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The Mystery Within the Subject: Monotype with Phil Garrett

  Phil Garrett, Thistle II Hunting Island2003, Monotype, Chine Colle,  30 x 22" on paper
Phil Garrett, Thistle II Hunting Island, 2003. Monotype, chine collé, 30 x 22″ on paper

“My work is informed by nature, a kind of mythical nature. The power of storms, the spiritual quality of the elements, the beauty, grace and ferocity of animals–something greater than myself, something I can’t comprehend. Painting and making monotypes is my search for the mystery within the subject, within myself.”

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In 1998, Phil Garrett acquired a large Intaglio press and founded King Snake Press in Greenville, South Carolina. The press “grew out of Garrett’s love for the monotype process, and is dedicated to encouraging other artists to experiment with the painterly print.”

 

 

 

 

 

 

 

 

 

Memento /Jones Gap Monotype Chine Colle' Phil Garrett, Memento /Jones Gap Monotype Chine Colle' 2007 12 in by 10 in Image Size 21 by 17 in Paper Size
Phil Garrett, Memento /Jones Gap, 2007.
Monotype, chine collé, 21 x 17″ on paper

Phil Garrett – Intuition, Ink, Paper: Monotype
October 20-26, 2013
in the printmaking studio:

This workshop will explore the dynamic medium of monotype printmaking. This user-friendly, spontaneous method allows images to be developed and printed in a short time. Because the plate retains a thin layer of ink after being printed, it lends itself to varying the image and working sequentially. After a discussion of ink, plates, presses, and paper, the class will begin with simple, reductive methods of inking on single plates and then progress to multi-plate color prints incorporating chine collé. The workshop will include demonstrations, presentations, and critiques. All levels.

Phil Garrett completed his undergraduate work at the University of South Carolina and the Honolulu Academy, studying with the late Gabor Peterdi. He received his BFA at the San Francisco Art Institute in 1974 and lived and worked in the Bay Area until 1979, when he returned to South Carolina where he presently resides. He founded King Snake Press in 1998 for the production and promotion of monotypes. His works on paper and paintings included in public collections of the South Carolina State Museum, the State of Hawaii, and Greenville County Museum, as well as in corporate and private collections in the USA, Europe and Japan. Garrett is represented by Hodges Taylor Gallery in Charlotte, NC and If Art in Columbia, SC.

 

To find out more and register for this workshop, click here.

 

 

Phil Garrett at Penland

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Focus on: Martina Lantin

 

Fall brings a new exhibition of earthenware by Martina Lantin to the Penland Gallery and Visitors Center. The show runs until October 27.

 

Lantin1309222017
Mug (L) – Thrown and altered earthenware, slip line and blush, 4.5 x 3 x 3.25, ” Mug (R) – Thrown and altered earthenware, blue and chrome bow line, 4.25 x 3.5 x 3.5″

Lantin creates ceramic tableware from earthenware clay, which she likes to call “chocolate porcelain.” Her unique forms are made by wheelthrowing combined with off-the-wheel alterations. Her pieces, she says, are meant for everyday use. Most of Lantin’s work is made in multiple parts and pieced together leaving some of the seams visible. A thin layer of white slip serves to accentuate the construction methods and to invite an exploration of the making process. “I seek to evoke nostalgia in the future by making pots that are reverberations of the past,” she says. “I draw inspiration from early English porcelain and cream ware. I provoke a tension between the elegant handling of the material and the rugged connotations of the clay body.”

 

Martina Lantin, Focus Gallery installation of plates, 2013
Martina Lantin, Focus Gallery installation of plates, 2013

 

Born in Montreal, Canada, Martina Lantin received her Bachelor of Art from Earlham College and her Master of Fine Art from Nova Scotia College of Art and Design University. She has been an artist in residence at Baltimore Clayworks and Arrowmont School of Art and Craft in Gatlinburg, TN. She has taught workshops at Penland School of Crafts and Arrowmont. Currently, she is a professor at Marlboro College in Marlboro, Vermont. Her work has been featured in Ceramics Monthly and shown in numerous juried and invitational exhibitions. She has also published articles in Studio Potter and Pottery Making Illustrated.

 

Martina Lantin at Penland.

Along with this special exhibition of works by Martina Lantin, the Penland Gallery has a sales area featuring work in all media by artists affiliated with Penland School of Crafts. Located on the Penland School campus, just off Penland Road in Mitchell County, the gallery is open 10 – 5, Tuesday through Saturday; 12 – 5 on Sunday; closed on Mondays. The gallery also offers tours of the Penland campus on Tuesdays and Thursdays. For more information call 828-765-6211 or visit www.penland.org/gallery.

 

 

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Emilia Ferraro—My Stay at Penland

Emilia Ferraro
Andrew Glasgow Resident Writer, 2013

The problem with trying to “describe” Penland is that Penland is not only a “place,” a school, a community of likeminded creative people. It is also, or mainly (for me) an experience; a sensuous experience in its widest sense, that touched the very core of my being and as such it is extremely difficult to share with others. How to convey in words the change of energies that I immediately sensed as the taxi that was taking me to Penland from Asheville turned left from the main road into the winding narrow road up to the school? The visual lushness of the vegetation, its myriad shades of colours and smells—just a timid hint of the bombarding to which my senses would soon be subjected to at the school.

How to describe the buzz and creative tension that define the very air in this small hidden corner of the Appalachian mountain range? The mist and humidity of the summer mornings only added to the sensuous quality of the place. Penland is a “place” in the traditional sense of the word as a setting with a specific geographical location, beautiful buildings in the vernacular regional style –the heritage of a long tradition of solid skills and local knowledge. But it is also a way of being that goes beyond time and space, where I was offered the luxury of taking leave from a busy academic life, mostly guided by the capitalist ethics of production that has also infiltrated “the business of knowledge.” Everything was provided for me: a wooden and stone house that defies the boundaries between “inside” and “outside”—a shelter from “nature” and a platform onto it. The food: abundant, varied, and tasty provided a concrete and tangible sign of the defining character that Penland has for me: its nourishing quality. Penland takes care of the body in a variety of ways—of which excellent food and yoga exercise are only an example. Penland nourishes souls by providing that indefinable “something” that feeds our human-ness.

Penland opened the doors of workshops and the experience and expertise attached to them. It welcomed me—an academic, not particularly “arty” (I thought)—into a community of creative and original minds. By treating me as a peer, and making me feel I had something interesting and meaningful to give, Penland gave me the confidence to experiment, dare, and push the boundaries of my own creativity and imagination. It transformed my sense of who I feel I am. It gave me space, freedom, and a safe human and physical environment to “be” in any way I felt I wanted to. It did so without asking anything in return.

When I asked what expectations Penland had about my stay, the answer I got was: “Just that you immerse yourself fully into the Penland experience.” I cannot think of a more generous and wise invitation. I could only do this by participating actively in the everyday “practice” of life at Penland. Practice opened the way to experience, and experience opened the door onto my Self. So, if I had to summarise what Penland has done for me, I would say it has allowed me to get in touch with my inner and true Being. Anyone that has had such an encounter at least once in his or her life knows that there is no going back.