By Gail Wallinga
Gossamer, 36″x 24″, acrylic, oil, tissue paper, & bristles on stretched canvas, painting © 2007 by Gail Wallinga. All rights reserved.
Breathless, 36″x 24″, acrylic & oil on stretched canvas, painting © 2007 by Gail Wallinga. All rights reserved.
Second Skin, 36″x 24″, acrylic, oil, & tissue paper on stretched canvas, painting © 2007 by Gail Wallinga. All rights reserved.
I paint to bring visual form to emotions, interactions, and psychological states that I experience in life. For the past 3 years, I’ve been working on a series that is loosely about the theme of connection. How do we connect or not connect with ourselves or others? What is going on at the point of intersection. Or in the space behind the connection.
Here & There, 36″x 24″, acrylic & oil on stretched canvas, painting © 2007 by Gail Wallinga. All rights reserved.
Where We Meet, 36″x 24″, acrylic & oil on stretched canvas, painting © 2007 by Gail Wallinga. All rights reserved.
Sometimes I have a specific feeling or situation in mind when I start a painting. Other times, I start by spontaneously reacting to the materials that I’m exploring. But either way, the finished painting tells a story or represents a voice in the bigger picture of my theme.
My training as a graphic designer has taught me about color, composition and trusting my decisions. When I paint, I bring all of those skills to the table. I plug into the creative stream where the designer meets the artist to create something that pleases me visually and contextually.
Gypsy, 36″x 24″, acrylic & oil on stretched canvas, painting © 2007 by Gail Wallinga. All rights reserved.
Approach, 36″x 24″, oil on stretched canvas, painting © 2007 by Gail Wallinga. All rights reserved.
I paint once a week for at least 4 hours. Sometimes I’m able to paint twice a week. But I’m often thinking about and working on my paintings while I’m not in the studio. The creative process is fed by my experience as a designer, and is constantly going on in the background of my consciousness.
About Gail: Gail has been a graphic designer for almost 20 years, and principle of her own business, Wallinga Design, for 14 years. She designed the logotype for red Ravine and is the graphic designer of choice for our various mastheads. Besides her painting and design, Gail has passion for contemporary furniture design, photography, acoustic folk/pop music, and Godiva chocolate.
If you’d like to view Gail’s work in person, she will be participating in the Annual Autumn Show of The Rain Collective, a Minneapolis based confluence of artists. The show is taking place this Saturday, November 3rd, 2007, from 4:00 pm to 8:00 pm in the Casket Arts Building, 681 17th Avenue NE, located in the infamous Nordeast Minneapolis.
For contact information, Artist Statement, and to view more of Gail’s work, see her Rain Collective profile.
Postcard for The Rain Collective, Annual Autumn Show, 8.5″x 5.25″, designed by Gail Wallinga, photographs Ryc Casati, postcard © 2007 by Wallinga Design. All rights reserved.
redravine.wordpress.com 
Gail,
I love your work. The emotions these pieces invoke were visceral and moving. I wish I lived closer so I could see these in person because I know that with the size of the images on the website I am missing many of the subtle details.
The painting that initially grabbed me was “Here & There” with the small sphere appearing to be out there all alone but on closer examination it was connected to the others by the thread that runs just below it. To me this is what living away from your family is like. You are on your own but still connected by many common threads. I am not sure if this was the feeling you were trying to create but for me art has always been subjective where we each take away the meaning that is right for us.
Thanks for sharing your work, it is beautiful. I plan to spend some time tonight looking at the rest of the paintings to see where they take me and will post my comments on them later.
R3
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Thanks R3, I appreciate your comments.
When I was creating this painting, I was looking for new ways to connect the circles and also to add more depth to my work. I liked the idea of introducing the fine line as a link between the circles.
One thing I love about creating abstract paintings is that people can see many different things in them. What I have found over time is that even if someone sees something different than what I was intending, often times there is a link between the two viewpoints.
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Gail, that’s interesting about the links between the different viewpoints that people have on a piece of art. In that way, art is a connector between people. I like thinking of it that way.
I’ve had the pleasure of viewing your work in person. And though it looks stunning on red Ravine, it’s so dynamic to see all the textures and subtleties of your paintings in person. In that way, R3 is right – there are limitations to the webpage. And I hope people can get out to see your work in person!
I was wondering, which of these paintings is the oldest, and which is the newest? I was thinking about process of change over time.
And how did you decide to start using the tissue paper layering? Were you inspired by someone else’s work? Or did it develop from your design.
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Funny you should call out “Here & There,” R3. When QM asked me to take a look at the post last night, I called that one out to her, as well, as being one that particularly struck me. I love them all, though. “Approach” also calls to me a lot, and I’m finding I move from the big picture, so to speak, to the detail constantly.
Gail, I love the depth and texture and flow to all these paintings. I imagine each one takes some time to complete. I’m curious, how long does it take you generally to complete a painting? And do you complete every painting you start?
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Of the paintings on this post, the oldest is Breathless and the newest is Gossamer. I have been working on this series for 3 years now and have about 30 paintings in it. I like to keep the most recent paintings up in my studio so that they guide me as to where to go next. As I try new things, it’s important to me that the paintings still visually relate to the older ones in the series. So I like to think abut the changes as incremental steps.
It is amazing to me how much detail is coming through on the images here. Though it’s not what you can see in person, you can at least see that there is some texture. I am very interested in texture and am always exploring new ways to achieve it. I think sometime in the near future I’ll need to get away from canvas and start painting on boards so that I can carve into the surface as well as adding texture on top.
I started using the tissue paper because I wanted to find new ways of exploring the idea of overlapping and intersecting. Previously I had only been using acrylic mediums and paint and wanted more transparency. I also thought the tissue paper might introduce new textures, which it did. I don’t consciously remember seeing tissue paper in someone else’s work, but I probably did at some point in time.
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Hi ybonesy. Yes, it’s interesting that you and R3 were both drawn to Here & There. I love hearing which ones people are drawn to and why. The first time I showed the series (there were only 20 then), almost every painting was at least one person’s favorite. I find that fascinating. But usually there are a couple that more people are drawn to.
Once in a while I’ll complete a painting in a couple weeks. Those tend to be the ones that come out more spontaneously. Most of the paintings take several weeks or even a couple months to complete. I keep waiting for this voice inside to say, “Yes, I like how it looks now. It’s done.” Until I hear that voice, I keep revisiting the painting to see what else it needs. I find that I’m able to begin the paintings much more quickly than I end them. Sometimes if I’m feeling stuck, I’ll put the painting away for awhile and then when I take it out again, I have a fresh look at it and can see more easily what it needs.
It used to be that I would finish every painting, but that is less true these days. If I am unclear about what I want the painting to say, then it probably won’t get finished. In that case, it often becomes the background for another painting. I like that.
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Hello Gail,
I really like the layering in your paintings, especially in Gossamer, Second Skin and Gypsy. In relationships (connection) with others, there are always layers: history, experiences, growth, loss, change. Your paintings capture that. Is that what you were going for in using the tissue paper? How do you apply it? Thanks for showing your work here. I hope to see your work in person.
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I’m enjoying this conversation. You know what I love about having other artists on red Ravine is that you get to ask them all the questions that people are too shy or afraid to ask at Art Openings. Why is that? And this is an open question for anyone – Why are people afraid to go up and talk to the artist when they look at their work (work they are thinking about buying, taking home, and hanging on their walls)?
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I am captivated by the movement and shadows in “Here & There, ” but it is the texured appearance of “Breathless” that fascinates me. How did you do that? Is the dark spiky part just paint? Your work is wonderful. Thank you.
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When I first started painting, I just used paint. But quickly I wanted more texture and started exploring the world of acrylic mediums. There are many different kinds out there. Some will hold a stiff peak, others are more creamy, and some have sand in them. So depending on what I want the painting to look like, and what I want to say, that will dictate which of the mediums I use. Or most often, I will combine a few of the mediums.
When you combine acrylic and oil paints, the acrylic has to go down first. You can put oil paint on top of acrylic, but never the other way around. So if I’m going to have texture, I’ll tint the acrylic medium with a color, put it on and when it’s dry, start applying the paint.
So in Breathless, the dark spiky parts are a black tinted acrylic medium applied with a palette knife. Then on top of that, I used the oil paint. This painting was a very spontaneous one. I had a lot of fun creating it.
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I like what shivashoosan said about relationships: In relationships (connection) with others, there are always layers: history, experiences, growth, loss, change.
And how Gail said she chooses the medium that goes with the feeling she’s trying to create….grit, creamy, sand, stiffness, peaks all relate a certain feeling.
I love the first 3 paintings, Gossamer, Breathless, and Second Skin. I also like Approach. Approach has a clean, uplifting feel for me. The layering of Gossamer and Second Skin adds so much depth and texture.
Gail, you already answered another question I had about acrylic and oil. And how you combine both in your paintings. Do you like one better than the other?
And out of the paintings displayed here, do you have a favorite?
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When I first started painting, I loved oil paints – they were so buttery and sensual. But as time has gone on, I’ve been using them less. That’s because acrylic paints dry so fast that I can get ideas down more quickly. I think ideally I like combining the two. I can put the backgrounds down more quickly with the acrylic paint and then take more time with the top layers. For me to work effectively with this process means I need to have several paintings going on at the same time. So that is my ideal.
Yes, I do love the depth of the layers that the tissue paper has provided. I’ve only done 3 paintings with the tissue paper, so I’m still learning how to use it and what it can say. On the tissue paper paintings, I don’t put down any texture in the background because it would be too busy – too much texture.
My favorite is usually the one I’m working on at the moment. But of the ones displayed here, I’d say Where We Meet is my favorite today. This is the one painting where the background texture isn’t fully coming through on the monitor. I crosshatched with the edge of my palette knife in the thick background medium to get this effect. It is mega textured and I am quite fond of it. I want to use this texture again down the road, but just haven’t gotten to it yet.
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Yeah, I know what you mean about Where We Meet. I’ve seen the painting up close and the streaks from the palette knife are more pronounced on the actual canvas.
I also noticed that Second Skin looks different with the light shining through it (from the computer screen), than it does with light bouncing off of it from a window. Both look good. Just different. Second Skin is a real beauty in person. It kind of glows.
I was struck by how you listen for the inner voice to tell you it’s done. This paragraph that you wrote about your process is also true with writing:
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Hi Gail! Wow – tremendous work. I like what you said about using acrylics to get your ideas down quickly. I find myself painting quite rapidly when I know what I want to say, too. And acrylic mediums – aren’t they great fun?
I really love the composition of your pieces. They’re very balanced, harmonious. I am drawn to “Approach’ in particular. Hey – that’s an oil!
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QuoinMonkey, I’m glad you brought that up about the processes being similar in different mediums. I find that fascinating. When I play music, I can think about it in a similar way as when I’m making a painting. Sometimes, if I’m stuck in either music or visual art, if I start thinking about it as if it were the other medium, it helps me through the block.
Yes, Second Skin does glow when viewed in person. That was one that came very spontaneously. Sometimes the designer in me thinks things through too much (part of my design training). So I try to let that go in my painting as much as I can.
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Like others here, Here and There appealed to me… I think it is just so technically good. On the other hand, Second Skin spoke to me for some reason — its delicacy, its fragility. Beautiful work, Gail.
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Hi Bloomgal. Thanks for you comments! It’s always fun to hear from other painters too. Yes, I absolutely love acrylic mediums. I have a few older paintings (not on the blog) where I applied the medium with my fingers. It was really fun – primal in a way and took me back to the days of finger painting.
I sort of have two sub- themes going – one with the tissue paper and the other with the acrylic mediums. My studio mate’s brother has horses and he’s saving horse hair for me. I can’t wait to see how that finds it’s way into the paintings.
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pmousse, I just looked at Here and There again and there’s so much movement in that painting. And then those couple of thin red lines. Nice.
Gail, I just noticed that Godiva has Halloween chocolate! (as mentioned in your bio) Have you checked it out?! And milk chocolate or dark chocolate?
Here’s the link:
http://www.godiva.com/welcome.aspx
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Several of these paintings made me feel as though I were looking at layers of objects trapped in ice or glass — rather like an idealized form of those curio coffee tables … you know the ones, with shelves, where you can look down at them and see objects behind and on top of and somehow through each other?
At any rate, these struck me like that, and also as a sort of geological striation of emotion … as if I might somehow see the whole story, if I cut a cross-section and observed it with proper attention.
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I just went back to read the other comments, and am interested to note that Here and There was the painting that appealed to me the least. My personal favorite is Gypsy, due party to the color combination, but more to the sense of sweeping and conflicting motion … but it’s a very subtle and delicate conflict.
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*sigh* Sorry about the italics. Someday, someday I’ll get the hang of the html.
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Wow, I love that phrase, “geological striation of emotion”. I’ve seen this body of work in a couple of shows and it definately tells a story. But I love the idea that each painting holds the whole story as well and that seeing a cross-section would reveal it.
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Hi pmousse & davidrochester. Thanks for your comments. It’s nice to hear which ones don’t appeal to people too. It’s all valid. One thing I’ve learned from being a graphic designer is to separate from whether people like or dislike my creations. It makes it much easier to hear feedback. I can observe more like an anthropologist then.
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davidrochester – Oh, I love that phrase “geological striation of emotion” too…very descriptive. What some of you don’t know about me is that I’ve been a rock hound from the day I was born. They are everywhere in our house. So I love that another passion of mine is coming through in the paintings without my being conscious of it.
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I fixed those italics, DR.
Gail, I’m trying to see if you answered this already in the comments, but does “Breathless” have actual brush bristles laid into the acrylic? How did you get that texture?
Also, if not yet asked, what about costing? What is your range, and how did you derive it?
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david, that’s a very tender description of Gypsy which you said was your favorite:
the sense of sweeping and conflicting motion … but it’s a very subtle and delicate conflict.
I hadn’t thought of that painting that way – the conflict between the reddish bumpy arcs and the more subtle arcs in the background. There’s a detail of one of the darker red lines in Gypsy at the bottom of this Casket Arts Photoblog post. It’s got amazing texture.
Detail of arc in Gypsy:
Full post:
https://redravine.wordpress.com/2007/05/19/casket-arts-photoblog/
Gail, you mentioned the finger painting in one of your comments. It reminded me that Sharon (bloomgal) said in the comments in Under Your Voodoo (LINK) that she likes to get messy when she paints. Are you a messy or neat painter? Just curious. (I used to be a mess when I did any kind of art)
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I just read back through the posts and wanted to comment on what shivashoosan asked earlier about the tissue paper. Yes, those are some of the things I was going for in using the tissue paper. So far it allows me to layer things beyond what I’ve been able to do with just paint.
As far as how I do it – I first spread a thin layer of acrylic medium and then put the tissue paper over the medium. Once the tissue paper is down, I go over it with more of the medium to really seal all of the edges and to get any air bubbles out. One thing that I’ve found is that if I put the medium down first, I get more transparency out of the tissue paper than if I don’t’ put the medium down first. I’m still figuring out how to get the tissue paper to respond in different ways. As I’m laying the tissue paper down, I can make it smooth or put more folds and wrinkles in it, depending on what I’m trying to say. There’s a brief period where I could reposition it if I wanted to, but since it’s acrylic, it dries fast.
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ybonesy, Breathless doesn’t have any bristles in it. The only one that does is Gossamer. The texture in the dark areas of Breathless was made by applying the acrylic medium with a palette knife. I think I did some scraping too – so I’d apply some and then scrape some until I got the look I was going for.
As for pricing – hmm. I’m still pretty new at painting and selling my work, so I don’t have this down to a scientific method yet. ☺ Anything but… A couple years ago, when I had my first show, my teachers thought I could ask from $500 – $700, so I picked $675. Since that time, as I keep accumulating more paintings, I keep lowering the price. I am running into problems of where to store them, so I drop the price in hopes of selling more. I hope it works soon! So for this next show, I’ll have them all priced at $500.
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Gail, We’ve really enjoyed having you as a Guest on red Ravine. I learned a lot about process and materials from your responses to questions on your work. I had wondered how you worked with the tissue paper. So thanks for answering that question in such detail.
It reminds me that so much of art is an act of discovery. About materials, and process, and concepts. There has to be a willingness to take risks and make mistakes. That’s another place where art is like writing.
You’ve covered a lot of ground. I wanted to ask you one other thing – about concepts. I know artists who paint from images or photographs or draw everything out first on the canvas. But abstract painting seems different. Where do your ideas for your paintings come from? Do you sit down and brainstorm ideas or do cluster mapping. Or is it pretty organic, from feelings or emotions at the time?
I know in writing, we kind of write what we’re obsessed with. And the same concepts tend to emerge over and over again. Is it the same with abstract painting?
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Thanks everyone for you comments. It’s an honor to show and talk about my work with you.
In answer to your question QM, when I first started this series, I did sit down and think about what kinds of shapes, colors, texture, etc., would depict my topic in an abstract way. Because even though they are abstract, they are narrative, and I want/hope that some of my original intent comes through to the viewer.
Then there is the layer of listening to my body and what type of markings I am compelled to make. That has been a very interesting process that I’ve never really thought about or articulated. So I don’t have a lot more to say about it at this time. I just listen.
And finally, there is the layer of composition, which I come up with in different ways. Since this series is all related to one topic – connection – it simplifies the process for me. I don’t feel like I’m starting from scratch every painting. I do find it helpful to sketch out compositions though. If I don’t, I find that I’m less happy with the compositions I end up with.
But that said, sometimes I might have a feeling or an experience that I just want to start painting about. When those paintings want to come out, I try to allow myself space to do that and not stop the process to plan it out.
Yes, I would say this theme has been prevalent in my life. So in that way, it is an obsession. I have accepted that I will paint about it until I feel like I’ve said all that I have to say and then I’ll need to find another topic. Sometimes I worry about what else I would paint about, but mostly I trust that I will know when the time comes.
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I like the part about listening to your body. Natalie always says that writing is physical. And the listening to the body is a big part of that.
You seem grounded in your work and like you have a lot of faith in the process of making art. I find that inspiring. There are days when I feel like I have nothing to say in my writing. But I still try to show up in at least one of my practices that support my writing. Some days that’s hard.
You know, you mentioned that your teachers helped you with pricing. And it reminded me about mentors. As writers, we use books as mentors a lot of times. But it really helped me when I started taking workshops with Natalie and found that she resonated with me as a mentor.
People often ask me about how to find mentors. And it’s a difficult question. For me it’s been a slow process of showing up and the relationship evolving over years.
How important have mentors been in your painting process? Do you have any ideas for other artists about how to find mentors.
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A delayed acknowledgement here, Gail, re: your pricing approach. My painting mentor has also guided me on what he thinks my paintings would fetch. Art is highly susceptible to economic downturns, though, yes? And we do seem to be in some sort of a economic funk, with the housing market in a slump in many places around the country. I have friends who have lots jobs, too. I would imagine those who sell art for a living have seen some ripple effects, even if small ones.
Any chance you’ll be showing your art anywhere else around the country. NM, perchance?? ; – ). And, have you been to NM? I think you would be inspired by the landscape here.
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I feel very lucky to have found my painting mentors – they were invaluable in guiding me to the point I’m at today. There is a funny story about this. I used to make art furniture – which is very physical – and I injured myself one day. Well, after a year of the injury not healing, I decided to go and paint with a friend one day. I fell in love with it. Soon after, I ran into another friend at the YWCA and during the course of our conversation, she told me she had been taking classes with these 2 wonderful teachers. I called them as soon as I got home and so the story goes…
So for other artists looking for mentors, I would say put your intention out into the universe and then stay open for how it will be answered. And if that doesn’t work, ask your friends and fellow artists for names of teachers/mentors that they have found and liked.
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That’s a great story about how you found your mentors. Synchronicity. And being willing to listen to all the signals from the Universe supporting your efforts.
I can’t wait for your show, Gail. And to see the work of the rest of the artists in The Rain Collective. I’ll be there Saturday with bells on! (I wonder where that saying came from?) I hope you sell a lot of work. And please come back and let us know how the show goes.
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Hi ybonesy, yes I’ve been to NM and love it there. I would love to show my art in other parts of the country – so if anyone knows of a gallery that might be a good fit, let me know! 🙂 One of my next steps is to market my art, which I haven’t really done yet. I’d like to find more places to show the work other than my studio. This blog is a first step. It is very rewarding to find new audiences and get feedback from people outside of my inner circle. Don’t get me wrong – I am very grateful for the support I get from my family and friends. But it does feel important to widen that circle too.
Yes, the market/economy can certainly effect art buying. I feel that in my design business too. When the market is bad, many companies slash their marketing/communications budgets. I’m grateful that I don’t rely on selling my paintings for a living. It allows me to be more true to the paintings. I have found an equation that works for me where I make a living from my design and my painting is for me. But I think it’s important that artists find the equation that works best for them.
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Yes, important point – that people find what works best for them in terms of making a living while they do their art or write their book. It changes at different points in people’s lives, too. People do it all kinds of ways.
You brought up a good point, too, about how not relying on your painting as the only way to make a living allows you to be more true to the paintings. Making a living and being a writer and artist has evolved for me over time. I think most will say they have a lot of irons in the fire.
Some writers and artists teach or work temp jobs to augment their work. Some have full-time jobs outside of the field of art or writing and make time to paint or write when they can (usually all hours of the day or night). Some have their own businesses.
There’s no one right way. You have to do what works for you. And to also know when something ISN’T working in terms of making money. And let it go.
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Hi Gail,
I’m not very knowledgeable about abstract art but I find it very interesting. My thoughts are probably nothing like your artist friends and I’m sure in real life they would be different. I’m sending my first thoughts just so you can have a good laugh.
Gossamer reminds me of cells with spots of blood scattered around.!
Breathless- a forehead with wild hair!
Here and There-I like, at first I see circles of wood laying on a concrete slab, then a flowing arch, like infinity. The second I like a lot
Where we meet-A piece of material with threads awry and a mother and daughter lost in the right upper corner.
Gypsy-I get a lot of confused thoughts=serenity with something or someone trying to interfear-or a scar-I also see freedom, crazy eh!
Approach-a confused mind trying to gather thoughts and become whole again.
I think a lot of what we see in an abstract is what we are feeling or going through ourselves at the time.
Great work and very interesting !!!
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Mom, I’m so happy you responded to Gail’s work. I was just talking to her today about how artists love (and need) to hear from people who don’t necessarily consider themselves artists because art is for everyone! And all art is what the viewer takes from it. So it’s so important to hear the thoughts of all people.
I love reading what you see in the paintings. And, you know, I know a little about the concepts behind a few of Gail’s pieces. And I’d say, you’ve hit the nail on the head on a few of them (especially Gypsy). I bet Gail will be thrilled that you commented. 8)
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Hi Mom – thanks for writing. I loved hearing what you see in and feel from my paintings. QM is correct, some of your thoughts are very similar to what I was thinking about when I painted them. I appreciate your courage in saying what you see even though you don’t feel very knowledgeable about abstract art. Way to go!
I think that it is natural for people to try to find something recognizable in abstract art. In life we are surrounded by things we see every day and so we are most comfortable with what is familiar. So if we can recognize something familiar in abstract art, it’s a way “into” the painting. Then upon spending more time with the painting you might see or feel something different. Or maybe not. It is all valid.
My teachers always told me that if I stayed true to what I was painting about – my intent – that some of it would come through to the viewer on a gut or feeling level. I have found that to be true the more feedback I get about my work.
Thanks again for your feedback!
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I also loved hearing your impressions, Amelia. They were fun and light and deep all at once.
I’ve been on the go, Gail, traveling to Portland and back, and so I’ve been skimming the comments. I’ll read everything another time around. I don’t want to miss out on the great conversation and details that your art inspired and that you inspired.
Also, thanks again for sharing yourself with us. You’ve been a great guest. Not saying so long…just wanting to echo QM’s thanks before I get too far away from this.
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You’re very welcome ybonesy – it’s been great fun. I also got through my fear of commenting on blogs, so you’ll be hearing more from me. : -)
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Liz and I just got back from Gail’s opening and it was a blast. Her studio was buzzing with people and the Casket Arts Building was lit up with all kinds of art, jewelry, photography, and painting. The Rain Collective work was eye-popping. I bet there were at least 250 people out viewing the art.
Gail, I liked the work you chose to hang, some different than what’s presented here. I especially liked the most recent painting with the layers of tissue paper, ringed with paint, and the marks like horse’s hair. Speaking of horse’s hair, what are you going to do with the bag you got from your friend? Can’t wait to see how it ends up in your work!
Great opening. Your work looked great. I hope you had fun!
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Hi QM, glad to hear you enjoyed the show. I had a great time too. People asked good questions and I got some great feedback about my work.
My studio mate asked her brother to save horse hair for me. He brought me a grocery bag full of mane and tail hair on Saturday and I started using it yesterday. I don’t have a clear vision of what I want to do with the hair, so I’m experimenting. I’m very excited to create a new kind of texure with an organic material. I’ve always loved horses, so that is another layer of my excitement to use it in my paintings.
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Gail thanks for checking in after your show. I’m glad you got great feedback on your work. I’m always amazed at how coarse horse hair is when you run your fingers through it. I have an antique lap blanket (for carriages) that belonged to my great, great aunt that’s woven out of horse hair. Warm but rough! Looking forward to seeing what happens with horse hair and paint on canvas. A lot of potential. Keep us posted.
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[…] Inner Rhythms by Gail Wallinga […]
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I wanted to come back to this post and give an update, share some Art news.
I just got an email from Gail, and one of her paintings will be exhibited at the Minneapolis Institute of Arts this week. It’s there for Art Perchance, a juried fundraising event hosted by Friends of the Institute.
And as fate would have it, another of our red Ravine GuestArtists, Carol Tombers, has also had a piece accepted into this same show. [See The Shamanic Series (LINK)].
Congratulations to Gail and Carol! Quite an honor. And it says volumes about the caliber of their work.
You can see their work along with other selected pieces in the 3rd Floor Reception Hall in the Target wing. If you live in the area, please stop by if you have the opportunity; details are below.
Minneapolis Institute of Arts (LINK)
2400 Third Avenue South
Minneapolis, Minnesota 55404
888.642.2787 (Toll Free)
Monday: Closed
Tuesday: 10-5
Wednesday: 10-5
Thursday: 10-9
Friday: 10-5
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Congrats, Carol and Gail!
Hey, QM, do these two artists know each other? Just curious.
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ybonesy, yes they do. You know, I find that the writing and art communities, even in large cities, are really intertwined and connected. It can be a very small world, and most times artists and writers will bump into each other or know of each other’s work.
The amazing thing is that they entered this juried show separately and I’m not sure they both knew the other was entering. Makes it even greater that they both were selected to be in the show! I hope they both have a good time at the opening this Friday.
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[…] it’s worth the trouble setting up an account. http://www.etsy.com/shop/romaarellano Wallinga Design, the same graphic design company that created the red Ravine logo, also created my new logo. […]
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