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贵州, 黔东南自治州, 榕江县, 载麻乡，丰登村, 宰荡(侗寨) Zaidang(Dong Village), Fengdeng, Zaima, Rongjiang, Qiandong'nan, Guizhou, China
Inspired Ikebana: Modern Design Meets the Ancient Art of Japanese of Flower Arrangement (The Craft of Kado, The Japanese Art of Modern Flower Arrangement) - Kindle edition by Zaima, Naoko. Download it once and read it on your Kindle device, PC, phones or tablets. Use features like bookmarks, note taking and highlighting while reading Inspired Ikebana: Modern Design Meets the Ancient Art of Japanese of Flower Arrangement (The Craft of Kado, The Japanese Art of Modern Flower Arrangement).
ROSE UMERLIK (American b. 1975-)Painter Before I reach the moment where I approach a panel with oil paint or pencil, I’ve already spent weeks building the panels and layering them with multiple different grounds to create the toughest surface possible. The rigidity of the panels is necessary to hold up to the aggressive pencil drawings, and the repeated laying down and wiping away of paint that mark the beginning of each piece. By layering graphite lines and staining the surface with color, I work through numerous ideas before settling into a “story.” The faded drawings and pigments are the building blocks of each piece. The “story” that emerges in a painting will usually come from a distinct moment when I recognize a human experience in the way two forms are relating to each other, or the interaction of lines within a color field. That moment of recognition comes during the creation of each painting and it is my way of exploring what it is to be human, what it is to be a part of a culture, and what it is to love, fear or hope. I will flesh out these “moments” with thicker layers of paint. I use opacity to direct the viewer to what I find to be powerful and evocative. Opaque lines and forms intermingling with color stains and drawings are the key tools in my physical painting process. My art practice is inextricably tied to my personal history. Stories of family, relationships, and self-awareness generate forces of emotion, fear, hope, loss, pain, and love that drive me through the creation of each painting. From the beginning of each piece, I lay down shapes, lines and bodies of color. As I manipulate these elements, I intuitively recognize how the correlation of these elements mirrors my interpersonal relationships. At different times these lines and forms vary in the way they relate to one another. Sometimes they hold each other, or gesture lovingly; other times they oppose each other or interact aggressively; sometimes their relationship is uncomfortable or uncertain; other times they strive for isolation. As I move through moments of personal recognition, these moments influence the formulation of the composition. I engage in an extended series of decisions and revisions; tensions undulate on the painted surface, layers of lines, pigments, and shapes are laid down, cleared, and then selectively restored. When a painting is realized conclusively, the surface is necessarily multifarious, the reworked layers reflect my ongoing struggle to accept my history, my present, and to be hopeful of the future.This complexity of formal elements and process is present throughout my work. My aim is not only to mirror the intricacies of my personal story, but also to connect with the viewer, to echo the personal, emotional struggles that resonate with each of us, and that are present in the collective human mind and heart. Rose Umerlik received her Bachelor of Fine Arts from Syracuse University’s College of Visual and Performing arts, with strong influences from Stephen Zaima who impressed upon her the importance of one’s ability to self-evaluate, and the “work method”. The backbone of her studio practice is based on a strong work ethic and dedication to being present and honest with her work. Umerlik has had fifteen solo exhibitions in New England and has been included in numerous group exhibitions across the country and internationally. Her work has been reviewed in Art New England and Artscope. She has also published two books, Intimacy of Forms and Histories. Among other awards, she has received a grant from the New Hampshire State Council on the Arts to participate in the Takt Kunstprojektraum Residency in Berlin, Germany; a fellowship to participate in the Sam and Adele Golden Foundation Residency; and a Clowes Award to participate in a residency at the Vermont Studio Center. She has also been a finalist for the New Hampshire Charitable Foundation’s prestigious Piscataqua Region Artist Advancement Grant. Umerlik lives in Jeffersonville, where she maintains a full-time studio practice. Grants, Lectures, Residencies, Awards Artist Residency and FellowshipThe Sam and Adele Golden Foundation for the Arts, Inc., New Berlin, NY. June, 2013 Finalist GrantNew Hampshire Charitable Foundation–PiscataquaRegion Artist Advancement Grant, 2009, 2011, 2012 Clowes AwardVermont Studio Center, Johnson, VT. Full fellowship awarded in support of a month-long residency. September, 2010. Berlin Art NowPortsmouth Public Library, Portsmouth, NH, November, 2008. Lecture given on contemporary art from Berlin, Germany. Co-sponsored by the Portsmouth Public Library and Funded by the NH State Council on the Arts. Takt Kunstprojektraum Artist Residency. Takt Kunstprojektraum Gallery, Berlin, Germany, June-July 2008 ManyMini Artist Residency The Berlin Office, Berlin, Germany, July 2008 NH Cultural Exchange Grant NH Department of Cultural Resources & Park Street Foundation, NH State Council on the Arts, Concord, NH, March, 2008 Best in Show Award, “New-In Exhibition”Hun Gallery, New York, NY, March, 2008 * Bachelor of Fine Arts, Syracuse University, College of Visual and Performing Arts 1998Read this article from ArtScope Magazine:http://www.artscopemagazine.com/asdyn/index.wr?is=34&a=18And another by Britta Konau, for Maine Home and Design Magazinehttp://mainehomedesign.com/the-canvas/2047-gestural-memories.html“Taking Shape” Anne Bryant, Portsmouth Herald, November 1st, 2009
