friday was Jackson Pollock day....the paint did eventually dry!
Showing posts with label art. Show all posts
Showing posts with label art. Show all posts
Tuesday, August 25, 2009
Art Camp 2009
Last week was the first of hopefully many Art Camps at Dhillon Studios. We had a fun week with lots of time to explore different mediums for drawing and painting, as well as a variety of surfaces. The kids completed projects on paper, canvas and wood. We talked about Henri Mattise, Pablo Picasso and Jackson Pollock. They filled their sketchbooks with still lifes and drawings of their choice using oil pastels, watercolors, chalk pastels, pencils and markers. A messy good time was had by all!
Monday, March 23, 2009
Tuesday, November 25, 2008
The closing of Gallery 63Eleven
A new body of work is well under way and now without a home. After 8 years Gallery 63Eleven has decided to close. Sad to say that means the cancellation of my show which was scheduled for February. I am hoping that the gallery hosts a group show for the final closing. I'll keep you posted.I will be looking for a Gallery in the new year. Until then its time to update this space with some photos of the new work.
I spent 5 weeks in India earlier this year gathering some wonderful images to work from. I am especially excited about doing paintings of my village, Kharoudi.
I spent 5 weeks in India earlier this year gathering some wonderful images to work from. I am especially excited about doing paintings of my village, Kharoudi.
Friday, March 09, 2007
The Neighborhood Cafe
We had a wonderful reception at the Neighborhood Cafe on Sunday night. It was a great turnout of old friends, new friends and family. Thank you very much Khadija, for the delicious food, continued support and enthusiasm. We appreciate you very much!
The show will be up all month. The cafe is open Wed. -Sun., 7-3. The address is 1418 NW 70th street, Seattle, WA(that's Ballard).
The show will be up all month. The cafe is open Wed. -Sun., 7-3. The address is 1418 NW 70th street, Seattle, WA(that's Ballard).
"Puaji's House"
Next week I'll be back in the studio. The plan is to turn one of the pieces from last summer's show into a
triptych. It hangs on our bedroom wall and gets all the morning light. I love the way the sunlight works with the shadows and sunny areas that already exist within the painting. Three paintings would fill the entire wall and give us the feeling of waking up in "Puaji's House" in Jallandhar, India.
This week's plan is to prepare some larger painting surfaces. I prefer wood to canvas as a painting surface. I think thats because of my printmaking background, drawing on slabs of marble and etching on metal plates. The wood surface allows me to be much more physical with the painting surface. The added bonus is that it is cheap compared to the cost of canvas. I' m look forward to my trip Limback Lumber.
triptych. It hangs on our bedroom wall and gets all the morning light. I love the way the sunlight works with the shadows and sunny areas that already exist within the painting. Three paintings would fill the entire wall and give us the feeling of waking up in "Puaji's House" in Jallandhar, India.
This week's plan is to prepare some larger painting surfaces. I prefer wood to canvas as a painting surface. I think thats because of my printmaking background, drawing on slabs of marble and etching on metal plates. The wood surface allows me to be much more physical with the painting surface. The added bonus is that it is cheap compared to the cost of canvas. I' m look forward to my trip Limback Lumber.
Wednesday, March 07, 2007
Wednesday, February 21, 2007
In the studio
Its been a busy month back in the studio. I'm getting ready for a show next month here in Seattle at the Neighborhood Cafe in Ballard. Our favorite breakfast/ lunch spot, it is absolutely delicious.
The new paintings are all shop fronts and street scenes from the small town of Potchutla, in Oaxaca, Mexico. I decided to just work small for this show. The largest piece is maybe 5"x 8" and so far the smallest is 1 1/2"x 2".
We spent 3 weeks visiting with our good friend Matt who moved to the coastal teeny, tiny town of Zipolite in Oaxaca. Potchutla is about 45 minutes from Zipolite but is also the closest bank machine. We had an amazing trip and I took far to many photos so that I would have lots of material to work from when we got home. I've never been one to work plein air. I prefer to take photos and keep a sketch book of notes, rough sketches, and journal entries. I packed minimal art supplies and then did not find much available where we were. So instead we enjoyed the sun, the empty beaches and warm waters of the Pacific Ocean.
The new paintings are all shop fronts and street scenes from the small town of Potchutla, in Oaxaca, Mexico. I decided to just work small for this show. The largest piece is maybe 5"x 8" and so far the smallest is 1 1/2"x 2".
We spent 3 weeks visiting with our good friend Matt who moved to the coastal teeny, tiny town of Zipolite in Oaxaca. Potchutla is about 45 minutes from Zipolite but is also the closest bank machine. We had an amazing trip and I took far to many photos so that I would have lots of material to work from when we got home. I've never been one to work plein air. I prefer to take photos and keep a sketch book of notes, rough sketches, and journal entries. I packed minimal art supplies and then did not find much available where we were. So instead we enjoyed the sun, the empty beaches and warm waters of the Pacific Ocean.
life with art
I just picked up all my paintings from a group show here in Seattle at University House. They were up for 4 months. It was all new work from last summer that I really did not have any time to live with. It is interesting to see them after a break. Usually I finish a piece and have it hanging for several months before I show it. The last body of work I never really had the opportunity to live with it. Now that it is back, I'm happy to say that there are quite a few I really like.
Thursday, August 17, 2006
Artist Statement
At the end of 2005 my husband Deep and I packed up our 2 kids, Nayan and Ananya for a six week trip to Punjab, the north Indian state where both of our families originate. Deep was born in Madison, and I was born in Victoria. We’ve both travelled to India several times. The focus of this trip was to simply spend time with family, and for Deep and I to paint.
We lived with our cousins on their farm just outside the city of Jallandhar and went to town every day to our Masi’s (maternal aunt’s) house to draw, paint, photograph and absorb Jallandhar. Masi’s rooftop became our temporary studio.
When I begin a new body of work I am never sure what direction it will take. My previous paintings began with either colorful silk fabrics, family photos, or found papers randomly collaged. Perhaps the chaos of Jallandhar itself directed the calmness and loneliness in these paintings.
I have always been interested in everyday street scenes; our drive into the city every morning and the view from Masi’s roof are immedietly inspiring. The city itself and our families' ancestral villages are my focus -- the “raidee’s,” or street vendor’s carts, which offer everything from fruits and vegetables to parrot pundits that predict your future -- pastel painted concrete houses enclosed behind ornate iron gates and fences -- rooftops cluttered with water tanks, television antennae, electrical wires, drying laundry, folding cots and patio chairs -- fading yellow ochre walls with cerulean blue padlocked doors belonging to families long gone abroad -- fresh strings of peppers and a solitary lemon hung every saturday morning to protect against the evil eye. Welcome to Jallandhar.
We lived with our cousins on their farm just outside the city of Jallandhar and went to town every day to our Masi’s (maternal aunt’s) house to draw, paint, photograph and absorb Jallandhar. Masi’s rooftop became our temporary studio.
When I begin a new body of work I am never sure what direction it will take. My previous paintings began with either colorful silk fabrics, family photos, or found papers randomly collaged. Perhaps the chaos of Jallandhar itself directed the calmness and loneliness in these paintings.
I have always been interested in everyday street scenes; our drive into the city every morning and the view from Masi’s roof are immedietly inspiring. The city itself and our families' ancestral villages are my focus -- the “raidee’s,” or street vendor’s carts, which offer everything from fruits and vegetables to parrot pundits that predict your future -- pastel painted concrete houses enclosed behind ornate iron gates and fences -- rooftops cluttered with water tanks, television antennae, electrical wires, drying laundry, folding cots and patio chairs -- fading yellow ochre walls with cerulean blue padlocked doors belonging to families long gone abroad -- fresh strings of peppers and a solitary lemon hung every saturday morning to protect against the evil eye. Welcome to Jallandhar.
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