The Vermont Open Studios Weekend brought more than 80 ‘art lovers’ to our gallery this past weekend offering rave reviews for the new paint job and gallery layout. “A stunning, pristine gallery and studio space showing beautiful work”, “we can’t wait to return and bring our friends” were but two of the accolades.
Gary Chats with an Open Studio Visitor
We want to thank those who purchased work and appreciate the one individual who offered to allow the purchased piece to remain hanging until a later date so as not to disturb the display.
The new sculpture garden displaying the work of Mark Schwabe is a huge hit (especially the steel and copper pieces which can be touched by the children — and adults!). Lisa and Brent Hilliker’s folk art painting adds a wonderful touch of whimsical color to the gallery and always complements the paintings and photography.
The ‘edible art’ of chocolate macaroons from Mary’s Fine Cakes and Pastries (Warren) briefly occupied gallery space — delicious!
Open Studio Weekend is the official opening of the Moosewalk Studios and Gallery for the summer/fall season. During June we are open weekends (except Saturday, June 27). We are closed on Tuesdays and Wednesdays but are open most other days from noon to 5:00. We do suggest you call (802.583.2224) to verify. Involvement in the planning of the Vermont Festival of the Arts may take us away unexpectedly.
Gary uses only quality, lightfast pigments and fine, archival, Arches watercolor paper.
Over the days of the past weekend I have been asked about the permanence (life span) of a watercolor painting as opposed to that of an oil painting. Part of the questioning is due to the fact that oil paintings have long been considered the superior vehicle for permanent works. This may have been true in the past, even up to a few decades ago, but it is no longer true today. The advancements in watercolor pigment manufacturing over the past few years give artists of today a quality of paint that was never dreamed possible in the past. In the September 2005 issue of THE ARTISTS’ MAGAZINE, David Pyle states, “The range of pigments that can be used to replicate historical colors with great accuracy (along with breathtaking new colors) is revolutionary. Because the vast majority of these new miracle pigments come from the automobile industry (and therefore have to be highly lightfast to withstand sun exposure), they represent a great leap forward in permanence.” Comparable improvements can be found in the paper industry. Today quality watercolor paper is acid free and capable of lasting centuries with proper care.
I use only quality, lightfast pigments and fine, archival, Arches watercolor paper when I create a painting. The painting is then placed in an appropriate frame with acid free matting and backer-board to keep it free from dust and dirt. There is no reason why one of my paintings should not offer generations-long permanence comparable to that of an oil painting. Proper care dictates that any piece of fine art should be kept away from direct UV rays (this includes the older fluorescent tube lights as well as direct sunlight).
