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  • Monumental Murals by Agostino Iacurci Vibrantly Reimagine Urban Facades — Colossal

    Monumental Murals by Agostino Iacurci Vibrantly Reimagine Urban Facades — Colossal


    Murals by Agostino Iacurci bring drab buildings to life in bold jewel tones, playful patterns, color blocks, and symmetry. Whether painting directly onto bricks and plaster or designing immense fabric sheaths to cover construction scaffolding, the artist’s vibrant compositions enliven street corners and urban thoroughfares.

    Iacurci often emphasizes geometric patterns, flora, classical vases, and niches that hold symbolic objects or figures. You might enjoy checking out Gingko Press’s Mural Masters, a survey of the next generation of street artists, and see more on Iacurci’s website and Instagram.

    a long, wide building with colorful murals of palm trees and geometric patterns, photographed with a person riding a scooter in front of it
    “Landscape n.1” (2021), wall painting, 27.7 x 7.1 meters. Las Vegas, Nevada. Commissioned by Life is Beautiful
    an aerial view of a building covered entirely in a colorful, geometric mural with a light yellow background and green, blue, and red patterns
    “Disegno d’esame” (2021), enamel on wall, dimensions variable. Pascucci Elementary School, Santarcangelo di Romagna. Photo by Francesco Marini
    a colorfully designed fabric mural with abstract flower shapes, draped over the side of a building to mask scaffolding
    “Grüne Oase” (2024). Frankfurt am Main, Germany. Photo by Ivan Murzin
    the end of a long block of apartments with a tall mural of a Greek-style vase filled with abstract color blocks and patterns
    “COINCIDENCES.” Ensorinstituut, Oostende, Belgium. Produced by The Crystal Ship
    a detail of a large-scale mural on a brick surface with abstract color blocks
    Detail of “COINCIDENCES”
    a large-scale printed covering for scaffolding with geometric shapes of amphorae and other patterns
    “Landscape n.2” (2021), print on PVC scaffold sheet, 17 x 14 meters. Pastificio Cerere, Rome. Photo by Carlo Romano
    a colorful, geometric mural on the side of a wide building
    “Landscape n.3” (2021). Pinacoteca Civica, Foggia. Photo by Domenico d’Alessandro
    a large mural on a building with a curved facade, featuring geometric shapes and a series of Viking ships
    “L’antiporta” (2021), paint on wall, dimensions variable. Biblioteca Ugo Tognazzi, Pomezia. Curated by Marcello Smarrelli and Pastificio Cerere for Sol Indiges. Photo by Lorenzo Palmieri
    a detail of a large-scale mural on a building comprising geometric patterns and a figure in a green dress
    Detail of “L’antiporta”
    part of a mural on a two-story building in Italy, with a red background and geometric thistle designs
    Detail of “Cardi (1571-2021).” Photo by Domenico d’Alessandro
    a detail of a building covered entirely in a colorful, geometric mural with a light yellow background and green, blue, and red patterns
    Detail of “Disegno d’esame.” Photo by Domenico d’Alessandro





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  • Carl Theodor Reiffenstein castle – Lines and Colors

    Carl Theodor Reiffenstein castle – Lines and Colors


    Weite Landschaft mit idealer rheinischer Burg (Wide landscape with an ideal Rhenish castle), by German painter Carl Theodor Reiffenstein, oil on canvas
    Weite Landschaft mit idealer rheinischer Burg (Wide landscape with an ideal Rhenish castle), by German painter Carl Theodor Reiffenstein, oil on canvas

    Weite Landschaft mit idealer rheinischer Burg (Wide landscape with an ideal Rhenish castle), Carl Theodor Reiffenstein, oil on canvas, 18 x 14 inches (45 x 36 cm)

    This landscape painting by the 19th century German painter is a perfect example of counterchange — the reversal of value relationships between a shape or object and the background against which it’s set. In this case the dark against light at the top of the castle becomes light against dark in the center of the base.

    See James Gurney’s excellent explanation of the principle in his 2008 post: Counterchange.



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  • The Ultimate Guide to Simplify Your Art Space for Creative Bliss

    The Ultimate Guide to Simplify Your Art Space for Creative Bliss


    We’ve all been there—scrolling through endless art supplies and freebie groups to add another “must-have” item to our wishlist. We think that if we have that one material, everything will run smoother, students will be magically engaged, and the projects will practically teach themselves. But as the wishlists grow, so do the piles of supplies in our classrooms. It’s time to hit the pause button, simplify your art space, regain control of your classroom, and encourage creative bliss!

    Embrace the “less is more” mentality to foster a welcoming art room. 

    Japan has a long tradition of tidying up as a path to clarity and balance. Hideko Yamashita, the creator of Danshari, teaches the art of releasing what no longer serves us to create space for what truly matters. Following this tradition, Marie Kondo’s The Life-Changing Magic of Tidying Up popularized the idea that less can be liberating, sparking joy and order in our lives.

    These philosophies invite us to take a fresh look at our art rooms. Sometimes too much art clutter and chaos can make it harder for everyone to focus and fully explore ideas. What if simplifying our spaces ignited more creativity, focus, and joy for teachers and students alike?

    This doesn’t mean losing the magic of art—it means curating your space with intention to amplify its purpose. Research shows that decluttering your environment can unlock greater innovation and engagement. Simplify your art space to foster calm and imaginative thinking and free up time and energy to focus on what truly matters—teaching and creating.

    labeled containers of art supplies

    Simplify your art space with these six manageable steps!

    1. Divide your classroom into zones.

    Start by thinking of your space as a collection of zones. Each zone can represent a type of artmaking or media, such as painting, drawing, or sculpture. Dividing your room into zones helps you focus on simplifying one area at a time, making the process more manageable. This division doesn’t have to involve physically relocating materials; it can be a mental assessment of each area.

    paint zone

    Here are three examples of common art room zones:

    1. Painting Zone
      Brushes, paints, and palettes.
    2. Drawing Zone
      Pencils, markers, erasers, and paper.
    3. Sculpture Zone
      Clay and modeling tools.

    2. Take inventory.

    Within each zone, lay out all of your materials, tools, and supplies where you can see them. This will feel messy, but it’s an important step in visualizing what you have.

    piles of art supplies

    Ask yourself the following questions:

    • Does this enhance my teaching?
      Does this item spark joy? Joy isn’t just about happiness, it’s also about energy, connection, and purpose. Even if a material feels like a chore (looking at you, chalk pastels!), consider whether it’s required for the curriculum or adds value to your lessons.
    • Does this inspire my students?
      Think about how students interact with each item. Does it spark curiosity and engagement or does it sit ignored? 
    • Have I used this in the last two years?
      If not, it’s time to let it go.

    If you’re looking for a more structured approach to inventory management, The Art of Education has you covered with helpful inventory guides. Use them to streamline your material management and ensure your classroom is fully equipped for creativity.

    3. Organize supplies by category.

    Zones set up a broad structure to simplify your art space. This particular step focuses on finetuning how you store materials within those zones for maximum functionality and ease. For instance, once you gather all paintbrushes together, further separate them by size or type. 

    three piles of paintbrushes

    For more tips on how to streamline your classroom, check out Organizing your Elementary Art Room for Success in PRO Learning. While this Pack focuses on elementary classrooms, the strategies shared are beneficial for all art levels! 

    4. Label everything.

    Labels are your best friend when it comes to maintaining an organized and accessible classroom. Use large, clear labels on bins, drawers, and shelves to make materials easy to find. Adding visual cues, such as icons or color coding, can further simplify identification for students of all ages and reading/language levels. Whether you prefer professionally printed labels or a quick piece of masking tape, the key is ensuring both you and your students can easily locate and return materials to their proper places. 

    https://www.youtube.com/watch?v=KvaI77y1zhc

    5. Create a donation station.

    Turn simplifying your space into a purposeful mission to help others to make it easier to let things go. Set up a designated box in your classroom for items you no longer need but that others may find useful. Label it clearly as your “Donation Station” to make the process quick and organized. When the box is full, donate the contents to other art teachers in your district or community centers to spark creativity in new students. 

    donation station cardboard box

    6. Adopt a “one in, one out” rule.

    To prevent unneeded items from returning, establish a simple rule: for every new item brought into the classroom, remove an old or unused one. This habit keeps your space balanced and ensures you’re only adding items that truly serve your teaching goals.

    shelf of paint in rainbow order

    Simplifying your art space is more than just organizing—it’s a chance to refresh and reset. It helps you realign your art room with your values and goals and nurture an environment where creativity can truly thrive. Letting go of excess makes room for the things that really matter, like connection, growth, and inspiration. Each small step you take toward curating your environment brings you closer to a classroom where both you and your students will experience creative bliss.

    Do you want even more tips to make your art room dreams come true? Check out the resources below:

    What’s one thing you can let go of today?

    What’s your best piece of advice to simplify your art space?

    To continue the conversation, join us in The Art of Ed Community!

    Magazine articles and podcasts are opinions of professional education contributors and do not necessarily represent the position of the Art of Education University (AOEU) or its academic offerings. Contributors use terms in the way they are most often talked about in the scope of their educational experiences.



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  • The statue of Liberty – Veronica Winters Painting

    The statue of Liberty – Veronica Winters Painting


    The statue of Liberty


    statue of liberty-Strasbourg
    The Statue of Liberty, Strasbourg, France.

    I spent two days in the Louvre. On my way home, I flew from Paris to JFK, New York. My husband and I were stopped, detained, and 2 guys from the US border protection services asked us to open our phones and give those to them. They said that if the phone is open, it would be quick and I’d get it back in a couple of hours. They also gave us a paper with a local phone to call about our phones. Mind you, it’s been a week of not receiving the phones back. The suggested number to call doesn’t work (no one answers it). I’ve been a US citizen for over 15 years and immigrated to the States over 26 years ago. I’m an artist, writer and educator who was stopped and detained. We pay all taxes and contribute to this economy and society in every way we can. None of the reasons listed in the paper applied to us besides the ‘random search’ one. Obviously, it’s not random.

    If you’re about to travel abroad, please know that you have a legal right not to give them passwords or codes but you have to give up the device at their request.

    This statue of liberty is located near Strasbourg in France. It’s a representation of freedom and democracy for most Americans. Unfortunately, it’s a complete illusion. If you’re a dreamer, understand that this level of targeting civil liberties is getting one step closer to the tyranny of Stalin’s repressions. British people get arrested and jailed for speaking the truth. This erosion of freedom and democracy is real under constant surveillance of this state. Every day a small part of freedom is taken away with a new law you have no idea exists.

    Summary of Key Rights as a US citizen generated by ChatGPT:

    • You cannot be denied entry as a U.S. citizen.
    • CBP can conduct routine searches without suspicion, but advanced or intrusive searches may require reasonable suspicion.
    • You are not required to provide passwords for electronic devices, though refusal may result in prolonged detention of the device.
    • You do not have the right to an attorney during routine questioning or searches.
    • You can refuse to answer non-identity related questions, but this may result in delays or further inspection.

    Although border searches do involve reduced protections, CBP must still act within the scope of the law, and unreasonable or abusive actions can be challenged in court. If you feel your rights have been violated, you may wish to consult a civil rights attorney or file a complaint with DHS.



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  • Here’s What We’re Excited to See at EXPO CHICAGO 2025 — Colossal

    Here’s What We’re Excited to See at EXPO CHICAGO 2025 — Colossal


    This week marks the beginning of Chicago’s art world Olympics as the largest fair returns to Navy Pier. From April 24 to 27, EXPO CHICAGO will host hundreds of galleries, site-specific projects, talks, and multi-disciplinary programming both downtown and across the city.

    To help you navigate, we’re sharing the artworks we’re most looking forward to seeing. And, if you haven’t gotten your tickets yet, use the code COLOSSAL25 for $5 off.

    1. Wangari Mathenge with Pippy Houldsworth Gallery (London)

    The Chicago-based, Kenyan artist will present a collection of vivid new paintings that speak to the immense amount of information generated through her intensive research process. Surrounded by books, plants, and brightly patterned East African Kanga fabrics, Mathenge’s figures lounge among objects that transcend colonial narratives.

    an abstract work of tiny rolled paper seeds with a blue and green section in the center surrounded by white
    Ilhwa Kim, “Calculative Flight” (2024), hand-dyed hanji paper, 132 x 164 x 13 centimeters

    2. Ilhwa Kim, Gordon Cheung, and Zheng Lu with HOFA (London)

    We’ve long been enamored by Kim’s roving, rolled-paper compositions that delineate dense pathways through broader expanses. Her dynamic works will be on view alongside Cheung’s decadent paintings and Lu’s stainless steel splashes.

    a portrait in purple of a woman with hair that wraps around her whole body
    Florence Solis, “Makahiya VI” (2025), acrylic on canvas, 48 x 36 inches

    3. Florence Solis with The Mission Projects (Chicago)

    Beginning with digital collage before moving to acrylic and canvas, Solis renders ethereal portraits of women infused with Filipino folklore. Delicate leaves and flowers entwine with coiled hair, while veils shroud the figures in luminous coverings, binding each with a protective, yet restrictive layer.

    a surreal landscape with blocky distortions and various levels
    Suntai Yoo, “The Words” (2024), acrylic on canvas, 91 x 117 centimeters

    4. Suntai Yoo with Galerie Gaia (Seoul)

    Fragmented, surrealist landscapes figure prominently in Yoo’s paintings, which frequently pair common objects like books, bicycles, and apples with Korean letters. The artist is particularly interested in metaphor and how distinct items interact to create meaning.

    a portrait of a young girl with a helmet on in front of a vibrant patchwork style quilt
    Desmond Beach, “The Guardian of the Small & Sacred” (2025), digital painting, woven Jacquard loom, hand and machine sewn pieceworked fabric, 47″x 47 inches

    5. Desmond Beach with Richard Beavers Gallery (Brooklyn)

    Mixing digital painting with patchwork quilts, Beach creates bold, forward-looking portraits. The Baltimore-born artist invokes the ways that trauma can be harnessed for resistance and collective solidarity.

    the torso of a knight with drippy fingers rendered in pink, blue, and gray
    Jimmy Beauquesne, “Phase 3. Knight of infinite resignation” (2023-2024), colored pencils on paper, hand-cut metallic frame, 62 x 41 x 2 centimeters

    6. Jimmy Beauquesne with Fragment (New York)

    Nested inside hand-cut metallic frames, Beauquesne’s colored-pencil works imagine a dreamy, apocalyptic world that drips with fantastic details. The nine pieces form a narrative of humanity’s transformation sparked by phantasmagorical change.



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  • Brock Larson – Lines and Colors

    Brock Larson – Lines and Colors


    Brock Larson painting
    Brock Larson paintings

    Brock Larson is a contemporary American painter living in Minnesota. On his website you will find landscape and still life paintings along with portrait drawings.

    In his landscapes, Larson often pulls us into the shadowy depths of deep woods, while at others times leading us out onto broad fields and expanses of water.

    Brock Larson is the son of well-known painter Jeffery T. Larson.



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  • Talking About A Tour | Clark County Open Studios

    Talking About A Tour | Clark County Open Studios


    Clark County Open Studios | Episode 1080

    Clark County Open Studios is a juried show that takes place throughout Clark County in Southwest Washington. Each year 50 artist are chosen to participate along with 3 emerging artists. This year my wife, Jennifer and I were accepted into the show along with a number of other ceramic artists. Jennifer and I hosted an “after party” with a few of the other ceramic artists to talk about the event.  Below are the artists we talked with for this episode. I asked these two questions: What is one thing that you will do next year if you are juried back in and what is one thing that you won’t be doing again next year?

    Jennifer Blais

    Something I did was I didn’t worry. I just did what I normally did and just enjoyed myself. I think it’s really great to show up and sign up for things because the pressure is good to get bodies of work done and get pieces made but I made sure that I was really enjoying that process. So I would do that again. Whatever gets made, gets made. I think one thing I wouldn’t do…because I am a little bit random and sometimes I follow trails, I think I might get a little bit more focused with what I am doing as far as kinds of pieces I was making.

    Instagram: @amblewoodstudio

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    Jessica Joner

    This is our third year doing it so we have worked out some of the kinks but I think I would want to continue to create a space that invites people in and creates that welcoming environment for sure. And I think as far as making work, like you said Jennifer, I think it’s a good deadline to make a body of work and I tend to get experimental and try random things and so I think I would avoid doing random things that don’t really go together, that end up being in the seconds.

    Instagram: @jessjoner

    Adrienne Eliades

    This year I had a little bit of better time management, and I wasn’t glazing all the way up until the deadline for that and then you know, setting up on Friday past the preview party. It felt nice to be able to set the space with a little bit more time and intention. But something I would probably do differently is that I have gotten out of the habit because I did it for so many years through Covid offering refreshments and I think next year I will probably bring that back in someway.

    Instagram: @bugaboo_eyes

    Molly Gustofson

    I think kind of similar to what Jennifer and Jess already said is definitely giving myself more time to prepare work. Ceramics is kind of one of those special mediums where you have to be thinking about stuff months in advance when you are preparing for shows. It was a little awkward for me this year because we were moving right when we probably should have been starting to make work, so that was kind of crazy. But I think all and all it ended up working out okay. I like what you said, whatever gets made is what’s there. t’s not like other shows that I have done where I feel like I have to make a certain amount of work. It’s kind of like, this is my work, this is my process. The goal of this show is not to necessarily sell tons of work. It’s awesome when you do sell a piece but really it’s about connecting with he community and introducing yourself to people.

    Instagram: @mollygustofson

    Jen Lamb

    I think that something I would change for next year would definitely be to just start a little bit sooner. Just because like everyone said, the nature of making these things.  It’s time consuming and I would like to be a little bit more intentional and also to that point just once everything is set up kind of breath and slow down and set the mind set to meet people. And include next year definitely some treats and hospitality. That was really lovely having the chai, not just for other people, for myself. (laughter) That was really nice having a little pick me up in the studio. But also just allow for a greater variety of price points and objects as well.

    Instagram: @unurthwonder

    Paul Blais

    One of the things that I loved doing this year that I think I will do next year is I did some throwing demonstrations and so it was kind of fun because I watched Jennifer Williams last year, we went to her studio, and she was painting and so I thought guy I would like to set up my wheel and demonstrate. So I I just spent a lot of time throwing so now I have some great work that I can work on. Something that I would do differently is my displays I don’t think were very well thought through. It was more like, I gotta get stuff on a shelf instead of showing how the pieces can be integrated into peoples’ lives. And maybe a little bit more variety in the work.

    Instagram: @pdblais





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  • Unlock the Magic of Printmaking: Affordable Printing Press Solutions

    Unlock the Magic of Printmaking: Affordable Printing Press Solutions


    Who says you need a printing press to teach printmaking? Whether you’re working with a fully equipped studio or a handful of rolling pins, it’s time to introduce the magic of printmaking to your studentsA printing press—whether it’s a professional model, a DIY solution, or a clever alternative—can transform your students’ artistic experience and your lesson-planning creativity.

    Hear why you should add a printing press to your art studio and discover creative options for every budget!

    printing press in elementary art classroom
    Image courtesy of Kristy Gaunt House

    Why should I add a printing press to my art classroom?

    While many art teachers can effectively teach printmaking without a professional printing press, there are many benefits to having one in any grade-level art studio. A printing press isn’t just a fancy tool—it’s a game-changer. Take a look at Kristy Gaunt House’s elementary art room and how her students are able to whip out prints in 20 minutes!

    https://www.youtube.com/watch?v=iEjWQdpxVRs

    Here are five other benefits of having a printing press in your art room:

    1. Professional-Level Results
      A printing press applies even, consistent pressure, ensuring your students’ prints come out clear and polished.
    2. Playful Experimentation
      Along the same lines, a printing press provides even pressure with layering, textures, and advanced inking methods.
    3. Increased Print Production
      Having the right tools and equipment will speed up any artmaking process! Your students will be able to produce more prints, which helps with large classes and short periods.
    4. Career Preparation
      Introduce students to tools and techniques they may encounter in a professional print production environment.
    5. Cross-Curricular Goldmine
      Printmaking and learning about printing presses are a bridge to other subjects. Dive into the history of the Gutenberg press, explore the science of pressure and mechanics, play with mathematical patterns and measurements, and create visual storytelling through sequential prints.

    printing plate, print, baren, and wood spoon

    What are my printing press options for the classroom?

    No matter what your budget or space constraints are, there’s a press option for you and your students! Consider how you can provide future printmaking opportunities for your students. Explore grants and harness stakeholder relationships to bring an upgraded press to your studio—without putting a line item in your budget.

    Let’s take a look at four alternative printing presses:

    1. Tabletop Etching Press
      Compact and portable, these presses are perfect for classrooms with limited space. They handle small-scale projects like linoprints, monoprints, and drypoint etching. They are best for high school students ready for advanced techniques.
    2. Relief Printing Press
      Explicitly designed for block printing, these presses make linoprints, woodcuts, and collagraphs a breeze. They’re easy to use and require minimal setup. They’re best for any grade level to explore bold and expressive prints.
    3. Hand Crank Press
      Try a DIY press kit or build your own. These options provide hands-on learning opportunities with mechanical processes. This option is best for classrooms on a tight budget or with students curious about engineering.
    4. Screen Printing Press
      Ideal for textile art, a screen printing press lets students design and create shirts, posters, and more. It’s an exciting way to introduce layering, color mixing, and design thinking. They are best for secondary students interested in commercial and graphic design.

    student making a relief print with a baren

    What are creative alternatives that don’t involve a traditional press?

    If a printing press is still not in the cards, no worries! There are several hacks using tools you already have that simulate the effect of a press. Many art teachers create phenomenal prints with their students—and without fancy equipment.

    Here are six hacks to replace a printing press:

    1. Rolling Pins
      Clean the clay mud off your rolling pins and pull them out for your next printmaking unit. Roll over the back of your print for consistent pressure.
    2. Wooden Spoons
      The next time you’re at the thrift store, grab a bunch of large wooden spoons. Rub the back of your paper firmly with the bottom of your spoon for small-scale prints.
    3. Heavy Books
      Put those dusty textbooks back to use. Stack them over your inked plate and paper overnight for simple yet effective results.
    4. Hands
      The best artmaking tool is an artist’s hands! Apply pressure by rubbing with the palm of your hands as evenly as possible.
    5. Clean Brayer
      Use a clean brayer to roll over the back of your paper to catch the ink. Just be sure to clearly mark which brayers are for inking and which are for transferring.
    6. Barens
      These are circular tools with a handle, specifically designed to apply even pressure to transfer ink from the block to the paper.

    rolling pin and spoons

    Adding a printing press—or a creative alternative—will take your art room to new heights. Whether students are carving linoleum, experimenting with layers, or rolling ink onto foam, they’ll walk away with a greater understanding of printmaking and a massive sense of accomplishment. Search and apply for grants to purchase a professional-grade printing press to provide your students with an incredible printmaking experience! Try a smaller-scale model like a tabletop press or a DIY option to take your processes to the next level. Bring everyday materials to the table for your students to discover the joy of printmaking. Roll up your sleeves, print on, and press forward!

    For more printmaking resources, dive into the following:

    How can access to printmaking tools like a printing press inspire students to explore potential careers in the arts, design, or engineering?

    To chat about printmaking with other art teachers, join us in The Art of Ed Community!

    Magazine articles and podcasts are opinions of professional education contributors and do not necessarily represent the position of the Art of Education University (AOEU) or its academic offerings. Contributors use terms in the way they are most often talked about in the scope of their educational experiences.





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  • Say Yes First | Morgan Peck

    Say Yes First | Morgan Peck


    Morgan Peck | Episode 1081

    Morgan Peck is a ceramicist living in Los Angeles. Morgan’s namesake ceramic company, started in 2011, includes mirrors, lamps, sculptures, and vases all made in her backyard studio. Peck’s work continues in the footsteps of the studio potters that preceded her and she makes note of numerous styles, hinting at the Memphis Group, the Bauhaus, and Art Deco. Sometimes reproducing the forms of Venetian glass and the splotchy surfaces of 19th century spongeware, she moves through these references with a modest, considered, and decidedly modern touch.

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    Isn’t that a bit dangerous saying yes first?

    (laughter) Yes of course, it’s super dangerous. I think it is but I think it is way more dangerous to say no to everything in terms of reaching my goal which was to just keep doing it. I was too new to say no and to know where to say no to. And everything was so exciting I didn’t want to say no.

     

    So if I hear you correctly, you are not saying say yes always. You are saying do it first and then it’s a learning experience. Is that kind of safe to say it that way?

    Yeah, I mean I think people ask me to do things I have never made and I think about it for minute. I think could I do it? How would I do it? I think I could do it. I will say yes, I can do it. But I would never take someone’s money if I didn’t do it or if I came up with something I wasn’t happy with.

    So you are not throwing standards out the window. You are still saying can I do it with quality and can I do it successfully?

    I definitely had my own standards on how I think it should look but I had to also realize I have a certain style and it’s not perfect and it doesn’t look machine made so that’s why people are coming to me. You have to trust the client is going to see what they like and that they came to you for a reason and you don’t have to change who you are.

    You gave a little caveat saying if you couldn’t do it you could always say no. So it’s not saying yes first period. But you can always say no. Is that accurate?

    I had to become comfortable. People would say, Can you make this? Can you make this in five weeks? Yeah, I can. There was one situation where this was not working, every single one I am making is cracking again and again and again. And I don’t know how to fix this. I don’t know how to change this and I am out of time. So I came to them and said I am sorry, this is what happened. Of course nobody who doesn’t do clay wants to know the technical problems that come with clay, they could care less. I wasn’t super apologetic but I said this is what happened and this is part of the deal with clay so I couldn’t do it. But I was happy that I tried. I just never wanted to be afraid of something because I haven’t done it.

    How many hours a week do you typically put into making in the studio?

    I am here six hours a day because I have to drop my kids off and pick them up. So six times five is thirty. So it’s thirty but there’s always evening you have to come to check on stuff or on the weekends you might have to load the kiln or unload the kiln so there’s overtime too.

    Book

    Parable of the Sower by Octavia E. Butler

    Contact

    morganpeck.net

    Instagram: @_morgan_peck_



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  • How Florists Find Inspiration in Famous Art – Veronica Winters Painting

    How Florists Find Inspiration in Famous Art – Veronica Winters Painting


    How Florists Find Inspiration in Famous Art


    Delve into the creative world where floral design meets fine art! Discover how local florists find inspiration in timeless masterpieces, translating their beauty into exquisite flower arrangements.

    Artistic Blooms: How Local Florists Draw Inspiration from Masterpieces

    paintings of angels

    Floristry stands at the crossroads of art and nature, where creativity meets the delicate beauty of flowers. Local florists are not just purveyors of blooms; they are artists who leverage their craft to transform floral arrangements into stunning visual masterpieces. One overlooked aspect of their artistry is the inspiration they glean from renowned artworks. This article delves into how local florists by state draw on artistic masterpieces to enhance their floral designs.

    The Influence of Art on Floral Arrangements

    Uncover how florists use masterpieces for floral designs. Discover the process behind transforming art into floral arrangements.
    Photo: Daniela-e-photography

    Florists often find themselves inspired by the colors, forms, and themes inherent in famous artworks. By studying these masterpieces, they can curate arrangements that embody the essence of the original pieces while also standing firmly on their own as works of art. Here are two key ways that local florists use art for inspiration:

    ingres-Princesse-de-Broglie-1853-the-met-best-art-museums
    Ingres, Princesse de Broglie, 1853, the Met

    Composition and Color Palettes

    • Complementary Colors. Much like an artist chooses a palette to convey emotion, florists select flowers that resonate with each other’s hues. For example, the vibrant reds and greens seen in Van Gogh’s “Sunflowers” can translate into a floral arrangement that evokes similar joy and warmth.
    • Mood and Tone. Just as certain artworks evoke specific feelings, florists use sophisticated color schemes to influence the mood of their arrangements. A serene, pastel palette inspired by Claude Monet’s landscapes brings a sense of calm, making it perfect for tranquil settings.
    • Organic Shapes. Many famous paintings, particularly those from the Impressionist period, focus on organic shapes and forms found in nature. Florists replicate these organic lines in their arrangements, creating a sense of flow and movement reminiscent of artworks by artists like Renoir.
    • Symmetry and Balance. Artists often strive for harmony through symmetry or deliberate asymmetry. Florists employ these techniques, achieving visual balance by strategically placing different flower types and sizes, inspired by the compositional styles of great artist masters.

    Themes and Symbolism

    How Florists Find Inspiration in Famous Art

    Art often carries deep themes and symbols, which florists can integrate into their designs to convey messages beyond mere aesthetics. Here are two ways in which themes from art impact floral design:

    • Historical Context. Florists may draw on the cultural significance of certain pieces of art. For example, arrangements reminiscent of Frida Kahlo’s vibrant self-portraits can incorporate tropical flowers that reflect her Mexican heritage, creating a narrative through floral artistry.
    • Seasonal References. Just as art reflects the seasons or times of year, florists may create seasonal arrangements that mimic the aesthetics of seasonal art. A winter arrangement may draw inspiration from the crisp, cool colors of a piece by Caspar David Friedrich, featuring whites and icy blues.
    • Narrative Elements. Floral arrangements may also tell stories, much like a narrative painting. A bouquet inspired by Vincent van Gogh’s “Starry Night” may weave in deep blues and yellows, creating a piece that reflects the wonder of the night sky and evokes fascination.
    Caspar_David_Friedrich_-the polar sea
    Caspar David Friedrich, the polar sea, oil painting

    Local florists are adept at blending the beauty of nature with the depth of artistic expression. Their ability to draw inspiration from masterpieces not only enhances their floral designs but also allows them to create arrangements that resonate on a deeper level with their clients. By embracing color palettes, compositions, cultural narratives, and emotions drawn from art, florists create living works of art that celebrate the best of both worlds—nature and human creativity. Whether for special occasions or everyday enjoyment, these artistic blooms truly have the power to inspire and uplift.

    Veronica Winters, colored pencil drawing demonstration



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