Ancient Vessel Art Blog

Friday Night Art in Houston

2016-09-21T00:26:00.000-05:00

Art Wall 2016 Opening Celebration
800 ft of Fantastic Artwork

Friday, September 23rd, 5 - 8PM

Art Alley - 1502 Sawyer Street
(Additional Parking at Silver Street Studios)

JOIN US this Friday, September 23rd when we will celebrate the completion of Art Wall 2016 with a opening reception from 5-8pm.

Studios will be open at Silos.

For more information regarding this and other events at Washington Avenue Arts District click here for their News Letter .

2015-10-29T10:33:00.001-05:00

Romp & Circumstance

Featuring works by multi-media artist Gwendolyn Plunkett, opens at Hunter Gather on Thursday, Oct. 29th from 6-8pm

Text below taken from Hunter Gather Project

Hunter Gather is pleased to announce the opening of Romp & Circumstance, an exhibition featuring works on paper, installation, and objects by multi-media artist Gwendolyn Plunkett.

Houston-based contemporary artist Gwendolyn Plunkett, guided by instinct and intuition, uses various media—wax, oils, acrylics, paper, and found objects—to create abstract compositions that investigate notions of form, color, texture, and surface. Recently, Plunkett has been exploring frottage and other printmaking processes that do not require a press. Romp & Circumstance features a new series of oil and cold wax diptychs that combine rigorous mark-making with a sense of play, resulting in enticing surfaces that invite us to take pleasure in their material tactility and reflect on the connections that emerge from an intuitive process.

These explorations have yielded a series of objects, from chairs to wall installations, composed of found materials coated with layers of wax that create a rich textural feast and form a visual dialogue with Plunkett’s paintings.

In our fast-paced, contemporary world, we are too often consumed by responsibility, work, and the desire for success; Plunkett reminds us that play, not only brings pleasure, but curiosity and innovation — enriching both our understanding of the world and ourselves.

Join us for the opening reception of Romp & Circumstance on Thursday, October 29th from 6-8pm.

I wish to thank the folks at Hunter Gather Project for all their efforts in presenting this exhibition of my work in such a thoughtful manner. Naming names, Margaret Smithers-Crump, Laura Rossi, and all members of the staff, Hugh, Matt, Cori and Katrina. A big thanks to Curtis Gannon for installing the show.

Directions to the gallery:

A Shift in Direction

2015-05-09T14:39:00.001-05:00

See what has been happening in my studio recently. Some new investigations with oil paint and cold wax on paper and on panels. Series title is Flight of Fancy. Check out my web site here to see more. Below are images of two of the pieces in this series. I am inclined to describe the work in this series as drawings in paint rather than paintings.

I do a lot of smearing and scraping of the paint. I use some mono-printing techniques. I draw with paint squeezing it right onto the surface. I actually do a bit of painting with the brush too so by rights I suppose, these can be classified as paintings.

Just Hanging Around, oil and cold wax on paper, 16 x 12 inches, ©GwendolynPlunkett2015


Bubble and Pop, oil and cold wax on paper, 16 x 12 inches,	©GwendolynPlunkett2015

The work in this series reminds me stylistic of paintings from my Garden and Blue Note series from around 2005-2006. These may be a bit more fanciful. Go here to see a couple of those paintings.

Family Ties Brooklyn | Dallas

2015-04-08T00:42:00.000-05:00

Family Ties
Brooklyn | Dallas
mostly Brooklyn Artists Commune with mostly Dallas Artists
curated by
Bonny Leibowitz | Julie Torres

500X Gallery
opening reception
Saturday, April 11th 7:00pm - 10:00pm
exhibition continues through May 3rd

On view Saturdays & Sundays, Noon to 5 p.m. Weekdays by appointment

Lots of art stuff happening in Dallas this weekend and I am so looking forward to my visit.

Family Ties, co-curated by Bonny Leibowitz and Julie Torres "celebrates the limitless potential of artist supporting artists, " and I am so pleased to have been invited to participate and share the experience. The Dallas Art Fair is happening this weekend as well so much to do about Art in Dallas this weekend in April. I hope to see you there.

Brooklyn-based painter Julie Torres and artist Bonny Leibowitz of Dallas, TX have partnered to co-curate a unique exhibition of 80+ artists from Brooklyn, 40+ local Dallas artists and several like-minded artists from around the country, in "Family Ties."

Torres' recent "Family Style" exhibitions in NYC are the inspiration for this community-expanding project. Leibowitz and Torres share an affinity for the participating artists' exciting work and for collaboratively organized exhibits.

"Family Ties" celebrates the limitless potential of artists supporting artists.

Julie Torres is a painter and arts organizer in NYC and will be in attendance for the opening.

Bonny Leibowitz is an artist and "Family Ties" co-curator living in Dallas.

Family Ties artists
Albert Weaver, Alex Paik, Alexis Granwell, Ann Glazer, Anne Russinof, Ashley Garrett, Austin Thomas, Bailey K Chapman, Barbara Laube, Becky Yazdan, Ben Pritchard, Ben Terry, Bonny Leibowitz, Brett Dyer, Brian Edmonds, Caetlynn Booth, Cande Aguilar, Cecilia Salama, Chance Dunlap, Christina Tenaglia, Christopher Moss, Christopher Rose, Claudia Tienan, Daniel John Gadd, David Michael Connolly, David T Miller, Deanna Wood, Douglas Florian, Elizabeth Gourlay, Elizabeth Riley, Ellen Letcher, Emily Berger, Enrico Gomez, Eric Mavko, Erica Stevens, Fran Holstrom, Fred Gutzeit, Georgia Elrod, Ginny Casey, Giovanni Valderas, Gwendolyn Plunkett, James Prez, Jamie Powell, Jason Rohlf, Jay Henderson, Jeanne Neal, Jeff Parrott, Jennifer Shepard, Jenny Leigh Jones, Jill Vasileff, Joan Mellon, John Kesling, Jonathan Cowan, Julia L Trinh, Julia Schwartz, Julie Alexander, Julie S. Graham, Julon Pinkston, Justine Frischmann, Karen Schifano, Karl Bielik, Karla Areli, Katherine Mojzsis, Kevin Andrew Curran, Kristen Biles, Ky Anderson, Kyle Gallup, Lael Marshall, Lauren Collings, Leeza Meksin, Leslie Kerby, Levi Haske Liz Ainslie, Liz Atzberger, MaDora Frey, Maria Britton, Marian Brunn Smith, Mary Judge, Matthew Neil Gehring, Maxwell Stevens, Mayra Barraza, Meg Atkinson, Melissa Capasso, Melissa Staiger, Michael Frank Blair, Nancy Ferro, Paul Behnke, Peggy Epner, Phillip J. Mellen, Polly Shindler, Rachael Gorchov, RE Cox, Rebecca Litt, Rebecca Murtaugh, Roberto Munguia, Ryan Goolsby, Ryan Michael Ford, Sally Warren, Sean Montgomery, Stephen B. MacInnis, Suhee Wooh, Susan Carr, Susan Cheal, Teresa Ekasala, Todd Camplin, Vicki Owen, Vicki Sher, Wendy Klemperer, Will Hutnick, William Crump, William Eckhardt Kohler, William Lawler, Zak Vreeland

Flight of Fancy

Flight of Fancy, Oil and cold wax on Arches paper for oils, 16 x 12 inches, ©GwendolynPlunkett2015

Exhibition Announcement

2014-09-23T21:34:00.003-05:00

Pulp

September 16th – October 25th, 2014
Opening Reception Thursday, September 25th 6-8pm

Our upcoming group exhibition Pulp focuses on the creative potential of paper, both as a substance and a conceptual point of departure. The exhibition will feature works by Rix Jennings, Jon Lee, Gwendolyn Plunkett, Delaney Smith, and guest artist Curtis Gannon.

Pulp showcases works that explore and manipulate the materiality of paper itself, pushing a traditional medium into new dimensions. Artists Rix Jennings and Delaney Smith create three-dimensional form by casting handmade paper. Primarily interested in the relationships between material, form, and function, Smith’s wall installation is composed of book-like units cast with nonsensical words that create both a visual and aural texture. Jennings’s organic forms invite the viewer to reflect on the quite beauty of paper in its raw and imperfect states. Printing on bamboo paper for the first time, master printer Jon Lee’s new series investigates the visual manifestations of the golden ratio in printed media. Gwendolyn Plunkett uses re-purposed books to create a visual language of texture and mark making, and THE MISSION artist Curtis Gannon uses comic books as his primary media to explore the functionality of the comic book as a platform for communication.

Join us for the opening reception for Pulp on Thursday, September 25th from 6:00-8:00pm!

Image: Detail of Knebix by Delaney Smith; photo by Matt Golden.

http://huntergatherproject.com/Pulp at Hunter Gather Project

Cathie Kayser's 'A Thread Runs Through'...last time to see this week...Don't miss it!

2013-07-17T12:51:00.003-05:00

Closing reception for Cathie Kayser's exhibition 'A Thread Runs Through' is this Thursday, July 18 from 4:30 to 6:30. It has been a pleasure for me to work with Cathie in curating this exhibition. All good work to choose from. Try to get there today if you haven't seen the exhibition. It is a beautiful show.

See my work in Houston, Austin and Corpus Christie this Month

2012-10-06T11:33:00.000-05:00

Driven to Abstraction

October 12, 2012 7:00 - 10:00pm

You must RSVP to attend.

Driven to Abstraction will be on view from October 5 - November 4, 2012. Visit the website for more information.

The show runs the gamut from pieces so abstract that the only references to subject are in the name to representational pieces rendered in a way that becomes abstract.

The artists: Bobbye Bennett (Houston, TX), Debbie Buie (Austin, TX), Rachelle Diaz (Austin, TX), C. Ellen Hart (Houston, TX), Chrys Grummert (Austin, TX), Gabe Langholtz (Austin, TX), Court Lurie (Austin, TX), Melanie Millar (Houston, TX), Chandana Paravastu (Houston, TX), Gwen Plunkett (Houston, Texas), William Ruller (Savannah, GA), Bill Santelli (Rochester, NY), Briana Sutton (Mineola, TX), Daniel J. Victor (New York, NY), Lana Waldrep (Austin, TX) and Dawn Winter (Austin, TX).
Some of the work I have in this exhibition below:

Booked/New Language, Ink, old book page, encaustic medium and oil bar on panel, 12 x 9 inches
Gwendolyn Plunkett @ 2011

In Corpus Christie, you can see the painting below through October 20

The Third Coast National is a non-thematic, juried exhibition of new works of art from all across the USA. We are simply looking for innovative, interesting contemporary artwork. Now in its 6th year, The Third Coast National marks the anniversary of the opening of K Space Contemporary’s ground level space on Starr Street in downtown Corpus Christi, Texas. This exhibition has proven to be one of the most popular exhibitions in Corpus Christi and one of the artistic highlights of the year.

Wed-Sat 11:00 am - 5:00 pm
Free Admission

K Space Contemporary
415 D Starr Street
Corpus Christi, TX 78401

info@kspacecontemporary.org

Diver II from New Language Series, Acrylic, old book pages on canvas, 60 x 48 inches
Gwendolyn Plunkett @ 2011

In Houston at Bosque Gallery at LoneStar College, Cy Fair, through October

you can see the painting below in the faculty exhibition. Reception is October 25, 4:30 - 6:30

Linear A from New Language Series; Ink, Lokta paper, old book pages, oil bar on panel, 16 x 20 inches
Gwendolyn Plunkett @ 2012

Happening in May

2012-05-08T11:12:00.000-05:00

I am pleased to announce that I have work in two exhibitions this month. In the invitational Reclaimed Existence, the artist's life as a chair, at Art Cube Gallery in Laguna Beach, CA you can see my interpretation of the theme, Plein Air-Blue. The exhibition runs through the end of May. Other artists included in this show are William Catling, Dennis Hare, Connie DK Lane, Trace Mendoza, Gwendolyn Plunkett, Lucas Rise, and Gerard Stripling.

Plein Air-Blue, Encaustic with various papers and fabrics, inks, watercolor on repurposed painting panels, 30 x 10 x 10 inches, © Gwendolyn Plunkett 2012.

Closer to home, at the Live Oak Art Center in Columbus, TX, you can see two of my paintings Under My Skin 3 and 4 in the 2012 Annual Juried Art Exhibition beginning May 19.

This show continues through June 30, 2012.

Details for Saturday, May 19:

4PM-5PM-------Lecture and Awards

5PM-7PM--------Reception

7PM-10PM-------Music by Central Texas Sounds

Leonard Lehrer was the juror for this exhibition.

Under My Skin III, 16 x 16 inches, Encaustic over papers on panel with oil stick

Under My Skin IV, 16x16 inches, Encaustic over papers on panel with oil stick

2012-01-21T11:53:00.000-06:00

Conrad Wilde Gallery
439 N. 6th Ave #171, Tucson AZ
85705

I am pleased to announce that I am one of the artists whose work is included in this exhibition at Conrad Wilde Gallery in Tucson.

Artists featured are:
Alicia Forestall-Boehm      Molly Geissman
Willow Bader                     Deborah Kapoor
Amelia Currier                   Sue Katz
Peggy Epner       Catherine Nash
Gwendolyn Plunkett         Kelly Wagner Steinke
Margaret Suchland             Robert Treat

Click here for more information about the artists.
Press Release here.

Very Hot and Way Cool!

2011-09-26T11:45:00.000-05:00

Sizzling!


Logo

The air temperature wasn't the only thing sizzling in Houston this summer. Heating up Houston's art scene is Burning Bones Press, a brand new full service print studio located at 1518 Yale Street in the Heights. Artists and printmakers Carlos Hernandez and Patrick Masterson partnered up, leased the space and opened for business this summer. Their inaugural party June 11 was planned to coincide with PrintHouston 2011. If you missed the party like I did, watch their video of that event. Not quite the same as being there but....

Patrick Masterson and Carlos Hernandez

Working along with Pat and Carlos are studio managers artists Cathie Kayser and Nancy Luton.

Cathie Kayser

Patrick, Carlos, Cathie and Nancy are all members of PrintMatters, (see more about that further down) and Cathie is currently serving as president of that organization.

Full service printing studio means just that. Lithography, intaglio, relief printing, screen printing, solar etching and all the ins and out that each printing process brings. Besides doing their own work here, these artists offer printmaking classes, and collaborate with other artists helping them develop their own ideas into a realized edition, as well as doing projects for museums, businesses and other organizations. The goal, according to master printer Patrick Masterson, is to create an open and inviting environment conducive of collaboration with other artists, as well as taking on jobs from institutions, publishers and dealers.

Nancy Luton

A bit of biography.....
Carlos Hernandez has fame for his limited edition screen prints of gig posters of rock n' roll legends such as B.B King, Tom Petty and the Heartbreakers, to name a few, as well as his Day of the Dead Rock Stars Series. Carlos also has selected works featured in the 2011 Communication Arts Typography annual and the 2011 Communications Arts Illustration annual. Carlos said he started out setting up a studio in his garage so he must be loving this new studio!

Patrick Masterson wears several caps, artist/teacher, artist/printmaker, and business owner. He teaches printmaking at both University of Houston and Glassel School of Art. He served as master printer at both Mad Cap Press in Houston and Flatbed Press in Austin. In Austin he collaborated with artists James Surls, Luis Jimenez, Trenton Doyle Hancock to name a few. You can find his work (Masterson's) in the collections of the Whitney Museum of Art, the Museum of Modern Art, the Cleveland Museum of Art.


Photo courtesy of Jenny Antill. Patrick and Carlos are bounded on right and left by some of their work; next to Patrick is a James Surls piece and next to Carlos, several prints from his Day of Dead Rock Stars series.

One of their goals is to bring more attention to traditional printing processes and techniques. I questioned all three, (Carlos, Patrick and Cathie) if digital technology has impacted their work and business in a positive or negative way and the overall response was positive.
Some of the new technology has really impacted what they can do in the studio in a positive way, saving time and steps.

All of them through their teaching gigs found many students with heavy digital backgrounds have a real longing for the 'hands-on' experience that traditional printmaking methods provide.

Cathie reminded me how photography at one time put the fear into artists and printmakers alike, that photography would render both obsolete. That didn't happen.

New Addition to the family

With half dozen various presses in the studio at opening, their long awaited 4 x 8 foot Takach motorized press arrived this week enabling them now to print large format images. Below are the four of them posing with the inaugural print compliments of Nancy.

Carlos, Nancy, Patrick and Cathie with the inaugural pull using the new press.

Several projects are in the works keeping them busy. Patrick is working on a project with Francesca Fuchs for the Houston Museum of Fine Art's Core Program, for one. Besides several teaching gigs at the studio, Carlos is adding new images to his Day of the Dead Rock Star Series, as well as collaborating one-on-one with artists wanting to learn more about the silk screen process.

Print Houston
If that weren’t enough to create sparks with Houston artists who have been chomping at the bit for sizable Houston-based print studio, PrintMatters, a Houston art organization, after declaring June as PrintHouston 2011 month.

It was a month long celebration of traditional and nontraditional printmaking, held printing workshops, sponsored the Rockin’ Rollin’ Steam Roller event, invited curators to propose print-related exhibitions and galleries and museums to participate with print-related exhibitions. June’s exhibitions spilled into to July, then into to August. Seems PrintHouston 2011 is really Print Houston Summer! See my Nov 2010 post about PrintMatters at WHAM here.

Very Hot and Way Cool!

PrintHouston will happen again in 2012 so all you print makers keep your radar turned on for exhibition calls and announcements.

Founding members, Cahtie Kayser, Andis Applewhite, Ann Johnson, Vivian Hordes and Ruth Shouval, organized with the following goals in mind: to promote traditional and non-traditional printmaking, encourage print collecting, and further the professional growth of our members.

Gallery Talk - Kevin Mullins, Jonathan C. Leach

2011-03-14T16:18:00.000-05:00

Darke Gallery now showing work by Kevin Mullins and Jonathan Leach through March in the upstairs gallery, hosted an artist talk with these two artists this past Saturday. The opening reception was Friday evening, the night before. This kind of event is a great opportunity for us bloggers to get first hand information from the artists as well as providing a possible photo opportunity if the both artist and gallery are supportive.

Image above and below complimentary of Kevin Mullins web site.

Proud Flesh is the title of the Mullins exhibition which includes screen printed images on paper like the one below and smaller paintings/printed images on plywood. Click here to see the slide show of some of these works on paper.

Proud Flesh series Red/Green, screen print

Says Mullins, "I’m a painter and print maker currently living in Wichita, Kansas.
Mechanical reproduction and repetition (I find great truth in the dictum, “repetition is the foundation of clarity”, have been both the subject of my work and the means by which I produce it." Quoted from Mullins' statement here. He works with an oil based inks and paint on various supports, including paper and wood and a type of PVC plastic used in outdoor signs. He spoke of these repetitive marks in relation to meditation, an idea that I have embraced in relation to some of my work. Unlike Mullins, I don't participate in any formal meditative practices.

Kevin Mullins on right talking to visitor about the smaller works.

Artist Jonathan Leach is a Houston resident and currently represented by Sonja Roach Gallery.
The several pieces in this exhibition are with permission from that gallery. About his pieces here, Jonathan uses acrylic paint on canvas and plexiglass supports, in this instance, a plexi box.

On right is Jonathan Leach talking about his work. To his left is Kevin Mullins, and far left is artist Marcelyn McNeil.

He tapes and and paints areas both outside and inside the box. He is interested in allowing evidence of the artist's hand to be visible in the painted areas although I didn't really see any brush marks. One must have to get very close. Although these are essentially painted boxes, the artists must approach the placement of the designs onto the surfaces as a sculptor would.

On right is Jonathan Leach talking about his work. To his left is Kevin Mullins, and far left is artist Marcelyn McNeil.

View shifting to the right

View from opposite side.

You can see more of Jonathan's work here.
This exhibition runs through early April.

You Are Invited II

2011-02-11T11:44:00.000-06:00

I am very pleased to have my work, Sunspots/Solar Minimum, Solar Maximum in Conrad Wilde Gallery's Sixth Annual Encaustic Invitational this year. The dates are March 5 through March 26.

Sun Spots/Solar Minimum (L) Solar Maximum (R, 16 x 8 in. each, Ink on Hosho paper with Encaustic on panel, 2010

Also near Tucson, at the Tubac Arts Center in Tubac just south of Tucson, my painting Under My Skin II is included in the Playing With Fire Encaustic Exhibition that runs March 18 - May 1 with the reception March 18, 5-7pm. Barbara Rogers, Professor Emeritus of Painting and Drawing in The School of Art at The University of Arizona in Tucson was the juror.

Under My Skin II, Encaustic/oil bar on panel, 16 x 16 inches, 2010

You can see my pink painting below on Pam Farrell's Art Blog on-line PINK Show. Great stuff. Check it out.

Baby's Breath, Encaustic on panel, 12 x 12 inches, 2010

You Are Invited

2011-01-26T10:59:00.000-06:00

"BODY LANGUAGE"

Sunday, February 20th 4:00 to 6:00

Wine, food and music too! Show continues through April 2nd.

See the work here at The Encaustic Center, 580 W.Arapaho Rd. #271, Richardson, TX. 75080


“Marked Time” Encaustic and oil bar on panel 18" x 16"

You can also see my work in Houston at Williams Tower on Post Oak. The Assistance League of Houston presents Texas Art 2011 is up through February 25. The exhibition is located in the lobby of the Williams Tower office building, hours are Monday through Friday from 9:00 - 6:00.

WHAM and Houston's 18th Annual Art Crawl

2010-11-25T23:30:00.000-06:00

Spacetaker brought their Winter Holiday Art Market (WHAM) to Downtown Houston last weekend at
Winter Street Studios. The Winter Holiday Art Market – Downtown was presented by Amegy Bank of Texas. This is a juried event. Earlier in the season, artists were invited to submit a portfolio of their products they would like to sell. Products ranged from drawings, paintings, sculptural pieces, pottery, jewelry, handmade bags, leather goods, hand made wooden objects, fine art prints, hand died silk scarves, and much more. It was fun, indoors, and busy with lots of people. And things were selling.


Studios at Winter Street are identified by letters and numbers stenciled onto the floor in front of their doors. I got caught up with taking photos of numbers on this day. This was not open studio day. Most of the studios were closed.

Below artist/printmakers Andis Applewhite (L) and Gema Barclay (R) running the booth this day for PRINT Matters a Houston arts organization started by five artists who have exhibited locally and nationally and share a love of printmaking. Their goals are to promote traditional and non-traditional printmaking, encourage print collecting, and further the professional growth of our members.

L. Andis Applewhite, R. Gema Barclay


From Andis's P Series. Image from her blog.

On the Print Matters web site you will find a list of members with links to their web sites. Worth a look-see. You will also find information there regarding membership in the organization if you are interested and Print Matters has a current call for work for exhibition next summer.
Click here for more information about that.

Ichthys, save me
Multiple plates with dry-point etching; Rives BFK
Image size: 24 in X 18 in
Paper size: 30 in X 22 in
Monoprint

The image above was done by member Cathie Kayser. Her work is the yellow green-piece above Gema's head. Click here to see more about her.

Below is artist Steve Campbell making a sale. We stopped and chatted with him for a bit. He was gracious enough to give us a demo on how he creates the textures on some of his pieces. Said he learned it in Korea.


Steve's studio is three DOT pots.

Golden Cat Silk Originals had beautiful hand printed silk scarves and shawls. I wish I could have bought one.

Sparrow Birds Scarf

Y.E. Torres YET: Drawing, Dance and Design. Funky stuffed conjoined dolls, drawings and other stuff. Click here for more about her.

Artist Matt Messinger's booth. He does mixed media paintings, collages from found materials and prints. Click here and here to see more about Matt.

*******************************
It was also the weekend of the annual Houston Art Crawl when artists whose studios are located downtown in the warehouse district and nearby open their doors for an open house. The weather was good for it and there were lots of folks out. Many of the photographs I took below are not the art on view. We didn't get to all the studios---missed Vine Street and Diverse Works and probably others. Another time. Anyway, the pictures I took will tell you a bit of what I saw and the flavor of the event. Not all will have captions. My apologies to those artists whose names are missing. Photos are not in order any particular order either. But the first image below is where we began.

Artist: Carter Ernst

Concrete wall with ghost sign.

Above and Below: Photos taken in one of the loft apartments. I don't know whose but the big C above and the strange black animal below are both paintings done by Matt Messinger whose work I saw at Winter Street.

Artist Peter Dickson

John Runnels; House of Bausch ( A Danger to Be Safe In) Chartpack letters on tile & wood


Across the street.

Artist: Carter Ernst

Artist: Corrine Jones (from Nacogdoches)

These pieces were partly drawn and partly stitched. I didn't get the name of the artist.

The photographer talking about the images of Jo Ann Fleischhauer's installation at M. D. Anderson.
Click here to see more about this project. It is quite awesome.

More about Artist Jo Ann Fleischhauer click here and here.

William Reich: Bunny Love

Work by Tim Johnson

Just the floor.

John Runnels; Cigarette Chair, chair and cigarette butts

Streets of Houston

Artist on right, art on left. We were nearing the end of our crawl for the day. This studio housed a sound studio as well as this hair dresser's salon.

Where Have I Been?

2010-10-13T02:04:00.000-05:00

Peonies - Gift from Hayes Parker and John Friedman

What I Did This Summer
It was a summer of teaching workshops, traveling and painting in my studio. In June, to Florida twice, before and after the my annual trek to Massachusetts and the Encaustic Conference. In July, it was workshops all month. In August, a drive to Amarillo in the Texas panhandle for an exhibition then to Southern California to visit family.
And remember the BP oil disaster in the Gulf? Like everyone else in the country, we worried for our natural habitat along the Gulf Coast. We were fearful that this would be end of our pristine white sandy beaches in Florida and the beautiful natural wetlands and coastal environment. Who could forget that? Every place we visited the incredible never ending oil leak was the topic of conversation.
October doesn't always arrive in Texas with cool temperatures so we count our blessings this year because Fall did seem to arrive on October one with cooler temperatures and lower humidity.

Above and below are photos of some beautiful Peonies given to me by friends Hayes Parker and John Friedman. They came from John's floral shop here in Houston. I think I liked the flowers as much as they dropped their petals as I did when they were freshly cut. On down, are some images of my summer with not too much text. I'm back.

May
A fun day trip I took in May with friend Jennie Kimbrough was up to Nacogdoches where Stephen F. Austin State University is located to see the Texas National 2010 exhibition. It is an annual event held every Spring at the Cole Art Center which is part of SFA School of Art. The juror this year was Judy Pfaff, who also had works on view as well. Apologies up front for not having information about the work presented. I was allowed to take photographs so all the images are from me. Artist friends, Deborah Houston from Amarillo (TexasWAX member,) and Eileen Goldenberg from San Francisco, California, (IEA member) both had work accepted into the Texas National exhibition. Below are photos of their work.
To see a larger version of any of the images, place cursor on image and click.
Texas National 2010

Work by Deborah Houston

Piece in center is an Encaustic painting by California artist Eileen Goldenberg.

The exhibition space was full. I was told that Judy had a difficult time turning work away. Not to discredit Pfaff's choices or any of the artists whose work was included, but I felt there was enough work in this space for at least two exhibitions and possibly three.
My pictures don't do the show justice. There were some very engaging floor pieces throughout the gallery but these photographs really don't capture them very well.


Near the back of the right side of the gallery.

In the back of the gallery looking toward the street.

Center of gallery looking back

Some of the sculptural pieces

Looking to the back left of the gallery

One of the 3/D pieces in the exhibition

Judy Pfaff
Below are the images I took of Judy Pfaff's exhibition. I think this must be the first time I had seen her work in person. The work is delicate and yet dense. Looking and absorbing her work takes time. Photographic images just can not do justice to her work. Layers upon layers upon layers upon layers. Sadly, I am familiar with her installation pieces through photographs only. I have always thought of those pieces as overwhelmingly full. If that is her aesthetic, full to brimming, I can see how she had such a difficult time making negative choices as juror. Again, my apologies for not supplying titles and other information regarding this work.

Detail of image above

I held encaustic painting workshops in my studio at home in May and again in July. Check out those images on my Workshop Blog. June and August coming up next.

Alan Storey-Where are you going? Where have you been?

2010-04-30T09:19:00.037-05:00

Recently, an unexpected surprise appeared in my mailbox. A note from Alan Storey with a link to a video about his new work in Bellevue, Washington. Thanks, Alan.
I was introduced to Alan Storey's work last year while visiting my kids in California. While there I visited an exhibition of Storey's work at C4 Gallery in LA. I only had a very small amount of time and that is the only gallery I got to visit while there. Lucky for me. It was my introduction to this artist and his installations. See my previous blog post about that visit here.

This new piece titled Compass, a 63-feet tall compass needle, is installed at the balcony of Bellevue's City Hall.
He says this work was inspired by the history of boating and compass manufacturing in Bellevue, Washington. This "63-foot-tall compass needle...points to beautiful views beyond. Welded in a Northwest studio, Compass is nestled into a gentle inward curve of the city hall balconys guardrail where it turns in place to continually frame new views of surrounding vistas. As Storey explains, the Compass represents direction over changing perspectives of time."

As I investigated further I found that Storey is one of three artists whose work is installed at this location. Below is a image of The Silver Root by artist Dan Corson.

Located in the black reflecting pool at the northeast corner of the Bellevue City Hall plaza is Dan Corson's The Silver Root. click here
This bronze sculptural tree root painted silver is cast from actual tree roots that were dug from this area in the 1800's by immigrant workers. The Silver Root, while reminding one of earlier times in this area, serves also as metaphor for the work and activities that take place in the present city hall.

Below are images of Current the terrazzo concourse floor in Bellevue City Hall.

Inside Bellevue's City Hall is where you find Current, Linda Beaumont's piece, a terrazzo floor that flows the length of the concourse of the building's main floor. Beaumont work is in part a response to an underground river that flows in the area. "Echoing the steady, smooth movement of a river current, the river serves as a visual metaphor for the flowing of ideas and activities within. It is a world created with thousands of tiny pieces that come together to tell a beautiful story." Click here to see more.

The information in the descriptions above is taken from Bellevue, Washington's YouTube site.

Again a huge thank you to Alan Storey for connecting me to his new piece as well as to the work of Linda Beaumont and Dan Corson. These site specific pieces are fine examples of the way thoughtful and creative artists weave history of location into their creative efforts. Congratulations to the artists and the city of Bellevue for this beautiful site. Their efforts certainly do make me wish to travel there to see for myself.

Locating Beauty/Skin Deep at Buchanan Gallery, Galveston

2010-04-18T20:46:00.007-05:00

Thanks to Kathi Buchanan for giving us such a lovely show. Below are some photos from the exhibition. We had a good crowd though my pictures don't show it. They were taken early when we first arrived around 5:30. The evening was cool and balmy with no rain! Great weather for art walk.

L to R: Kathi Buchanan, me and Deanna Wood, looking towards back of gallery. My paintings on the walls.

Front wall, Le Grande Rouge, my painting. To right, Deanna's painting. Both can be seen from the street.

Looking towards back my paintings facing wall and left, Deanna's on right. One Thousand Whispers on facing wall.

Mark, my husband talking with Deanna. Her paintings behind Mark. Must be Sam sitting in the window.

Kathi with some gallery visitors.

In the back of the gallery looking to front.

Back wall with Under My Skin series and Body Language I and II.

This exhibition is up through May 22nd.

Coming Up and Closing Soon

2010-02-23T09:15:00.049-06:00

At Rice University Art Gallery you can see El Anatsui's Gli (Wall). The exhibition runs through 14 March 2010. ( The photo below is from Rice Gallery's website. )

This Thursday evening, Feb 25, Nicholas Gardner, Rice University Senior, Art History and Visual Arts, is giving a lecture entitled “El Anatsui: Fabricating Identity”
The lecture is at 7:00 pm in Sewall Hall 309. (adjacent to Rice Gallery)
I haven't seen the show yet. This weekend, I hope. You can read more about this artist and his exhibition in New York on Nancy Natale's blog, Art in the Studio.
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At Darke Gallery located at 5321 Feagan @ Detering, you can still see Darke/Read Group Exhibition up through end of February.

I liked the concept of this show and beyond that, the informality of the presentation. All the work presented was pinned to the wall unframed. Prices were affordable, none higher than eight hundred dollars. Many were sold by the time I visited.

The works by Ann Resnick and Kevin Mullins are two of my favorites in the show.

Ann Resnick's work below titled The Long Goodbye is a lino print and burnt paper, size 12 x 24 inches. The piece floats away from the wall. The white of the flowers are burnt out shapes so that you see a fleeting version in shadow on the wall.

Kevin Mullins six piece series are screen prints made with beet juice. Each piece is individually titled. Top row: Red Herring, Red Handed, and Red Headed. Bottom row: Red Rum, Seeing Red and David Reed. Up close, each print is more than just the color. Small circular shapes seem to be stamped into the papers, pattern-like in various placements on each piece, along with a bit of hand written text. Just a word or two is all. Click the image or here to bring up a larger photo to see in more detail.

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Coming up in March you can see new work by Lydia Balahutrak. Hide and Seek is the title of her exhibition at Nau-haus Art Space, 223 E 11th in the Heights. Mar 6 is the reception date.

Above: Lydia in her studio with some of the paintings in this exhibition.

Above: Hedge, 60 x 65 inches, charcoal, chalks, acrylic, collage on canvas

Lydia says, "The vines and berries, the flocks of birds, and the tangles of trees and branches in my art work are not exotic nor enchanted, but ever-present and close to home. Life grows out of the layered ground and spreads out over images of war and suffering as well as those of joy and jubilation."
She speaks of our human need for both order and disorder. She also acknowledges our desire for harmony and calm. The undercurrent of imagery in her these pieces, clippings from newspaper and magazine articles, many of a political nature about war and destruction, and political disharmony and dishonesty, is overlaid and woven together with the beautiful renderings of the tangles of trees and vines and nature.
The work being exhibited has been several years in the making and references some of the dark historical moments of the G. Bush era through the present time. Tragedy, despair, distrust, and disgust, along with patience and hope for better times.

Click here to revisit a previous post on this blog at Lydia's studio.
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I will miss Lydia's reception however because I will be in Tucson for the 5th Annual Encaustic Invitational at Conrad Wilde Gallery. Below is the postcard announcement and below that is my painting in the exhibition. The reception is scheduled Saturday, March 6th.
Click here for more information about the artists in the exhibition.
Title: Tracking, 16 x 8 x 2 inches, Encaustic Collage on panel (encaustic, handmade Asian paper-burned, oil bar)

Did You See This? At Sikkema Jenkins & Co, New York

2010-02-18T10:10:00.009-06:00

Wow! Wish I could have seen this in person. See Nancy Natale's post about Drew's work at Sekima Jenkins & Co. in New York and my earlier post about his exhibition at the Blaffer Gallery in Houston. Drew's web site as well.
Birth. Death. Decay. Regeneration. And more.

Brenda Mallory

2010-02-06T10:59:00.028-06:00

I love the way Brenda Mallory relates her very abstract forms to the natural world. They a beautiful and strange at the same time. The piece below is part of an installation titled Offcuts.

About this work she explains:
"A nearly bottomless supply of cloth pieces in the shape of an elongated oval known in geometry and religion as the vesica pisces are stacked in my studio. For Offcuts, I set myself two parameters: one was to use only these pieces as a base; the second was to adhere to a basic law of physics which states “matter cannot be created or destroyed, but can only change its form”. If I cut apart a piece of fabric I had to form something else with what remained. Nothing went into the trashcan. What I did to the shapes was not restricted in any other way. They were variously burned, waxed, sewn, bolted, rolled, stretched, crushed and combined with other materials."

The work above is a snippet of her Porous Borders, an installation piece in collaboration at the Portland Building with Toronto artist Fei Disbrow. Regarding this work she says, "Porous Borders deals with the fears and paranoia that dominate post 911 culture. The work creates is a feeling of discomfort and a lack of ease, even evoking repulsion by using forms that almost seem natural, but are actually deeply strange and offputting."

Below is a detail of work from another installation piece titled Biophilia.

Brenda is one of the featured artists in the Luminous Layers , Exploring Contemporary Encaustic curated exhibition at Lake Oswego, Oregon opening in late June.

Alan Storey-C4 Contemporary Gallery Los Angeles

2009-11-07T23:17:00.039-06:00

C4 Contemporary Gallery, 5647 Hollywood Blvd., Los Angeles, CA 90028

"Alan Storey: Device for Drawing the Movements of a Ballerina", Queen Elizabeth Theatre, Vancouver Canada, 2008.
All images of this work are copyright © Ashley Judge, 2008.

On a recent very short and unexpected trip out to the west coast I had the opportunity to visit C4 Contemporary Gallery in Los Angeles.(5647 Hollywood Blvd.) The exhibition was work by artist Alan Storey who designs and makes drawing machines that become, in essence, the artist's hand. Having seen some of his images on the gallery web site, I was intrigued with the images produced by the machines as well as the process by which they actually come about. I love the lines! Although Canadian artist Storey is best known for his public sculptures which interact with architecture and public spaces like his giant Broken Column located in the HSBC bank in Vancouver it is the drawings and drawing machines that captured my attention. Below is his Climatic Drawing Machine, 1991 in Toronto. Above is a photograph of his Climatic Drawing Machine, 1991 in Toronto and below, the scale model of the Drawing Machine that was in the exhibition.
Above: the scale model of the Climatic Drawing Machine and the resulting drawing on rear wall installed in gallery.

Above: Detail of 'recording paper ' roll. The direction of the wind rotates the paper recording drum via the weather vane on the roof of the building. The drum is moved up and down according to the velocity of the wind.

Storey's first 'drawing machine' above is motorized and rotates at low speed. A bicycle wheel held by the arm is kept inked and stays in constant contact with the wall, creating the marks or drawing.

Alan Storey: Handle with Care,1991.
I particularly loved the drawings above that were done by a much smaller drawing machine. The drawing machine was equipped with a pen designed by NASA and placed inside a shipping crate and then shipped to several predetermined locations. The motion of the shipping vehicle and the orientation of the crate during shipping determine the outcome of the drawing. The drawing above is the folded open insides of the crate.

Alan Storey: Handle with Care, Lithograph, Montréal to Vancouver (Trans-Canada Higway,) 1994.
From the gallery site:
Ostensibly a shipping crate - except when folded out onto it's integral six hinged interior sides it is revealed to be a canvas and drawing substrate for a specially prepared pen carriage which translates the movements of the container, experienced on the journey to the exhibition space onto the 'canvas'.

This exhibition closed Nov. 7th.
All images and information was posted with permission of gallery director JW Dewdney. He was especially helpful the day we were visiting the gallery providing us with information about the artist and his work.

Process, Time, Titles and Leonardo Drew

2009-08-12T12:26:00.029-05:00

Leonardo Drew, No. 33A, 1999, Canvas, metal boxes, oxidized metal, rust, shoes, wire
99 x 96 x 22 inches, Cardboard, In the collection of the McNay Art Museum.

Leonardo Drew, Close-up view of No. 123, cardboard, cast Elmer's Glue, feathers, paint, paper, plastic, rope, string and wood. Installation.

Many of you are familiar with the work of artist Leonardo Drew who has recently relocated to San Antonio or splits time between Brooklyn and San Antonio. The University of Houston's Blaffer Gallery hosted a mid-career survey of his work this summer beginning in May and ending August 15. It was late in the exhibition when I visited the exhibition, prompted by artist friend, Ellen Hart. She was taken with his work and knowing what I have been doing recently, thought I would be too. She was right. I loved his work. I wish my visit would have been earlier in the summer because I am sure I would have revisited several times. Below is one of his installations.

Below: No. 28, 1992 Rust and canvas
Existed: Leonardo Drew, the exhibition, curated by gallery director and chief curator Claudia Schmuckli, included a major installation created in the gallery space, 14 major sculptures made between 1991 and 2005, and 12 works on paper made between 2005 and 2008. These pieces together present a representative survey of Drew's artistic development and point to the relevance of the direction the work is taking today. (paraphrased from the Blaffer Gallery web-site announcement.)

After looking at the whole exhibition I was struck with enormity of tedious labor it must require to make each work considering the scale and multiplicity of each piece. Khrystah Gorham, gallery assistant pictured below, said that because Drew feels that manual labor is really the heart of his work, he prefers to do all the labor himself, rather than hiring assistants to build the components.
An example---No.43 (1994) pictured in the Houston Press article, is made up of 880 hand-built boxes, each stuffed with rust-dusted and twisted scraps of fabric, sometimes trailing out or stretched over sealing them.
Works on paper of molded and pressed papers
Gallery assistant Khrystah Gorham
Above and below are some of the smaller pieces in this exhibition. More intimate and perhaps more poetic than the larger pieces, these hold their own with the larger work.
Rust, molded paper, wood, nails, rusted metals, raw cotton, preserved and stuffed dead birds are just some of the "stuff" Drew uses as art materials. Paper molded into tiny cubes are essential parts of these smaller works on paper along with string, even a pencil line here and there. Below the objects hanging from tied and twisted ropes are made of molded paper. "Ethereal, ghost-like immateriality, a sense of meditation" are just some words and phrases used in describing his sculptural pieces.

No. 94 2005, Cast paper, found objects, paint, rust; 153 x 144 x 12 inches
Curtesy of Skkema Jenkis & Co. I don't have the titles for the pieces pictured below.
I can't post about Leonardo Drew's work and not mention his use of numbers as titles in light of Joanne Mattera's interesting recent post discussion regarding titling of work earlier this summer. For me, his use of numbers as titles fits perfectly with the formally abstract compositions. The numbered titles designate and help one keep track but never get in the way. The work has such strength and "metaphorical weight" that a worded title would seem like mere window dressing.

No. 26, 1992 Canvas, rust, wood 120 x 168 x 6 inches Private Collection, New York

So, what do I like so much about his work? I like crude, unpolished materiality of the work; the ritual-like repetitive process involved in the making of the work; the strength and emotional impact of the larger pieces and of course the "visual poetry" of the smaller works on paper.
The way his work takes us back to the past with empathy and dignity is a plus.

Leonardo Drew, No. 123, 2007, Installation view with Gallery assistant Adam Varner
This installation is comprised of materials that he employed and developed throughout his career then turned into little sculptures and attached in grid-like fashion, directly to the wall of the gallery.

The exhibition was accompanied by a comprehensive monograph, the first on this artist, published by Giles Ltd., London, featuring essays by Blaffer Director and chief curator Claudia Schmuckli and Allen S. Weiss, Associate Adjunct Professor of Performance and Cinema Studies at New York University.

All images posted in this blog were taken by me at the gallery. You can go to Drew's web site or the gallery's web site for better images of his work. Click on the links provided below for more written information about Drew. To see videos of Drew working and in conversation click here and scroll down to the bottom of the page for the links.

Press Related Articles
Beauty in the Abandoned

Blaffer’s Leonardo Drew survey hits a home run

Paper and More

2009-05-25T08:47:00.071-05:00

Above piece is Untitled by Howardena Pindell, 1973 Ink on punched and pasted paper, talcum powder, and thread on paper, 10 1/8 x 8 3/8" (25.9 x 21.3 cm) The Museum of Modern Art. Gift of Lily Auchincloss, 1974 © 2009 Howardena Pindell (Image is from the MOMA web site.)

If you follow Joanne Mattera's blog you've read her recent reviews of the exhibition at the MOMA Paper:Pressed, Stained, Slashed, Folded that is up through June 22. (I am hoping to get to NYC on the heels of the conference at Montserrat and see it myself.) Thanks Joanne, for the posts. This exhibition and Dorthea Rockburn's folded paper pieces brought to mind Folds, a paper and encaustic piece by Denise Stringer-Davis that is part of the Degrees exhibition on view here in Houston until the 31st at M2 Gallery.

Above: Folds by Denise Stringer-Davis, Waxed toilet paper, variable size

Besides Davis, the work of San Antonio artist Michelle Belto and myself also use paper as a major part of our work in this exhibition.
Belto makes her own paper and molds it to suit her needs. Mother's Sewing Basket is a collage of paper, Encaustic and garment fasteners used in clothing construction. She said this piece is part of a series that pays homage to the women seamstresses in her family.

My work, Slow Burn/Skin Deep below, is primarily hand made paper and wax. I didn't make the paper. It is Thai paper made of sanitized abandoned bird's nests. Thick and rough like a grass matt and very organic looking. It is part of a new series of works I call Organic Compounds.

Above: Gwendolyn Plunkett, Slow Burn/Skin Deep, 42" x 24" x 2", Encaustic and handmade Thai Bird's Nest paper on canvas on panel.

Degrees Exhibition runs through Sunday, May 31 so you still have time to see it.

In the MOMA show, the Howardena Pindell piece at the top is one of my favorites but I am intrigued by John Cage's Wild Edible Drawing No. 8, from 1990. It is handmade paper of milkweed, cattail, saffron, pokeweed and hijiki.

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Untitled, 2009 Rebea Ballin

At Joan Wich & Co here in Houston this month was an exhibition by artist Rebea Ballin whose work is not of paper but on paper. Prismacolor (black) pencil drawings of hair. Conversation with the artist in the Houston Chronicle last week is fresh and candid about how she came to this subject matter. Landscapes came to mind with my first glance at the work from the door.
No, but maybe.
A quote from her conversation with Douglas Britt, "What made me want to zoom in a little bit more was an interest in the landscape aspect of hair in the scalp, the textures and things like that."

Thurel Wright's piece above
At A Good Idea on Paper , Eleanor Jane Cardwell's blog, you can always find interesting works made of and on paper. May 22nd post features the work of Thurel Wright.

The May 15th post features Artist Valerie Jolly's work. She says "she casts objects in sticky wet tissue paper."

TexasWAX Artists Show Their Stuff

2009-04-18T09:57:00.008-05:00

TexasWAX artists from Austin, Dallas, Houston and San Antonio are exhibiting new Encaustic works at Gallery M Squared during the month of May. The reception is Saturday, May 9 from 7-9 p.m. This is the first joint exhibition of all four groups.
About TexasWAX:
TexasWAX Houston was the first group to organize in November of 2007. The Dallas group followed shortly after. In February of 2008, these two groups held an exhibition in Dallas that coincided with the College Art Association Conference held there.

The Austin wax group formed not long after. San Antonio artists who were driving to Austin for meetings decided to form a chapter of their own so by the end of 2008, TexasWAX had expanded to four chapters.

Each chapter is active with its own projects and exhibitions, sometimes in collaboration with a sister chapter. This is the first collaborative project of all four chapters.

Gallery M Squared is located at 325 W. 19th Street in Houston Heights.
Gallery hours are Wed - Sat 10-6, Sunday 12-5.

Interactive Blogpost-Rituals/Collections-Time: Rebecca Crowell

2009-03-03T21:59:00.016-06:00

Contemporary Abstractions
What is predictable about nature is change---change of seasons, birth, life, death and ultimate decay. Built into that predictable cycle of change seems a core of randomness that ultimately enlivens existence and life's experience. But it isn't nature so much that Wisconsin artist Rebecca Crowell is addressing in her paintings. Rather, the random effects of nature's cycles on man's intrusions into nature. Our walls and buildings. With her process of selectively adding and scraping away, she makes paintings that at first glance, resemble aging and ancient walls. But the palimpsest-like surfaces of her work take us beyond "the wall" to another level of thought becoming parallel markers of the passage of time.

Old Wall: Pyrenees, oil and wax on board 24 x 18 inches, 2009

Rebecca Crowell's Statement:
One of the remarks people have about my work is that it seems to embody a sense of time--that my surfaces often appear ancient, eroded and weathered. This is a result of a process in which I build up layers of paint mixed with cold wax medium, and then selectively scrape, scratch and apply solvent to portions of the upper layers. I like the idea that form/process and concept merge in this process--although my work draws on many sources, weathered and worn surfaces in nature and old human-made objects are among the most important--and the way I interpret this source is by building up and then tearing down the paint layers. As in nature, there is a random quality that results from this process, though of course, I also edit and select in order to reach aesthetic goals.

Recently I spent time at an artist retreat in a small, medieval village in the Pyrenees Mountains of Catalonia, Spain, and later a few days in Barcelona. These were perfect places for feeding my love of ancient surfaces--old stone and plaster walls, worn paths, crumbling slate cliffs, and ruins of old barns--all very beautiful to me. Abstracted interpretations of these surfaces have become an important thread in my recent work.

Ancient Vessel Art Blog

Friday Night Art in Houston

A Shift in Direction

Family Ties Brooklyn | Dallas

Exhibition Announcement

Pulp

September 16th – October 25th, 2014Opening Reception Thursday, September 25th 6-8pm

Join us for the opening reception for Pulp on Thursday, September 25th from 6:00-8:00pm!

Cathie Kayser's 'A Thread Runs Through'...last time to see this week...Don't miss it!

See my work in Houston, Austin and Corpus Christie this Month

Driven to Abstraction

Happening in May

Very Hot and Way Cool!

Gallery Talk - Kevin Mullins, Jonathan C. Leach

You Are Invited II

You Are Invited

WHAM and Houston's 18th Annual Art Crawl

Where Have I Been?

Alan Storey-Where are you going? Where have you been?

Locating Beauty/Skin Deep at Buchanan Gallery, Galveston

Coming Up and Closing Soon

Did You See This? At Sikkema Jenkins & Co, New York

Brenda Mallory

Alan Storey-C4 Contemporary Gallery Los Angeles

Process, Time, Titles and Leonardo Drew

Paper and More

TexasWAX Artists Show Their Stuff

Interactive Blogpost-Rituals/Collections-Time: Rebecca Crowell

September 16th – October 25th, 2014
Opening Reception Thursday, September 25th 6-8pm