Salon30 is the Morean’s newest opportunity for local and regional artists to display and retail their artwork within the gallery walls as a mini art exhibition with a market-style twist. Beginning in September, the Progress Energy gallery within the Morean Arts Center will evolve every 30 days with at least four new artists and dozens of new pieces.
Salon30 will be open daily with free admission. All works displayed are available for purchase.
Plastic Spritz, Monotype, 12x24in, $350
Plastiscape with Green, Mixed Media Monotype, 12x18in, $350
Plastiscape with Windows, Mixed Media Monotype, 12x18in, $350
Under a Rock, Monotype, 12x24in, $350
I find the monotype method a perfect blend of process with the added benefit of serendipity. This is particularly evident in these artworks I call ‘plasticscapes’. The composition evolves as I spontaneously apply oil-based inks with palate knife and paintbrush onto an acrylic plate. Certain areas are blocked out and paper elements are added. Each piece takes on a life of its own after I transfer from plate to paper through the action of the printing press. I see the resultant image as a visual landscape of my imagination.
Carol Komater is an artist living and working in the Tampa Bay area of Florida and is an expert in art restoration and conservation. She is a painter and printmaker, primarily working in oils on canvas and mixed media monotype. Her background includes 20+ years in fashion and interior design, from which elements of those two disciplines continue to influence her artwork.
Small Explosion, Ink, Wax and Collage on Paper
Spilled in Ochre, Watercolor, Ink and Collage on Paper, 12x9 in
Untitled, Charcoal and Collage on Paper, 12x9 in
Untitled #1, Charcoal and Collage on Paper, 7x14 in
Clouds, Watercolor, Ink and Collage on Paper, 16x19in
My involvement is with the tactile, sensuous aspects of materials that are often non-traditional. The source of my inspiration is a chemical reaction that occurs when compounds are mixed; or the changes that take place over time as an object weathers, exposed to the elements. Found objects acquire new identities and metaphorical meaning through this alchemical process. The work becomes akin to a relic that bears the imprint of time. Each piece is a documentation of my surrender to its daemon or spirit. As I add layer upon layer, building a textural surface, I am simultaneously unearthing an abstraction of my autobiography: the work is an external metaphor for an internal process; it attests to my own emotional, spiritual and intellectual journey.
In incorporating stitching into my work, I am reclaiming not only women's craft but a tradition in my own family: my grandmother was a dressmaker and some of my earliest memories are of my mother at her sewing machine.
Much of my work goes through a process of "wounding" and "healing." The "wounding" is a violation: I slash the canvas or paper; or burn portions of it with acid or blow torch. I then repair the "wound" with stitching: an amelioration of pain and loss that is part of the human condition.
On occasion, in reaction to the intensity of my usual process, I dip a large brush in Sumi ink, and trance-like, let the ink flow across the paper or canvas evoking Chinese calligraphy.
Rose Marie Prins holds a PhD in Art and arts Administration from the union Institute and University, an MA in Art from Goddard College, and a BFA in Painting from the San Francisco Art Institute. She has earned teaching credentials in art from San Francisco State University, and she has taken courses in sculpture. Her award-winning paintings and sculpture have been exhibited internationally. She has taught painting at Eckerd College in St. Petersburg, sculpture at HCC School of Visual and Performing Arts in Tampa, and drawing at the Ringling College of Art and Design in Sarasota.
Visit her website at:
Where Have All the Flowers Gone? #2, monoprint, 32 x 20
|Where Have All the Flowers Gone? #3, monoprint, 32 x 20|
Lost Civilizations--Stones and Columns, chine colle monoprint, 20 x 32
Lost Civilizations--Atomic Cloud, chine colle monoprint, 20 x 32
As an exploration of the adverse effects of war, we created two series of mixed media monotypes. For the first, a colorful nonrepresentational series, Where Have All the Flowers Gone?, we appropriated the title of an iconic Vietnam War era song by Pete Seeger. In the second, a series entitled Lost Civilizations, fragments of ancient architectural elements against a desert backdrop become a fitting metaphor for lost worlds. The piece entitled Buddha’s Light was made later and can be viewed as a statement of hope. The Buddha, who is both east and west, emanates light: a reminder that while there are cycles of death and destruction they include birth and regeneration. This piece is a fitting palliative to the images of destruction in Lost Civilizations.