Public Art Continued

DFW Art Collection: Terminal D Floor Medallions

https://www.dfwairport.com/art/

In 2005 I was commissioned to design a 20’ floor mosaic for Terminal D at the DFW Airport.  http://lindadeeguy.com/artwork/2797698-Dance-Don-t-Walk.html

In my experience, I found that many airport art works were abstact and were often perceived as an interior design element. I wanted to attract a passerby and so it was my goal to have the content express a particular point of view, or to express my Opinion.

In designing Dance! Dont Walk, I wanted to create an active image that would instantly engage those walking across it. I wanted to provide an imaginary distraction, making people think about doing something liberating and entertaining.

Nostalgic but egalitarian As weary travelers walk across the medallion they might momentarily join the two business people dancing, throwing their briefcases away, enjoying the sense of freedom that air travel can bring.

Upon reflection today, I would re-write the last sentence to say: As weary travelers….. enjoying the sense of freedom that air travel brought at one time. This piece was conceived before 9/11. At the time Terminal D was being built we had only begun to experience so many changes in our world.

 

 

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Public Art

Saint Petersburg is known for it's murals but less so for it's public art. The difference is striking because murals are mean to attract the attention of drivers and passerby with a huge picture that strives to enhance an otherwise urban building facade. The scale and subject matter stand out immediately. On the other hand, public art is generally less obvious and more intimate in scale. It often is an example of an artist's other work.

While walking downtown last week I came across a beautiful work by Nathan Beard. It was an extension of his personal work and translated beautifully into a space not normally used to view art. Nathan took one of his paintings and had a wrap printed that would adhere to this electrical housing box found along side of Williams Park.  

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Nathan creates the patterns by meticulously taping his canvas and then painting on the open areas. By re-creating this process, he layers different paintings together almost in a woven manner. For more information, Nathan has a blog on this site under the Young Artist Grants and has detailed his process.

This detail of Beard's work shows several layers used to create his patterns.

This detail of Beard's work shows several layers used to create his patterns.

I imagine that this wrapped work will last for awhile but that it exemplifies another quality often associated with public art that is not meant to be monumental or last indefinitely. Enjoy it while you can!

Organic vs Inorganic

I last wrote about how an unusual mushroom stopped me on a walk because I could not tell if it was an organic or inorganic object. Here are two photographs that may help to illustrate my interest in this comparison. In them they combine elements that are real and imitative of botanical  objects. (

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Euphorbia Orchideen, 22x30" 2015 archival ink on paper (top)

Euphorbia Orchideen, II, 22 x 30" 2015 archival ink on paper (bottom)

A Local Surprise

While walking near Locale Market in downtown St. Pete last week, I was stopped in my tracks by something that stood out. I could not tell if it was organic or inorganic. This is what I saw:

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I e-mailed my photographer friend Billy Stone and asked what this was as it is so unusual to find something that stands out from everything else and has qualities that you have never seen. Billy wrote back that it is a mushroom: 

"Clathrus crispus sometimes called the whiffle ball stink horn. Did you notice an odor? It is not poisonous but generally lives up to the name stink horn by emitting a foul or otherwise strange odor. I have been walking in the forest and caught a whiff of one of this guys cousins and followed the smell for quite a distance, just guessing but about 150 feet, and there it was. It must be fairly common in Florida, if you google "Clathrus crispus Florida" you will see what I mean."

To understand how incredulous I was, it might be helpful to know that making images which contain qualities of contradictions, such as organic and inorganic. Billy says that he is interested in these mushrooms because :

'most of the world could be destroyed and they will continue to thrive, that is one of the reasons that I spend so much time working to understand them, the apple is the fruit of the apple tree and it is about 50/50 above and below the surface of the earth. The mushroom is 95 percent below the ground and 5 percent above they only emerge to reproduce and only when the conditions are perfect because they arevery picky. They are also integral to the wellbeing of most of the plants on the earth as they form arrangements with plants to exchange minerals and exotic organic molecules like polysaccharides and water in exchange for sugars and other biologic commodities.  It is the real underground marketplace of life.'

 

 

 

Skyway: A Contemporary Collaboration Exhibition

In August, 2017 I was able to visit the Skyway: A Contemporary Collaboration Exhibition for regional artists that was held in three Tampa Bay Museums: The Ringling in Sarasota, The Museum of Modern Arts in Saint Petersburg and the Contemporary Museum in Tampa.  One of the main curatorial considerations was to highlight the best work from artisits in the Bay Area. I noticed that most of those included in the exhibitions came from the college and university community. Here are some my favorite picks. 

Elisabeth Condon, b. 1959 (teaches at USF) Unnatural Life, 2016 Acrylic, ink, and glitter on linen

Elisabeth Condon, b. 1959 (teaches at USF) Unnatural Life, 2016 Acrylic, ink, and glitter on linen

Nathan Skiles b.1980 (teaches at The Ringling School of Art) Am I Born to Die: Arroyo (sage) 2016 Acrylic and cloth on panel

Nathan Skiles b.1980 (teaches at The Ringling School of Art) Am I Born to Die: Arroyo (sage) 2016 Acrylic and cloth on panel

Kirk Ke Wang, Installation (teaches at Eckerd College)

Kirk Ke Wang, Installation

(teaches at Eckerd College)

Mickett/Stackhouse Irma Piece at the MFA

This week Carol Mickett and Robert Stackhouse started an installation piece about hurricane Irma. They are two artists working together and very thoughtfully included our communities' input on how individuals experienced Irma. The artists have asked citizens to make comments on a prepared disk that would be added to a wall installation. The disks represent moons. Mickett explained, "The hurricane changed how we were thinking about our lives, and we suspected other people were experiencing the same thing. Out of this consideration came Irma Reflections, a space in which people's experience during the hurricane could be acknowledged and honored. We decided that instead of focusing of the fear or damage from the storm, we would ask people to communicate their positive experiences, writing thanks to the one or many who provided them with support or assistance during Irma. Those are the moments we all want to remember." The artists will be in the Museum of Fine Arts gallery every Wednesday from noon to 2pm until December 3, 2017. They will continue working with the public on this installation.

 

Mickett-Stackhouse Installation
DETAIL OF INSTALLATION  

DETAIL OF INSTALLATION

 

Hurricane Irma

Repaired Landscape, oil and gold leaf on raw linen, 16x20", 2017

 

Repaired Landscape

When hurricane Irma threatened the Tampa Bay area in October, 2017, we all went through difficult times. We had days to prepare, which was both a blessing and a curse. In our case, we had more time to roll up the rugs, elevate our furniture, cover the windows etc. and to agonize about what would happen to St. Petersburg if a Category 5 hurricane came. It could destroy most of our city. We evacuated to my art studio, which is on high grounds and hoped for the best. As it turned out, the hurricane weakened to a catagory 2 and we suffered little damage and no flooding. Weeks later, the threat is still on my mind and I painted a 16 x 20” round image on raw canvas thinking about it.

 

The piece has been named Repaired Landscape and has two layers. The background has a fuzzy ominous dark waterscape and the forground is a pattern made with imitation gold leaf. The leaf pattern refers to the traditional Japanese method of repairing pottery with gold leaf called kintsukuroi..

Listening in the Studio

Like many artists, I spend a lot of time working alone in the studio. While I am working and feel like I can listen to a conversation without it interrupting my train of thought, I stream podcasts. One that I would recommend to artists is the

Savvy Painter Podcast with Antrese Wood

By Conversations about the business of art, inside the artist studio, and plein air oil painting

A particular podcast given with Gamblin Oil Painting was very informative and useful. 

Self-Curating

I am preparing for a solo exhibition at the end of this year with Ro2 Gallery in Dallas, Tx. They have a space which will only accommodate some of my recent work, so today I am looking around at the work in my studio. There is the logistic question of how much work will fit into their space, but there is also an ongoing question for me about the nature of my process. I would guess that 1/3 of the work I make will be edited out.  It is a necessary process to allow for a cohesively expressive showing of work. 

I make large scale photographs (22 x 30") in addition to paintings (24 x 36") and small mixed media works (9x12"). The title of my exhibition will be Flora Imaginarium which describes the botanical subject matter in all of the works. 

Here are some of the works that will definitely be included in the exhibition.

Flora Imaginarium 24 x 36" oil paintings, 2017
22x30" Photographs, 2016-7
9x12" mixed media, paint, drawing & photography works That may go into the exhibition.

9x12" mixed media, paint, drawing & photography works That may go into the exhibition.

Photographic Trip to Oaxaca, Mexico

My favorite way to travel is with my camera. I am not a professional photographer, but as an artist it allows me to slow down  and primarily focus upon my vision as opposed to other experiences that are sometimes difficult when traveling.

In May, a group of nine artists/photographers took a trip to Oaxaca, Mexico. It was organized by Professor Gary Goldberg from Midwestern University in Texas. The purpose was to interact with various craftspeople and professional photographers. In order to return something to the community, we held an auction of our best work (I chose: A Backlit Market Stall) and gave the results to an organization that helps children with cancer. 

Below are other photographs that I made from some of the craftspeople that we visited.

Some of the craftspeople we visited.

Recent Paintings

As an artist, I make paintings and photographs. For this blog, I will reproduce the last two paintings that I've done. 

Titile: Flora Imaginarium     Size: 30 x 40"   Medium: Oil over Acrylic on Panel 2017

Titile: Flora Imaginarium     Size: 30 x 40"   Medium: Oil over Acrylic on Panel 2017

An imaginarium refers to a place devoted to the imagination. There are various types of imaginaria, centers largely devoted to stimulating and cultivating the imagination, towards scientific, artistic, commercial, recreational, or spiritual ends. (Wikipedia)

Living in Florida, I am constantly taking in environmental glimpses of things. Sometimes a photograph records a plant, flower or water droplets and so I start with these by entering them into my computer. The layers are then altered and I print out a beginning image to start my painting. During the painting process, things are altered again until I have something that serves my imagination.

Detail: Flora Imaginarium

Detail: Flora Imaginarium

Title: Lotus Clouds 30 x 40"  Mixed Media on Panel 2016

Lotus Clouds   30 x 40"   Mixed Media on Panel    2016

Lotus Clouds is painting that is based more on imaginary impressions of my environment and my unconscious. The photograph of a Lotus flower and the droplets were images that I did observe. I began this work by using a grid on my prepared panel. I placed the flowers onto the composition. After some preliminary sketches, I began to add previously used invented shapes and textures until I consider it finished. I focused upon contrasting elements, such as organic and inorganic forms.

For additional images of my work see: lindadeeguy.com

Museum Trip

In May, 2017, I took a trip to visit five San Francisco art museums. I decided to revert to my profession of being an educator in this blog by giving a short personal tour to my favorite exhibition, Urs Fischer (b. 1972) at the Legion of Honor Museum (http://legionofhonor.famsf.org).  Fischer’s exhibition was titled, The Public and the Private and interacts with the museum’s permanent collection. The website intro says:

 

Urs Fischer’s sculptures and paintings explore the tension between the material and the digital, object and image. Drawing on Western art history and popular culture, he continuously recalibrates the techniques and modalities underlying the creation and consumption of artworks. Fischer has an innate ability to play with the mechanisms of perception to challenge people’s awareness of the physical and ideological contexts of their surroundings. Mining image traditions and artistic materials to introduce ideas of time and transience, his installations often have the character of an uncanny and fleeting illusion. 

In conjunction with the exhibition Auguste Rodin: The Centenary Installation, the Legion of Honor has invited Fischer to bring a contemporary perspective to our understanding and appreciation of the Museums’ permanent collection, specifically the acclaimed collection of Rodin sculptures.

With more than thirty works installed throughout the Court of Honor, rotunda and upper level galleries at the Legion of Honor, Fischer’s sprawling exhibition offers a unique opportunity to appreciate his inventive transformation of iconographic traditions in the context of a historic collection.

In front of the entrance, Fischer has installed 16 hand built clay figures that contrast with Rodin’s, The Thinker. Fischer repeats the process that Rodin used and has his clay figures cast by a foundry into bronze. His works are simple and less “skilled” inviting the similarity only so far. However they have a spontaneity and freshness that often represents contemporary art.

 

In the foyer stands an eight foot wax sculpture (candle) of a man who marks the passage of time by burning away the wax. Viewers are reminded that this work is different from those works around it, in that it is meant to be temporary.

In the French and Rococo Galleries, Fisher places two chairs and compares them to the ornate historical chairs behind them. His chairs have a personal meaning and call attention to the maker, as opposed to an anonymous craftsman. 

My favorite work consists of two giant ceramic eyes that confront historical portraits. Fischer’s eyes are scary and intrude upon the viewer in a manner that flattering portraits behind never intended.

To learn more about the exhibition, up until July 2, 2017 and Urs Fischer, see:

https://www.famsf.org/press-room/urs-fischer-public-private

My Studio

Five Dueces Galleria and Working Artist Studios.

Located at 2101 3rd Ave South, in the Warehouse Arts District, I work in studio number 4. We have a common gallery along with individual studios where we show work. We are open usually on the 2nd Saturday walks and always by appointment, in Saint Petersburg, Florida. Please stop by sometime for a visit. 

Linda Dee Guy

What I value most about being an artist is that artists possess an unusual amount of curiosity. Curiosity is magic: it’s the force that drives creation of something out of nothing. In particular it allows one to make connections between things that are often overlooked or hidden.

I grew up in Tampa, Florida, which was rich with experiences that were both ordinary and extraordinary. I experienced exotic and strange sideshows at the Florida State Fair, The Ringling Brothers Circus, some of whose performers lived in our neighborhood and later Disney World. It seemed as if I lived amongst exciting fictions and the nature of reality was often in question.

I began my art making quest at the University of South Florida, majoring in printmaking which allowed me to incorporate drawing, painting and photography. I went to earn a terminal degree that allowed me to pursue a teaching career. After teaching lithography, screenprinting and drawing for 36 years at Texas Christian University in Fort Worth, Texas, I retired, Emeritus Professor of Art, moved back to Florida and opened a studio in the Warehouse Arts District. I anticipate using my Pinellas Grant Award to help pay for the costs of my studio.

My exhibition experiences include over twenty solo exhibitions including international shows in Peru and Japan. I have exhibited locally, nationally and internationally in over 100 juried group exhibitions. My public work is on permanent display at the Fort Worth Dallas Airport.

I am currently represented by Ro2 Gallery, Akard Street in Dallas, Texas and have regularly shown in group exhibitions as well as the annual Dallas and Houston Art Fairs.