Linda, Jean & Molly Art at the Source 2016 visits Bodega Bay Heritage Gallery Saturday and Sunday, June 4 & 5, 10 am - 5 pm
Wednesday Evening, June 8, 5 pm - 8 pm
Saturday and Sunday, June 11 & 12 , 10 am - 5 pm and beyond the Art at the Source hours above, the AATS exhibit will be available during regular gallery hours,
Noon 'til 4, Wednesday through Friday.
Jean Warren's watercolor demonstrations start at 11:00 a.m. on each Saturday and Sunday.
Molly Lipsher is offering a Pastel Painting workshop Tuesday June 7 - Please contact MOLLY for details. http://mollylipsher.com/workshop/13509/fundamentals-of-pastels-a-1-day-workshop
Four other artists are also holding AATS open studios in the Bodega Bay area - we have maps to guide you.
June 15 through July 4 ... Linda, Jean and Josh
Linda and Jean will continue showing their work along with paintings
by Walt Disney artist Joshua Meador 1911-1965, wth paintings from both the Meador family collection and our galllery collection.
Linda, Jean & Molly
ART @ THE SOURCE, Open Studio #85, 1785 Coast Highway One, Bodega Bay
Western Sonoma County’s Art at the Source was founded in 1995, and this year marks its 22nd year.
Every year, Sonoma County residents celebrate local art with an OPEN STUDIOS event, enabling the art-loving public to view and purchase art directly from the artists in their studios. The artists are there during event hours to host you, and available to discuss their art and demonstrate their artistic approaches and techniques.
Linda Sorensen has been drawing and painting the world around her as long as she can remember. In her grade school days, teachers would often catch her sketching portraits of her classmates.
(The teachers were less than pleased.) Undaunted, Linda developed her art from drawings, to tempera, and onward to oil paintings, and from realism in her early teens, to abstract expressionism in high school and through college and law school, the latter in Berkeley, CA.
Moonrise Sunset, Monument Valley
These days, Linda is a studio painter of landscapes that blend impressionism and modernism. She is best pleased to evoke the exhilarating moods of the natural world, and human story in that world, by paint.
She travels and records compositional ideas with her own photography, but frequently alters the scenes, combining points of view, changing light and color, emphasizing what is iconic. She enjoys studying the works of American Regionalist painters, especially the works of Taos' Ernest Martin Hennings, Iowa's Marvin Cone, Missouri's Thomas Hart Benton and California's Ray Strong, and enjoys museum trips to view works by California's painters of the past.
Linda and her husband Dan Rohlfing are owners of Bodega Bay Heritage Gallery, specializing in Early California Art and also featuring Linda's paintings.
Linda's favorite painting locales are the coastal and pastoral scenes of Sonoma and Marin Counties, the beaches and mountains of Hawaii, and whenever possible, the deserts and canyonlands of the Southwest.
Nunsense, Monument Valley
Road into Monument Valley,
Winter Radiance at River's End
As Jean Warren looks toward her artistic future, she says with confidence that she's never felt she's arrived. With wide bright eyes, an unmistakable smile and an adventurous spirit, she confidently says, "I'm always striving for that 'next,' whatever that next is."
Jean recalls when she was a child, her grandmother would ask, "Jeanie, would you make a picture for me?" Of course Jeanie eagerly agreed and her grandmother displayed her paintings all over the house.
Leaves of Time
Later, Jean's teachers encouraged her more and she came to see herself as a painter. She was always looking at shapes, natural rhythms and colors in the natural world and expressing them in paint. She says, "After a while, I just had to do art, it was part of my life."
Today Jean recalls how important encouragement was to her, so she in turn encourages her students that they can do it. Jean believes they too can know the joy of exploring what is around them and "make a picture," just like she did as a child when she was encouraged by her grandmother.
Jean says, "I learned to leave some things unsaid in a painting to let the viewer complete the picture with his or her own experiences."
She says, "Representational images spark the interest in the viewer while the abstract involves their experience and interpretation. It always has been my goal to challenge the static image, to paint more of what's going on, both on the surface and below the surface, drawing on people's different levels of consciousness."
When teaching watercolor, Jean says, "The one thing I love to get through to my students is that watercolor is so versatile, it gives you ideas what to do next, to be able to respond to what the paint is doing on the paper is a gift watercolor gives us like no other medium seems to do.
Shakespeare & Co. (Paris)
Molly Lipsher ... "I believe places have a perceptible soul, imbued by layer upon layer of cultural, physical and historical impact. These aspects of place converge with more temporal elements of light, location and time to capture my imagination. I attempt to interpret this soul, the layering of elements that makes each place and moment unique.
Making a Point
Painting the landscape allows me to ground myself in a particular place and time. It is a moment of connection with the mysterious spirit of light, and the unexplainable incarnation of “things”. To plant oneself in a location is to become like a plant itself, experiencing the passage of the sun, the warmth and cold, the dappling of light and its disappearance. As an artist, recording this, in the moment of its occurrence, you become a crucial part of the process.
There is a certain comfort in that, that stopping of trying to understand what is not understandable, and a transition occurs to the pure experience of it, the participation in it. Then I begin to paint, to take it under my skin. "
“I use pastel, because I love the depth and vibrancy of the color, qualities I have not found in any other medium. The sticks I use are nearly pure pigment, with almost no binder or additives in them, so the color is intensely rich, and since pastel is essentially a compressed powder, when applied to a surface it appears to absorb light rather than reflecting it, giving it a luscious, velvety appearance that I find so seductive.
Pastels accommodate both sketching and painting, allowing the variation in stroke and technique which can be seen in my works. They can be applied thickly, or in a sketchy, abstract manner, allowing me to respond to the mood of a specific scene or circumstance.
Pastels allow for a fresh and spontaneous application, so relevant for outdoor painting. When conditions are shifting quickly, I can lay in large blocks of color with the sides of the sticks, allowing a fast and immediate responsiveness to the ever changing conditions of light and shadow.
I often camp on location, to experience the transitional character of a place under different light conditions and different times of day, exploring the unique light, shapes, and colors, and the mood that can be expressed in their various manifestations.