 I'll be showing a selection of around 16 paintings at Uncommon Grounds' Clifton Park location, June 1-June 26. This busy established local restaurant/coffee business has several locations in the Capital District, and has for a long time provided exhibition space on its walls for regional artists. I'm looking forward to the show and hope to introduce my work to many new viewers.
Uncommon Grounds in Clifton Park is located just off Exit 9 of the Northway in Village Plaza at 9 Clifton Country Road; hours are 7 days a week, 6am-8pm M-F, 6:30am-8pm Sat & Sun. For artists, being open to exhibiting in a variety of venues and different locales, while also being selective about where and when to show work, can lead to great exposure and rewarding sales/connections/future collectors. In deciding to show my work in a few restaurants and businesses over the years, I've had moderate success at a couple of them and other times, my work just decorated the walls. There are pros and cons to putting work up in non-traditional exhibit spots such as businesses and restaurants. Yes, your work will be seen by a different audience, but will it be worth the work to get a show together depends on a variety of factors: how busy the establishment is-too busy to run sales or direct interested collectors to purchasing, or not busy enough, so not enough people see the show? Is your artwork info and marketing material visible enough to potential collectors or is your work just decorating the walls? How organized is the venue and how well do they communicate with the artists? Do they help promote the work on their walls? Do you feel that your work will be safe there? A lot to consider for either emerging and moderately established artists who want to expand their reach to new locales.
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I use assembled stretcher bars to stretch my watercolor paper. One of my studio mates back in college ( a long, long time ago) showed me this unique way to stretch watercolor paper and I've been using this method ever since. The photos at the bottom help show the process. What you'll need:
2. While paper is soaking, apply a solid line of glue all around one side of stretcher bars and spread it a little bit - see photo. Also note that in the photo, my stretchers have layers of paper along the edges from each time I've used them. I've used the same stretcher bars for decades. 3. Pull paper out of bathtub and let drip until no more water drips off the sheet. It's important to completely let the water drip off; any residual water might result in an annoying watermark in the middle that can't really be painted over. 4. Lay sheet over prepared stretcher bars so that it lines up evenly on all edges. Then press down on all edges so that paper is affixed to bars. Tug a little on all edges so that paper doesn't sag in the middle. (It's ok if there's a little sagging; the paper will dry up to a flat surface as long as most of the edges are adhered well to where the glue is on the stretcher bars). 5. Let the contraption dry for at least 12 hours. Putting it on the top of a clothes drying rack works very well. The end result is a perfectly stretched, sized sheet of watercolor paper that you can paint directly on, while it's still on the bars. It's lighter and more portable than paper taped to a board. I usually do several paintings on one full sized sheet, then cut them out from the stretchers with an exacto knife when they're done. To reuse the stretchers, just pull off any excess paper that isn't glued. It's ok if there's still glued paper along the edges; you can re-use the stretcher bars for this purpose over and over. I've had mine for decades, there's a solid build up of paper on the edges, but they still work wonderfully.  Daffodils Along the Charles, one of my newest paintings (just completed last month in fact) was accepted into Vermont Watercolor Society's 2023 Spring Show. Hosted at the Emile Gruppe Gallery in Jericho, Vermont, the exhibit opens on Sunday, April 2 with a reception from 1-3pm and runs to May 14.
Selection juror was nationally known watercolor artist Alexis Lavine. I really like her juror statement, very thoughtful, yet to-the-point and accurate about the joys and difficulties of painting in watercolor. Read it HERE. I'm looking forward to the opening reception up in Jericho (just east of Burlington) on April 2. This is my third acceptance into a VWS juried show in as many tries, so I guess I'm officially a signature member of the group. I don't really know what to take away by attaining that status, but I do feel pretty good about having my work selected for three different shows by three different selection jurors, all accomplished watercolor artists of note at the national and international level. I have watercolor workshops scheduled at two different locations: Caldwell Lake George Library, 336 Canada St., Lake George, NY LARAC Mountain Gallery, 21 Bay St., Glens Falls, NY, (entrance is actually on Maple Street facing Crandall Public Library). Classes limited to 6 participants each. At the Caldwell Lake George Library: Saturday, March 11, 10am- noon (this workshop is FULL) Tuesday, April 4, 10am - noon (this workshop is FULL) Tuesday, May 2, 10am-noon Tuesday, June 6, 10am-noon Tuesday, September 19, 2-4pm Saturday, November 4, 10am-noon Tuesday, December 5, 2-4pm Cost is $25 per person. Registration is directly through the library. You can call them at 518-668-2528 to sign up. The library is located at 336 Canada St., Lake George, NY. $25 payment is made directly to me prior to class. At LARAC Mountain Gallery: Friday, April 14, 10am-noon Thursday, June 1, 2-4pm Cost is $35 per person, Registration and payment is made through LARAC. Email mtngallery@larac.org or call 518-798-1144 or stop by either LARAC Mountain Gallery (Wed-Sat, 10am-3pm) or LARAC Lapham Gallery (Mon-Sat, 10am-3pm, Thurs until 6pm).   Not everything I create ends up in a frame.
Some of my attempts wind up in the Drawer of Little Failures. Not quite bad enough to go straight into the paper recycling bin, this pile of yucks provides important lessons on what really didn't work and what might have had potential before something went wrong with the color, composition, technique, what not. I keep them around to remind me that there's always more to learn as an artist. |
