Arts on Main

Community Arts Center in Gloucester, Virginia

How to Create a “Zine”

There is a whole, wide and wonderful world of Zines out there! We’re going to give you a very brief introduction to zines, teach you the basics of how to make one and send you on your way to “self-publishing”.

Mini Zine, about life in quarantine, called Saraya’s Quaranzine

What is a “Zine”?

A zine is a self-published booklet that is, generally, about the size of a half sheet of paper, though it can be smaller or larger. They are filled with any number of things, from short stories and recipes to mimicking magazines or newsletters, and have a circulation of under 1,000 copies. The most current style of zine can be traced back to the 1930s when creating sci-fi fanzines was a popular pastime. Zines are created all over the world and there are a number of conventions held where zine publishers gather to sell and trade zines to collectors. One such gathering is held in Richmond each October, called Richmond Zine Fest.

Let’s Get Started on Your Mini-Zine!

Here’s what you’ll need…

-Piece of copy paper (8.5 x 11 makes an 8-page mini-zine)

-Scissors

-Something to write with

Optional Items

-Anything that you might want to use to embellish your zine. You could use markers, paint, stamps, colored pencils, crayons, collage, washi-tape, etc.

When it comes to creating and embellishing your zine, the sky is the limit. However, the point of a zine is reproduction. If you plan to reproduce your zine for distribution, make sure that the materials you use will remain flat when placed on a copier and won’t cast severe shadows when copied.

If you do not plan to reproduce your zine, you’re making a “one-off”…feel free to go wild!

Step One

Fold your sheet of paper in half, then into quarters and finally into eighths. Now unfold your paper completely. When you do, your piece of paper should look something like the image below.

Step Two

Fold your paper in half and cut a slit halfway across the middle from the fold, as shown in image below on the left.

Step Three

Fold your paper along the crease that has the slit and push the ends in towards one another. The sections will fold in to form a booklet with eight pages. You might need to straighten out some of the folds as you do this step.

Step Four

You now have an eight page mini-zine to fill with your amazing ideas! What will you fill your zine with?

Some things to consider:

-Do you plan on reproducing this zine? If so, how will you reproduce it? Photograph and manipulate in a computer? Make copies? Scan it?

-Are you going to make a series of related zines? What will the concept be and how will you layout the content?

-Are you planning on making this a “one-off”? If so, make sure to document your process through photographs so that you can share the creation of the zine with the recipient.

If you’re interested in learning more about zines and how to make them, there are many wonderful references available online. We Make Zines is particularly helpful website as it served as our reference for this post, and even provides several templates, in case you find yourself lost or want to try different styles of zines.

As always, if you make a zine, don’t forget to post your finished works on social media and tag us (@GloucesterArts) on Facebook and Instagram so we can see what you’ve created. If you’re not on social media, send an email to assistantdirector@gloucesterarts.org and we just might feature you in a future Weekly Roundup email!

Studio Visit: Theresa Wells Stifel

Local Artist, and 2019 Annual Juried Show first place prize winner, Theresa Wells Stifel, was scheduled to have her solo show in our gallery during the month of May. However, with the spread of COVID-19, her show, like so many others, was cancelled. Theresa has had to adapt and change, releasing her May show online and, we are excited to announce, she is currently creating a new body of work to be shown at Arts on Main this September.

We reached out to Theresa to get some background on her recently released online show, get a glimpse of her process, and her incredible studio space!

“It’s up!!! Art opening without wine, cheese or a band but hopefully [not without] YOU!” – Photo and text from Theresa’s Instagram post announcing the release of her online show

AoM: How did the concept for this body of work come about? Was there one particular thing that sparked the idea or did it just unfold painting by painting?

TWS: My current show, that was slated to be at Arts on Main in May of 2020, is titled “Nerida”. Nerida is a name derived from the Nereids, or sea nymphs, that were referenced in Greek mythology. I have always been a beach lover, having lived in California and Bermuda when I was young. Even as I lived in Northern Virginia our family’s happy place was at the beach, usually the Delaware shore. When we moved to Gloucester County, a couple of years ago, we were mesmerized by the water views everywhere. Not surprisingly, I have been painting more of the blues I see out my window every day!  The women in this show are inspired mostly by photos I have seen or have been shared with me. As you can tell, from their not- terribly-modern-attire, vintage style is always an inspiration to me.

Left: After Tatiana, Mixed Media, 48″ x 36″
Right: The Sea is Many Shades of Sky, Mixed Media, 36″ x 24″

About After Tatiana: “One of the fabulous vintage dealers and fashion designers I follow on Instagram takes the most fabulous shots of herself in her amazing wardrobe. She gave me permission to use her photo for a painting and I was thrilled! I must confess, this fabulous shot had her leaning against an Airstream trailer but I had to ‘move’ her to the beach! Tatiana’s fabulous self was painted in acrylics and glazes and accented with strips of vintage ephemera.”
Annie’s Smile is Infectious, Mixed Media, 48″ x 36″
Left: Amarillo Sky, Mixed Media, 14″ x 11″ Right: This Way Up, Mixed Media, 30″ x 24″

About Amarillo Sky: “The base layer is a molding plaster that is swirled by hand and blotted with various studio tools. Multiple layers of paints and glazes were applied and a vibrant cheerful mood emerged.”

AoM: Your work involves a lot of layering and the combining of a variety of media. Can you tell us a little bit about your process and how it developed?

TWS: I revere the craftsmanship, intricacy, and beauty of bygone fabric, vintage fashion and notions.  I used to do a lot of sewing so I would haunt flea markets and thrift stores for damaged old goods that I could refashion into something. 

Being able to integrate them into my work, so they take a new function as art (rather than end up in a land-fill), makes me happy.   It became a challenge to use every little, tiny scrap so I began incorporating waste and vintage ephemera papers, into my paintings and not just my collage or sewing work.

AoM: Can you give us an idea of what the process might look like?

TWS: Usually I lay down a background of color, then add ephemera. If I am doing figural work I then block in the figure and decide how abstract or detailed the person will be. I say “decide” but truly, I make it up as I go along depending on how each overlay looks and feels to me. I then add other layers to balance the composition or fix perceived mistakes. Sometimes this takes more than a few rounds of painting other times the composition can be fairly sparse. The last step can be added ephemera, stitching or vintage finds. An average painting has 5 to 12 layers. Because of the drying time I tend to work on more than one piece at a time. I then varnish and wire my piece for hanging.

AoM: Tell us about your space…

TWS: My space is a drywalled double car garage with beautiful windows and an exterior door. I am so lucky to have high ceilings to stack my supplies high, a heater for the winter time, concrete floors to sling paint on with abandon and beautiful light to work in.  The light comes in handy for photographing my work for social media and our web store. There is no comfy chair to sit in, no computer or tv to distract me. It is a space dedicated to creating.

AoM: Do you ever get the equivalent of “writer’s block” for artists? If so, how do you push through it?

TWS: I don’t know if it is good or bad but I NEVER have “artist block”. I have a million ideas in my head, a million thoughts and plans to pursue. I will say, I occasionally have “artist reluctance” when I am working on a piece and it is in the “ugly middle” and I will just walk away from it. Sometimes for days. Sometimes this will happen with a commission when I have a preconceived idea of exactly what I want, what I need for the piece to be; so of course, that is when you tighten up and lose it. I have been known to scrape faces off of portraits and start completely over multiple times. Other times I will finish something for the sake of calling it finished and then I am haunted and dissatisfied. One of the most liberating things I have learned is that I am the only one who decides when a piece is done. There is great freedom to take an “ok” painting and completely obliterating it with a new layer of paint. Ironically, I just won a prize here at Arts on Main with a painting that had two “failed” paintings under the one you see! The juror commented on its ‘depth”. A great lesson was learned with that one. 

AoM: Have you always been creative? Did you grow up in a creative family?

TWS: I grew up in what I would call a handy, creative family.  Anything we needed or wanted we could pretty much figure out how to make it. Fashion, jewelry, accessories, furniture, home décor, so of course art. We could figure out how to make it.

AoM: How did that kind of creative, DIY spirit influence you and your work/path in life?

TWS: Growing up in a Do-It-Yourself kind of family, art didn’t enter into my career plans at all.  Being creative was never seen as an end goal, more as a means to an end to create what you wanted for yourself or a gift.

AoM: So, did you end up pursuing art in college?

TWS: School was always business focused, money was not to be “wasted” on fun or creative endeavors. That would have seemed “frivolous” in my family.  My business development background and creativity combined when I opened a 3,000 square foot vintage retail shop and art gallery with artist studios on the upper floors. There, I encountered working artists, art teachers, and amateurs that were compelled to create. The wonderful variety of habits, skills and practices that I encountered with my “crew” really opened my eyes that one could be creative for a career.

Left: Windswept, Mixed Media, 48″ x 36″ Right: Detail of Windswept
About Windswept – “Inspired by a photo of a pal of mine stationed in Morocco. I loved her gaze and glorious hair! She is truly mixed media. Acrylic paint and glazes were the first layers. Then collaged antique papers were added to add dimension to her hair. Two glossy varnish layers were then applied. As a finishing touch I hand embroidered long sweeps of hair, as well as an intricate, soulful eye.”

AoM: How has your creative journey changed over the years?

TWS: My artistic journey has been seemingly dependent on time and attention. The thread of creativity is always there, it manifests in different ways at different times. I like to switch up media, techniques, formats and applications. There is a tension between wanting to acquire a certain level of skill versus feeling like if I do too much of one thing, work starts to feel stale and less joyful. It was hard to give up my retail business as I thrived with the bustle of community but being able to concentrate on just my practice has helped my work grow exponentially. It feels good.

AoM: How has being in quarantine affected your work and business?

TWS: I am blessed that my family both near and far are healthy. Physically I am in my Gloucester “bubble”. My daily routine is the same as it was before. The quarantine obliterated events that had been in the works for a year. Some will be rescheduled, some are just gone. I choose to concentrate not on lost revenue but the opportunity that time brings. Time to get things online to try to sell them there. Time to work on commissions. Time to support creative friends and their endeavors if only from afar.  My nature is to concentrate on the positive. I must confess though to be concerned about the future. I love the community of art. Sharing with friends, going to events, visiting galleries, festivals and museums. With pneumonia scarred lungs I am in the high risk category. How will I participate in the events I love? Will those events come back? Time will tell.

AoM: What is the best thing you’ve done for your artistic career?

TWS: The best thing I have done for my artistic career is just holding my breath and trying. So enter the show, introduce yourself, write the blog post, reach out to people, go to the museum, and just do the work. I used to worry whether everyone, anyone would like my work. I have finally done enough work that I realize I only need one person to like it and take it home. So do what you love and then find the people that love it too.

AoM: Where would you like for the next steps in your artistic career to take you?

TWS: I would love to do more commissioned work. I would love to be part of a larger creative community here in Gloucester. But the best next steps lead to the studio!

You can find out more about Theresa and her beautiful work by visiting her website TheresaWellsStifel.com or StifelAndCapra.com. You can also find her on Instagram via @theresawellsstifel and Facebook

AiR Mail from Novelist Dan Berne

“[Here] are a few paragraphs I wrote two weeks ago. It takes place in 1937. Needing to escape the tedium of life, with her maiden aunts, my 17 year old protagonist Lydia secretly absconds to New York City with her friend Mary Ellen to meet up with Mary Ellen’s older cousin. Their plan is to attend a weekend dance marathon. After sneaking on a train from Cincinnati, they arrive at Penn Station.”

New York, October 1937

Mary Ellen’s cousin Freddie met them at Pennsylvania Station. Or rather, they met him. They had to step off the train and into the main waiting area before seeing him leaning against a marble pillar, hands in his pocket, a half-smoked cigarette cornered in his mouth. He was wearing a russet-brown suit and a chestnut fedora that was tilted toward his left ear. He barely straightened up when the girls approached him. He nodded toward his cousin, a “Hi ‘ya” barely escaping from under his cigarette. He looked Lydia up and down, nodding in apparent approval. 

“This way.” He turned without offering to help them with their suitcases. Outside the station, the noise and sheer amount of people was staggering. It made Cincinnati seem like a small farm town. It was nearing five in the afternoon and already getting dark, cold in the shadows between the buildings. But Lydia barely felt the chill. She inhaled the smells of car exhaust and construction dust and hot dogs and Chinese food, all seemingly wrapped around the soles of leather shoes. She absorbed the honks of taxis, the shouts and yammering of jackhammers. New York was big and noisy and dirty and dangerous. She was so entranced she nearly lost sight of Mary Ellen and her cousin. What was his name again? Freddie?

After twenty minutes or so, he led them inside a brick apartment building on East 15th. Lydia was hoping for a view of the streets, but Freddie channeled them downstairs to a basement apartment at the end of the hall. Apartment was overstating it. There was one decent-sized room with a window that looked out onto a broken concrete patch broken up by weeds and a dead lilac bush. The light filtering in gave everything a bruised, leaden cast. One side of the room was fitted with a refrigerator and a small electric range that was crusted with what was probably dried spaghetti sauce and who know what else. To the right was a narrow hallway with a bedroom door on each side.

To Lydia’s surprise, there were already six or seven people in the room, mostly her age. Freddie introduced them quickly: Neil, Roberto, and Carter, Jocelyn, Tilly, and Gwynne. They were the kind of names you never heard of in Cincinnati. Lydia had the feeling they were also not the kind of people you met in Cincinnati, at least not the ones she knew. No one seemed to pay them much mind, though before she knew it, Freddie had placed a martini glass in her hand. The drink was the color of sunset and smelled slightly of oranges. He had a glass for himself as well, though the liquid inside it was colorless.

“Cosmopolitan,” he said, turning so that he flanked her on her right side. 

Lydia had drunk alcohol before of course. Stolen gulps of sweet wine at home and pilfered swigs of Crab Orchard Kentucky bourbon behind the school bleachers. Neither was particularly pleasant except for that feeling of euphoria. She tilted the glass and sipped. 

“Hokey smokes. This is really good.”

Freddie smiled, arching his right eyebrow. “Everyone is drinking them.”

“You’re not.”

“I prefer straight vodka.” He sipped his drink, staring at the top of her dress. “You do know you’ve popped a couple of buttons, don’t you?”

She laughed. It sounded so funny from him, the way his mustached twitched when he said it.

“It’s a long story,” she said, not wanting to get into what happened with the train cop. “Mary Ellen and I will them sew back on.” She looked around. “Where is Mary Ellen anyway?”

Freddie tilted his head toward the hallway and bedrooms. “Back there. Taking a nap, I guess.”

“Ah.” 

Lydia drank more of her cosmopolitan, turning her attention to the animated conversation in the larger room. Neil and Roberto were arguing as to whether Amelia Earhart could still be alive, Roberto sure that she was.

“Roberto, you’d masturbate to that photo of her in Life,” Tilly laughed.

“So would I,” Jocelyn quipped. 

They all laughed, but no one seemed aghast to hear her say it. Someone mentioned the Japanese and Chinese fighting somewhere. Everyone seemed worried about the rise of fascism and nationalism, though whether or not these were one and the same, Jocelyn and Carter thoroughly disagreed. It was also dizzying.

About Dan Berne

DAN BERNE grew up in a working-class family in Cincinnati, Ohio, where he worked in his way through college, with jobs in drugstores, warehouses, U-bolt factories, and cement plants. He moved to the west coast in 1979, settling in the Portland area in 1990. He has been an active member of a select writing workshop led by author Karen Karbo for ten years. His short stories and poetry have been published in literary magazines and has won a literary award from the Pacific Northwest Writers Association. Dan owns a market strategy consultancy and is currently writing a book on market transformation. He lives with his wife Aliza in Portland, Oregon. The Gods of Second Chances is his debut novel. More can be found at his website danberne.com.

Author Statement

Nothing energizes me more than the art and craft of writing. Shape. Sound. Sensuality. For me, a well-crafted sentence or paragraph is umami on the page. Storytelling is a deep part of what makes us human, of what binds us together down through the generations. 

I seek to create compelling tension in every scene, in every chapter, and in the spaces in-between. I then try to marry that with language that lifts off the page.

I love sharing the craft of writing with others. There’s always something new to experience. I conduct a weekly writing work group, as well as writing workshops and seminars. I also coach individual writers. 

Much of my writing focuses on character and landscape, and how those interact to create a narrative. My current novel, The Gods of Second Chances, is set in eastern Oregon during the late 1930s. The protagonist is a young woman. As a male writer, it’s been a good creative challenge to bring this character fully into life.

The Artist in Residence (AiR) program in sponsored in part by the Cook Foundation. To learn more about the AiR program click here. 

Interested artists may inquire about the program via email: Mollie Stewart, Director, Artist in Residence Program at Arts on Main: airdirector@gloucesterarts.org

Follow the Pen: An Art Project Inspired by the Work of Shantell Martin

Doodles aren’t really “art” are they? Meet Shantell Martin, the inspiring British artist whose work has been challenging that very notion for years. Watch the video to be inspired by her story and then keep scrolling to create your own work inspired by her style of drawing.

Image © Shantell Martin 2020
Image © Shantell Martin 2020

Follow the Pen

Materials needed:

–Black marker (you can use a black crayon, black Sharpie, black oil pastel, black ball-point pen, black ink or black paint with a brush. You could even get really creative and do this project with black electrical tape and scissors if that’s all you have! )

–Piece of white paper (can use the inside of a cracker box, pizza box or any other recycled paper product that is white). If you have permission, and you have a Sharpie, you can draw on a pair of white shoes, a white t-shirt (put a piece of cardboard underneath so it doesn’t bleed through), a white coffee mug or anything else you might find.

STEP ONE: Draw a long continuous line. This line will be the “backbone” of your drawing.

STEP TWO: Take a look at the spaces and shapes created by the lines. What do they remind you of? Do stories begin to unfold? Do certain words immediately spring to mind? Don’t overthink things. Embrace playfulness and start filling in the spaces with wacky characters or inspirational words. Draw inspiration from Shantell’s work but don’t copy her exact images. Infuse your own images and visuals into your work. Consider the people you see, the animals outside, favorite patterns you wear or your favorite shapes.

STEP THREE: Having some trouble? Turn on some music or try drawing standing up. You’ll be able to move your arms more freely when standing. Try rotating the paper and looking at your shapes from a different angle.

STEP FOUR: Fill in all of the blank spaces and shapes!

STEP FIVE: Celebrate your creativity! Hang your finished work somewhere you’ll be able to see it. Did you draw on a shirt or pair of shoes? Wear them with pride! Don’t forget to send us a picture of your finished work so we can feature it on social media: assistantdirector@gloucesterarts.org

Artist Feature: Jason Abbott & Jessica Belvin-Coker

In our Artist Feature for the month, we introduce you to two local artists who find their inspiration in the natural world. We decided to reach out to Jason Abbott and Jessica Belvin-Coker, for a quick “Q + A”, to find out a little bit more about them and to see if the current quarantine has changed their work in any way.

Meet Jason Abbott

Q: Can you describe your work in three words?

A: Natural, Fluid, Harmonious

Q: What type of work do you do and what kind of mediums do you use?

A: I focus mainly on landscapes in oils now.  Sometimes I use acrylics depending on my mood.  Most of my life I drew using graphite and ink. I would say the ink sketches are still where my heart is, but oils offer a challenge that I don’t feel I will ever be truly comfortable with.  There is always that desire to make a scene look more natural, more realistic, without being stoic and mechanical.

Q: Where do you draw most of your inspiration from?

A: I draw inspiration from the scenery around me.  We are so fortunate here in the Tidewater to experience a constant interplay of water, land, and sky.  I am also unashamedly inspired by other artists. I am keen to try and not copy an artist’s subject or style or technique, but when I see a work that really grabs me …. it’s hard not to incorporate a piece of that in my next attempt.

Q: Have you always been artistic?

A: I have always drawn and created.  As a child, I remember drawing pictures all the time.  It was how I dealt with sitting in class for 8 hours a day.  

I had the Childcraft series of books, if anyone remembers those, and my favorite one was the dark blue one entitled “Make and Do”, I believe.  It was full of arts and crafts, and my parents would try to accomodate my collection of materials needed to complete as many of the crafts in the book as I could.  

At a very young age I remember seeing Albrecht Durer’s wood prints and engravings and thinking that his work was as good as it could get.  “The Knight, Death, and the Devil” had me drawing nothing but pictures of devils and bat wings when I was 5 and 6 years old, thinking back it probably caused some concern for my parents.

Q: Did you grow up in a creative family? 

A: My parents were very creative.  My mother with the way she cooked and the sense of comedy that she instilled in us, and my father used his creativity in the remodeling of houses and an ability to fix anything and everything.  They are both two of the most self-reliant humans I’ve known, and I believe that is the essence of creativity.

Q: How did this influence you and your path in life?

A: Mainly by instilling the confidence in me that anything that someone else can do I could also do it, if I apply the work necessary.

Q: What has been the most challenging part of being an artist?

A: The most challenging part of being an artist for me is staying inspired.  It is rare that I want to paint. It is usually something that hits me out of the blue and I have to take advantage of that drive while it lasts.  Most of the time it is like trying to make yourself eat when you have no appetite.

Q: Has being in quarantine changed your work or the way that you work in any way?

A: The funny part of being in a “quarantined” state is that I have actually had more time than ever to paint and have not painted at all.   My wife asks me, “Why aren’t you painting? You have all this time…” I think that, like most people, the uncertainty and the unprecedented (at least in our lifetime) nature of this event has most of us in a level of anxiety that we’re not sure exactly how to cope with.  There is such a feeling of a suspended, limbo existence right now, I find it hard to incorporate something that it is so important to me.

Q: Where would you like to see your work go in the future?

A: I am really unsure of where I would like my art to go, other than to improve.  

The art that I have produced has never been an intellectual or planned pursuit.  I have seen some artists that develop a concept for their art, plan it, layout designs.  I have tried this, thinking that it is the “correct” way to create art. It never worked for me.  But who knows, it may be exactly what I need in order to grow as an artist.  

I would like to try sculpting.  The few times I have tried, it was very satisfying, but my family has to share our living room with me as my studio, so I think bringing in a table and clay may upset an already delicate balance.  One day.

To experience more of Jason’s work you can visit his website or follow him on Instagram (@jasonabbott.art) or Facebook

Meet Jessica Belvin-Coker

Q: Can you describe your work in three words?

A: Whimsical, lively, earthy. Those would probably be the first 3 drawn out of the pot.

Q:What type of work do you do and what kind of mediums do you use? 

A: My work mainly revolves around the natural world. I like to capture the scenes of our native wildlife and make it into something of my own, with an emphasis on natural history illustration. Watercolor is my one and only. I joke sometimes that watercolor chose me – I did not choose watercolor. I’m so glad that it did.

Juvenile Ospreys: 9×12 watercolor “This is actually from an Osprey nesting box my husband and his brother built a few years ago; right in Urbanna. They are a backyard species that returns every year to our creek. This is their hatch from the summer of 2018. I painted this from a reference photograph I took. It’s a real experience to watch Ospreys breed and return each year. A true staple of the Chesapeake Bay.”

Q: Where do you draw most of your inspiration from? 

A: Most of my inspiration comes from my own backyard. I grew up on the York River and all the secret creeks it holds. The woods, the water, and anything related to the amazing Chesapeake Bay has been my reason. I’m an avid birder and naturalist, so that pairs with the painting aspect. My inspirations started to blossom even more when I moved to Urbanna; nestled right along the Rappahannock River. The waterfowl here in the winter is truly amazing, especially spring migration with all the warblers and neotropical migrants passing through. This place has shaped me into the artist I am today. 

(Left: Star Crossed) “This is a 9×12 watercolor. This can be seen either as a Crow or Raven. Whatever you want to view it as! I used a lot of dark/light pigments to create iridescence, and a few brush techniques for the star-burst effect.” (Right: Red-Bellied Woodpeckers) “Two cute male and female Red-bellied Woodpeckers just hanging out and doing what they do! 9×12 watercolor. I had fun with my paint brush and color choices when creating the tree bark effect.”

Q: Have you always been artistic?

A: In some way or another, yes. When it came to painting and drawing…I had to find that side of me by complete accident. I did not know I could “draw” until I tried. I was completely shocked and amazed when I realized my hands, eyes, and brain were communicating in a way that was so foreign, but felt as if I’ve been doing it all along. That’s where it all began.

Q: Did you grow up in a creative family? 

A: Honestly, I might be the first painter from my small family!

Terns of the Chesapeake: “9×12 illustration of a few species of Terns that you would commonly see around our local rivers and creeks. I love shore birds, so this will always be a summer favorite for me.”

Q: What has been the most challenging part of being an artist?

A: Sharing my work has probably been the most challenging part. You create a piece of your soul, share it with the world and hope for the best. A lot of time and energy goes into one drawing or one painting. It’s so much more than putting color on paper, you really have to mentally prepare and work for it in other ways as well. I suppose fear of rejection almost stopped me from sharing. With time, I’ve slowly let go of that fear. 

Q: Has being in quarantine changed your work or the way that you work in any way?

A: 2020 has definitely been an interesting year. This quarantine has actually been positive. I have been able to slow down, re-evaluate and look at my process from a new perspective. I’ve actually started to work on new ideas and step out of my comfort zone. Watercolor is so fluid; there are so many things that can be done, so I’m tapping into my creative side again. I’m thankful for this step-back and being able to have an extended break on life to improve. I tell myself that there is always room to improve with  each day. 

(Left: Sleepy Screechies) “Eastern Screech Owls – (Red and Gray Morph) in tree hollow. 9×12 watercolor. This one features two Eastern Screech Owls sleeping in a cozy and warm tree hollow. It’s a very exciting thing when you can locate and watch them sleep. Especially when you can see each morph color. I kept a fluid background with warm, earthy colors.” (Right: Great Horned Owl) “9×12 watercolor featuring a fierce Great Horned Owl. I kept the realism very minimal in the body, but true to the face.”

Q: Where would you like to see your work go in the future?

A: I would truly love to illustrate and paint pieces for organizations that do a lot for our natural world. National Audubon Society, Ocean Conservancy, The Nature Conservancy, VIMS, and The Chesapeake Bay Foundation are a few to name. I really want to inspire more individuals with my work, possibly spark an interest about the importance of biodiversity. I hope someone is able to get outside, explore and listen… and maybe, they will carry and pass the candle to someone else and so on. 

To experience more of Jessica’s work you can view her piece in our Juried Show exhibit page. You can also follow her on Instagram (@coastalvawild) to view her artwork/photographs and be updated on when her website launches.

Please note that the opinions expressed by the artists are their own, in their own words, and are not necessarily opinions expressed or shared by Arts On Main or its representatives.

AiR Mail from Abigail McBride

I cherish the time I’ve spent with the Gloucester arts community, and I’m looking forward to giving a demonstration and workshop as soon as we can re-schedule them. To whet your whistle for the portraiture workshop, see my three videos below- never before shared publically! 

I have been thinking about how vital the act of recording our loved ones with an act of art is right now. I find myself wishing I could make portraits of all the family members I can no longer meet with in person. Something they could give to their kids to pass on that would be extra meaningful because it was made from love. Art is useful for bearing witness to our loved ones and our sacred familiar places. It is also a wonderful healing of the heart to pour oneself into creativity. 

Grace and Peace,

Abigail

Skull Demo with Forehead Focus

The Forehead Ribbon

Transition Planes on the Head

The Artist in Residence (AiR) program in sponsored in part by the Cook Foundation. To learn more about the AiR program click here.

Interested artists may inquire about the program via email: Mollie Stewart, Director, Artist in Residence Program at Arts on Main: airdirector@gloucesterarts.org