by Silvia PintoSouza
I paint from the heart, and a gut feeling. I don’t follow scientific theories when it comes to color, composition, and shapes. I paint objects as my heart sees them and their potential to become works of art. My aim is to give ordinary elements of daily life a new identity. They can become “Stars,” no matter how humble their origins. I see Art all around me; anyone who has the eye of an artist, trained or not, would agree. The world is rich with Art, and our role as artists is to discover it.
I have been painting since early in life. My mother was an artist herself, and I used to draw next to her. She would just let me do what I pleased, and felt the results were not too disappointing; she thought that I had talent. Much later in art school, I learned the basics of many different techniques, especially in the artform of Printmaking, and after several years of experimentation, I decided that I needed something where development and results could be seen in a more immediate way. As a result, I have been painting for the last 30 years in acrylic. This medium gives me a wide range of possibilities by painting directly from the tube to diluting the paint in water to build up various values of color with multiple layers.
I believe my paintings are intimate, romantic, and direct. My message is the image itself, and what it can bring to your heart. I hope that when you look at my work, you are caught in that beauty and are living it because Art is comfort. It is where we take “Shelter.” It is the shoulder where we can rest our head.
Sitting on my porch swing on a glorious Houston afternoon, just days after the horrid storm that took lives, burst pipes, destroyed homes, gardens, bats and birds.
I’m marveling at leaves still clinging to oaks, shriveled on palms and citrus. My papaya tree is done for, despite all the wrapping and pre-emptive care. The container plants, moved to shelter, are all outdoors again, reaching into the sun.
The backyard birds and squirrels have been out in force, though we haven’t yet seen the little cardinal couple. I hope they survived. Nature’s regenerative force can cruelly cull even the sweetest and most gentle of creatures. If they emerge or return, we will rejoice and feed them well.
- Liz ConcesSpencer
Carol: “Coming up with ideas and designs is so easy compared to figuring out how to execute them!”
The job of artists in creating new work that informs, inspires, delights and delivers is fraught with learning curves. To constantly challenge oneself is inherent in any creative field; artists rarely settle in to a comfortable middle ground. To do so would threaten that their work becomes mere production, mere doing. The learning curve of introducing new techniques, new ideas or new strategies is key.
Gene: “I’m not sure how to do this. I’m going to figure out a way.”
Liz: “It’s funny: even the pieces I thought would be simple in their execution are posing challenges. Mirrors the times we are living in, I suppose. That or I’m on a slow steady decline.”
Artists: Carol Berger, Gene Hester, Liz Conces Spencer
by Jiashan Lang
Growing up in an artistic family, my grandfather dedicated his life to bringing back the art form of dough figurines and other intangible aspects of our cultural heritage. Thus, I was inspired to preserve and promote Asian culture and arts myself.
To me, making dough figurines has always been a relaxing moment where I can create something beautiful and representative of my culture. But leaving my family and immigrating to the U.S. has taught me something more important; we can never stay in a “moment.” Everything in life, whether it makes us desire or despair will happen, and it will become something that happened in the past. My art has become a way that I can connect to the past and to my roots. It condenses all the feelings and emotions that I want to preserve in the moment and share with the world.
When I read a book or hear a story, I see it through the form of dough figurines. I hope that the collectors of my art will carry home the same feeling that I have; the feeling of owning a sliver of time preserved in history.
by Laura Viada
I have been fascinated by color since I first saw Impressionist and Pointillist paintings at Houston’s Museum of Fine Arts on a high school field trip. The way the paintings looked so different up close and from a distance – how a field of small brush strokes or dots of different colors could transform themselves into recognizable forms and landscapes at a distance.
It was another 20 years before I began my own artistic exploration of color. When I first began weaving, over 25 years ago, I experienced a lot of frustration over the fact that the colors I chose, when woven together, didn’t look as I expected them to. During that time, I happened to go to the MFAH again and encountered those same paintings. It was a “lightbulb moment” – I saw that the interaction of separate warp and weft colors in a weaving is the same basic thing as the cluster of dots and brush strokes in the paintings. My eyes are mixing the separate thread colors the same way they mix the dots and brush strokes in the paintings.
Thus, began what has become a decades-long exploration involving the interaction of color and the way our eyes blend small areas of different color through a phenomenon known as “optical mixing.” I realized early on that I would have to go the root physical principles of how we see color to understand optical mixing and get the results I wanted in my work. When our eyes do the blending of two or more separate colors, the result is often quite different from the result obtained by mixing the same colors in paint. This is because the cones in our eyes employ a different set of “primary” colors from that used in pigment mixing. Optical blends in fiber also add a considerable richness and depth to a finished weaving.
Throughout my creative journey, I have been inspired by the work of Josef and Anni Albers, leading Bauhaus figures and, later, teachers and artists in the United States. Josef Albers’s monumental text, The Interaction of Color, and his color studies using the simple square have provided a wealth of inspiration over the years. And, of course, the legendary weaver and artist, Anni Albers pioneered the concept of the woven textile as art, in its own right, independent of function.
In 2011, I had the enormously inspirational pleasure of viewing the Carlos Cruz-Diez retrospective exhibition at MFAH. Cruz-Diez had an interesting method of exploring color that involved breaking a color plane and creating what he called “chromatic events” in areas where two or more broken planes come together. He often employed three-dimensional elements, light, and motion to create additional color and shape shifting effects. This was another “lightbulb moment” – I could use the concept of “chromatic events” to create depth and complexity in weaving. This set me on a whole new journey of exploration in the world of color and fiber.
What I’ve discovered over two decades of this exploration is that the possibilities are limitless. There’s always a new discovery to make, a new effect to be achieved. This journey will never be finished. I’m fairly good now at being able to plan and execute the color effects I want, but color has a magical quality at its core and a there’s a surprise waiting for me in each piece. That’s the great fun of it!!
Making Art can be slow or quick. One series might not take long to figure out because the planning has all taken place cerebrally in the months before beginning. Other series are slow to come to fruition as the challenges have to be solved as one goes along. My series “What Shapes Us” was an intensive process, and slow to create, however the idea of it had been in my head for a long time. I had been cutting the apertures for months before I started doing the forming, which took a lot of perfecting to get ‘right’.
As a person, I really value the handmade and strive to uphold this ideal in my life whether it be in the kitchen or the studio. Therefore, all of the apertures in the works were hand cut by me. Yes, that means thousands of cuts and bends to the apertures in the work. To me it is very satisfying to feel the medium in my hands and observe its abilities and qualities as one works with it. One learns a lot about the material and oneself as works intuitively within and sometimes outside the constraints of the material.
Gallery artist Barbara Able invited her son Daniel, to share her September Show, REINVENTION.
Barbara: “We chose the name of the show because we felt like there was a paradigm shift in our lives, due to the pandemic and quarantine. We felt that we had to reinvent ourselves and we wanted this collection of artwork to show that."
Daniel: “I think the depictions in our show exemplify the changes that we’ve had to make. In some ways it is detrimental, and in some ways, reflective.”
Barbara: “After the lockdown started, I wanted to use my paintings to give me a sense of comfort. I wanted to recollect times in the past which were meaningful to me – things that gave joy in life.”
Daniel: “...I think that in the show, we exemplify how we reinvent ourselves; how we are resilient and are able to express ourselves creatively. For example, one of my pieces in the show is of an event I had participated in and where I had taken a photo right before the quarantine started; I think it is kind of an homage, and reminiscent of what I previously appreciated. What is reflected is a trip where I had a near death experience; I fell off a raft and got swept away in the Colorado River rapids. Now, when I look back, it really speaks to me as a momentous moment in my life and I think it shows that we can make it through anything."
Barbara: “I’m so glad that I didn’t know about it until you got home!” A few years back, Barbara owned a gallery in Santa Fe, New Mexico. During that time, she worked Monday through Thursday in Houston at her Corporate Art job, then flew to Santa Fe on weekends. Barbara was also a volunteer art teacher in Daniel’s school from Kindergarten through 8th grade.
Daniel: “It’s pretty crazy to think back to the time when my mom was working so hard at starting her own business. It is a testament to her drive and how determined she is to be successful; she wants to spread her creative expression throughout the world. By growing up with my mother so involved in art, I was exposed to all different types of art. Because of this, art has gotten me through a lot of tough times and I really appreciate it."
Barbara: “Thank you! I am so excited to see you starting out on your own art calling.” Barbara Able and Daniel Able’s Artist Talk for their show, Reinvention, will be available Saturday, September 12 at 6:30 p.m. via Facebook Live or on the Archway Gallery website. The show will hang in the Front-Space of Archway Gallery and can be seen by appointment or during the gallery’s “Drop-In” hours. Check Archway’s website for details and updated gallery hours.
Both artists welcome commissioned artwork opportunities.
I was born and raised in Pakistan. In 2015, I retired from my position as Professor and Director of the Institute of Art and Design in Sindh, Pakistan, then migrated to the United States to be with my son and daughter who live in Houston. I became active in the Watercolor Art Society of Houston, the Portrait Society of America, and the Visual Arts Alliance. In June 2018, I joined Archway Gallery and this is my first solo show at the gallery.
For this show, I have included my abstract paintings along with a few portraits and some Southwestern paintings to show the range of my painting styles. Living in Texas, I am greatly captivated with the beauty of the Southwestern lifestyle, ranches, and the rocky landscapes. For me, painting horses is a breathtaking experience. I like saddles, roping activities, rough barns, woods and the life around the campfire. My compositions are filled with the energy and exciting lives of the characters I portray.
Liz Conces Spencer: The Show Goes On
Becky Soria and I are hopeful about the Juried Show this year. We have been growing this big healthy baby, now a preteen, with the help of the artists in the community for more than a few years now. With the pandemic and its effect on all of us, we have hit the boll weevil, the pothole, the tear in the fabric, the muddy patch, the _________(fill in your own metaphor).
Artists, being the resilient weeds in the pavement that they are, continue to enter despite hiccups with the online entry system. Neither Bec nor I are especially fond of, or literate in, these technologies but we are soldiering on. To the rescue have come John Slaby, Joel Anderson, Harold Joiner, and Christie Coker, helping artists get their entries in and processed.
We certainly miss the good old days of the past 9 – 10 years when we have had the juror select the show from actual works of art. Although we realize the front-loaded hassle for artists to bring works in to be judged, it is also the most authentic way to select a show; art needs to be experienced in person, when possible, in order for its impact to be felt. Minus that, with digital entries we can judge dimension, scale, texture, and other qualities solely by the quality of the images submitted. Cameras have come a long way, but there is no experience like the physical one, and we long for the good old days.
I hope that artists will persevere and enter the show. Our juror this year, Wayne Gilbert, is a friend to artists. He is an artist himself, a man of soul and conscience. He will choose wisely and well.
Our charity partner Houston Junior Forum has deep fingers kneading the bread of the community. It funds many small organizations and is kept afloat through donations and a guild shop, paying forward friendship and opportunity.
Bec and I, and the other Archway artists, will miss the big public reception that awards prizes and recognizes the selected works but the gallery will honor them at 6:30 p.m. on July 5 when our announcement video drops and reveals the show and winners; I hope you will all tune in. The show will be hung physically in the front gallery, to be viewed by appointment and during the gallery’s new open hours on weekends. As you may know, 50% of the sales benefit the selected artists, and 50% goes to the charity partner. All selected works will be featured on the gallery website and we will make every effort to connect them to new homes.
I thank everyone for their support of this event.
Liz Conces Spencer