Julie's Gallery Notes

LINDEN ROW INN

Genesis Chapman has proven to possess a great understanding of all the wonderful characteristics of water.  He replicates the fluid textures so masterfully with such a wide array of values.  I really enjoy how this water is trapped within this organic shape that makes it appears to spread out from the center and overflows off the piece.  Rather than filling the entire space, the viewer's eye has a break surrounding this area so they can better attune to every finite detail.  In my work, the wood grain flows very much like these rough waters.  I also desire to control the viewer's attention by putting emphasis on only a small part of wood grain, rather than the entire pattern across the wood surface.

VA CENTER FOR ARCHITECTURE

One thing that stuck with me from Kirsten Kindler's discussion was the quote she shared, "Don't always think your work is too precious."  This really made me think about how I feel about my own work.  If I ever want my work to evolve, I can't be too afraid to make a move.  In the end, it really takes a certain amount of disassociation from the work so that you don't get wrapped up in worrying about what other people think and even being too critical yourself.  Art is human made and it's not always perfect.

VISUAL ARTS CENTER

Annie Campbell's work at the Visual Arts Center had such a presence in that space that I couldn't help but be drawn to it.  The height, the flow of the clay surface, the wonderful display of textures, the repetition of form, and the stunning natural palette of glazes gave my eyes a visual thrill.  Working with wood of so many different varieties in my own work has given my an acute sensitivity to its unique qualities.  To see it reproduced so skillfully in another material is so inspiring.  It is obvious that the knowledge gained in working and re-working one material has transferred to a totally new material.  This artist, like myself, has to share the same wonderment and passion for nature that is necessary to create such a flawless rendering of the subject.

REYNOLDS GALLERY

Seeing Sally Mann's work from her "Deep South" series helped me to understand the motivations behind her process.  The wet collodian plate prints are astonishingly beautiful in themselves.  The technique produces a dark vignetting that alludes to a mysterious sense of space full of imperfection and unpredictability.  Yet is also has this magically soft glow that gives it a sense of calmness and awe.  The process enlivens the environment with a push and pull of emotions.  I feel connected to this artist because my work is also largely driven by how the process in which the image is rendered reaches the viewer in a more dramatic way than a traditionally printed image could.  People may not be connected to a photograph of a particular place because they can't imagine the same wonderment that possessed you when you were there with your camera.  By putting our hand in the process of producing our images, both Sally Mann and I give the viewer an idea of what it FELT like to be there, not just what it looked like.