Rosemary Klein


Better Rosemary lecturing

Artist Rosemary Klein shown with her art titled “Travelers.”

Shadowbox Seascapes  by Rosemary Klein

The world refugee problem—emigrants, displaced persons, call them what you will –has been much on our minds, especially by the way of television and the internet.

As an artist, I don’t deliberately set out to create “political” art, and the casual viewer would probably not perceive my art as political. But an artist can’t avoid subconscious currents welling up. Often you do what you do, study it afterwards, and sometimes experience a moment of discovery: Oh that’s what his piece is about, underneath.

The small shadowbox seascapes, which I call “Travelers” and “Landfall” started out as watercolor warm-up exercises when I was last at the beach, painting. But, as simple seascapes, they felt too empty. Using found objects—pebbles, driftwood and a bit of netting, I turned them into collages. Then I added some acrylic marbling to suggest wave lines on the sand and in the shadows. I called the first, simpler painting “Travelers” and its partner “Landfall.”

Then came my “AHA!” moment. Looking at “Travelers” with its little row of ocean-tumbled pebbles, I recognized the anonymous refugees we’ve all seen on the beaches of southern Europe—individuals reduced to objects “en masse,” here singled out and, I feel, symbolically restored to dignity and beauty through an act of form. “Landfall” presents a different problem. There are barriers. The elements of time and suspense have entered the picture. What will happen next?

Time. The desperate plight of displaced persons is really mothering new. In working with my beach pebbles I remembered a poem which came out of the Holocaust of Work War Two, and the trauma of nations ground under the heel of History.

during Rosemary's lecture

I feel as though this poem, by Polish poet Zbigniew Herbert, connects my modest shadowboxes with a larger stage. Herbert’s poem is titled “The Pebble.”

THE PEBBLE

The pebble
is a perfect creature
equal to itself
mindful of its limits

filled exactly
with pebbly meaning

with a secret which does not remind one of anything
does not frighten anything way does not arouse desire

its ardour and coldness
are just and full of dignity

I feel a heavy remorse
when I hold it in my hand

and its noble body
is permeated by false warmth.

Pebbles cannot be tamed
to the end they will look at us
with a calm and very clear eye.


About the artist:

Rosemary Klein works in the realm of visionary truths. As a former journalist and reference librarian, it’s sometimes hard for Klein to let go to the literal and venture into the more intuitive dimension of “what if?” Klein’s most recent art was presented at the Above and Beyond exhibition at Fairweather’s during the Seaside First Saturday Art Walk on March 5th, 2016. Art by Rosemary Klein will be on exhibit through the spring season.

Landfall by Rosemary Klein

“Landfall” by Rosemary Klein. Art glass by Cindy DuVall.

Please visit http://www.faiweatherhouseandgallery.com for more information or go to facebook.com/SeasideFirstSaturdayArtWalk

Art Saves

Fairweather Gallery  celebrated its 10th anniversary on March 5th with an exhibition titled “Above and Beyond.” The show offered timely and relevant works of art about the spring season. Regional artists in the show were selected to acknowledge the coastal flyway habitats and to awaken visitors’ senses to nature from the ground up.  Image featured original calligraphy by Penelope Culbertson, original oil pastels by Lori Wallace-Lloyd and original oil on linen floral by Melissa Jander.  Our gallery specializes in contemporary, traditional and transitional works in a variety of mediums from a select group of established and emerging artists from the Northwest and beyond.

For more information about featured  artists please visit http://www.fairweatherhouseandgallery.com/artists

 

 

COLLECTIVE ENERGY, indeed, played out as an exhibition that brought art of all mediums together.

Original art by regional artists at Fairweather’s: Paul Brent, Richard Newman, Billie Johnstone, Bobby McWhirter, Kimberly Reed, Rosemary Klein, Rinee Merritt and Seaside/Gearhart naturalist Neal Maine.

 

Please visit http://www.fairweatherhouseandgallery.com for more information or go to http://www.facebook.com SeasideFirstSaturdayArtWalk.

And, too, a grace note received from Kimberly Reed.

“Thank you (and your lovely photographer) for the wonderful photos! As always, a lovely event. I really LOVED the display of Deep Blue Sea, Storms a Comin’ and Deep Blue Sea all together. The store/gallery looked GREAT! Thank you so much for all of your hard work and also to Kathy and Joan (and the rest of the wonderful people who help out in so many different ways)!” –Kimberly Reed:-)

COLLECTIVE ENERGY, an exhibition that brought artists of all mediums together.

Artists who appeared at Fairweather’s: Paul Brent, Richard Newman, Billie Johnstone, Bobby McWhirter, Kimberly Reed, Rosemary Klein and Seaside/Gearhart naturalist Neal Maine.

Collective Energy.

Stay tuned for the art, the patrons and the memories of a very special evening, well-played.

With appreciation to Linda Fenton-Mendenhall Photography.

Please visit http://www.facebook.com/Seaside First Saturday Art Walk for more information.

River Dancers

River Dancers (gyotaku) original water-color by Rosemary Klein.

Q: What is gyotaku painting, you ask?

A: Gyotaku is a traditional form of Japanese art that began in the late 1800’s as a way for fishermen to keep a record of the fish they caught. They would apply sumi ink to one side of a freshly caught fish, then cover the fish with rice paper and rub to create an exact image of the fish. The ink was non-toxic and allowed for the fish to be processed for eating, while preserving records of fish species and sizes.

These utilitarian prints were incredibly life-like. When done properly they retained even subtle patterns and textures of the fish. The relatively simple black ink prints later developed into an art form that added rich colors and environmental details.

This form of nature printing has also become an art form of its own.

Rainbow off the Hook, gyotaku with marbling by artist Rosemary Klein

Rainbow off the Hook, gyotaku with marbling by artist Rosemary Klein

Rainbow off the Hook (gyotaku with marbling) original art by Rosemary Klein.

And a note received from the artist.
“I hope we’ll be able to continue this creative journey. In ways I don’t fully understand, you are significantly influencing me as an artist. I hope you can accept how much you mean to the whole community, of whom I’ve only begun to be aware. Being part of your group certainly stimulates my creativity. Should my new work pass muster, I could join you for the September Art Walk if desired. And the November and December First Saturdays remain open for me. If you’d like an extra artist on hand, I’d be happy to join you for either of those Art Walks, hopefully with some new paintings. Hope you’ve been having a good summer, both professionally and personally.” With friendship and gratitude, Rosemary Klein

Ode to Joy by watercolor artist Rosemary Klein

Ode to Joy by watercolor artist Rosemary Klein

Ode to Joy, original watercolor by Rosemary Klein.

Rosemary Klein’s COLLECTIVE ENERGY art lecture: 

Before digital imaging, people tended to assume that photography was a form of truth; “what you see is what you get.”  Realist or representational painters have also been thought of as truth-tellers; people usually mean it for a compliment when they tell the realist paint, “Why it’s just like a photograph!” 

As artists—painters, photographers, sculptors or whatever—we soon that many forms of truth will be revealed to us and through us if we allow ourselves to let of the obvious.  Intuition, interpretation and abstraction are our stock in trade.  No one know better than Rembrandt whose “realist” is only the first and perhaps most accessible gateway into the deeper human truths he has to tell. 

Although I’m no Rembrandt, I, too, work in the realm of visionary truths.  Yet, as a former journalist and reference librarian, it’s sometimes hard for me to let of to the literal and venture into the more intuitive dimension of “what if?” 

Two of my paintings currently showing at Fairweather House and Gallery are a study in literal truth turned on its head.  They could hardly be more literal since they involve taking an actual fish—a trout in this case—applying pigment to its body, they pressing the painted fish onto a prepared papers (“prepared “ in that I’ve already painting the background—watercolor in one case, acrylic marbling in the other).  

What you see is what you get—or is it?  You be the judge as you look at it.  (The fish print is a Japanese method called gyotakuAnd yes, in answer to a frequently-asked question, I did thoroughly wash the pigment and eat my model—something even Rembrandt couldn’t do.) 

-Rosemary Klein

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