We had just one more day to see the rest of open studios, so we started it by planning the route. That took some time because less sites were still open on the third weekend, and they were scattered all over the valley. We did make it to many more sites than yesterday, so I will be brief.
Margaret Prendergast Washington was the first artist we visited. Her watercolors are like fine China - light, elegant, and very pleasing to the eye.
A lot of interesting artists were showing in the Alameda Galleries - a labyrinth of studios behind the Recycle Book Store with a very unassuming entrance.
The artwork that caught my attention first was four pieces of burl with colorful pictures on them done with some dry media that I could not identify. It had no information next to it, but I was assured that the artist herself is about to arrive soon and I could ask her. We did not get to talk to the artist, but her husband was kind enough to explain that it was pastel on burl and that it’s a lot of work to complete such a large piece. I would imagine it was, but the result looked fabulous. The name of the artist was Patti Linder-Dodd, and her business card said she specializes a murals.
Nancy Walters shoots and paints wild animals. The portrait we saw go beyond capturing likeliness, they convey personality. Nancy must feel strong connection with her animals.
I am not sure how David Lippenberger’s art should be classified or if it even needs to be put into any specific category. He had many unusual pieces in his studio of which on with black wooden shapes for a city and rope-clad skies was the best. There was something about earthy tones of the rope playing against ominous black mass beneath that captivates the eye.
On the wall of the passage next to David’s studio were several abstract painting of Simone Raoux, a wonderful sequence of gorgeous pieces rich with texture and radiantly warm colors. In her studio, there was more wonders to see, all very different, each of them with its own emotion. Somehow they did not argue with each other; despite their differences, they formed an intricate harmony on the walls. I don’t remember myself being that immersed in abstract art since I first saw paintings by Karen Hale years ago.
There were more artists in the Alameda Galleries, but we wanted to see other sites too so had to leave.
Douglas Vincent’s Ilfochrome photos of nature seemed to glow from the inside and have almost a three-dimensional feel to them. He’s obviously a very talented photographer who does not need to rely on an unusual technique or materials, but they certainly add a special touch to his art.
We barely entered Amy Brown’s yard when I was stopped by beautiful ceramic fish on the fence. The whole yard was full of birds, fish, shark head vases and so much more that I was not sure where to look first. Amy had to invite us into the house more than once, and I finally followed with a small pelican in my hands. I am partial to ceramics, what can I say. She paints her tropical scenery, flowers, and frogs in acrylic, but the result looks like oil. There was a triptych of Red Eyed Tree Frogs above the fireplace that to me was the best thing in the whole room, although I am not a frog person.
Noreen Christopher and Jeanette Turkus were showing at the site that had a funny contrast between very good lighting and wooden floors generously spattered with paint of all colors imaginable. I liked Noreen’s abstract acrylics and Jeanette’s figurative art most of all, but the whole exhibit by those two artists was very strong.
Judging by the imagery outside, I expected to see a cat or two in Joe Decker’s house, but we saw none. His breathtaking photos were hanging, laying, and standing everywhere, and Joe could tell a story about each and every one of them down to the exact name of the place and a year when the shot was taken - what I would give to have that kind of memory!
Janet Trenchard works in many different media, and her display reflected that. She creates unusual mixed media assemblages, paints in acrylics, and does some sort of printmaking that I never saw before. Unfortunately, the name of the technique escaped my mind as soon as we left the site, but it had a delicately weathered look to it. Janet said that because it is not an easy technique, very few artists are engaged into it.
By that time studios started to close down, and we decided to call it a day. And it was a very good day, I might add.
Yelena Shabrova is an