, for sure this has a direct influence on my art, in a way that I feel that my mind is being explored endlessly.
The negative side of it is that I don’t have enough interaction with people;  though there’s a lot of art exposure and activity in Israel, mainly in Tel-Aviv of course… I live in a small village (nothing interesting happens here…), but 40 minutes away it’s another story….I would say, it’s a wonder that with my attitude, my work was somehow noticed.
 
VERED ABSTRACT ARTICLE 2
VERED ABSTRACT ARTICLE 3
H:
Are you attached to or respectful  of the metaphysical or phenomenological, if not  the “magical” presence  in art practice ?
G:
Yes, I do think art making has a  spiritual/psychological/magical aspect. Spiritual;  while creating, you sometimes get the feeling of just being a tool or a channel, that  through it comes the “magic”. Psychological—I don’t refer to it at all when working, it’s only after that sometimes I realize the psychological aspect of the work, or somebody else might discover a meaning I wasn’t aware of.
 
  VERED FIGURATIVE ARTICLE 1
VERED FIGURATIVE ARTICLE 2 ADD

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I think she’d rather be alone.

…and now is probably laughing

Carl Heyward
san francisco
November 2013

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