Part One: Before the OpeningNo, the image below isn't red nor was it part of the Make It Red exhibition. But those large cacti do reside in Tucson. Sure---we have cactus here in Texas too, but you have to admit these cacti are pretty spectacular.
|Side-of-road pictures on my way back into town from Desert Museum.|
Dec. 4th, (last Saturday) was the was the reception for the Make It Red Exhibition at Conrad Wilde Gallery in Tucson. Some of my paintings were selected for Make It Red, so while lots of folks were in Miami, (Art Basel Miami) I decided to make the trek to Arizona. Below is the gallery.
|Conrad Wilde Gallery (the one with the white sign above the window)|
I arrived into Tucson mid-afternoon on Friday and with some time on my hands I was looking for something to do. On the way to the hotel's little restaurant to get a bite to eat, I noticed a lot of activity around the entrance to the ball room. Hmm. What? A Cat Show? After my Quesadilla and margarita, I stopped in at the ballroom to see what a Cat Show was all about. It was the TICA Cat Show sponsored by the Coatimondi Cat Club and it was going on the whole weekend. Would cost me five bucks to get in.
|This is one of the more elegant breeds of cats at the show. All were pretty spectacular.|
Stay with me just a bit longer. The Short Haired cats were interesting to look at but kind of skinny. Even skinnier and stranger were the Hairless cats. They were very pink. I thought they might be embarrassed. I would give the Sphinx cats the blue ribbon for being the strangest looking. Spinx supposedly are of Egyptian origin but I think they are really from Mars.
|The Sphinx cats at the show looked stranger than this one I found on Wikipedia.|
Seriously though, the cats were beautiful and exotic and they didn't seem to mind at all being handled and prodded by strangers.
Also, I am sure the Hairless and Short Hair have more exotic names than just Hairless or Short Hair.
Next day, I met up with artist Catherine Nash in her large and lovely Tucson studio. Her studio (shared with her husband, Robert Renfrow) is large enough for her to hold classes for about 10 or more students. Among other things, Catherine makes paper for her projects like handmade books, sculptural pieces or mixed media collage with Encaustic. The studio can be turned into a dark room for her husband's use.Click here to see one of Robert's and Catherine's collaborative pieces.
|Catherine Nash in her Tucson studio with some of her paintings against the wall behind her.|
|Studio from the back of the room looking toward front door.|
|Paper making flats on shelf high on the wall. Her pulp beater and felts were in a large closet for when she needs it.|
|One of Catherine's paintings and sorry, Catherine for the blurry photo and not remembering the title.|
Catherine is a collector of things, many of which wind up in her paintings, assemblages or collages. She had many treasures tucked on shelves and in boxes all around the studio.
|Boxes holding some of Catherine's collections.|
Part II: Make It Red
Visiting the gallery was next. The shot below was taken earlier in the day on Saturday. As you can see,
all the lights haven't been turned on. My photo suffered a bit from that. Here is am near the back of the gallery looking toward the street. My monotypes, Queen's Cape I and II are on the half wall in front of the window. Mari Marks four paintings are next. My painting, Tan My Hide is next then Margaret Suchland's paintings.
|Inside Conrad Wilde Gallery-Make It Red Exhibition|
|One of Mari Mark's paintings-Spectrum Series|
|Above and below: Paintings by Margaret Suchland.|
|Red Toolbox Story, Beata Wehr|
|Beata's Encaustic painting|
|A Very Long Story by Beata Wehr|
|Left: A Story Line, Gwendolyn Plunkett, Encaustic and oil bar on panel, 24 x 24 inches|
|Guston, Elizabeth Sheppell, Oil on Panel, 48 x 48 inches|
|Reception: L-R Ryan, Beata, Gwen, David|
|L -R Beata, Sherrie, Gwen|
|Queen's Cape I and II, Encaustic Monotypes on panel, 19 x 15.5 inchees|
Larraine's painting above, and Carrie's below literally glow. They are wonderful to look at.
|Skin Game, Gwendolyn Plunkett, Encaustic, 24 x 24 inches|
|David A. Clark, Monotypes|