Paul Jackson Pollock was born in Cody, Wyoming on 28 January 1912. He was the fifth and youngest son of LeRoy McCoy Pollock and Stella McClure Pollock. The family left Cody when Pollock was less than a year old, and he was raised in Arizona and California. After a series of unsuccessful farming ventures, his father became a surveyor and worked on road crews at the Grand Canyon and elsewhere in the Southwest. Pollock, who sometimes joined his father on these jobs, later remarked that memories of the panoramic landscape influenced his artistic vision.
In the mid-eighties, after borrowing a friend's camera, I began to use black & white infrared film to chronicle the people and times of New York City. Up until that time I hadn't considered myself an artist in the visual sense having instead been involved in the East Village music scene. I found that the city and its inhabitants made their own compelling landscapes and, like John Ford in Monument Valley, I would let this scenery do most of the work for me. My early black and white images were candid street shots imbued with ethereal highlights and shadows I wanted from the infrared effect in hopes of the work my own signature. In those days, in downtown New York City, anywhere you looked were fascinating looking people just begging to be photographed. It was almost as if I couldn't take a bad picture.
Altering her surrounding environment, artist Darlene Charneco provides an innovative glimpse into the reality of our lives while delineating differing insertion points that identify our place in the world. Looking both to nature and man-made structures, Darlene exposes surprising relationships between memory, perception and the factual elements of our existence to create poetic works that hover between the real and the imaginary.
Altering her surrounding environment, artist Darlene Charneco provide an innovative glimpse into the reality of our lives while delineating differing insertion points that identify our place in the world. Looking both to nature and man-made structures, Darlene exposes surprising relationships between memory, perception and the factual elements of our existence to create poetic works that hover between the real and the imaginary.
Through my early years I've always had a flair for design, shape and color. But career and children always came first. In my spare time I took art courses and my work with the sculptor Ursula Witt yielded a number of acrylic sculptures which I still display in my home.
In addition to parenting, I received a degree as a school psychologist, and became a teacher and entrepreneur. When the kids left to high school I concentrated on my business career. I was time challenged especially holding down two jobs -- mother and business woman. But even in this career my sense of color and design came through in planning the decor of my offices.
I was born March 5, 1968, in Southampton, New York into a working class family of six children raised solely by my mother. As a child, I was quiet, somewhat reclusive. Art was my escape from the financially strained environment created by an alcoholic, abusive, and missing father. Art came naturally to me and it was a way out from my reality and a way to hopefully be accepted into society. In 1986, I was the first and only family member to go to college. I studied Landscape Architecture. It was during this time that my mind began to turn irritated, irrational, and delusional. I became sleep deprived and more reclusive. I enrolled in so-called master art program and drew and painted constantly, but destroyed most of the works. I finished a somewhat disturbing two-year environmental program, but never went back to Architecture.
I have been an artist since the age of two and tried to incorporate the world around me with the world inside. Two things have made that attempt incredibly joyful for me as an adult: living on the East End of Long Island and spending the summer months in Italy since 1992. Currently I live on Shelter Island creating my art work and studying yoga.
The Egg Series, as well as the other works, were inspired by the light of the East End and Italy. The Egg Series began in Venice when I came upon an arched window overlooking the Adriatic and saw an old nest with an egg inside. I began developing the series of arched windows with eggs which soon began to symbolize not only rebirth and the life cycle, but more particularly, the life of a woman and how its cycles are so dependent on her eggs. The other works are based loosely on exterior landscapes and incorporate the inner landscape .Works showing at the Greenport Theatre will include some of the egg series but will focus on watercolors and acrylic paintings featuring creatures in all the familiar locale of life here on the East End.
I was born in Princeton, NJ in 1960 and grew up in New York and Paris. Some of my earliest memories include drawing and painting, and I never lost that love. I was trained at New York University, Parsons School of Design, and the New School back in the late 1970’s and early 1980’s, when Abstract Expressionism was still reigning as king. Most of my teachers tried desperately to steer me into abstraction, but instead I drove them to distraction. I stuck to my preference for romantic realism and have never regretted it.
Claudia was born in Colombia South America where she lived all of her childhood. She grew up in a small town outside of Cali, Colombia and starting drawing when she was 5 years old with colors that her friends gave to her. She came from a very poor family and even Crayons were a luxury. Everyone kept telling her mother how talented she was. When she was 8 years old Claudia won a painting competition through a famous painter in Colombia whose name is Raul Rayon. Unfortunately her family was too poor to be able to help her with painting supplies so art was a silent passion for many years and doodling on notebooks in school was where she developed a lot of her fluid skills.
Claudia moved to the United States when she was 18 years old with a very different perspective on how to go about living her life. She came to work and struggled to survive as an immigrant in this country with no family and very little English at the time but started going to school so she could do something for herself.
Printing on canvas is incredibly versatile and a great way to create a ready-to-hang image or artwork. Every canvas that we print is protected with a UV coated acrylic finish to guard the print from dust, moisture and fading. Do you want your canvas stretched on bars or non-stretched? Framed or unframed? Customize the work to make it truly your own.
Nowadays just about anyone can take a good quality photographs with a digital camera. Or take a few hundred pictures and the chances are few will be good, and even one or two outstanding.
Here are a few tips, tricks and techniques on how to make art print poster ready photographs and print ready digital files. Don’t get overwhelmed, there is a lot of information here, but a lot of it is just intuitive. Well, a bit of patience will always help.
First thing – Photo Size
If you taking a digital photo of you family or friend the largest size you would print is usually 5 by 7 inches, maybe 8 by 10 at the most. Even small size digital photographs (2MB or less) are ‘good enough’ to create a decent print. But if you want to create prints that are 16 by 20, 20 by 24 inches or larger you need more pixels (in pixels 20 by 24 inches photo is actually about 40 times larger than 3 by 4 inches photo assuming they have the same resolution).
Watercolor is an easy, fun medium for creating art. Color theory, composition and design can be explored freely with watercolor paint, paper, and brushes. Several techniques may be used with watercolors for varying effects including painting wet on wet, wet on dry, layering washes, and more.
Watercolor paper comes in cold press, hot press, and rough. Rough paper has the most texture, and its hills and valleys can result in interesting effects when paint is added. Hot press is the smoothest and has the finest texture. Cold press has a moderate amount of texture and is the paper most commonly chosen by watercolor artists.
Watercolor paper comes in several weights ranging from 90 lb. to 300 lb. based on the pounds per ream of paper. Most artists prefer to use at least 140 lb. paper. Papers vary somewhat between manufacturers, so sampling different papers is advisable. Paper can be purchased in pads, in blocks or in large sheets. The large sheets are usually the most economical and can be torn into whatever size is desired.
Hamptons Art 
nature and man-made structures, Darlene exposes surprising relationships between memory, perception and the factual elements of our existence to create poetic works that hover between the real and the imaginary.
