Colors of Kindness has two dups for Dandelion.
The center is the original Dandelion. Top is regular Yellow from a “normal” box of 24. To the right is Banana Mania. At the bottom is Hello Sunshine. Though I would love Dandelion to return, the two from Colors of Kindness are pretty good.
From vibrant oils to intricate threadwork, discover how Sophie Anne Wyth connects intuition, movement, and the fragility of the present moment through her deeply personal process.
By Rise Art | 06 Jan 2025
The impact of it is fundamental as it allows me to create without worrying about the result. As my practice evolved, it became a lot more directed but I keep from this initial approach the energy to start, avoiding any writer’s block or its equivalent. I give myself the freedom to make mistakes, be joyful about paint and I focus my attention on the act of creating itself.
I’ve actually moved away from figurative art in recent years. I am currently obsessed with how colours vibrate next to each other, how some pop and others recede and what it says. Balancing shapes and creating balance is what currently dominates my practice. I want to represent the fragility of an instant, show how things are in constant movement and bound to change. I want to capture the beauty, the angst, and the general essence of the present.
The overlap between fashion and art is not a conscious one. For a long time, I thought of them as very separate things. I have recently started to play with colours with threads and embroideries instead of paint, creating abstracts this way. Making these soft paintings has been freeing as I made them using my sewing skills but deliberately not following any stitching rules, once again bringing freedom and play to the work.
Above all, it is very important to me that my art bears a form of elegance. The marks are considered and somehow contained, making sure the viewer is held and grounded in a certain aesthetic. I don’t know if it is important to me because I come from the fashion world, or if I ended up in fashion because this concept is important to me. But I truly believe that beauty impacts our lives massively, and that the environment we evolve in can support or hinder us.
I suppose this is how the continuous quest of oneself presents in my work. Each painting is an internal fight, a push to get closer to what I truly want to say. It is troubling that the meaning of each work is being revealed as it is created. I am constantly surprised by my own work, and I think it is why I keep making it. I get to understand a bit more about myself and the world with each painting. The key is to not think but feel, and be guided from within for each mark. The discomfort can be subtle and brought by colours that are just a bit off, not all together displeasing but also not fully comfortable.
The theme traverses me and I discover at the end of the work what I was trying to say all along. I am never too literal when I let intuition drive my hand. One colour calls for another and a shape for another. None of these things mean anything, they are moments and thoughts transformed into images. My work is like a meditation, lived in the moment and delivering meaning from within. I am always amazed how each work can be explained, the theme I quietly worked with in the background detailed with words once finished, when I didn’t even know I was putting these particular things in. They become clear once the work is finished. This is also why the titles are always given once the work is finished, once I understand it. Each painting is a research, some bring answers, most bring more questions!
My art initiated in therapy but has evolved since. There is an internal quest, but I now think a lot more about my audience and direct it in a way that can be received and benefits the viewer. It is not a therapy for me but it is a way of remaining connected to myself and my emotions. I would compare it to meditation, which I don’t think can replace actual therapy work but is definitely an important support for a full life.
During a solo show the whole space is yours to explore and create a conversation between pieces. For a group show, like Every Woman Biennial, you are a guest amongst others, and your piece resonates with works you didn’t know before the show. I like the discovery element in group shows, seeing how your piece has been placed in relation to others. It is also a very good way of being discovered and to meet excellent artists. Both set ups are important.
Recognition is necessary, it helps you to believe in yourself. Each external validation and peer recognition is a push in the right direction. That said, the key is to enjoy the achievements as well as to remain focused on the next goal, to never get complacent or self-satisfied. I just try to make sure I enjoy every step.
This always makes me very happy when people comment on my work and tell me how it helps them question and see things differently. People mostly comment on the energy the work gives them or the soothing aspect of it. It seems that the fluidity and solidity of it comes through, and the sense of being held. There is no single response I expect from it, but whenever it makes people feel and respond I feel content.
One recurring aspect of my work is that it surprises myself. It is what keeps me interested in it, the constant discovery of it and parts of myself within it. So my style changes “in spite” of me. I am not really choosing to introduce a new style or different methods. It comes from within and I don’t just allow but follow the impulses. I have in the past not allowed some marks or a certain fluidity to come through. I was amazed to see it presenting itself again a few years later, when I was ready. In terms of sharing personal experiences, abstraction is such that it is not literal and therefore doesn’t make me feel too exposed.
I would love to develop a larger version of my thread and needle works. It would be interesting to use different widths of yarn, mimicking the size of the brushes, bringing in more texture. My existing embroideries are of a smaller size and have just been exhibited in a group show at Southwark Park Galleries. I will continue to explore the movement and fragility of all things in my abstract oil paintings on all scales.
Eco-Expressions: Drop-In Letters and Art-Making Workshops with Michele Lorusso
jascencio
Wed, 04/09/2025 – 11:16
Join artist-in-residence Michele Lorusso for drop-in activities including letters to the world in the future, environmental chats, and hands-on art-making workshops inspired by the exhibition Nature on Notice: Contemporary Art and Ecology.
All ages are welcome to participate. All programs provided with bilingual translation in Spanish.
Charles White Elementary School
2401 Wilshire Blvd., Los Angeles, CA 90057
All education and outreach programs at LACMA are underwritten by the LACMA Education Fund and are supported in part by the Judy and Bernard Briskin Family Foundation, The Rosalinde and Arthur Gilbert Foundation, the William Randolph Hearst Endowment Fund for Arts Education, Alfred E. Mann Charities, The Ralph M. Parsons Foundation, Gloria Ricci Lothrop, the Flora L. Thornton Foundation, U.S. Bank, and The Yabuki Family Foundation.
Photo courtesy of Michele Lorusso
Free
The kids seem to LOVE dino nuggies! Don’t know what they are? They make chicken nuggets in the shape of dinosaurs. Yes…it’s a thing!! ha ha There are shirts, earrings, pushies, pillows…a whole dino nuggie industry! I’ve wanted to make my own pushies/pillows, but it took awhile to find a fabric I thought would work(Dollar Tree…imagine that!?!). I made a pattern to the size of the fabric, cut them out, sewed them together, and stuffed them. It went relatively quick, and I had a lot of fun doing it! A friend saw my post on facebook, and asked if I could make her class (she teaches EE/Special Ed) one. They like to hold something during share time. I gladly gave her one of the dino nuggies! Happy to know it will be loved & used in a school setting!
What are you creating?
Hello! It’s been a while. I have been working so much on The Creativity Project that it’s been hard to find the time to write over here on Art Bar. But I have things to share! As you know, I have been facilitating open-studio classes at our local library over the past year (I’ve written about them and you can scroll to the bottom for links), and I have grown and learned so much from those experiences. I really want to write a book (not really but sort of) about setting up open-ended community art events that appeal to multi-ages and cultivate a new mindset around what childhood art experiences can (and should) look like. Including parents in these library events has been such an important part of the process because that’s really where the work needs to be done. Changing grownup mindsets to giving children the freedom to make their own choices, and seeing them as artists who are capable of having good ideas and playing with materials on their own — even if they end up abandoning what they start or simply participate by observing. Just giving children room to be who they are and develop confidence knowing that grownups trust their choices (easier said than done because grownups are used to making choices for their children). This is actually a lot of the same work that Shannon and I do at TCP — mindset shifts for teachers in prioritizing creativity and giving children opportunities for authentic choice-making.
In September I brought this approach to a local early childhood program to work with 5-7yr olds in their beautiful art barn. Today I’m sharing about the day I brought wood scraps, magazine clippings, and a collection of other materials that children could use along with the wood (all inspired by my brilliant friend Samara at Purple Twig from this post and this event). I offered this experience twice — once at the library, too — and each time was a little different. I’ll tell you about the school experience first, then the library. But first, the materials.
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~ Wood scraps (collected from local high school wood shop)
~ Elmer’s glue (next time I will use wood glue)
~ Jars and brushes
~ Scissors
~ Magazine clippings (I used mostly home and garden magazines to spark architecture, design, and landscape ideas)
~ A collection of wooden cabinet handles (I had about 40 from my old cabinets, they were used up pretty quickly)
~ Smaller collage materials to build with like: bottle tops, corks, cardboard pieces, egg carton pieces
~ Other collage material: buttons, puzzle pieces
~ Yarn pieces cut into about 18-inch lengths (I love to add a soft element when working with lots of hard materials so children can get a variety of textures)
I put a lot of thought into which materials will work best together and spark enough interest without feeling overwhelming. There was only so much I could fit on these small tables because four children had to also sit there and have enough space to work. This school has a wonderful art teacher who suggested on this day that we create a buffet for all of the materials so children could “shop” for what they want. I loved this idea, and the children did too! I put a small selection of things on the table to start, but most of the materials were set out on the buffet and replenished. You can see the buffet on the far end of the space by the window in the 2nd picture down from the top (two above here), and you can also see the plastic box on the floor which was full of wood pieces to choose from. I had another box of wood pieces that I used to refill as the children worked.
Wood: At this school I see 60 children in 4 groups and they each have half an hour, so I need a lot of materials plus extras just in case a child has a very big idea they want to execute. I don’t want to limit anyone’s ideas. I prepared one big wood base for each child. Some of the “big” bases were just a long strip and if I did this again I would make sure I had a bigger rectangle for everyone. Some children really wanted to build their structure up and the small bases made their structures unstable which was a little frustrating. I think if we had used wood glue it would have helped. I then prepped another 300 pieces (sanded them) about 5 per child. I wagered that some children would use many and some would use one or two since I was also offering so many other materials to play around with. As it turned out, I had only about 20 small pieces left so I was relieved my bet paid off.
Paint: Liquid watercolor is the best to use with wood. I usually limit the palette to warms or cools so that they can be layered on top of each other and not get mucky, but on this day we ran out of time so we just poured a few colors into palettes and set out a jar of water. If I did this again I would have prepped some jars beforehand and put brushes in the jars. It would have saved some space and a little of the mess.
Compatible materials: I have a pretty extensive collection of recycled and collected materials. I ask my community on our local Facebook page all the time if I’m looking for something specific and they always come through. I actually asked for home and architecture magazines and now I have an entire milk crate worth to choose from. The magazine where I found all the best images for this project is Dwell. I also cut up some maps which I collect whenever I can find them. Recently my son and I visited UVM when looking at colleges and they had a whole map display in their student center with maps of Vermont and all of the ski mountains. So just keep your eyes open when you are traveling.
Observations: While I did spend one minute before each group telling them about the materials that I brought in and all of the possible ways in which they could be used (wood can be painted, glued, collaged; make sure to use a sturdy base when building up; there is no wrong way to use the materials it’s really up to you and your ideas) I don’t normally spend time introducing materials in this way. When I am just there once a month, and for only 25 minutes for each group, I don’t want to waste any time and I trust that the children (ages 5-7) will all have their own unique ideas about how to use the materials. But the art teacher does it this way, and asked me to please spend a minute on the rug introducing everything. There is nothing wrong with this and in fact, if I had a class that I saw every day, I might occasionally spend some time talking about materials in this way. But in my practice, I see myself as more of a facilitator, not a teacher. Not only do I want to be careful about influencing them, I am also just curious and excited to see the children’s ideas because without a doubt their ideas are always better than my own. These experiences are as much a learning time for me as they are for them. And I find that the best way to get to know children and their interests and to foster a safe space that reflects each child and their lived experience is by simply letting them play and getting down on their level to listen to their stories and ideas. If they need help I am there to lend a hand. But they are the artists and I really don’t want to limit them in any way.
Looking at these photos, you can see the wide variations of ideas and execution. Every one of those 60 children was experiencing flow. The time went by in a heartbeat — they could have all worked for an hour — and they felt very proud and excited about their pieces. And I felt so inspired, too! These children were very capable and many of them built quite elaborate structures with many pieces (you will see this contrast with the day I offered these same materials at the library). They often walked around and looked at each other’s creations and became inspired to add more to theirs. They loved shopping at the buffet which also was a place where children talked about materials and how they were going to use them. I overheard children say they were building a stage for the Rockettes, a pirate ship, a motion sensor, a video game, a vacuum, and an obstacle course. Many of them were making something for their mom. One child who spent his time covering single wood pieces with magazine images so that he had about 6 or 7 separate pieces said that they were for his mom because she loves beautiful things. It’s hard to imagine these stories, innovations, and iterations happening if the children had been guided through a project.
Bringing these materials and setting them up for my community library event went a little bit differently. First of all, it’s a two-hour timeframe and I usually have about 20-30 children coming through, so a lot less materials and a much slower pace. Children can range from age 2 to teen, but usually they are between 3-10. I make a very basic sign because children are with their parents and parents usually want to know what they are supposed to do. I keep it very open-ended and I hope that the parents are going to let their children take the lead. What I do love though is when parents are also making their own art beside their child.
Children did a lot less building and more painting and collating. They also left their work to wander to other tables and then came back to add more when they saw a new material on the table. I love the child who found the sandpaper in the bin of wood pieces and used that in her bathroom collage. The painted wooden pieces below were all left behind, and I have the surfboard headboard pieces propped up on my bookshelf.
I believe that anyone can gather materials and set them out for children in an open-ended way. You don’t have to feel like you need to be “creative” or “artsy” to do this, you just need to believe that this time for creative exploration and discovery is vital in childhood. My wish is that all art in early childhood, from preschool through early elementary, only offer open-ended, process art experiences. They develop so much confidence, and it’s so exciting to see what children can imagine and build, how they share their ideas with others and collaborate, build empathy, find their voice, and grow into future innovators who think about how they can make the world a better place.
xx, Bar
– – – – – – – – – – – – – – – – – – – –
Eco-Expressions: Drop-In Letters and Art-Making Workshops with Michele Lorusso
jascencio
Wed, 04/09/2025 – 11:16
Join artist-in-residence Michele Lorusso for drop-in activities including letters to the world in the future, environmental chats, and hands-on art-making workshops inspired by the exhibition Nature on Notice: Contemporary Art and Ecology.
All ages are welcome to participate. All programs provided with bilingual translation in Spanish.
Charles White Elementary School
2401 Wilshire Blvd., Los Angeles, CA 90057
All education and outreach programs at LACMA are underwritten by the LACMA Education Fund and are supported in part by the Judy and Bernard Briskin Family Foundation, The Rosalinde and Arthur Gilbert Foundation, the William Randolph Hearst Endowment Fund for Arts Education, Alfred E. Mann Charities, The Ralph M. Parsons Foundation, Gloria Ricci Lothrop, the Flora L. Thornton Foundation, U.S. Bank, and The Yabuki Family Foundation.
Photo courtesy of Michele Lorusso
Free
I’ve been talking about overlapping and showing “space” in your work with my second graders. We created fish tanks that had a defined corner to create a bottom, side, and back to the tank. I was not looking for mastery as this is a new concept to them. I was just introducing the idea. We used watercolor pencils to finish the work.
YOU ARE GOING TO NOTICE IN SOME OF THE PICTURES THE VERTICAL LINE IS VERY CURVED. THAT IS BECAUSE THE PAPER CURLED WHEN IT DRIED & I DIDN’T FLATTEN IT OUT BEFORE SNAPPING THE PICTURE! ha ha
My vision for this work is best described as bringing my art practice alongside conflict transformation in the belief that something positive can happen in that shared creative space.
I don’t claim to know what will happen or even how. My experience does convince me that opening up my painting practice offers opportunities for other people to feel energised and more vibrant. And that feels like something valuable to offer to people engaged in the vital, difficult work of conflict transformation and peace building, the people who do the field work and the people who produce resources for them.*
So there I was with these ideas offered to the Berghof Foundation and received with interest. How to proceed when the pandemic prevented me travelling?
Home studio
As an artist, paintings emerge out of my, almost daily, studio practice and are intrinsically connected to my lived experience: what I’m reflecting on, what I’m reading, who and what I’m seeing day by day. In my original vision, residency artwork would come out of taking that studio practice into dialogue with the new environment, responding creatively to the work of the organization through empathic engagement with its people, practices, and processes.
Instead I began this engagement online, watching interviews and documentaries on the website, attending a Zoom staff meeting where I introduced myself and the idea of the residency. To these ‘watchings’ I took along my sketchbook, capturing words and images that resonated for me, later adding colour as I reflected on what I’d heard and see. The tempo of a voice might prompt a line moving across the page. The emotion heard behind a related experience might prompt a colour.
I started a series of online ‘Studio Interludes’ with staff, inviting them to my studio to see what was in progress, talking about art and conflict transformation, and about other artists. (More on these in la later post.)
In the summer of my missed visit, BF sent me a copy of their 50th anniversary book that celebrates the work they have done since being founded in 1970. The carefully wrought texts and images in the book helped me immerse myself further in the work of the Foundation. And as I continued my studio practice at home in Scotland, I began to see how these very pages could be the beginning of residency artworks, as ‘found poems’.
Next time, the process of creating the found poems…
*It seems likely that art can be of benefit to conflicted parties during the processes of negotiating and building peace. I’m not yet in a position to claim that or to offer many strategies for doing it. I am collecting examples of such work.
Your first year of teaching is never “easy”. People have all kinds of stories from their beginnings in education. Some funny, some embarrassing, and some are just plain cringey.
My first year of teaching ended in disaster. This is not an exaggeration. There literally was a natural disaster. A tornado(s) went right through Nashville. Growing up in Appalachia in the middle of the forest, I had no idea a tornado could hit a city. It can. It did. I had left 15 min. before it hit, and had been in my classroom till six at night the whole week until the day of the tornado. Everyone thought I was still in there, and had the police dogs search my portable to see if I was still in there underneath the debris. I finished the year on a cart and working from the stage of the cafeteria. I learned a lot about myself & what a wonderful community can do in the face of adversity.
