Wednesday, August 7, 2013

Artist Interview with Susan Shie, Part 2

Welcome to (the much belated!) Part 2 of my interview with quilt artist Susan Shie!  If you did not catch Part 1, go check it out, then come back here, see the rest of the questions she chose, and read all of her insightful answers! Plus, you get to see a quilt she created for the SAQA Benefit Auction this year, which is pretty thrilling.....

Coloring in the big piece is really relaxing.  I usually start with yellow and go to darker colors from there, since this paint is transparent, like watercolor.  I love how it looks at this stage, very fresh!

Do you have a specific idea of the story you'd like each piece to tell, or are you hoping viewers will have stories of their own ready to inhabit your work? 

I remember being upset at times, when a student somewhere would write a paper about one of my pieces and base their information just on what they saw, rather than what I’d written in my own statement about that piece.  I’ve learned to let people have their own stories of my work, even if their ideas of what I was after are all different than my original intent.  I know many people won’t even read one thing on my works, and that others’ interpretation of my symbols will be way off from my own.  I can’t waste my time expecting others to listen to what I say, and it’s a very creative process, when they take all the crazy disparate things I put together visually and make their own logic out of it. It’s all good! 
I’m staring at the painting, which has a lot of colors on it already and will tell me what it needs where now.
Do you have any concrete advice about how to do away with artist's block? 

Draw every day.  I invented a little process, in which you go into your studio and sit down and draw and write whatever comes into your head, for 10 minutes only, then you quit.  I do it with my students, and we use children’s markers, so they can relax and just play.  I call this Library Time, and no one talks while we work for the 10 minutes.  I find it makes me feel centered into myself really well, and it brings up lots of creative thoughts, though whatever pops into your head is what you just let come through. It’s a form of channeling your inner thoughts and creativity, and you become loosened up.  Works like a charm, and it’s free.  No big book to read on how to be more creative.  Just do it, any time you want to get unstuck.  Priming the pump! 
I usually write with my airpen and fabric paint as a first and last draft, like writing a letter.  But here I’m copying the full inaugural speech, and later I added the full inaugural poem, for “American Pie.”
Do you place a high value on the role of humor in fine art?  How do you attempt to incorporate humorous elements into your own work, and what would you say is your response when you get a laugh from a piece by another artist? 

I know people sometimes think my work is funny, but I prefer to push it to being edgy, not humorous.  I am a little fussy about that, and I don’t like it when people say my work is cartoonlike or whimsical.  But I know I have to own those terms, when people see them.  So I work to keep the effect I want in my drawing style, which is simplified, not realistic.  I think you can fall off the balance of edgy into the abyss of cute or funny really easily, and I don’t want to.  But then, that doesn’t sound like I’m just letting my creativity out, does it?  We can’t turn off all our thinking, but we can learn to open up and let things come out … even if I do care to make sure my images are not whimsical.

“American Pie: 6 of Potholders (coins) in the Kitchen Tarot,” full view, ©Susan Shie 2013.  Sewn painting on cloth. 60”h x 90”w.  Read the long artist’s statement and find many pix of this piece at

What do you believe about the role of originality in art? Do you think it is important to always be unique, or is it best to just make the work and not worry whether it will be similar to something that someone else may be doing? Have you ever felt that your work was not original enough, or conversely, that a desire for total originality was getting in the way of your work communicating effectively? 

I’m sure I’m obsessed with being original, but at least I can honestly say I don’t think about it consciously while I’m working, and maybe that’s true of my need to have my art look edgy and feisty instead of cute.  On a very deep level, I MUST have a look that’s mine.  Maybe this comes from art school, where students learn to never, ever copy each other’s ideas.  Or at least, that is my memory of it.  I know I don’t care that some of my students copy my style. That’s fine, because they paid me to teach them.  Some of them just enjoy working my way, but those who want to get known for their own look will have to push through all the stuff they learn in classes and come up with that look.
If someone saw my work and told me they thought it was someone else’s work, I’d be miserable and really have to rethink what I’m doing.  I want you to recognize my work among a bunch of artists’ work, every time, once you’ve seen my work.  Yeah, that’s ego for you!  But it is truly important to me and always has been.  I don’t need to brag about my art or anything like that.  I just want to know you know it’s mine. 
“American Pie: 6 of Potholders (coins) in the Kitchen Tarot,” detail, ©Susan Shie 2013.  Sewn painting on cloth. 60”h x 90”w.
 You made a conscious switch from doing very labor-intensive, physically complex quilt art to your current more streamlined airbrushed work that includes only a few carefully chosen embellishments.  Do you think the old way and the new way of working produce or come from two different states of mind? Do you ever miss the old method, and have you broken from your current method to make any new work in the old style? 

They are from the same state of mind, in terms of creative motivation, but along with the taming of the airpen for fabric paint and cloth and the numb fingertips from hand sewing, I also consciously realized I choose to be a painter much more than a quilter/sewer.  I only miss the old way of doing all that hand work when I’m riding a long time in a car or sitting still to watch late night tv sometimes, as I could be sewing.  Except it would wreck my hands, which I try hard to honor by not overdoing repeated motions.  I think the numbness is carpel tunnel syndrome. I would only do the old style again if someone paid me the big bucks to do it.  My hand stitched and beaded quilted paintings were $20/sq inch, and my machine quilted paintings are $4/sq inch.  I think the hand work is actually way more than five times the effort though.  I would have to really, really pace myself to do that again, but money talks!  I have a middle size piece frozen at half hand stitched, and I haven’t been able to stomach finishing it, from when I left it sit in 2006.  Instead I restarted a different, much larger piece of the same Kitchen Tarot piece, using my new methods, and finished it in two months.  I knew it would have taken a half year to finish the smaller version of “The Food Scales: Justice in the Kitchen Tarot.” 

“YaYas Lunch.” ©Susan Shie 2013.  Sketchbook drawing. Ink and colored pencil.  11”h x 17”w.

You use an incredible number of personal symbols in your work, and I am curious about how they have entered into your art over time.  Have you stuck with most of the same symbolic elements for a long time, or are different meaningful animals, people, objects and patterns continually coming into your head? Lastly, do you choose them consciously or do they just sort of start appearing and at some point you realize that a certain symbol has chosen you? 

They have just kept accumulating over time, and I think I figure them out, usually very playfully.  I think that having to pick a kitchen object to represent the traits of each Kitchen Tarot major arcana card really escalated that growth of symbolic vocabulary.  Maybe the trickiest one was figuring out that the pressure cooker could be the Tower card, as I had to think of something in the kitchen that had been dangerously ignored and eventually explodes, which is what the Tower card is about. 
“Home Blessing Song #1.” ©Susan Shie 2013. Sewn painting on cloth. 12”h x 12”w  made for the 2013 SAQA online auction.
Your studio is in Ohio, and as far as I can tell, you have a very un-New-York personality, but I definitely adore one of your pieces that I saw in "Masters: Art Quilts Vol. 1," "Tropical New York." I'm curious to hear your thoughts about New York, what it's like to create work inspired by this city, and urban themes in general.  

I lived in New York City for six months in 1988, on an artist residency with the Ohio Arts Council, and Tropical New York is about some adventures I had there, especially when Spring came to the city.  Jimmy brought our daughter Gretchen and two of her friends, all 17 years old, on their Spring Break, and they stayed in my Long Island City apartment, 3 blocks from my studio at PS #1.  Long Island City is on the east bank of the East River, right across from Midtown Manhattan, one subway stop away.
“The Big Dig.” ©Susan Shie 2013.  Painting on cloth.  Fabric paint, applied with brush and airpen.
18.5”h x 22.5”w.  This is a piece I made as a demo for several of my processes, in my Turtle Art Camp in March, 2013, right after clearing out the studio.
 I had a big studio in PS #1, when the studios were still in bad shape, but they were working on the building.  This was WAY before MOMA used PS #1 as its building, while the museum in Manhattan was being renovated.  It was the only time in my adult life that I lived alone, except for when I had my granny pad in Cleveland in 2004-06, to take care of Eva at my kids’ house during the week, while my daughter was at work.  The NYC period was full of exploring the city, making lots of my work, and interacting with artists from all over the world.  I could have stayed there, if I’d had 3 jobs to cover all the expenses that were paid for me during that amazing residency!! 
“Downtown Wooster Saturday Morning,” full view, ©Susan Shie 2013.  Painting on stretched canvas. Acrylic and ink. 18”h x 24”w.  Collection of Lisa Wagoner, Wooster, Ohio.
 I love that piece. It’s from a more reckless time in my work, when I was doing a LOT of painting with abandon on lots of crazy fabrics, and I was still using 3-D figures I sewed together, painted and stuffed and embroidered all over.  There are snakes to represent the subways, some of my first Buddha Girls, to represent the Voice Meditation class I took at PS #1 with the Dutch artist’s wife.  (There were something like 35 artists who had studios there, mostly from other countries, but there were 4 of us from US states.  Ohio had one of the best arts councils in the country then, and still does, but all of them have lost most of the funding they had back then.  They sent me to China for a month in 1990, too!)  
“Downtown Wooster Saturday Morning,” detail view, ©Susan Shie 2013.  Painting on stretched canvas. Acrylic and ink. 18”h x 24”w.  Collection of Lisa Wagoner, Wooster, Ohio.
Do you have any extremely talented artist friends whose work you'd like to plug here on the blog? They don't have to be fiber artists, just super cool folks who could use a little blog love.  

I love the work of Suzanne Fisher of Cincinnati, who’s a painter, mixed media artist, and mosaic muralist.  Her work is amazing.  She also had an artist residency at PS #1 in New York, the year before me, and we became good friends over it. To me her work is edgy and often about women, which is my own thing, too.  I have never collaborated with Suzanne, but would love to! 
This is a mosaic fountain by my friend and genius, mixed media artist Suzanne Fisher of Cincinnati.
I am an artist who "cannot draw," and I am interested in the ways that artists who want to make work which is representational but not strictly realistic can develop a visual vocabulary that does two things, both of which I think your work does very well.  The first is communicate clearly (i.e., figuring out how to draw hand gestures, faces and body interactions that viewers will be able to read easily even if they do not conform to the laws of reality). The second is visual appeal (i.e. why do I adore some artists who work in this style of not strict realism, like you, Lynda Barry and Pamela Allen but absolutely loathe other artists' work that can be said to follow the same conventions?). I would love to hear your thoughts about the importance of communication and visual appeal within the work that you do.

Thank you for your supportive words!  I believe that art is mainly an act of communication, and in my life, communication is what it’s all about!  I believe that all of us can draw just fine, but most of us dropped drawing at some point, so for those many people, their drawing skills NOW are probably worse than when they quit drawing, as a child.  Children are geniuses in many ways!  But they learn to fear being wrong, and they hate to be ridiculed.  They often shut down anything they don’t have to do, that might get them picked on. 

“Key West25 : 8 of Paring Knives (swords) in the Kitchen Tarot.”

I used to draw realistically a lot, but I also did a lot of photography, and finally I decided that my camera can do the realism, while I busy myself with making more intuitive art.  I love to draw, and I know that if I copy from a sketch I’ve made and love, it gets wrecked with stiffness. I still make life drawings, looking at things and drawing them realistically. That’s how you learn!  You need to just draw, to accept what comes out, in order for it to be alive.  It’s good to stand up to draw, to have some music on, to move with that music while you draw.  And especially it’s best to turn on the negative thinking.  It makes me happy to draw and paint and write and sew!  I think when we’re happy, our bodies and minds get a chance to do some healing and balancing.  So then: art is good for you!
“Turtle Moon Sign.” ©Susan Shie 2012.  Sewn painting on cloth.  22”h x 24”w.
As for getting the gestures right, it helps to draw from real life when you can.  You educate yourself when you really LOOK at what you’re drawing.  And practice makes perfect!  I have many, many years of art school behind me, and some of that stuff I recognized as balognie: the rules part.  But the golden part was making tons of drawings from life, developing the skill of being able to communicate what you see.  So then, like a jazz musician, you can scat when you draw.  You can syncopate the look, like how a jazz player stylizes the music, bending the music rules to their desires.  I think what you’re talking about responding to could be called syncopated drawing.  Or Jazzy Art, or Sassy Art!  Sassy is a nice word, and I’ve got a few little classes on my site I’m now offering with that word in their titles.  Sassy Drawing, Sassy Painting, Sassy Art Quilts, or something like that.  It’s making art with a real sense of freedom many people sadly don’t realize they would love feeling. 

©Susan Shie 2008. This is the largest painting I’ve ever made.  Hand colored house paint, brushed onto wooden garage door.  Approx 8’ x 16’, plus trimwork.  Finished about a week before the Presidential Election 2008.  Statement and large images at

A GIANT thank you to Susan Shie for infinite patience with the ridiculous delay in getting this interview published, it was an absolute pleasure to work with you, and to learn all about your artistic process and your life philosophy!

Saturday, June 29, 2013

Video of Breathtaking Installation by Artist Soo Sunny Park

I just saw this video, and had to share it here on the blog because it is so gorgeous and uplifting.  Mixed media artist Soo Sunny Park has created "Unwoven Light," a wonderful, light-filled, other-worldly installation made from sections of chain link material embedded by hand with thousands of individual scale-like pieces of plexiglass covered in dichroic film.  Park's work will be on view at Rice University's Rice Gallery through August 30, and I wish so hard that I could go see it in person!  Any readers who are in Texas, go experience this magic!

Soo Sunny Park: Unwoven Light from Walley Films on Vimeo.

Discovered on Hi Fructose, check them out!

Wednesday, June 26, 2013

Artist Interview with Susan Shie, Part 1

Today's interview subject is art quilter Susan Shie, who makes gigantic, colorful and incredibly uplifting quilts full of drawings and thousands of words of text. She creates her imagery using an airbrush and a new-to-me tool called an AirPen. Looking at the pieces in Susan's Kitchen Tarot series has made me think in a new way about how artists can share all kinds of ideas with all kinds of people using imagery that is simultaneously incredibly personal and somehow also universal. (by the way, you can totally buy a deck of cards based on some of the quilts, though you will have to wait a while longer for the full set!)

Here is the first half of my interview with Susan Shie: 

Here you can see the Obama garage door mural and Libby in the livingroom window, and some pretty nice Spring flowers at our place. Welcome to Turtle Moon Studios, my home.

Describe Your Workspace - is it in your living space or separate? Do you have a preference one way or the other? Is there anything your setup doesn't allow or that you have to do in a weird way? Have you come up with any ridiculously clever ways of working with the space you have available to you?

My studio has to accommodate not just me, but all the students I have living with us for a week, each time I have a Turtle Art Camp (TAC), which I’ve been doing since 1994.  This art biosphere setup can have up to 4 students, as we have 4 student bedrooms.  My studios are in the basement, so the students need to be able to do stairs, but they have 24 hour access to working, including the 6 hours of class I give them each day.
So my studio has to be pretty tidy.  I’ve just done a massive Big Dig cleanout, so it’s the nicest it’s been in years, and the students and I have plenty of elbow room again!  Actually I can even have 5 students, but 2 of them would have to share a bedroom with twin beds, which means they have to know each other well, before they come here.  The other rooms all have full size beds, so are one person rooms.
It gets a little tight with 5 students in the studios, doing painting with brush, airpen, and airbrush, and then maybe sewing one of their paintings from the week.  It’s a very different kind of experience, coming to live in the home of strangers for a week, so I try to put pix from camps on my Facebook page now, and had a running diary on my website, from 1997 on, way before there was the word “blog,” and that was my attempt to get people to feel like they sort of knew me, enough to come here and trust me!  You can read about Turtle Art Camp on my site at

My dog Libby and me. Early 2013.

What is your personal working balance between planning and spontaneity/accident? Does this balance look the same for each project you undertake?

In the OLD DAYS, I prided myself in just drawing on the piece, with no sketches made ahead.  But my work got more and more complex, especially when I ditched the hand sewing I’d been doing more and more and more of, and took up doing the Crazy Grid machine quilting I do now, which instantly meant I had time to work much larger.  With that came very complex compositions, and because of them, I started sketching a lot before pouncing on the cloth.  I sketch many images, zeroing in more and more on who will be in the piece, what they’ll be doing, and how they relate to each other.  What props they’ll have, how they feel, etc.  By the time I think I’m ready to use my airbrush and black paint and draw right on the big cloth, I’ve got the plot thickened well usually.
Then I fold my favorite of the many sketches into fourths, and draw a yellow overliner marker line to divide my big piece of cloth also into fourths so I can roughly judge how much of my composition goes into each quadrant, and especially where the very first marks will fit on the divided space.  I don’t want to LOOK at the sketches when I draw on my giant cloth piece, because I want to keep my drawing style fresh.  The hardest part is always getting the very first image onto the cloth, where it should be and at the right size.  Then, if I blow it, I have to adjust all the images’ sizes, etc, to make it all fit.
There are times when I do one sketch and have it.  Then there are the times it takes 15 sketches before I’m ready to paint in those black airbrush lines that can’t be changed!  Good thing I love to draw!

My studio holds 4 to 5 students and me, for my Turtle Art Camps, the weeklong art biosphere intensives I’ve held since 1994 here in Wooster, Ohio, in my home.

Do you incorporate any materials or techniques into your art that are not normally thought of as art supplies? What about these items makes them appeal to you personally?  How do you use them, and how did you discover this unexpected artistic use?

I think this would be my writing.  Most people don’t write all over their paintings.  I do, and I would feel sad if I couldn’t do that, because I love telling stories.  I spend way more time writing on a piece than sketching, drawing, and painting in the imagery, and I write as a first draft right on the cloth, not making that a copy from a planned script.  I do copy other people’s speeches or parts of them at times, but that’s not as much fun.  It has to be a really good speech, historically important, for me to want to do it that badly.  I think I got to writing in this overall style, that feels kind of like a screen door’s overall screen pattern, when I dumped doing all the tiny hand stitching I was doing for years and years.  Now I write with my airpen and black fabric paint, telling my own stories, giving news about current events and lessons from history, reporting on all kinds of things that fascinate me, and knowing that the words have to hold up as texture, because a lot of people will never read any of it.  These words take the place of the old tiny hand  stitches, giving the surface a nice pattern, but these words absolutely have to be meaningful to me.

Otis the cat studies some of the sketches I’ve made for “American Pie,” before I go downstairs to airbrush a very large, 60 x 90” white cotton cloth panel for the actual art piece.

Are there any media or methods that you know are definitely NOT FOR YOU? Did you discover this the hard way or do you know without having to find out? (feel free to tell some horror stories!)

I’m not interested in doing home ec style sewing at all anymore.  I had to do that from my girlhood 4H and home ec days, up through the years of making all our clothes and even making custom, very tailored leather garments in Jimmy’s leather shop in the late 70s.  I know that kind of sewing very well, as my mother was a great seamstress who taught me with great commitment and patience.  But my sewing now is art sewing.  It has to have the integrity of holding together well and looking like I want it to.  But I want my sewing to fit with my drawing and painting styles, and part of that is that it needs to look unique. And the technique needs to fascinate me, not drag me along with its rules.  I want people to look at my sewing and see how simple it is, and tell themselves that this can’t be what’s special about my work.  I want them to be compelled by the imagery and stories, not the sewing.  The sewing should sink into their background thinking, while the story sucks them in. I’m glad I understand sewing rules and techniques well, so I can pick what I want to use and know what I have to keep of the rules and what I can ditch.

Going from small sketches to huge cloth painting is scary, when you’re freehanding it, at least scary for the first marks, which set the scale for all the drawing.  I try to not look at the sketches while I draw with my airbrush, so the lines stay fresh and free. There are many albums of my works in progress on my facebook page Susan Shie Turtle Moon Studios.

Are you a stickler about your particular medium, or are you happy to cheat, borrow and steal from other disciplines whenever it seems like a good idea?

Hmmm.  Let’s say I am a pirate, going where I feel like going.  When I was in grad school, it never occurred to me to take Surface Design classes in the School of Art at Kent State.  I was in Painting.  So I did my paintings off stretchers, on fabric, not even thinking of them as quilts at all.  They were soft paintings.  If I’d been in Surface Design, I’d have found some way to work differently from the other grad students.  I am contrary!  But I had made a conscious choice in my undergrad years in the late 70s, to merge my “women’s work” sewing with my studio painting, as a feminist statement, for which I credit the feminist artist and teacher Miriam Schapiro, who was an artist in residence at The College of Wooster while I was a student there. She was really supportive, going around the country, pushing women to make a movement of Women’s Art.  I loved that, and I still love it!  My school was ablaze with feminism at that time, and when I went to Kent State for grad school, I was very active in bringing Women’s Art to the School of Art.

Libby and I relax, and I get to take off my respirator for a break, after drawing the whole piece with black paint and my airbrush.  You can see that the image has changed a lot, from the last sketch in my book.  I like that it’s really the next iteration of the sketches, only way big and permanent.

Are you currently having a passionate love affair with a particular medium or technique or concept, and would you care to share all the steamy details?

I’ve been in love with how I currently work since 2003, when I started using my airpen to write on my work with black fabric paint pushed by a tiny airpump through a surgical needle.  It doesn’t stress your hand, because you don’t squeeze to get the paint out.  I had been dreaming about that sharp, crisp, rich black line since I was a young painter in junior high school.  My husband bought me an airpen for Christmas 2002, and I almost sent it back, after failing to figure it out and not finding anyone who was able to use it on fabric with fabric paint well.  I gradually worked out many problems over the years, and am still having ah-ha moments.  I love my airpen and my airbrush both, and can’t imagine which one I would give up, if I had to let go of one and keep the other.  I’d never guessed I’d be using airpowered art tools, but they are both so natural to me now, that I never want them to leave me!
In 2006 I realized that the intensive hand sewing and beading I’d been doing so long had caused my fingertips to go numb.  I’d been experimenting with machine quilting, which I dubbed “crazy grid” work, because I prefer a rather intuitive, wobbly grid, which is not marked and tends to go all over the place with no rhyme or reason.  With the numb fingertips, I couldn’t bead well at all, and I decided that I am a painter, not a quilter really.  I made my first large machine sewn piece in 2005 and in 2006 dropped the hand sewing almost completely, only sewing a line of perle cotton running stitches around the border edge of each piece.  From sewing on tons of small glass bugle beads, I went to sewing on one Green Temple Buddha Boy bead to each piece.  I came full circle to being a painter again, making “soft paintings” again.  And all that writing took the place of all that hand stitched and beaded texture, but now I had back the storytelling aspect of the writing I’d done since childhood, as a fanatic penpal and diary keeper.

Stay tuned next week for Part 2 of my interview with Susan Shie!  

Thursday, May 9, 2013

Art All Night 2013 (post 3 of 3)!

Here is the third installment of my series covering Pittsburgh's amazing annual art event, Art All Night.

Enjoy the final batch of artwork, and maybe I'll see some of you at Art All Night next year!

*Note* I am including photos of some artwork that could be considered R-Rated, and so if you're not a fan of the occasional penis or other nudity-related themes, proceed with a little bit of caution! 

*Note #2* As always, forgive the poor quality of some of my photos!

AAN2013 The Morbid Cycle of Robot Love by Tricia Chicka - Digital Sketch printed on paper
"The Morbid Cycle of Robot Love" by Tricia Chicka - Digital Sketch printed on paper

AAN2013 The Majestic Cleaning Lady by Aleksei Age 14 - Water based ink on cardboard
"The Majestic Cleaning Lady" by Aleksei, Age 14 - Water based ink on cardboard

AAN2013 The Joy of Painting by Christine Heiner Mixed Media
"The Joy of Painting" by Christine Heiner, Mixed Media

AAN2013 The House that Jack Built by Jay Ressler Composite photograph & Jaccquard Weaving
"The House that Jack Built" (with detail) by Jay Ressler, Composite Photograph & Jaccquard Weaving

AAN2013 Sweetheart by Maddalena McDonnell Oil on Canvas
"Sweetheart" by Maddalena McDonnell, Oil on Canvas

AAN2013 Stained Glass Display
Volunteers at Art All Night rigged up a fancy backlit display to show the stained glass pieces that were submitted.  My dad did the hanging, and his piece can be seen on the bottom level!

AAN2013 Spider, Spider by Jason Iwinsky Ironwork
"Spider, Spider" by Jason Iwinsky, Ironwork

AAN2013 Silvia by Abby Kemble Oil on Canvas
"Silvia" by Abby Kemble, Oil on Canvas

AAN2013 Silkscreen Table
There was a table set up so that visitors to Art All Night could try their hand at silkscreen!

AAN2013 Shawl from Doily Pattern by Gail Belikiewicz Lace knitting in Wool
Shawl from Antique Doily Pattern by Gail Belikiewicz, Lace knitting in Wool

AAN2013 Senior Yeti by Brian Plank - Collage
"Senior Yeti" by Brian Plank - Collage

AAN2013 Second Ladle by Rhiannon Scheidt Cast Iron
"Second Ladle" by Rhiannon Scheidt, Cast Iron

AAN2013 Sale e Pepe by Alexis Rzewski Mixed Media
"Sale e Pepe" by Alexis Rzewski, Mixed Media

AAN2013 Redux by Helen Wilson Macrame
"Redux" by Helen Wilson, Macrame

AAN2013 Quito by Dennis Stefan Mosaic tile on board
"Quito" by Dennis Stefan, Mosaic tile on board

AAN2013 Queen of the Road by Rachel Tribley Mixed Media
"Queen of the Road" by Rachel Tribley, Mixed Media

AAN2013 Pride by Marsha Moore Acrylic
"Pride" by Marsha Moore, Acrylic

AAN2013 Pittsburgh Suspended by Gina Tomsky Encaustic Oil Mixed Media
"Pittsburgh Suspended" by Gina Tomsky, Encaustic, Oil & Mixed Media

AAN2013 Paradigm Red Shift by Natiq Jalil - Ink, Post-it Notes, watercolor
"Paradigm Red Shift" by Natiq Jalil - Ink, Post-it Notes, watercolor

AAN2013 Papercuts ROYGBP by Lynn Lewandowski Paper
"Papercuts ROYGBP" by Lynn Lewandowski, Paper

Monday, May 6, 2013

Art All Night 2013 (Post 2 of 3)!

Welcome back to this year's coverage of Pittsburgh's fabulous annual open participation art event, Art All Night!

Here are more of the photos I took, once again in no particular order.  Enjoy!

*Note* I am including photos of some artwork that could be considered R-Rated, and so if you're not a fan of the occasional penis or other nudity-related themes, proceed with a little bit of caution! 

*Note #2* As always, forgive the poor quality of some of my photos!

AAN2013 Lincoln by Rob Stinogle Acrylic
"Lincoln" by Rob Stinogle, Acrylic

AAN2013 Live Artist Demos part1
Live Painting Demonstrations went on throughout Art All Night!

AAN2013 Live Artist Demos part2
More Live Painting Demonstrations

AAN2013 Man in Definance by Dawn Pogany Mixed Media
"Man in Definance" [sic] by Dawn Pogany, Mixed Media

AAN2013 Marine Life by Nichole Musser Pen & Ink
"Marine Life" by Nichole Musser, Pen & Ink

AAN2013 Marion Page by Jim Phillips Acrylic
"Marion Page" by Jim Phillips, Acrylic

AAN2013 Mike Szymarek acrylic and india ink painting
Untitled Acrylic Painting with India Ink by Mike Szymarek

AAN2013 Minor Vocabulary by Christopher Fredrick - sculpture
"Minor Vocabulary" (two views) by Christopher Fredrick - sculpture

AAN2013 Missing in Action Figures by T. Wesley Snead Ink on Paper
"Missing in Action Figures," by T. Wesley Snead, Ink on Paper

AAN2013 Oh! Lydia by Desiree Resetar oil on canvas
"Oh! Lydia" by Desiree Resetar, oil on canvas

AAN2013 Papa Sid by Sonya Age 17 Ceramics
"Papa Sid" by Sonya, Age 17, Ceramics

AAN2013 Western PA, Oh What a Relief by Martha Ressler Contemporary Art Quilt
"Western PA, Oh What a Relief" (with detail) by Martha Ressler, Contemporary Art Quilt

AAN2013 Vampire Hunting Kit by Castle Spooktacular Mixed Media
"Vampire Hunting Kit" by Castle Spooktacular, Mixed Media

AAN2013 Untitled Pen Drawing by Sarah Hartung
Untitled Pen Drawing by Sarah Hartung

AAN2013 Untitled Ink Drawing by Michael Williams
Untitled Ink Drawing by Michael Williams

AAN2013 Untitled (H48BDSXOS) by Stan Sylvester Paper
"Untitled (H48BDSXOS)" by Stan Sylvester, Paper

AAN2013 Tyrants by Andrew Lotz Acrylic & pen on canvas
"Tyrants" (with detail) by Andrew Lotz, Acrylic & pen on canvas

AAN2013 Tree Tresses by Kira Yeversky Watercolor & colored pencil
"Tree Tresses" by Kira Yeversky, Watercolor & colored pencil

AAN2013 Tomatillos on Wood by Mark Neuherz Colored Pencil
"Tomatillos on Wood" by Mark Neuherz, Colored Pencil

AAN2013 The Real. by Charlie Riley - Textile
"The Real." by Charlie Riley - Textile