Folk Art Opening Reception
video filmed by The Gainesville Times
Happy Birthday R.A. Miller!
A Birthday
Party for R.A.
Miller in honor of his 100th
birthday!
Monday, July 23, 2012, 12:30-1:30 PM
1:30 P.M.: Screening of the documentary "Lord Love You: The R.A. Miller Story,"
Born Reuben Aaron Miller on July 22, 1912, R.A. Miller would have been 100 years old this month. He was a self-taught folk artist, best known for his “whirligigs,” metal cutouts and drawings. Largely collected, Miller is acknowledged as one of the more notable senior folk artists in America. Besides being a patriot, Miller was a preacher at the Free Will Baptist Church and used his artwork to help spread the word of God. His materials consisted of paint, magic marker, tin, bicycle parts, and scrap metal. His work generally consisted of animal and human figures, and short inspirational messages, e.g. "Lord Love you." His animal images range from bluebirds, chickens, pigs, and snakes to an assortment of dinosaur types, which were inspired by National Geographic programs on television. The Human figures include red devils, angels, culturally iconic symbols such as Uncle Sam and Elvis Presley, and more abstract characters that sport hats, cigars, or red claws.
Please join us in celebration of his birthday on Monday, July 23rd at 12:30. Birthday cake generously provided by The Colored Egg and a special screening of the 1997 documentary “Lord Love You: The R.A. Miller Story” written, produced and directed by Bryan Dodd and Craig Williams. Find the R.A. Miller friends and fans page on Facebook: https://www.facebook.com/ramillerfolkartist.
This celebration is held in conjunction with “JUST FOLK: Folk Art meets the Quinlan” on view through August 11, a special showing of work by R.A. Miller and a satellite exhibition presented by Around Round Back at Rocky’s Place.
Monday, July 23, 2012, 12:30-1:30 PM
1:30 P.M.: Screening of the documentary "Lord Love You: The R.A. Miller Story,"
Born Reuben Aaron Miller on July 22, 1912, R.A. Miller would have been 100 years old this month. He was a self-taught folk artist, best known for his “whirligigs,” metal cutouts and drawings. Largely collected, Miller is acknowledged as one of the more notable senior folk artists in America. Besides being a patriot, Miller was a preacher at the Free Will Baptist Church and used his artwork to help spread the word of God. His materials consisted of paint, magic marker, tin, bicycle parts, and scrap metal. His work generally consisted of animal and human figures, and short inspirational messages, e.g. "Lord Love you." His animal images range from bluebirds, chickens, pigs, and snakes to an assortment of dinosaur types, which were inspired by National Geographic programs on television. The Human figures include red devils, angels, culturally iconic symbols such as Uncle Sam and Elvis Presley, and more abstract characters that sport hats, cigars, or red claws.
Please join us in celebration of his birthday on Monday, July 23rd at 12:30. Birthday cake generously provided by The Colored Egg and a special screening of the 1997 documentary “Lord Love You: The R.A. Miller Story” written, produced and directed by Bryan Dodd and Craig Williams. Find the R.A. Miller friends and fans page on Facebook: https://www.facebook.com/ramillerfolkartist.
This celebration is held in conjunction with “JUST FOLK: Folk Art meets the Quinlan” on view through August 11, a special showing of work by R.A. Miller and a satellite exhibition presented by Around Round Back at Rocky’s Place.
Bethanne Hill
A R T I S T S T A T E M E N T
I have always been drawn to rural landscapes. Growing up in Alabama with my family meant long, hot car trips; spent looking out the window as my parents pointed at the scenes which reminded them of their childhood homes in the farmland of southern Ohio. They told their stories and I half-listened with a child's short attention span. As an adult, these memories hold strong emotion for me, and they represent a time that is lost. I would give most anything to hear my parents' stories now. I would pay close attention this time. I believe my fondness for these landscapes springs from these memories.
As a young artist, my first great influence was primitive art, specifically Australian Aboriginal art. The bold outlines, patterns and simplified shapes seemed to directly convey the power of the animals depicted. The images were stories, legends. and their energy was there to see. Often, in what is called "x-ray style", the Aboriginal artist will show the insides of the animals, as well. Their way of filling every inch of the format with mark-making was very appealing to me.
In the 1990's, I had a job that had me driving southern back roads for years. Along the way, I stopped to sketch old barns, churches, houses, cemeteries, and animals…whatever caught my eye. I am haunted by these places, thinking of the stories that must exist, all of the untold memories. When you drive back roads, you see many strange and beautiful things, and these are my starting points as I work.
In the South, we enjoy a "gracious plenty", as you hear folks say. There are plenty of stories, plenty of legends, plenty of moments in lives long gone. Through time, Southerners have spun their lives into tall tales and songs that burst with the lushness of life. In my paintings, I invite the viewer to look at the details, to pay attention to these stories and small moments. Often they are familiar…things we’ve seen ourselves, legends we’ve heard others tell. They always change a bit with each retelling. These paintings are my stories, embellished in that great, southern tradition.
My hope is that they convey a sense of place-my home here in the South.
I have always been drawn to rural landscapes. Growing up in Alabama with my family meant long, hot car trips; spent looking out the window as my parents pointed at the scenes which reminded them of their childhood homes in the farmland of southern Ohio. They told their stories and I half-listened with a child's short attention span. As an adult, these memories hold strong emotion for me, and they represent a time that is lost. I would give most anything to hear my parents' stories now. I would pay close attention this time. I believe my fondness for these landscapes springs from these memories.
As a young artist, my first great influence was primitive art, specifically Australian Aboriginal art. The bold outlines, patterns and simplified shapes seemed to directly convey the power of the animals depicted. The images were stories, legends. and their energy was there to see. Often, in what is called "x-ray style", the Aboriginal artist will show the insides of the animals, as well. Their way of filling every inch of the format with mark-making was very appealing to me.
In the 1990's, I had a job that had me driving southern back roads for years. Along the way, I stopped to sketch old barns, churches, houses, cemeteries, and animals…whatever caught my eye. I am haunted by these places, thinking of the stories that must exist, all of the untold memories. When you drive back roads, you see many strange and beautiful things, and these are my starting points as I work.
In the South, we enjoy a "gracious plenty", as you hear folks say. There are plenty of stories, plenty of legends, plenty of moments in lives long gone. Through time, Southerners have spun their lives into tall tales and songs that burst with the lushness of life. In my paintings, I invite the viewer to look at the details, to pay attention to these stories and small moments. Often they are familiar…things we’ve seen ourselves, legends we’ve heard others tell. They always change a bit with each retelling. These paintings are my stories, embellished in that great, southern tradition.
My hope is that they convey a sense of place-my home here in the South.
Betsy Halford
I am a mixed media artist using found and recycled objects, as well as fabric, paint, glass and anything else that inspires me to create art. Each piece I create is unique and starts with one of my found "treasures" guiding me along until the piece is complete. Some pieces speak louder than others and come together quickly, while other pieces I have to “listen” to for awhile to figure out what they are trying to say.
I started gathering "treasures" as a child growing up in South Carolina. I was influenced by my parents who were both collectors of everything and incurable pack rats.
I currently live in the Druid Hills neighborhood of Atlanta, Georgia with my husband and two kitties, Priscilla and Eva.
I started gathering "treasures" as a child growing up in South Carolina. I was influenced by my parents who were both collectors of everything and incurable pack rats.
I currently live in the Druid Hills neighborhood of Atlanta, Georgia with my husband and two kitties, Priscilla and Eva.
Billy Roper
Billy Roper is a self-taught, contemporary
North Georgia painter and sculptor based upon
traditions found in Appalachian vernacular and mainstream art forms, Roper
works in a variety of formats and styles in two- and three-dimensional media.
At the age of forty-two he sold his first pieces of art and has since been a full time artist, selling his work across the USA and beyond.
His subject matter ranges from minutiae of his childhood memories to contemplations on his cultural heritage, and from an accounting of the day’s events to reflections on the nature and meaning of life. His work has been called self taught, outsider, folk art. Billy says, "It just is."
At the age of forty-two he sold his first pieces of art and has since been a full time artist, selling his work across the USA and beyond.
His subject matter ranges from minutiae of his childhood memories to contemplations on his cultural heritage, and from an accounting of the day’s events to reflections on the nature and meaning of life. His work has been called self taught, outsider, folk art. Billy says, "It just is."
Robin "Bird" Smith
Robin
“Bird” Smith is a self-taught folk sculptor that started working with clay in
2000. She works from her home studio in Gainesville, Georgia. She also creates layered
paintings and mixed media pieces.
“Bird” is inspired by the outdoors and all things nature, from the North Georgia Mountains to the plains of Middle America. She has been fortunate to travel all over the United States and to Europe. The main characters in her ceramic pieces live on her Merrylegs Farm in Blairsville, Georgia.
She is represented by many art galleries in Dawsonville, Rome, Blue Ridge, Winder, Cumming, and Gainesville, Georgia as well as Brasstown, North Carolina.
“Bird” is inspired by the outdoors and all things nature, from the North Georgia Mountains to the plains of Middle America. She has been fortunate to travel all over the United States and to Europe. The main characters in her ceramic pieces live on her Merrylegs Farm in Blairsville, Georgia.
She is represented by many art galleries in Dawsonville, Rome, Blue Ridge, Winder, Cumming, and Gainesville, Georgia as well as Brasstown, North Carolina.
Ken “Blacktop” Gentle
Ken “Blacktop” Gentle is a self-taught artist who began painting at an early age as a way of sharing his experiences of growing up in the South. His paintings typically start with a base of "black tar" on wood, tar paper, tin or cardboard - hence the moniker "Blacktop". His style of using a mixture of found objects further complements the stories he tells. 'My paintings are a process of storytelling - invoking the past and spirit into people & environments. They are also about a way of life, about the struggle of life and the events that have changed our lives'. This highly acclaimed artist is in numerous galleries, business and private collections around the country. Blacktop’s work has been referenced or featured in various newspapers and magazines across the U.S. and was the subject of a Georgia Public Radio interview. His work is in the permanent collections of Kennesaw State University and Appalachian State University.
Bob McGill
Bob McGill is a native Californian who has lived in Tennessee since 1980. He makes his home high on a bluff overlooking the Cumberland River, just a few miles north of downtown Nashville.
Bob always enjoyed drawing and painting as a child, but because a high school art teacher discouraged him in the late 60s, he abandoned art. It was not until 1995 after much encouragement from family and friends that he started painting again.
The most common tool used to create his paintings is a common safety razor. He uses brushes sparingly, and more frequently than not, it is the wooden handle end that leaves its mark on his works.
Numerous pieces of Bob’s works have been requested by local and national agencies for presentation in fund raising events, including the American Cancer Society, The W. O. Smith School, Vanderbilt Children’s Hospital, The American Heart Association, Kings Daughters Day Home, Chairish the Future (Furniture Bank of Atlanta), Retune Nashville, and the American Parkinson Disease Association. Several of his works have been used in television commercials. His pieces have also been used on posters and on billboards to advertise events in the southeast. He has attended numerous regional outsider art shows, including “Where the Art Meets the Soul” Folk Art Festival at the Orlando House of Blues and Finster Fest held in Summerville, Georgia.
“When I wake up in the morning I like to look around and see things that make me smile. In today’s world there is so much stress. People are rushing here and there, never taking the time to stop and reallylook at things. Many people seem to be so busy that they forget to enjoy life. I paint with bright, bold, happy colors that I hope make people stop and take notice. There is nothing more satisfying then having someone stop, look at one of my paintings, and break out in a big smile. That is what life is all about...being happy.”
WHY DO I PAINT WITH RAZOR BLADES?
In the mid 90’s, I was trying to develop a unique painting style. I knew of an established artist in Franklin, Tennessee, who gave individual lessons. His name was Walter Bunn Gray.
I took lessons from Bunn for about 6 months, but it was apparent to me that my style was developing more like his style than mine. We would try anything different to make my paintings have the unique look I was looking for. One day Bunn was helping me with a tall narrow piece. When I finished the piece and stood back and looked at it, I noticed that one of the lines was not straight. Bunn picked up five razor blades and handed them to me. He said, “Take these home and work with them. Fix your line!”
On my way home, I thought how crazy he was to think I could paint with razor blades, but I was determined to do it. For the next two weeks, I sat at home and practiced painting with these 5 razor blades. After a few months, I realized that I seldom used brushes any more. One day, another artist entered the studio. He noticed how close my hand was to the piece I was working on, and assumed that I was cleaning up a mistake and asked about it. I replied, “I didn’t make a mistake, I’m painting.” He asked if I had ever heard of brushes or a pallet knife. Bunn was sitting next to me and began laughing and said, “I told him to straighten a crocked line with a razor blade several months ago, and he hasn’t put down the blade since. I love everything he has done since that day, and I’ve actually stopped telling him what to do. He’s on his own.”
I’ve painted with razor blades ever since that time. I use the wooden handled end of brushes to scratch paint away from areas of my paintings. I only use the actual brush for tiny highlights in eyes. I use a pallet knife on large frames when applying a solid color. Other than those few exceptions, my paintings are completed using razor blades.
Bob always enjoyed drawing and painting as a child, but because a high school art teacher discouraged him in the late 60s, he abandoned art. It was not until 1995 after much encouragement from family and friends that he started painting again.
The most common tool used to create his paintings is a common safety razor. He uses brushes sparingly, and more frequently than not, it is the wooden handle end that leaves its mark on his works.
Numerous pieces of Bob’s works have been requested by local and national agencies for presentation in fund raising events, including the American Cancer Society, The W. O. Smith School, Vanderbilt Children’s Hospital, The American Heart Association, Kings Daughters Day Home, Chairish the Future (Furniture Bank of Atlanta), Retune Nashville, and the American Parkinson Disease Association. Several of his works have been used in television commercials. His pieces have also been used on posters and on billboards to advertise events in the southeast. He has attended numerous regional outsider art shows, including “Where the Art Meets the Soul” Folk Art Festival at the Orlando House of Blues and Finster Fest held in Summerville, Georgia.
“When I wake up in the morning I like to look around and see things that make me smile. In today’s world there is so much stress. People are rushing here and there, never taking the time to stop and reallylook at things. Many people seem to be so busy that they forget to enjoy life. I paint with bright, bold, happy colors that I hope make people stop and take notice. There is nothing more satisfying then having someone stop, look at one of my paintings, and break out in a big smile. That is what life is all about...being happy.”
WHY DO I PAINT WITH RAZOR BLADES?
In the mid 90’s, I was trying to develop a unique painting style. I knew of an established artist in Franklin, Tennessee, who gave individual lessons. His name was Walter Bunn Gray.
I took lessons from Bunn for about 6 months, but it was apparent to me that my style was developing more like his style than mine. We would try anything different to make my paintings have the unique look I was looking for. One day Bunn was helping me with a tall narrow piece. When I finished the piece and stood back and looked at it, I noticed that one of the lines was not straight. Bunn picked up five razor blades and handed them to me. He said, “Take these home and work with them. Fix your line!”
On my way home, I thought how crazy he was to think I could paint with razor blades, but I was determined to do it. For the next two weeks, I sat at home and practiced painting with these 5 razor blades. After a few months, I realized that I seldom used brushes any more. One day, another artist entered the studio. He noticed how close my hand was to the piece I was working on, and assumed that I was cleaning up a mistake and asked about it. I replied, “I didn’t make a mistake, I’m painting.” He asked if I had ever heard of brushes or a pallet knife. Bunn was sitting next to me and began laughing and said, “I told him to straighten a crocked line with a razor blade several months ago, and he hasn’t put down the blade since. I love everything he has done since that day, and I’ve actually stopped telling him what to do. He’s on his own.”
I’ve painted with razor blades ever since that time. I use the wooden handled end of brushes to scratch paint away from areas of my paintings. I only use the actual brush for tiny highlights in eyes. I use a pallet knife on large frames when applying a solid color. Other than those few exceptions, my paintings are completed using razor blades.
"capman"
In 1998 I found myself faced with stage
3B cancer...not what I was expecting to hear although I knew I was sick. Two days later I was at my Oncologist's
office getting my first dose of 12 chemo treatments. About 4 days later I woke up and it was as if
I had been visited by an angel who took my fears and my illness away. I amazingly had already begun my recovery and
needed to keep my mind off of what was happening to me.
My wife and I were restoring a small cottage on our property that was formerly a barn. In the process of rehabbing the house, several old pieces of lumber were left over. My first attempt at art was making a garden bench out of all this old stuff. Well I did it and I titled it "Re-Barned"...it was about a year later that I realized the significance of the name. I too was being "reborn"...my body was healing and my art was being born.
OK cap man...where did the bottlecap truck idea come from? I had found some vintage "Crush" bottlecaps that were really cool so I used them as a signature on each of my pieces of furniture. I decided that my fledging art business needed a name...after much discussing and thought we came up with Architectural Resurrections. So I found a couple of old pieces of metal wrote the name of the biz on them and screwed them to my then blue/rusty 1979 F-150. I pulled out one of my vintage Crush bottlecaps and glued it to each of the signs. That's when the light bulb went off! I announced to my wife that I planned to cover my entire truck in bottlecaps- thankfully there is no shortage of bottlecaps in a college town (thanks Athens!) and now 10,000 bottlecaps later I have a truck completely covered.
As I began to branch out with my art, in addition to furniture I make bird shacks, clocks tables and lamps. I also paint- mostly flowers and mountains with inspirational quotes. I also paint chickens and flags. I have put some of these images on cards. All of my materials are found or come from our local Habitat ReStore. My philosophy is simple...try and breathe new life into something that was headed to the dump.
Oh yeah...that cancer thing...well I kicked its ass 13 years ago!
My wife and I were restoring a small cottage on our property that was formerly a barn. In the process of rehabbing the house, several old pieces of lumber were left over. My first attempt at art was making a garden bench out of all this old stuff. Well I did it and I titled it "Re-Barned"...it was about a year later that I realized the significance of the name. I too was being "reborn"...my body was healing and my art was being born.
OK cap man...where did the bottlecap truck idea come from? I had found some vintage "Crush" bottlecaps that were really cool so I used them as a signature on each of my pieces of furniture. I decided that my fledging art business needed a name...after much discussing and thought we came up with Architectural Resurrections. So I found a couple of old pieces of metal wrote the name of the biz on them and screwed them to my then blue/rusty 1979 F-150. I pulled out one of my vintage Crush bottlecaps and glued it to each of the signs. That's when the light bulb went off! I announced to my wife that I planned to cover my entire truck in bottlecaps- thankfully there is no shortage of bottlecaps in a college town (thanks Athens!) and now 10,000 bottlecaps later I have a truck completely covered.
As I began to branch out with my art, in addition to furniture I make bird shacks, clocks tables and lamps. I also paint- mostly flowers and mountains with inspirational quotes. I also paint chickens and flags. I have put some of these images on cards. All of my materials are found or come from our local Habitat ReStore. My philosophy is simple...try and breathe new life into something that was headed to the dump.
Oh yeah...that cancer thing...well I kicked its ass 13 years ago!
Cate Larkin
I have been an active member of the Atlanta Arts Community since 1994. I came to Georgia from California where I was a teacher and a graphic designer. I was raised in New York and attended Syracuse University.
My earliest artistic influence — American Expressionism — and my current fondness for southern folk art come together in my current work – The Blue Ridge Series. These personal landscapes express a correlation I see between the principles of modern abstract painting and the intuitive invention of the outsider.
In addition to my website you can find artwork by Cate Larkin at The Art House Gallery in Buckhead, Atlanta, Georgia and at Mattie’s Attic in the Turkey Creek Public Market in Knoxville Tennessee. My paintings can also be seen at Maddie’s Gallery in Charlotte, NC and at Wild Oats & Billy Goats in Decatur, GA.
My earliest artistic influence — American Expressionism — and my current fondness for southern folk art come together in my current work – The Blue Ridge Series. These personal landscapes express a correlation I see between the principles of modern abstract painting and the intuitive invention of the outsider.
In addition to my website you can find artwork by Cate Larkin at The Art House Gallery in Buckhead, Atlanta, Georgia and at Mattie’s Attic in the Turkey Creek Public Market in Knoxville Tennessee. My paintings can also be seen at Maddie’s Gallery in Charlotte, NC and at Wild Oats & Billy Goats in Decatur, GA.
Charlie Henson
I worked for 20 years as a commercial construction superintendent, and then started my own handyman business. I bought welding equipment to do some repair work and taught myself how to use it. Fifteen years ago I had an idea for a small steel dog, so I made several and they sold. I still make them today. Other ideas and art came along. Now I make everything from a small steel mouse to yard art to a six foot tall trumpet player. I try to make each piece humorous and unique.
Charlie Henson’s award-winning work has appeared in:
Inman Park, Atlanta, GA
Wild Chicken Festival, Fitzgerald, GA
Folk Fest, Atlanta, GA
Who Fest, Chattanooga, TN
First Saturdays on the River, Savannah, GA
Kirkwood Spring Fling, Atlanta, GA
Clairemont Holiday Marketplace, Atlanta, GA
www.junkyarddogart.com
Charlie Henson’s award-winning work has appeared in:
Inman Park, Atlanta, GA
Wild Chicken Festival, Fitzgerald, GA
Folk Fest, Atlanta, GA
Who Fest, Chattanooga, TN
First Saturdays on the River, Savannah, GA
Kirkwood Spring Fling, Atlanta, GA
Clairemont Holiday Marketplace, Atlanta, GA
www.junkyarddogart.com
Chris Allison
Chris Allison, a local folk artist who lives in Mt. Airy, Georgia, enjoys working with bright, bold colors on a variety of recycled media.
Chris "CHUB" Hubbard
With no formal art training since grade school, Kentucky native, now Athens, GA resident, Chris Hubbard left a 20 year career as a scientist (microbiologist and environmental consultant) in 1998 to be "BORN AGAIN" as an artist.
CORNBREAD
Many
people have stopped and asked, “Who is Cornbread?” He is none other than John Anderson.
Cornbread is native to Georgia and was
born and raised in the Mill Creek Community. He continues to live in the North Georgia area with his wife, Jana,
and their two sons, Poley and Isaac.
He has held numerous jobs in his lifetime including diesel mechanic and manager
of a farm. These jobs were not quite as creative as that of being a visionary
artist, and currently, his painting has taken the role of a full-time job.
He has been surrounded by artists, as both his mother and his wife paint, but the bug didn’t hit him until 1995, and he has been a house afire ever since. His subjects come straight from his own personal experiences of living the country life. His folk art features guineas, strawberries, foxes, bees, turkeys, and the like painted on the surfaces of metal, wood, cardboard, and canvas. In the folk art world, his name is a household word.
Cornbread’s work can be found in most of the major folk art galleries in the south, and he is a favorite at the annual Folk Fest in Atlanta. Just recently his art received rave reviews in New York at the Outsider Art Fair, and he is quickly gaining notoriety in the north as well as in his native south. It is with great pride that Around Back at Rocky’s Place can boast that the gallery features more of Cornbread’s work than any other gallery in the universe!!!
For more information, visit aroundbackatrockysplace.comor 706.265.6030.
He has been surrounded by artists, as both his mother and his wife paint, but the bug didn’t hit him until 1995, and he has been a house afire ever since. His subjects come straight from his own personal experiences of living the country life. His folk art features guineas, strawberries, foxes, bees, turkeys, and the like painted on the surfaces of metal, wood, cardboard, and canvas. In the folk art world, his name is a household word.
Cornbread’s work can be found in most of the major folk art galleries in the south, and he is a favorite at the annual Folk Fest in Atlanta. Just recently his art received rave reviews in New York at the Outsider Art Fair, and he is quickly gaining notoriety in the north as well as in his native south. It is with great pride that Around Back at Rocky’s Place can boast that the gallery features more of Cornbread’s work than any other gallery in the universe!!!
For more information, visit aroundbackatrockysplace.comor 706.265.6030.
Durwood Pepper
Durwood,
a Gainesville
native, has had an interest in outsider folk art since his early adult life.
Originally inspired by long daily visits with R. A. Miller, Durwood began creating his
original works in the 1990’s. Under Miller's tutelage, Pepper (whom Miller calls "Dagwood") learned the trade and his
work is now in many collections. Following in his mentor’s footsteps, Durwood
refined his own unique style of art using the same materials as Mr. Miller:
tin, hand snips, and remnant paint.
Durwood’s art style includes whirligigs, three-dimensional characters,
and things of nature.
Durwood’s art has been featured in numerous art shows throughout the Southeast.
Durwood’s art has been featured in numerous art shows throughout the Southeast.
Eric Legge
Eric Legge has worked on painting
images and honing his art at a determined pace throughout the years since the
age of three. Eric was born in Decatur, Illinois but was
raised by his mother in Valdosta,
Georgia. While
working at a developmental center there with the severe mentally and physically
handicapped individuals, Eric
developed a profound spiritual outlook on life as well as the urge to express
himself seriously through making art.
Eric went to live in the mountains with his father Joe Legge, a wood carver. The breathtaking beauty of the valley they overlook daily in rural northeast Georgia is an inspiration to them both. Their life revolves around creating art with what they can find while taking care of numerous stray creatures and trying to keep at least one vehicle mobile. Eric is viewed by others as being "like a Buddha", a "holy man", "universally spiritually in tune" and he often creates works that collectors use to form their own personal shrine.
Eric looks for found objects from the mountain remnants near his house. He uses them to create his works that range from views from his mountaintop home, blues singers and the Statue of Liberty to haunting faces of discarded trinkets and old building materials. His work is gaining recognition throughout the country and is now in numerous collections.
Eric went to live in the mountains with his father Joe Legge, a wood carver. The breathtaking beauty of the valley they overlook daily in rural northeast Georgia is an inspiration to them both. Their life revolves around creating art with what they can find while taking care of numerous stray creatures and trying to keep at least one vehicle mobile. Eric is viewed by others as being "like a Buddha", a "holy man", "universally spiritually in tune" and he often creates works that collectors use to form their own personal shrine.
Eric looks for found objects from the mountain remnants near his house. He uses them to create his works that range from views from his mountaintop home, blues singers and the Statue of Liberty to haunting faces of discarded trinkets and old building materials. His work is gaining recognition throughout the country and is now in numerous collections.
Frank Norton, Jr
“Chick’in
Scratch”
Crayons, colored pencils, markers, chalk, the tools of first graders combined in swirls of energy and motion to create these fantastical birds. Through the imaginative mind and talented eye of F.K. Norton, these unique creatures come to life and exhibit their distinct personalities. Each an original portrait never to be repeated.
While mostly self-taught, Norton studied art, color, graphics and design in high school and college but his talents lay dormant for almost 20 years. Only after taking up the markers to decorate his children’s brown paper lunch bags did the feathered friends emerge. Norton explores mountains, seashore and lake shoreline for inspiration. Part folk art, part cartoon, part modern art; Norton calls these simple portraits “Chick’ in Scratches”.
Select Galleries:
The Funky Chicken, Dahlonega
Ann Jacob Gallery, Buckhead, Highlands
Quinlan Visual Arts Center, Gainesville
Birds on a Wire, Columbia, SC
The Purple House Gallery, Gainesville
The Primitive Eye Gallery, Scottsdale, GA
Crayons, colored pencils, markers, chalk, the tools of first graders combined in swirls of energy and motion to create these fantastical birds. Through the imaginative mind and talented eye of F.K. Norton, these unique creatures come to life and exhibit their distinct personalities. Each an original portrait never to be repeated.
While mostly self-taught, Norton studied art, color, graphics and design in high school and college but his talents lay dormant for almost 20 years. Only after taking up the markers to decorate his children’s brown paper lunch bags did the feathered friends emerge. Norton explores mountains, seashore and lake shoreline for inspiration. Part folk art, part cartoon, part modern art; Norton calls these simple portraits “Chick’ in Scratches”.
Select Galleries:
The Funky Chicken, Dahlonega
Ann Jacob Gallery, Buckhead, Highlands
Quinlan Visual Arts Center, Gainesville
Birds on a Wire, Columbia, SC
The Purple House Gallery, Gainesville
The Primitive Eye Gallery, Scottsdale, GA
Joycelyn Hairston
“Simple presentations on
the complexities of life”
As a member of one of Atlanta’s founding families, Joycelyn Hairston continues the family commitment to community and creativity. She paints what she knows and loves…gifts of grace, warm traditions, and sincere hospitality, simple presentations on the complexities of life.
Joycelyn’s passion for architectural art history, historic renovation and the creative celebration of everyday life are apparent in her works. She is most known for her deeply respectful heritage scenes and has a growing client base desiring her large abstracts. The range of the subject matter is personal, inventive and often exhibits humor. Her works are available for viewing on television, in museums, in public spaces and facilities, at institutions through private collectors, and in her working studio. Joycelyn’s paintings exude a sense of pride and contentment. Many are created with colorful, unique brushwork.
Wherever she goes, her heart, eyes and mind are open to the ever-abundant opportunities to capture special images in paint. She accepts private commissions, sells original oils and acrylics, and occasionally produces signed, limited edition prints. Joycelyn’s art brings her friends who share her passion for color, creativity, and life.
Joycelyn combines her southern heritage and love of people with her artistic talents in her other works. Her 2012 portfolio collections include:
· Graceful Splendor
· Spiritual Southern Religion and
· Making the Ordinary Extraordinary.
As a member of one of Atlanta’s founding families, Joycelyn Hairston continues the family commitment to community and creativity. She paints what she knows and loves…gifts of grace, warm traditions, and sincere hospitality, simple presentations on the complexities of life.
Joycelyn’s passion for architectural art history, historic renovation and the creative celebration of everyday life are apparent in her works. She is most known for her deeply respectful heritage scenes and has a growing client base desiring her large abstracts. The range of the subject matter is personal, inventive and often exhibits humor. Her works are available for viewing on television, in museums, in public spaces and facilities, at institutions through private collectors, and in her working studio. Joycelyn’s paintings exude a sense of pride and contentment. Many are created with colorful, unique brushwork.
Wherever she goes, her heart, eyes and mind are open to the ever-abundant opportunities to capture special images in paint. She accepts private commissions, sells original oils and acrylics, and occasionally produces signed, limited edition prints. Joycelyn’s art brings her friends who share her passion for color, creativity, and life.
Joycelyn combines her southern heritage and love of people with her artistic talents in her other works. Her 2012 portfolio collections include:
· Graceful Splendor
· Spiritual Southern Religion and
· Making the Ordinary Extraordinary.
Kreg Yingst
Initially
a painter, I first became interested in relief block-prints when I discovered
the woodcut novels of printmakers Lynd
Ward and Frans Masereel. The strong graphic contrasts of light and
shadow, black and white, seemed to appeal to my aesthetic sensibilities.
My block-prints are carved out of wood or linoleum - a compression of cork, wood pulp, and linseed oil. I print each block on an obsolete Showcard sign press, and the larger prints I burnish by hand. The choice of paper and style are important in trying to create the correct feel for the subject matter.
My ideas are a result of my interests in the narrative; story, poetry, lyric, and personal experience.
Music Series: It’s been my intention to foster a nostalgia or retro experience, while still making the art uniquely my own. The narrative aspect of lyrics was a natural progression for me in developing artistic ideas. The blues legend, Robert Johnson, became an early study in Faustian narrative myth, while many other musicians had their own unique stories to tell. From there, it was simply the beginning of a series, or cycle of prints. I’ve worked in this method for the past 20 years as it allows me the opportunity to fully exhaust my ideas and flesh out the subject matter. I enjoy researching the history of the blues, country, jazz, and Americana, while the rock series is deeply imbedded in personal experience. It was with purpose I created my small images the same size as a CD cover, the mat similar in size to an album cover, and the medium size prints scaled to resemble old music posters. The print bin creates the same recollection of browsing through albums in a record store.
Pensacola, Florida kregyingst.com
My block-prints are carved out of wood or linoleum - a compression of cork, wood pulp, and linseed oil. I print each block on an obsolete Showcard sign press, and the larger prints I burnish by hand. The choice of paper and style are important in trying to create the correct feel for the subject matter.
My ideas are a result of my interests in the narrative; story, poetry, lyric, and personal experience.
Music Series: It’s been my intention to foster a nostalgia or retro experience, while still making the art uniquely my own. The narrative aspect of lyrics was a natural progression for me in developing artistic ideas. The blues legend, Robert Johnson, became an early study in Faustian narrative myth, while many other musicians had their own unique stories to tell. From there, it was simply the beginning of a series, or cycle of prints. I’ve worked in this method for the past 20 years as it allows me the opportunity to fully exhaust my ideas and flesh out the subject matter. I enjoy researching the history of the blues, country, jazz, and Americana, while the rock series is deeply imbedded in personal experience. It was with purpose I created my small images the same size as a CD cover, the mat similar in size to an album cover, and the medium size prints scaled to resemble old music posters. The print bin creates the same recollection of browsing through albums in a record store.
Pensacola, Florida kregyingst.com
Kris London
Kris London has been creating original artwork in the foothills of the North Georgia Mountains since 2004. Much of her work reflects her love of nature and is inspired by her travels. Nature inspired textures can be found throughout her work. Natural elements inspire her to create artwork that brings the outside in.
Kris has enjoyed drawing and sketching since she was a child. After taking a pottery class on a whim, she quickly discovered that clay allowed her a much greater range of expression than she had ever found with pencil and paper. She has been in love with clay ever since.
“I strive to combine my talents and interests into both decorative and functional artwork. The greatest compliment is when someone buys a piece of pottery that I have created.”
-- Kris London
Kris has enjoyed drawing and sketching since she was a child. After taking a pottery class on a whim, she quickly discovered that clay allowed her a much greater range of expression than she had ever found with pencil and paper. She has been in love with clay ever since.
“I strive to combine my talents and interests into both decorative and functional artwork. The greatest compliment is when someone buys a piece of pottery that I have created.”
-- Kris London
Pam "pj FISHSTICK" Schiftic
Known throughout the art world as pj FISHSTICK, Pam Schiftic began her career as an educator – an elementary school teacher, assistant principal and arts education supervisor. Her name is difficult for little ones to pronounce, and one day at school a child came running up to Pam saying, “Miss Fishstick, Miss Fishstick!” Several of her fellow educators overheard and the name stuck.
Today, Pam is a full time artist, creating one-of-a-kind pieces called memory jugs and uses the name pj FISHSTICK. Beautiful and unique, Pam’s designs are a treasure chest of fascinating objects brought together to tell a story.
Battered. Broken. Tarnished. Tacky. Discarded. Damaged. These adjectives aren’t usually associated with art pieces. But pj FISHTICK has changed that. As the designer of a collection of one-of-a-kind memory jugs, she says, “I’m a storyteller, but I use objects instead of words. Reinventing the rejected is both exciting and challenging.”
Memory Jugs
Memory jugs are believed to have a history in both the African American community and in Victorian England. Nineteenth century African Americans honored a loved one who had passed on to the next life by affixing objects, belonging to or representing that loved one, on to a discarded jug as a remembrance, or as a grave marker. IN Victorian England, the plethora of objects available made it possible to create highly embellished containers, some whimsical, and others somber.
Today, pj creates remembrance pieces, whimsical pieces, and everything in between. Combining her “dime store chic” with vintage baubles, and a “priceless” heirloom here and there, she says “The sum is definitely greater than its parts! I love that I can mix junk drawer items- the quirky and the mundane- to tell a story. If you study my pieces, there’s always a story…”
Pam was recently featured in SASEE on-line magazine. Check it out here.
Today, Pam is a full time artist, creating one-of-a-kind pieces called memory jugs and uses the name pj FISHSTICK. Beautiful and unique, Pam’s designs are a treasure chest of fascinating objects brought together to tell a story.
Battered. Broken. Tarnished. Tacky. Discarded. Damaged. These adjectives aren’t usually associated with art pieces. But pj FISHTICK has changed that. As the designer of a collection of one-of-a-kind memory jugs, she says, “I’m a storyteller, but I use objects instead of words. Reinventing the rejected is both exciting and challenging.”
Memory Jugs
Memory jugs are believed to have a history in both the African American community and in Victorian England. Nineteenth century African Americans honored a loved one who had passed on to the next life by affixing objects, belonging to or representing that loved one, on to a discarded jug as a remembrance, or as a grave marker. IN Victorian England, the plethora of objects available made it possible to create highly embellished containers, some whimsical, and others somber.
Today, pj creates remembrance pieces, whimsical pieces, and everything in between. Combining her “dime store chic” with vintage baubles, and a “priceless” heirloom here and there, she says “The sum is definitely greater than its parts! I love that I can mix junk drawer items- the quirky and the mundane- to tell a story. If you study my pieces, there’s always a story…”
Pam was recently featured in SASEE on-line magazine. Check it out here.
Margaret Cameron
Margaret Vinson
Cameron is a Kentucky
born artist who now lives in Cumming,
Georgia. She began painting after retiring from
newspaper, real estate, and cosmetology as well as Kraft Foods, Western Apparel
store display designer and TV commercials with The Morning Show, Nashville. After
discovering that Baltimore,
Maryland was well known for
painted window screens in the 1930’s, Margaret
tried her hand at painting on screened doors. The artist uses acrylic on her screens
and fiberglass sculptures, her portraits and landscapes are oil on canvas.
A solo show at the Sawnee Center was followed by an article in the August 2004 issue of Southern Living.
Cameron enjoys building life sized soft sculpture characters. Her figures include a teacher and two young students in the historic Cumming Playhouse’s elementary classroom from the 1930’s era, seven community Christmas carolers around the 18 foot tree at Cumming City Hall, a 300 pound seated farmer for a Kentucky tractor, Father Christmas and a Cowboy/Sheriff/Gold Prospector.
Galleries that display Margaret’s work include: Up Country Living, Duluth; Hangry’s, Cumming; Hummingbird Lane, Dahlonega Square; Bowen Center for the Arts; and Around Back at Rocky’s Place, Dawsonville, Georgia.
Her current memberships include Quinlan Visual Arts Center, The Georgia Art League, Dawson County Arts Council and Sawnee Artists Association.
A solo show at the Sawnee Center was followed by an article in the August 2004 issue of Southern Living.
Cameron enjoys building life sized soft sculpture characters. Her figures include a teacher and two young students in the historic Cumming Playhouse’s elementary classroom from the 1930’s era, seven community Christmas carolers around the 18 foot tree at Cumming City Hall, a 300 pound seated farmer for a Kentucky tractor, Father Christmas and a Cowboy/Sheriff/Gold Prospector.
Galleries that display Margaret’s work include: Up Country Living, Duluth; Hangry’s, Cumming; Hummingbird Lane, Dahlonega Square; Bowen Center for the Arts; and Around Back at Rocky’s Place, Dawsonville, Georgia.
Her current memberships include Quinlan Visual Arts Center, The Georgia Art League, Dawson County Arts Council and Sawnee Artists Association.
P.J. Floyd
I
began my artistic career as a contemporary dancer/choreographer. As a result of
sewing costumes, I fell in love with new, vintage and recycled textiles.
A passion for nature and my garden make up a large part of my life. Finding a way to combine these interests has been my heart’s desire. Through the use of wire, wool, recycled fabric and found objects, I delight in conveying my fascination with nature.
Married to jewelry artist Ricky Frank, I live in a two studio household in Marietta, Georgia, with my husband and lovely daughter, and of course two birds, two frogs, a school of koi, and our Border collie, Stella.
A passion for nature and my garden make up a large part of my life. Finding a way to combine these interests has been my heart’s desire. Through the use of wire, wool, recycled fabric and found objects, I delight in conveying my fascination with nature.
Married to jewelry artist Ricky Frank, I live in a two studio household in Marietta, Georgia, with my husband and lovely daughter, and of course two birds, two frogs, a school of koi, and our Border collie, Stella.
Pami Ciliax
I am a self-taught oil
painter. I lived in Sedona,
AZ for 20 years. I moved to Georgia
in 2006. My pictures are the stories of my life. The ravens, blackbirds and
crows are my overseers. The ladders, hearts, paths and crosses represent our
ability to ascend. The others are about the celebration of this fabulous life. My
stark minimal Western vision is slowly merging with the subtle detail and depth
of the South. The reflection is my journey.
It has been said that my colors are what one expects to see in heaven. My pictures are meant to inspire and heal. Often people have told me that a painting they have purchased from me hangs in a bedroom because it brings them peace. A great poet spoke of my pictures in this way: “Here is surrealism at its finest. The intimacy of Georgia O’Keefe, the folk-art-starkness of Frida Kahlo, and the imagination of Sonia Delaunay. In watercolors Pami C’s relation to nature is a skyrocket to look up- in oils- it’s a gentle reminder to watch falling stars. She is a contemporary treasure.”
It has been said that my colors are what one expects to see in heaven. My pictures are meant to inspire and heal. Often people have told me that a painting they have purchased from me hangs in a bedroom because it brings them peace. A great poet spoke of my pictures in this way: “Here is surrealism at its finest. The intimacy of Georgia O’Keefe, the folk-art-starkness of Frida Kahlo, and the imagination of Sonia Delaunay. In watercolors Pami C’s relation to nature is a skyrocket to look up- in oils- it’s a gentle reminder to watch falling stars. She is a contemporary treasure.”
Peter Loose
Georgia self-taught artist Peter Loose
saturates the surfaces of his works with dots upon dots of vivid color. Loose
celebrates the animal kingdom in his creations, painting all manner of birds,
dogs, snakes, and other creatures in palettes that break all conventional
bounds. His love of animals can be traced to his works as a naturalist at a
nearby nature center, where he teaches young and old about the native animals
of Georgia.
Loose's works include birdhouses and elaborate working dulcimers. In addition,
he and his wife, Sandy
Loose-Schrantz, have written and
illustrated two children's books. In "Bongo Is a Happy Dog", Bongo, a
stray that Loose rescued, explores the universe. "Bongo Has Many
Friends" is a delightful counting book for preschoolers and animal lovers
alike. Pictured here are Peter
Loose and Bongo.
Inspired by his beautiful companions and surroundings Peter continues to create whimsical paintings, birdhouses and sculptural musical instruments, his trademark being snake-shaped dulcimers.
A R T I S T S T A T E M E N T
I paint because it makes me happy.
I paint because I love all the creatures of the earth.
Painting can make you happy too.
Enjoy this and more. Your friend in Hull, Peter.
Inspired by his beautiful companions and surroundings Peter continues to create whimsical paintings, birdhouses and sculptural musical instruments, his trademark being snake-shaped dulcimers.
A R T I S T S T A T E M E N T
I paint because it makes me happy.
I paint because I love all the creatures of the earth.
Painting can make you happy too.
Enjoy this and more. Your friend in Hull, Peter.
Phyllis Vaughn
As
an artist, my world is filled with color and whimsy. I work from my imagination
and gain inspiration from the natural world around me. It delights me when my
work brings a smile and conveys a message that speaks to the heart.
I enjoy the process of arranging shapes and images in imagined settings to create an emotional as well as a tactile experience. A finished piece often inspires me to begin anew as I set out to follow my imagination. My joy is truly in the journey.
I enjoy the process of arranging shapes and images in imagined settings to create an emotional as well as a tactile experience. A finished piece often inspires me to begin anew as I set out to follow my imagination. My joy is truly in the journey.
Sherry Cok
Sherry A.
Cook's career has spanned over 25 years,
beginning in the early 80's with a short stint as a middle and high school art
teacher. Thanks to the insightful mentoring of a supervising teacher she quickly
moved into a career as a professional artist. Over the years she has sold
her work at art galleries and shows around the country. She lives and works in
rural Georgia
with her children, and numerous pets.
In the course of her twenty-five year career as an artist, Sherry has experimented with a variety of media. In fact, a unifying theme of the work over the years is the experimental use of materials, including handmade paper, silk, clay tiles, sheet metal, and salvaged wooden architectural elements. The current encaustic paintings are a natural evolution for the artist—rather that using actual objects added to the surface of the painting to create texture, the 'wax paint' itself creates the texture and surface relief. It is the artist's hope that the energy of the physical process of painting with encaustic—that quick application of molten wax, the reheating and manipulation of the surface with irons—combined with the inherent energy of the text and images will be felt when the work is viewed.
The Encaustic Process Oil paint is mixed with microcrystalline wax for pigmentation and then melted. The molten mixture is applied to wood panels or paper in numerous layers and allowed to cool, at which time marks are drawn and carved into the surface. The multiple layers create rich surface textures as well as opportunities for translucent images to subtly emerge from below the surface. Images and text are drawn onto the surface of the raw wood, serving as the first layer or 'under painting'. These words and marks are a sort of journal with intentions, poems and prayers, both global and personal, which influence and suggest the images that emerge on the upper layers as the painting.
Common themes in the work are one's relationship to others on life's journey and one's spiritual connection to all that is around us.
In the course of her twenty-five year career as an artist, Sherry has experimented with a variety of media. In fact, a unifying theme of the work over the years is the experimental use of materials, including handmade paper, silk, clay tiles, sheet metal, and salvaged wooden architectural elements. The current encaustic paintings are a natural evolution for the artist—rather that using actual objects added to the surface of the painting to create texture, the 'wax paint' itself creates the texture and surface relief. It is the artist's hope that the energy of the physical process of painting with encaustic—that quick application of molten wax, the reheating and manipulation of the surface with irons—combined with the inherent energy of the text and images will be felt when the work is viewed.
The Encaustic Process Oil paint is mixed with microcrystalline wax for pigmentation and then melted. The molten mixture is applied to wood panels or paper in numerous layers and allowed to cool, at which time marks are drawn and carved into the surface. The multiple layers create rich surface textures as well as opportunities for translucent images to subtly emerge from below the surface. Images and text are drawn onto the surface of the raw wood, serving as the first layer or 'under painting'. These words and marks are a sort of journal with intentions, poems and prayers, both global and personal, which influence and suggest the images that emerge on the upper layers as the painting.
Common themes in the work are one's relationship to others on life's journey and one's spiritual connection to all that is around us.
Around Back at Rocky’s Place
ABRP is recognized as one the country’s premier
folk art galleries; a visual link to the preservation of the history, culture,
and values of our Southern heritage located in Dawsonville. Now entering into its 10th year, Robin Blan and Tracey Burnette
began as personal collectors. Each piece of art has a story, and Robin and Tracey
have been helping artists tell their stories for over two decades. The primary focus of the gallery's collection
is Southern culture and regional heritage, from Georgia, Alabama,
North Carolina, South Caroline, Tennessee, Louisiana,
and Kentucky.
A wide variety of media on display including paintings, pottery, woodcarvings, and metal sculpture; pieces produced from mud, clay, chalk, cardboard, feed sacks, cabinet doors, old tin, newspapers, and found objects. Approximately 300 artists are represented; many new to the genre while others have works represented in the Smithsonian and other major museums worldwide. Vessels from North Georgia’s two leading pottery families, the Meaders and the Hewells, whose roots date back to the 1800’s, have a home at the gallery. The Rocky’s collection also includes works from the Grandfathers of Southern Folk Art: Mose Tolliver, Jimmy Lee Suddeth, Howard Finster, R.A. Miller, and Woodie Long and prides itself with having the largest selection of John “Cornbread” Anderson.
Rocky’s has become the nerve center to educate the public about the culture that accompanies folk art. Robin and Tracey, both teachers by occupation, value knowledge and continue in the cycle of passing it on to others. Robin and Tracey’s goals for their audiences are the same as those for their students in the classroom…to leave with two things: more knowledge and a smile.
For more information, visit aroundbackatrockysplace.com or 706.265.6030.
3631 Highway 53 E, Dawsonville, GA
A wide variety of media on display including paintings, pottery, woodcarvings, and metal sculpture; pieces produced from mud, clay, chalk, cardboard, feed sacks, cabinet doors, old tin, newspapers, and found objects. Approximately 300 artists are represented; many new to the genre while others have works represented in the Smithsonian and other major museums worldwide. Vessels from North Georgia’s two leading pottery families, the Meaders and the Hewells, whose roots date back to the 1800’s, have a home at the gallery. The Rocky’s collection also includes works from the Grandfathers of Southern Folk Art: Mose Tolliver, Jimmy Lee Suddeth, Howard Finster, R.A. Miller, and Woodie Long and prides itself with having the largest selection of John “Cornbread” Anderson.
Rocky’s has become the nerve center to educate the public about the culture that accompanies folk art. Robin and Tracey, both teachers by occupation, value knowledge and continue in the cycle of passing it on to others. Robin and Tracey’s goals for their audiences are the same as those for their students in the classroom…to leave with two things: more knowledge and a smile.
For more information, visit aroundbackatrockysplace.com or 706.265.6030.
3631 Highway 53 E, Dawsonville, GA