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At the End of the Tunnel
By Becky Hyatt Rickenbaker
36 x 36, acrylic on canvas
Becky Hyatt Rickenbaker studied at the Art Institute of Atlanta. Following graduation, she pursued simultaneous careers in both advertising and fine art. Her painting of a peregrine falcon was selected as the 1992 South Carolina Wildlife Federation Print of the Year; in 2015, she was invited to create a painting to accompany Josephine Humphreys’ short story in State of the Heart, South Carolina Writers on the Places They Love, Volume 2 (University of South Carolina Press); her artwork was juried into Artfields2016®, Artfields2020® and Artfields2021®; and her illustrations and designs were selected to appear on the Lexington, South Carolina Veterans Memorial Monument. She has served as Art Director for both the Atlanta Business Chronicle and Blue Cross Blue Shield of South Carolina, and Creative Marketing Director for Central Carolina Technical College. Becky’s artwork has been featured in magazines, galleries, books and in private collections. She enjoys painting wildlife, nature, portraits and landscapes, and works from her studio in Tryon, North Carolina.
94 Pacolet Street
(Main Entrance at 61 Depot Street)
Tryon, NC 28782
803.917.0038
BeckyRickenbaker.com
36 x 36, acrylic on canvas
Becky Hyatt Rickenbaker studied at the Art Institute of Atlanta. Following graduation, she pursued simultaneous careers in both advertising and fine art. Her painting of a peregrine falcon was selected as the 1992 South Carolina Wildlife Federation Print of the Year; in 2015, she was invited to create a painting to accompany Josephine Humphreys’ short story in State of the Heart, South Carolina Writers on the Places They Love, Volume 2 (University of South Carolina Press); her artwork was juried into Artfields2016®, Artfields2020® and Artfields2021®; and her illustrations and designs were selected to appear on the Lexington, South Carolina Veterans Memorial Monument. She has served as Art Director for both the Atlanta Business Chronicle and Blue Cross Blue Shield of South Carolina, and Creative Marketing Director for Central Carolina Technical College. Becky’s artwork has been featured in magazines, galleries, books and in private collections. She enjoys painting wildlife, nature, portraits and landscapes, and works from her studio in Tryon, North Carolina.
94 Pacolet Street
(Main Entrance at 61 Depot Street)
Tryon, NC 28782
803.917.0038
BeckyRickenbaker.com
Flower Pot With Lizard
By David Zacharias
cone 10 wood, fired, soda fumed stoneware
My first major was Pre-Veterinary Medicine at Clemson University in 1968. Changing to Studio Art resulted in transferring to the University of South Carolina-Columbia, completing a BFA and later an MFA, both with concentrations in sculpture and ceramics.
Following were numerous years of art production while holding blue collar jobs with occasional stints teaching workshops for the South Carolina Arts Commission and adjunct positions at USC in Columbia and Aiken. Eventually a full time position was offered by Converse College teaching all levels of undergraduate ceramics and other subjects.
Since engaging in the BFA program in 1970, my art production has been steady as well as my exhibition schedule with over 25 one person exhibitions, over 100 group exhibitions and over 70 juried competitions. Produced work has been in paintings, sculptures, installations, performance art and now ceramics
cone 10 wood, fired, soda fumed stoneware
My first major was Pre-Veterinary Medicine at Clemson University in 1968. Changing to Studio Art resulted in transferring to the University of South Carolina-Columbia, completing a BFA and later an MFA, both with concentrations in sculpture and ceramics.
Following were numerous years of art production while holding blue collar jobs with occasional stints teaching workshops for the South Carolina Arts Commission and adjunct positions at USC in Columbia and Aiken. Eventually a full time position was offered by Converse College teaching all levels of undergraduate ceramics and other subjects.
Since engaging in the BFA program in 1970, my art production has been steady as well as my exhibition schedule with over 25 one person exhibitions, over 100 group exhibitions and over 70 juried competitions. Produced work has been in paintings, sculptures, installations, performance art and now ceramics
Nature Poem #2
By Cathey Cassady Stoney
Painting in oil and cold wax from my studio on Dancing Ridge in Saluda, NC, my work is inspired by the landscape around me and perceptions of nature that lie at the intersection of the natural world and abstraction. Responding to the environment, I am informed by nature and personal experience. I begin each painting intuitively with exploration of colors, shapes, mark making, and textures working to build layers that capture the passage of time within the environment and my life. Creating this way allows me to stay open to the process. There is a moment when the painting begins to speak to me. At this point I begin to consider formal aspects of composition and design to guide the painting to a balanced resolution. It’s a delicate dance connecting the energy and emotion while conveying a sense of connection, calm, and place.
Cathey Cassady Stoney
Dancing Ridge Studio
285 Dancing Ridge
Saluda, NC 28773
catheystoney@gmail.com
Painting in oil and cold wax from my studio on Dancing Ridge in Saluda, NC, my work is inspired by the landscape around me and perceptions of nature that lie at the intersection of the natural world and abstraction. Responding to the environment, I am informed by nature and personal experience. I begin each painting intuitively with exploration of colors, shapes, mark making, and textures working to build layers that capture the passage of time within the environment and my life. Creating this way allows me to stay open to the process. There is a moment when the painting begins to speak to me. At this point I begin to consider formal aspects of composition and design to guide the painting to a balanced resolution. It’s a delicate dance connecting the energy and emotion while conveying a sense of connection, calm, and place.
Cathey Cassady Stoney
Dancing Ridge Studio
285 Dancing Ridge
Saluda, NC 28773
catheystoney@gmail.com
THREAD MAP 11
By Jean Hess
Thread Map 11. Antique and recycled fabric, ribbons, thread on linen. One of a series of 20. 19 x 19.5”
Textiles that are found, salvaged, pieced together. Scraps combined to form new tableaux. Antique Japanese Boro fabrics – silk, cotton, wool. Some from old kimonos and coats that have been re-purposed, and some from mended work clothing – patches upon patches. Deconstructing old quilts and then re-arranging the pieces with other old fabric. Admiring the delicate hand-stitches made by women who are now long gone, I seek the meditation of handwork. The tiniest stitches possible.
Some reference galaxies at night -- firmaments of very tiny white stitches on darker indigo or black fabric. They may also suggest maps or aerial landscapes – garden layouts, villages cross-cut by streams and paths.
Masses of thread and fabric snippets all balled up together and applied to the surface like medallions. Planets. Houses.
I like the serendipity of it all – one never knows what new and surprising fragment will appear in a trunk, box or drawer, in a junk shop, or in a friend’s collection. There is never a plan – one just begins.
I want these to be inexplicable – hard to place or explain. I want each one to look old – worn – discarded -- or so context-free as to be timeless.
I let the raw edges of the scraps of fabric show and unravel as I work. The furzy boundaries suggest having been worn or used. I keep the stains on old fabric, the rips, tears and prior mends. Loose threads and traces of stitches and knots from having been previously attached to something else.
Jean Hess Studio
2405 Highland Drive
Knoxville, Tennessee 37918-2353
jeanhess@bellsouth.net
www.jeanhess.com
Thread Map 11. Antique and recycled fabric, ribbons, thread on linen. One of a series of 20. 19 x 19.5”
Textiles that are found, salvaged, pieced together. Scraps combined to form new tableaux. Antique Japanese Boro fabrics – silk, cotton, wool. Some from old kimonos and coats that have been re-purposed, and some from mended work clothing – patches upon patches. Deconstructing old quilts and then re-arranging the pieces with other old fabric. Admiring the delicate hand-stitches made by women who are now long gone, I seek the meditation of handwork. The tiniest stitches possible.
Some reference galaxies at night -- firmaments of very tiny white stitches on darker indigo or black fabric. They may also suggest maps or aerial landscapes – garden layouts, villages cross-cut by streams and paths.
Masses of thread and fabric snippets all balled up together and applied to the surface like medallions. Planets. Houses.
I like the serendipity of it all – one never knows what new and surprising fragment will appear in a trunk, box or drawer, in a junk shop, or in a friend’s collection. There is never a plan – one just begins.
I want these to be inexplicable – hard to place or explain. I want each one to look old – worn – discarded -- or so context-free as to be timeless.
I let the raw edges of the scraps of fabric show and unravel as I work. The furzy boundaries suggest having been worn or used. I keep the stains on old fabric, the rips, tears and prior mends. Loose threads and traces of stitches and knots from having been previously attached to something else.
Jean Hess Studio
2405 Highland Drive
Knoxville, Tennessee 37918-2353
jeanhess@bellsouth.net
www.jeanhess.com
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