Welcome New Frog Hollow Artisans

Monkton Sheep by Lynn Rupe

Every year, Frog Hollow receives dozens of applications from Vermonters wishing to become artisan members. The jurying of new members is essential to the growth of the gallery. As a result of this system, our numbers have grown from a handful of area artisans to a statewide representation of hundreds. The constant goal being to represent the best and most original work created in Vermont.

Our jury process has evolved over the years. In the early 70’s, artisans were invited to drop off their work to be reviewed by a panel of on-site artisans at our original Middlebury location. As time passed, this method was tweaked to accommodate an increasing number of applying artisans. In the nineties, the juries were conducted in an arena style. Applicants were given a space to set up their work, much like a craft fair. Jurors circulated, asked questions and cast ballots. This then led to a more formal interview process, where applying artisans were given a half hour time block to set up and present their work to an assembled panel of Frog Hollow artisans. The need to update this process is a constant reflection on the times in which we live; the growing numbers of Vermonters applying, the changing needs of the community and the changing needs of the gallery as well. The current jury process takes place in several stages. The first stage consists of the prescreening of applications by our Artisan Committee. With forty plus years of work to look back on and an artisan membership of 200, the goal is to review work and make sure it possesses the potential to either excel beyond what we currently exhibit or is in some way uniquely different. This is no easy task. The gross majority of work that is submitted is, quite frankly, excellent. But, in many ways, it is Frog Hollow’s mission to surpass the appreciation of generally well crafted work and find that which transcends the standards already set by, what we view as, the greatest crafts community in the nation. Once this potential has been identified by our Artisan Committee, we extend an invitation to the applicant to have a 30-day exhibit in our gallery. During this period, we invite our established artisan membership to visit the gallery and cast ballots, which not only accept or reject the work, but also provide valuable feedback for the artist in the form of a written critique. We take great pride in holding to our original jury ideal of providing feedback to all applying artisans and feel this differentiates us from similar organizations. At the end of the 30-day show, the artist is presented with our determination of acceptance and copies of the cast ballots which contain feedback on their work. Although not all of the results from our 2012 juried shows are yet in, it is with great pleasure we announce Frog Hollow’s 2012 newest exhibiting members so far.

Lynn Rupe-Oil Paintings

“These are paintings of my sheep. We raised a small flock on a little farm in Monkton, VT (a rural town in Addison County about a half hour north of Middlebury). We also raised pigs, ducks, turkeys, laying hens and had a large garden. I would sit on piles of hay and draw my sheep. I also tried to draw my chickens but they moved too fast! I live in Burlington now and no longer have my sheep. These paintings never fail to bring back fond memories of my life in rural Vermont.”

Carol Norton-Watercolors

“Though an artist my entire life, I began to make the shift toward working as a professional painter in the early 1990’s. My work over this past decade has been a process of discovery and evolution. What continually excites me about art, and the nature of creativity, is that this evolution is a never-ending process. New ideas never cease to emerge, and I have learned to place trust in my imagination. Though my subject matter is varied, one theme I can’t seem to help returning to is water. This is not surprising to me, as water has always provided powerful inspiration in my life. When I sit by a rapidly flowing river, I am awed by how something with such energy and drive, can also elicit such feelings of serenity. To be both peaceful and yet vibrant, to infuse my paintings with both energy and calm, is what I seek to capture in my work.”

Harold Kaplan-Ceramic Sinks

Harold Kaplan was a student in college studying to be an anthropologist when he took an elective pottery class his senior year. After taking the class, he continued to work in the same community studio at the University of Vermont. He made pottery and taught classes there for about 7 years, before it was time to establish his own studio. In 1997, Harold moved to the Rose Street Artist Cooperative in the Old North End of Burlington. Here is where Rooftop pottery was born.
“I love making pots and am so glad it is how I make my living. It is a great feeling to transform masses of clay into pieces that will be used for every day and special events.”

Mark Schwabe-Steampunk Style Jewelry

Steampunk is a subgenre of science fiction and fantasy featuring advanced machines and other technology based on steam power of the 19th century and taking place in a recognizable historical period or a fantasy world.

“I make Steampunk style jewelry and small sculpture out of metals. Most pieces are made of pewter and brass. Many also include nickel silver, bronze and other metals. Some pieces include glass crystals. Many pieces have moving parts and ALL PROPELLERS SPIN.”

Ann Kearney-Sterling Silver & 14K Gold jewelry

“I use sterling and 14K with some stones. Sometimes the metal is patterned using a rolling/pressing process. All the work is fabricated by hand, hand forged, hand signed and polished on a wheel.”

Wendy James-Digital Photo Montage

“I begin with a compositionally dynamic background photo scanned into the computer and opened in Photoshop. This might include strong diagonals, high contrast, repetition, converging lines, large black areas, etc. Next I pour through years of accumulated film and digital images looking for ironic opposites, suitably posed figures, or symbolic objects, taking visual clues where a shape or line might fit or morph easily. I usually have many photomontages “under
construction” at a time. Many random images are displayed on the computer simultaneously until two jump out as a perfect match. Sometimes the process is instantly magic and fluid and sometimes an image will sit for weeks until the perfect mate appears. Using black and white images is ideal for seamlessly merging or pasting parts.”