beth reitmeyer art and paintings

come and take a trip to pop candyland with me for a moment and enjoy these acrylic floral paintings and playful installations from artist beth reitmeyer. beth has a masterful use of color here that cannot help but prove the theory that color impacts moods. look again. now, are you feeling lighter, more soothed, happier?

i like these repeating patterns and perspectives. they make me feel secure. beth says she strives to engulf the viewer in art people might find in their everyday lives to knock down that 4th wall. success!

she’s got a show over at zg gallery in chicago from july 18th, 2008 through august 30th, 2008. can’t make it? check out more of beth’s pieces and read more about her here. hopefully beth will have her own website soon — i could not find one for her!

share this story

snapshot sunday

share this story

naughty betty cards: let’s chat!

i nearly spit my drink out when i opened my birthday card from a dear friend recently. actually i may have and i am still a little embarrassed about it, but i couldn’t help it. it was a laugh-out-loud funny, harsh and absolutely inimitable naughty betty card, from the dark and stormy minds of chicago designers christine montaquila and courtney weinberg. christine and courtney clearly have a bright sense of humor and a keen sense of style. their cards are sharp and truthful but are tempered with just a skinch of sentimentality. this formidable combination has enough visual jet fuel to teleport you to a playful place, stand by patiently idling its engines while you play around there for a bit and get you back to planet earth satisfied and smiling. let’s have a chat with c + c and find out more!

q: where do you live, and where do you create your collection?
a: we live in the northern suburbs of chicago. we’re minivan driving, latte drinking suburban moms. can’t even try to hide it. we either create our cards in our home offices, borders, or crouched in a broom closet so our toddlers don’t find us.

q: how did you two come together to create naughty betty?
a: we worked together as a writer/art director team at ogilvy & mather in chicago. we did many, many campaigns for women’s brands that we loved but never made it out the door. so we started to craft a voice and look we loved that was brutally honest, and talked to women the way women talk to women.

q: can you tell us a bit about your creative process? how do these cards get out of your head and onto the paper?
a: it really is a very organic process. a lot of our inspiration comes from our lives. our hectic, crazy, extremely average lives. we tend to write down funny stuff along the way and see how it feels as a card and if it captures a sentiment just right. then we revise, revise, revise.

q: your collection is so memorable thanks in part to its bold and clean graphic style. do either of you have a design background?
a: the design is courtney’s gig, but since i’m the writer i will speak for her. she’s got a design background and a fabulous eye for cool, modern things. she obsesses over every color! she’s really a design whore. (ed. note: this is the quote of the week.)

q: the laugh-out-loud, descriptive imagery in your cards really hits the nail on the head and takes me (and i suspect everyone else!) to a specific place and time. have you drawn on your own experiences while creating them?
a: oh yes. all of it. i suspect my husband secretly watches porn, and i have been that drunk girl peeing in an alley. when courtney was ten she french kissed her pillow with braces on. anything you read, we’ve lived.

q: what inspires you to make the line?
a: we love the idea of connecting with women and creating this dialogue about modern life. we certainly live differently then our mother’s did, working, raising children etc., so part of it is a social commentary on it all. after working in advertising for 15 years, we also love the honesty we’re able to have. you simply couldn’t be this blunt in an ad, but the truth is, people love the truth. they respond to it. and we love being culturally relevant too. greeting cards have a shelf life, so we can talk about things in the world that work now, but may not in two years. plus, life is just a hoot. senators having gay sex in bathrooms, people eating cockroaches on tv… this is good stuff!

q: exactly who is naughty betty? any relation to ugly betty?
a: naughty betty is the name we came up with on the phone when we realized all the other names we liked were trademarked. it was a bit before ugly betty got so big. we loved the idea of it being a woman’s name, and the naughty gives us permission to offend people with our harsh language. “We’re not Politically Correct Betty” is what I like to say!

you can purchase naughty betty cards at multiple choices and paper boy here in chicago, as well as paper doll in portland, heartfelt in san francisco and nancy nancy in brooklyn. if you are a retailer contact calypso cards for distribution info, and for more general hilarity and to contact christine and courtney, see their website.

thank you ladies!

share this story

chris applehans art prints

i am thoroughly enjoying the tales, style, color palettes and everything else in these richly emotional prints from los angeles-based artist chris applehans.

see chris’ portfolio and contact him on his website. purchase these prints and more at nucleus.

share this story

reina mia brill knitted wire and ceramic sculpture: let’s chat!

when my cool friend burt came back from the acc show in baltimore, he told me that he really enjoyed the ceramic sculpture collection of new york artist (and recent donor to locks of love) reina mia brill. of course when i looked at it i went a little nuts. i love the clever combination of color and form, all the intricate detailing and facial expressions and most importantly the freedom these pieces give to my imagination when i look at all of them. let’s have a chat with reina mia and find out a little more!

q: where do you live, and where do you create your art?
a: i live and work in a remote section of the bronx in new york city called city island. i like to call it the mythical island in the bronx because in all the 10 years i lived in manhattan i never heard of this place. my boyfriend dan grew up here and we are living in the actual house where he grew up. city island is a very unique place… it is an old fishing village trapped in time. my studio is in the basement with two windows at ground level where i say hello to all stray cats, birds and even snails that come and visit me.

q: what is your background, and did you study art formally?
a: i have an mfa from san diego state university in jewelry and metalsmithing which was where i got started knitting wire. i made hand-knitted wire jewelry for five years out of graduate school. i never was really happy making jewelry, it just seemed practical at the time. so in 2001 when i received a $7,000 fellowship from the new york foundation for the arts i decided to finally ditch making jewelry and do what i always wanted to — make sculpture. i also hold an undergraduate degree from fit (fashion institute of technology) in accessory design which is why my creatures are always very well accessorized.

q: so, why wire and clay? and how did you get to that place of combining the two (along with several other materials)? have you always worked in multiple mediums?
a: up until last year i only worked in knitted wire over a stuffed fabric covered armature. all the hand sewing was killing me. i wanted to be able to make work quickly. working in clay is not quick but it is quicker than sewing by hand. now i am able to build the figures faster and more sculpturally. after the pieces have been glazed i will embellish all the clothing and sometimes the bodies as well in knitted wire.

q: these pieces are exquisitely detailed and must be very labor intensive. (without giving away any secrets of course!) can you tell us a little about the techniques you use?
a: i first start with a drawing usually found in one of my sketchbooks. the figure is then hand-built in a low fire clay and glazed with underglazes. i use two very old-fashioned knitting machines to knit the wire. one is a sock-knitting machine from 1923, the other is a big double bed passap machine from 1960. i can create beautiful dimensional patterns off of the passap machine which i usually use for the clothing. the sock-knitting machine creates a sinuous knitted tube that i like to use as skin covering. i knit with very thin gauge coated copper wire that has been coated with a polynylon coating for color. once the figure has been fired i determine which areas are to be covered in wire. sometimes it is just the clothing and eyes and other times it is the entire creature. the knitted wire is stitched to the clay body by hand and then tacked with an epoxy resin.

q: i see a common thread of expressive human emotions as well as physical animal traits in these characters. did it come naturally to blend the two?
a: i have been drawing since i was a kid. my dad and i used to play these creature drawing games together. we would start with a blank piece of paper and then one of us would draw the first creature. the next person had to draw a creature interacting with the one on the page. we would keep drawing until the page was filled up trying to make the most outlandish creatures.

q: what is the price range of your collection?
a: i offer a wide range of prices. on the low end i do creature illustrations framed in knitted wire as well as wearable creature brooches. these works sell for $95 to $250. my standing and wall sculptures start at $275 and increase in price depending on the size and the labor involved. two figures i made for an exhibition in poland last year stood just under 5 feet. they each sold for $10,000 but i spent 6 months creating them.

q: what is your inspiration for these works? do you have a message you want to send through these pieces?
a: i do lots of sketches. i will study people, usually children on the street for a variety of poses. children’s faces are the most fun to watch for their devious little expressions. the animal/human imagery has just come naturally. when i study human faces, so many are very similar to animal faces. animals, however, offer a wider array of eyes, ears, feet and mouths to come up with my own species of creature. my work does not have a message. i love that it makes many people laugh and smile and remember their childhood. other people are scared by my work and that’s interesting too. the work is open to individual interpretation.

q: where can we go to see your collection in person? are you exhibiting in any current or upcoming shows?
a: i am currently in three exhibitions around the country. the first is called contemporary repetition at the long beach island arts foundation in new jersey. it’s on view now through june 16th. the second is called contemporary crafts at the jrb gallery in oklahoma city. the show just closed but the work might still be there for a little while. the third is a traveling exhibition called fiberart international 2007. this show opened last year in pittsburgh and will be traveling through 2009. currently the show is in charleston, west virginia through june 22nd at the clay center. this show is accompanied by a beautiful catalog as well. i also show work regularly in new york at the eclectic collector in katonah and mano a mano in bronxville. i will be selling my work myself at the following craft shows: the niada conference in las vegas at the show and sale on july 27th; the doll and teddy bear expo in washington, dc august 9th and 10th; and back again in dc in november for the washington craft show. in 2009 i will be at acc baltimore in february and most likely craft boston at the end of march.

thank you reina mia (and thanks to burt for the great tip)!

share this story

my beautiful backside sofa by doshi levien

gather round everyone and admire my beautiful backside! oh. oh no. i didn’t mean my backside, i meant the very modern sofa from nipa doshi and her design partner (and husband) jonathan levien for moroso. i am quite batty about the high asymmetrical backs, the gorgeous indian textile choices and exaggerated style. it was inspired by a painting called the garden of life.

i don’t care if i am looking at the front or the back, i like it from every angle.

see more design excellence from the talented duo right here.

via bonluxat

share this story

julia pott illustrations

loving these illustrations from london artist julia pott!

purchase this whimsy and more at julia’s etsy shop and stop by her blog or website to say hello!

via dear ada

share this story

shalene valenzuela ceramics: let’s chat!

i like to see pretty and edgy put together in art, and if it’s bright, ironic, feminine or makes a contemporary statement about society, i am all for it. you can imagine why my head nearly flipped off with delight then, when i saw the humorous and intriguing ceramic collection of shalene valenzuela. at first glance i admired shalene’s skillful command of her chosen medium, her layered style, and all the vintage shapes and molds she uses. after gazing for a little while longer though, the forms fall away to reveal secrets, histories and legacies which tell very strong, up-to-the-minute stories. let’s have a chat with shalene and find out a little more…

q: where do you live, and where do you create your art?
a: i currently live in missoula, montana. i lived in oakland, ca for several years (i am a california native), and moved up here to start a long term artist residency a year ago. i will be in missoula for at least another year, then we shall see!

q: what is your background, and did you study art formally?
a: i have a BA in art practice, and a MFA in ceramics. i have been an active studio artist for several years, and have taught many classes, mainly in ceramics.

q: what is it about clay as a medium that appeals to you most? and (without giving away any secrets of course!) can you tell us a little about the techniques you use?
a: i love the transformative qualities clay has. there’s such a wide variety of work that people have executed using the very same materials that i do: we all speak the same technical language, but the aesthetic range is amazing. my work is mainly slipcast, and i draw/paint using underglaze, and sometimes use screenprint transfers in my works, using underglaze as the printing medium. my work sort of borders on the trompe l’oeil aesthetic, but in more of a “cartoonish” manner. i want the object to be recognized, but my illustrations compose it into something else entirely. for the most part, i make my own molds, unless of course, i run across a commercial mold that is way too ridiculous to pass up.

q: i see throughout your collection a very strong theme of women in contemporary society. has your work always had feminine motifs? how has it transformed since you started making art?
a: my work always had some element of a feminine motif in it. i have always tried to combine humor with a deeper message in it, and i think as i have grown older, i have gained more of an understanding why these topics and image styles interest me. i use “dated” imagery, yes, but these images conjure up many issues that are still pertinent today, not only for women, but for society as a whole.

another thing i was thinking about recently… i loved to draw at a very young age, and as my character rendering skills developed, i noticed even the male characters i drew had a soft feminine edge to them, so i sort of gave up on drawing guys. even now, it takes a bit more focus for me to draw the male characters i may put in some pieces.

q: what is the price range of your collection?
a: from as little as $15 for ceramic teabags to about $3999 for my largest piece - 99 bottles of beer. but most of my stuff is in the “affordable” range - reasonably priced functional items, and most my sculptures are below $500, unless they are large or complicated.

q: what is your inspiration for these works? do you have a message you want to send through these pieces?
a: i’d like to think that my body of work consists of quirky pieces that reflect upon a variety of issues with a thoughtful, yet humorous tone. i am inspired by the potential of everyday common objects. i reproduce these objects in clay through handbuilding, slipcasting, or a combination of the two, and illustrate the surfaces with a variety of handpainted and screenprinted imagery. i primarily obtain my imagery from remnants of the past (instructional guides, advertisements, family photos, tall tales), and reconstruct the images in order to convey my narrative. these narratives generally deal with topics ranging from fairytales, urban mythologies, societal expectations, etiquette, and coming-of-age issues. stylistically, much of my imagery is pulled from sources around the 1950’s era. through advertising, common objects were embraced in the most royal fashion, and through television and print, images of the “perfect americana life” were portrayed. i use these images in a manner that can deal with ageless topics.

q: where can we go to see your collection in person? are you currently exhibiting in any shows or is there anything else meaningful you would like to tell us?
a: my studio is currently at the clay studio of missoula in my studio and our sales gallery, but i am in several shows and whatnot now and coming up. in missoula, i will have wall works in a solo display at bernice’s bakery in the month of june, a piece in the missoula now! show at the ceretana in september, a solo show at the clay studio of missoula in october, and a solo show at the catalyst in december. elsewhere in montana, you can find small works at b civilized in livingston.

back in the bay area, i currently have work up in a group show at the grand theater center for the arts in tracy, at the natsoulas gallery in davis. i will have a piece in a group show at ruby’s clay studio in san francisco starting in late june, and will have a solo exhibit and sale at cricket engine studio and gallery in oakland (this is my former studio, where I used to serve as gallery manager). also, i am excited to be in two consecutive shows at santa fe clay in new mexico - the first is bling, opening this week (may 23rd - june 21st)! the best bet is to always check my site for updates. i do have several things in the works, and try to make updates regularly!

thank you shalene!

share this story

blulima prints

i think many of us have already seen the keep calm silkscreened poster, but i like all the different shades that sharon over at the blulima shop has of it. her other offerings are pretty swell too.

see the full complement of colors and prints at sharon’s etsy shop.

via design crush

share this story

lisaur collage art

looking through the postcard section in resale shops is one of me and my husband’s favorite pastimes. we peep at the penmanship and wonder what state of mind the senders were in when they sent their correspondence, as well as the receivers. that is part of the reason why i am drawn to this small scale mixed media art from etsy seller lisaur, made from recycled postcards and collaged on the written sides.

the rich color combinations only serve as a compliment to the mysterious torn stories told on their papers.

see lisa’s full collection here.

share this story

natasha preenja paintings

these acrylic paintings from indian artist natasha preenja are making me dizzy in the best way. i love the patterns and lines combined with soothing color schemes and the strong feminine subject matter.

wah - i hunted around but found no website for natasha. i found these pieces on pav’s lovely blog, though, and you can click over there to see more of natasha’s work and more cool things!

share this story

acme animal fun metal art

i think these funny tabletop sculptures and clocks from the canadian team of don gidley and sue parke are so much fun! i love the scratchy texture on all their handmade pieces and all the bright colors they use. you can really tell they enjoy making their delightfully whimsical collection.

find a wonderful assortment of don and sue’s work at uncommon goods, the human arts gallery, conversation pieces and maddi’s gallery.

share this story