Ric Lamore

Broadwing Clay Studio

Foremost in my efforts to be a better craftsman is the knowledge that our craft is truly humbling. After 30 years, I am still amazed how much there is to learn. It’s truly inspiring.In the last 6 years, my work has evolved into three areas:One being my functional work, it has taken on some new looks; primarily, carving on a variety of forms, both functional and non-functional. I have also begun a line of face jugs and totems. In contrast, I have developed a line of pit fired, non functional work. The use of very simple chemicals and natural products has created a group of very whimsical pieces.Finally, I have built a three chambered wood kiln, combining functional and non functional ware. The completeness of the process is truly a challenge.  All that goes in to making the ware, the glaze choices, and loading each chamber is crucial. The type of wood, the people who work shifts down to the last five minutes of the firing can determine the outcome.These three areas keep me very engaged and inspired. We hope that you enjoy the work. See you soon.IMG_0176 2013-04-27 13.50.46

Robert Farrell

aquawatertowerwinterbarnII

I am a maker of functional sterling silver objects.  I create each piece entirely by hand in my one-person studio.  Each object is a hollow fabrication and is formed from flat sheets of sterling.  The surface embellishment is accomplished using two different ‘inlay’ techniques:  the first is ‘hammered inlay,’ in which various metals are soldered on top of a base sheet and hammered in; the second is a process known as ‘marriage of metal’ in which different metals are cut out in precise shapes, assembled like a jigsaw puzzle, and soldered together.  In both cases, the inlay process is done first, the pieces are then formed, and the surfaces hand-filed, sanded and polished so that the ‘inlay’ becomes part of a smooth, consistent surface.

 

Silversmithing is a dying craft.  There has been a decline in the appreciation of hand-labor and the value of the true, one of a kind object.  We, as a society, no longer entertain with the extravagance of preceding generations and the silver that we own is mostly in the form of items handed down to us from the past.  I believe that living with and using beautiful, finely crafted, unique silver objects—whether we are alone or entertaining—enhances the experience of daily life.  

 

I am a traditionalist at heart—a lover of antiquities and of objects made with only modest tools and a human being’s hands.  I strive to keep alive an understanding of and an appreciation for one of a kind, hand made objects.  While that appreciation and understanding still exists for ‘fine art,’ sculpture, and non-functional craft forms, the functional object has been turned over almost entirely to manufacturing.  It baffles me that an object which has a utilitarian purpose is perceived as less ‘valuable’ than an object which exists simply for the pleasure of existing.

 

The inspiration for my work comes from several areas:  the ceremonial objects unearthed from centuries long past; the ideas of family heirlooms and treasured objects; and the knowledge that objects made from metal last forever and will survive long after I am gone.  My work is both my celebration of past history and my legacy left for future generations.

 

Stylistically, I have been influenced by the simplicity of form found in Scandinavian craft forms, the simple elegance of Japanese graphics, and the rich surfaces of African textiles and wood carvings.  I admire simple, direct forms and use my inlay techniques to enhance the surfaces.  I work to create a more ‘modern,’ contemporary appreciation of sterling silver objects in contrast to the baroque extravagance of traditional silver.   I also work to let people know that it’s okay to indulge themselves—to acquire, use, and live with ‘new’ heirlooms.

 

Most importantly, by resisting current stylistic ‘trends’ and fads, I believe that my work will endure the test of time.

If you’re still reading this, you may, at this point, be asking yourself “okay, but what about the barns, the silos, the water towers and toys?”  These objects are my newest work, and are constructed from sterling silver, copper, nickel, and fabulous glass enamels!  After many years of doing strictly functional work, and adhering to the beliefs mentioned above, I had a bit of an artistic crisis a couple of years ago.

I found that I wanted my work to express ideas, evoke emotional responses, and interact with the viewer on a more personal level.  I also realized that I had spent a couple of decades making what I thought I ‘should’ make, and that it was time to start making things I ‘want’ to make–I’m discovering that there is quite a difference.

My new work is about memories, childhood, places I’ve lived and seen, and people I remember.  Some pieces, on the other hand, simply make me smile.  With the new work, I feel I have reached a mature style and that I am making the best work of my career.  I have more ideas than I have time in which to execute them.  It’s a good problem to have.

www.farrellsilver.com

Peggy Furlin

Peggy FurlinI began my art “journey” as many do. by painting “things”…landscapes, flowers, still lifes. I would research and plan and sketch. I might work from photos or sometimes plein aire. along the way my work began changing…I started adding abstract elements to my subject matter along with fracturing and color shifts. clearly I was looking for something different. It was about that time I tried watercolor canvas…it was my aha moment…my something different…and a new direction.
No more planning, no more photos, no more sketching…no more “things” now I just paint. the canvas knows what it wants. I’m just along for the ride. I’m not saying this was an easy transformation. I just learned to turn off the inner critic…get out of my own way and start making this art.
I’m enjoying the ride.
Georgia O’Keefe said…”I found I could say things with color and shapes that I couldn’t say any other way…things I had no words for.” I feel the same way.
Studio/Gallery (open May-November)
213 w Madison street (alley)
Lake mills, Wi 53551
(behind lewis station winery)

Karen Ragus

Karen has a Bachelors Degree in Art Education from University of Wisconsin, Madison and a Masters in Adult Vocational Education.  She is the owner and director of the Lake Mills Arts Center, Lake Mills, WI where she teaches and has her painting studio.  She also is a guest instructor at various art schools around the country.  She is a full time artist, she has garnered many awards and she exhibits in a variety of art revised rich painting121 - 40__x30__venues.All that Jazz100_0539 action painting shot

Amy Arntson


Amy Arntson is a Professor Emeritus of Art at the University of
Wisconsin-Whitewater where she taught art and design for 22 years. Arntson
grew up on Lake Michigan in Frankfort, Michigan at the tip of the Sleeping
Bear Sand Dunes National Park. She earned a BFA in painting from Michigan
State University and an MFA in painting and design from UW-Milwaukee.

She has exhibited artwork internationally in the Florence (Italy) Bienniale
as well as locations in China, England and more. In Wisconsin, her work has
been shown in the Museum of Wisconsin Art, Madison Art Museum, Racine’s
Wustum Art Museum exhibitions, as well as in many locations across the US.
She served as an art/design consultant to the United Arab Emirates Ministry
of Education, and has given lectures and presentations in several
continents.
Recently the acclaimed American Artist “Watercolor” magazine featured
several of Arntson’s paintings in a six-page article.
A full time artist, she is also an author of internationally adopted college
level art and design textbooks (Graphic Design Basics, Digital Design
Basics). She occasionally teaches painting workshops in WI at Peninsula Art
School, and School of the Arts in Rhinelander and at the SOA in Spring
Green. Visit her website at amyarntson.net or email her at arntsona@uww.edu

Leslie DeMuth

Sunset Near CambridgeEvening, Prairie LaneWInter,_Jefferson_County

 

 

 

 

Working on site, or from sketches, photos, memory and imagination, I make paintings that reflect the rural and natural beauty of the country side where I live. I often combine different scenes, rearrange trees, or omit something that doesn’t appeal to me. I paint to capture a feeling, the sense of place.

 

My studio is in the old Waterloo town hall, overlooking the Faville Grove Audubon Sanctuary and the Crawfish River. The view to the East includes acres of restored prairie, an oak savannah, the river, and above the rising sun and moon. It is open to the public during our annual Fall Art Tour, the fourth weekend in October, and by appointment.

 

Rick Hintze

Rick Hintze bio

 

Rick Hintze was born in Peoria, Illinois in 1944. He received a B.A. in Art from Knox College in Galesburg, Illinois, an M.A. in Art History from the University of Iowa, Iowa City, and an M.F.A. in Ceramics from the University of Notre Dame, South Bend, Indiana. Rick established the Johnson Creek Clay Studio in Johnson Creek, Wisconsin in 2002 after having taught as Associate Professor of Art at Kirkwood Community College in Cedar Rapids, Iowa. He has received numerous awards, including a National Endowment for the Arts Individual Artist Fellowship, an Iowa Arts Council Artist Project Grant and an award of excellence from the American Craft Council. His work is in the collections of the Racine Art Museum, the Topeka and Shawnee County Public Library, Kirkwood Community College, and various regional and national private collections.DSC_1678 1920 P1140223 copy 1920 x 300