Sunday, June 20, 2010

This Week @ BINDERS - June 21-27

ART SALES | ART CLASSES & WORKSHOPS | ART HAPPENINGS

The Art School at BINDERS is full of activities this summer! This weekend we've got the Adult Watercolor Workshop with Barry Sholder and there are a few spaces left if you want to ramp up your watercolor skills. It's also a great time to pre-register for July classes! Fearless Watercolor Landscapes with Susan Bradford begins July 8th, Leap Ahead Color Theory Workshop with Denise Nogueiras is happening July 10th or July 11th (your choice) and Paper Paintings: A Unique Figurative Collage Technique Workshop with Elizabeth St. Hilaire is on tap July 16th-18th. These are all wonderful teachers with a lot to offer, so check out our online registration or you can sign up in person at BINDERS.



ART CLASSES & WORKSHOPS

Monday, June 21:
Guided Open Studio with Kay Powell
10:30am-2pm, Every Monday | Beginner to Intermediate | Fee: $17/per session. Please pay the instructor. No registration necessary


Tuesday, June 22:
4 Day Watercolor Class with Judy Greenberg
9:15am-12:15pm, Tuesdays, 4 sessions, June 8- 29, Intermediate | Fee: $ 220


Painting-Design and Technique with Charles Y. Walls
1-4pm, Tuesdays, 6 Sessions, June 8-July 13, Open to all levels | Fee: $140

Bookmaking with Anne Elser
6-8:30pm, Tuesdays, 6 sessions, June 1-July 6, Beginner to Advanced | Fee: $140

Painting-Design and Technique with Charles Y. Walls
6-8:30pm, Tuesdays, 6 Sessions, June 8-July 13, Open to all levels | Fee: $140

Wednesday, June 23:

Impressionist Paintings From Photos with J.Z.Torre
1-4pm, Wednesdays, 6 Sessions, May 26-June 30
Advanced Beginner to Intermediate | Fee: $160

Copperplate Calligraphy with Anne Elser
6-8:30pm, Wednesdays, 6 Sessions, June 2-July 7
Beginner to Intermediate | Fee: $140


Thursday, June 24:
Italic Calligraphy with Anne Elser
6-8:30pm, Thursdays, 6 Sessions, June 3-July 8
Beginner to Intermediate | Fee: $140


Friday, June 25:
No special art events today.

Saturday, June 26:
Beginning Adult Watercolor with Barry Sholder
Sat. 11-4 pm, Sat.& Sun., June 26-27
Beginner | Fee: $140 | Min. 6/ Max. 12
Sign up now!

Sunday, June 27:
Beginning Adult Watercolor with Barry Sholder
Sun. 12-5pm, Sat.& Sun., June 26-27
Beginner | Fee: $140 | Min. 6/ Max. 12
Sign up now!


Please note: Classes on this schedule are in our Atlanta store unless otherwise indicated. For more information please email or call Eli Pelizza at 404.237.6331 ext. 203.


Check out the full list of our upcoming art classes and art workshops! Sign up for 5 classes, workshops or demos and receive 25% OFF of your next sign up.


ART HAPPENINGS | THE LIMELIGHT GALLERY

After Hours | Showing until July 2

Artwork by: Angela White • Carol Violanda Haslach • Chris Van Beneden • Dawn Kinney Martin • Gillian Theunissen Horsley • Elizabeth McAllister • Karen Barron • Kathy Vashaw • Marion George • Martha Elena Diaz • Sam Alexander • Suzi Howard • Terry Hamrick



Visit BINDERS website!

Thursday, June 17, 2010

Tips & Tricks #7: Running a Green Studio – How to Dispose of Solvents and Paint

We live in a world that is being constantly polluted. The current disaster in the Gulf of Mexico where a destroyed oil rig is spewing untold barrels of crude oil per day into the water is just the most recent and a more extreme example. The polluting of our environment is going on every day in millions and millions of small ways that add up to one really bad situation. As artists, we often have a tendency to feel that we are more sensitive to such issues than the average consumer, so we'd better have some good etiquette in our own art making process to be sure that we are not contributing unduly to the environmental crisis our industrial culture is creating.

By far the most dangerous thing in a painter's studio is the solvents. Whether or not they are traditional, distilled turpentine or more modern petroleum distillates (also called mineral spirits), these are very toxic substances that can harm both people and the planet. Most of us are familiar with the basic rules of safety when it comes to solvents: make sure you are in a room with adequate ventilation to prevent fumes building up and if you are using turpentine then you need to be sure you don't let it contact your skin for any prolonged period. What's most important to the environment, however, is: what do you do with the solvents when you are finished with them?

Dumping liquid turpentine or mineral spirits into the water or the ground is effectively like poisoning the Earth a little bit each time (it sounds really bad when you say it that way doesn't it?). So what are the proper procedures for dealing with used solvents?

First of all, try reusing the solvents for as long as possible, since the best way to reduce pollution is to use less of the polluting substances. If you let a jar of used solvent sit for a day or two, the dissolved paint will settle to the bottom, leaving the remainder of the solvent clear and ready for use. So, don't toss out your solvents after every painting session! As an added bonus, you'll save money by using less solvent over the long term.

When you must dispose of solvents, check around to local gas stations, which may have a hazardous waste disposal tank, or check with your local waste management company to see if they know where you can responsibly dump the stuff. If there is no dump site for toxic materials near you, the next best thing is to open your solvent jar and leave it outside in the sun for a day. The solvent should completely evaporate and this process takes far less of a toll on the environment than dumping it in a liquid state.

Finally, consider using a greener type of solvent, like Turpenoid Natural (which is a pine oil base), or Grumtine (which is a citrus base). These non-toxic forms of solvent leave no impact at all on the ecosystem and they are safe to use in rooms with no ventilation. Unfortunately, while Turpenoid natural and Grumtine are good for cleaning brushes, neither of them are effective for thinning the paint for washes and glazes, so you may need to use some amount of traditional solvents no matter what.

Another item to consider when disposing of art materials is what to do with left over paint – and the answer is not “dump it down the drain”! Many paints contain pigments that are made from heavy metals and other substances that could be harmful to animals or plant life in rivers and oceans, which is where they will end up eventually.

The solution here is simple: let the paints dry out completely and then throw them away with your solid trash. This will be easy with acrylics, which will dry in a few minutes, but oils might be a bit trickier since they might be sitting there for a week or more before they are dry enough to throw away. One great solution is not to throw away your oil paint at all! Keep any unused paint in a special jar in which you continually add to and mix together to create a wonderfully rich gray hue. This gray is useful for desaturating your colors and may be good for all sorts of other painting tricks, so don't waste it. Gamblin actually collects all of the waste paint from it's factory and tubes it up as a color called Torrit Grey, which they release once per year in a special promotion, and each year it has a slightly different color due to the varying amounts of pigments that go into it.

With a little knowledge and a little planning, we can all be certain that we'll do our part to keep our planet healthy and our landscapes beautiful for our grandchildren and their grandchildren to paint.

Visit BINDERS website!

Monday, June 14, 2010

This Week @ BINDERS - June 14-20

ART CLASSES & WORKSHOPS

Monday, June 14:
Guided Open Studio with Kay Powell
10:30am-2pm, Every Monday | Beginner to Intermediate | Fee: $17/per session. Please pay the instructor. No registration necessary


Tuesday, June 15:
4 Day Watercolor Class with Judy Greenberg
9:15am-12:15pm, Tuesdays, 4 sessions, June 8- 29, Intermediate | Fee: $ 220


Painting-Design and Technique with Charles Y. Walls
1-4pm, Tuesdays, 6 Sessions, June 8-July 13, Open to all levels | Fee: $140

FREE Pastel Mixed Media Lecture/Demo
Tues. June 15 | 6-8pm | FULL
An exploration into multi media techniques using revolutionary PanPastel.

Bookmaking with Anne Elser
6-8:30pm, Tuesdays, 6 sessions, June 1-July 6, Beginner to Advanced | Fee: $140

Painting-Design and Technique with Charles Y. Walls
6-8:30pm, Tuesdays, 6 Sessions, June 8-July 13, Open to all levels | Fee: $140

Wednesday, June 16:

Impressionist Paintings From Photos with J.Z.Torre
1-4pm, Wednesdays, 6 Sessions, May 26-June 30
Advanced Beginner to Intermediate | Fee: $160

Silk Dye Painting Basics with Hellenne Vermillion
2-5pm, Wednesdays, 6 Sessions, May 26-July 7 (no class June 23)
Beginner to Intermediate | Fee: $155 (includes some materials)

Copperplate Calligraphy with Anne Elser
6-8:30pm, Wednesdays, 6 Sessions, June 2-July 7
Beginner to Intermediate | Fee: $140


Thursday, June 17:
Italic Calligraphy with Anne Elser
6-8:30pm, Thursdays, 6 Sessions, June 3-July 8
Beginner to Intermediate | Fee: $140


Friday, June 18:
No special art events today.

Saturday, June 19:
FREE Golden Artist Colors Lecture/Demo
Sat. June 19 | 10am-12pm or 1pm-3pm |
FULL
OPEN Acrylics: New Options For Oil & Acrylic Painters of The Traditional Painting

Sunday, June 20:
No special art events today.


Please note: Classes on this schedule are in our Atlanta store unless otherwise indicated. For more information please email or call Eli Pelizza at 404.237.6331 ext. 203.


Check out the full list of our upcoming art classes and art workshops! Sign up for 5 classes, workshops or demos and receive 25% OFF of your next sign up.


ART HAPPENINGS | THE LIMELIGHT GALLERY

After Hours | Showing until July 2
Artwork by: Angela White • Carol Violanda Haslach • Chris Van Beneden • Dawn Kinney Martin • Gillian Theunissen Horsley • Elizabeth McAllister • Karen Barron • Kathy Vashaw • Marion George • Martha Elena Diaz • Sam Alexander • Suzi Howard • Terry Hamrick



Visit BINDERS website!

Tuesday, June 8, 2010

Tips & Tricks #7: The Other Side Of The Pencil - Choosing The Right Eraser For The Job

Before we became artists we probably didn't give much thought to the lowly eraser. It was just a handy pink knob on the hind end of the pencil that was there to get us out of a jam when we screwed something up. But did you know that there's much more to the art of erasing than that? If you go to the eraser section of the pencil aisle at BINDERS, you'll see a greater variety of erasing devices than you may have ever realized existed, and each one has it's own function and area of expertise. Let's take a look at some of the most popular types and find out what they can be used for.

White Vinyl
One of the most ubiquitous erasers to be found in any artist's kit is the white vinyl eraser, such as the one made by Staedtler. As the name implies, this eraser is a small, rectangular block of white vinyl, which removes graphite and charcoal quite effectively. Of all the erasers, this one is probably the strongest, allowing you to eliminate unwanted marks almost completely and more quickly than with any of the others. Plus, because the vinyl is relatively stiff, you can be fairly precise with it.

The main thing to be aware of with a white vinyl eraser is that the graphite or charcoal will be picked up by the vinyl and held on the surface of the eraser, so the next time you put it down on a piece of paper, the previously erased material will be deposited there. That’s usually NOT what you're going to want on your artwork! So have a piece of scratch paper standing nearby that you can use to rub the layer of graphite of charcoal on after you have just erased something. With that in mind, the white vinyl eraser is the best all-around choice for an eraser and if you can only have one, this would be it!

Art Gum
The Art Gum eraser is made of a dry, crumbly type of rubber that will grab graphite or charcoal and then break apart into little bits, taking the graphite/charcoal particles with it. What this tends to result in is a big mess on your paper, so it helps to have a brush handy to dust off your drawing surface every now and then. The really great thing about an Art Gum eraser is that it's very light on the paper and it will do the least damage to the paper's surface. Maintaining the integrity of the paper surface will not be much of a consideration with graphite or charcoal drawings, but it can make a huge difference for watercolor painting and drafting.

When creating a preparatory sketch for a watercolor painting, you will want to use an Art Gum eraser to remove any unwanted pencil marks. Any other eraser will rough up the surface to a degree that washes will look grainy - not the effect you are probably going for! Likewise, with drafting vellum, the smooth surface is very sensitive and can easily be disturbed by a rough eraser, resulting in a lack of sharpness on the ink lines that will eventually be drawn over it.

Kneaded
The most unusual eraser type is the kneaded eraser, which starts out looking like a gray rectangle of rubbery clay. True to its name, the kneaded eraser can be worked with the hands to a soft consistency and then shaped like a piece of clay. This is by far the best eraser to use for charcoal, because the material grabs hold of the charcoal particles and then you can "knead" the eraser, compressing the charcoal into the eraser so firmly that it can't escape. This makes it superior to the white vinyl because you don't have to take the time to wipe off the charcoal on a separate piece of paper every time, so you can remain in the flow of your drawing and just knead the eraser every once in a while.

This works for graphite as well, though the kneaded eraser lacks the power of the white vinyl and won't be as effective at completely removing pencil marks. Another wonderful use for the kneaded eraser is that you can mold it to any shape that you need: points, curves, or whatever shape you may find useful. This is certainly a feature that makes the kneaded eraser totally different from any of the other and a whole lot of fun too!

Pink Pearl
The venerable "Pink Pearl" eraser is the one that will be most immediately familiar to everyone, since it is made from the same pink rubber that you'll find on top of that pencil you used in grade school. The best thing one can say about the Pink Pearl is that there's comfort in using something you already know everything about. It’s also reasonably effective on graphite, though it's more or less useless on charcoal or anything else.

On the other hand, it's probably the least effective of all the erasers and there are a number of things you should watch out for when using one. The Pink Pearl tends to act a bit like a combination of a white vinyl eraser and an Art Gum eraser, so when you erase with it you'll find that it sometimes picks up the graphite and holds it on the surface of the rubber, and sometimes bits of rubber will crumble off, carrying the graphite with them. So you'll need to use the same precautions that you would with both the white vinyl and the Art Gum: keep an eye on the eraser itself to make sure you don't smear graphite on the paper, plus make sure you brush off any crumbs that come off while erasing.

The rubber surface of the Pink Pearl is rough and will treat the paper harshly, so it's not a good choice for watercolor papers of drafting vellum. Another unfortunate side-effect is the tendency for the Pink Pearl to leave a streak of, well, pink in its wake. Make sure you go easy with it and take your time, the harder you rub the more likely you are to leave that pink trail behind that may not really work in your composition. Once it's on there, that pink color is almost impossible to get rid of! So grab a Pink Pearl if you need something you can relate to right away and if you're not too worried about special techniques.

Hopefully these explanations of the different types of erasers will get you to the next level in your drawing practice. Remember that sometimes the lines you remove are just as important as the ones you keep!

Visit BINDERS website!

Monday, June 7, 2010

This Week @ BINDERS - June 7-13

ART SALE | ART CLASSES & WORKSHOPS | ART HAPPENINGS

There's a new exhibition opening at the Limelight Gallery this week: "After Hours" features work by Angela White, Carol Violanda Haslach, Chris Van Beneden, Dawn Kinney Martin, Gillian Theunissen Horsley, Elizabeth McAllister, Karen Barron, Kathy Vashaw, Marion George, Martha Elena Diaz, Sam Alexander, Suzi Howard and Terry Hamrick. Lots of new classes are coming up this month! Check out the Art School at Binders web page to find out who's coming and what they'll be teaching.

ART CLASSES & WORKSHOPS

Monday, June 7:
Guided Open Studio with Kay Powell
10:30am-2pm, Every Monday | Beginner to Intermediate | Fee: $17/per session. Please pay the instructor. No registration necessary


Opening Wine Reception for After Hours Show in The Limelight Gallery
5-8pm, Live music provided by Eddie Varsalona. Showing until July 2

Tuesday, June 8:
4 Day Watercolor Class with Judy Greenberg
9:15am-12:15pm, Tuesdays, 4 sessions, June 8- 29, Intermediate | Fee: $ 220

Sign up now!

Painting-Design and Technique with Charles Y. Walls
1-4pm, Tuesdays, 6 Sessions, June 8-July 13, Open to all levels | Fee: $140
Sign up now!

Bookmaking with Anne Elser
6-8:30pm, Tuesdays, 6 sessions, June 1-July 6, Beginner to Advanced | Fee: $140

Painting-Design and Technique with Charles Y. Walls
6-8:30pm, Tuesdays, 6 Sessions, June 8-July 13, Open to all levels | Fee: $140
Sign up now!

Wednesday, June 9:

Impressionist Paintings From Photos with J.Z.Torre
1-4pm, Wednesdays, 6 Sessions, May 26-June 30
Advanced Beginner to Intermediate | Fee: $160

Silk Dye Painting Basics with Hellenne Vermillion
2-5pm, Wednesdays, 6 Sessions, May 26-July 7 (no class June 23)
Beginner to Intermediate | Fee: $155 (includes some materials)

Copperplate Calligraphy with Anne Elser
6-8:30pm, Wednesdays, 6 Sessions, June 2-July 7
Beginner to Intermediate | Fee: $140


Thursday, June 10:
ArtWrite: Putting Your Art in Words-Artist Statement & Bio with Judith Schonbak
10am-2pm | Thurs. June 10 | Fee: $100 | Sign up now!

Italic Calligraphy with Anne Elser
6-8:30pm, Thursdays, 6 Sessions, June 3-July 8
Beginner to Intermediate | Fee: $140


Friday, June 11:
No special art events today.

Saturday, June 12:
No special art events today.

Sunday, June 13:
No special art events today.


Please note: Classes on this schedule are in our Atlanta store unless otherwise indicated. For more information please email or call Eli Pelizza at 404.237.6331 ext. 203.


Check out the full list of our upcoming art classes and art workshops! Sign up for 5 classes, workshops or demos and receive 25% OFF of your next sign up.


ART HAPPENINGS | THE LIMELIGHT GALLERY

June 5 - July 2 | Opening Wine Reception: Monday June 7 from 5-8pm, Live music provided by Eddie Varsalona

Artwork by: Angela White • Carol Violanda Haslach • Chris Van Beneden • Dawn Kinney Martin • Gillian Theunissen Horsley • Elizabeth McAllister • Karen Barron • Kathy Vashaw • Marion George • Martha Elena Diaz • Sam Alexander • Suzi Howard • Terry Hamrick



Visit BINDERS website!

Friday, June 4, 2010

The Subject Of Art #6: Collage - The Origins Of A Modern Art Expression

The term collage, derived from the French word “coller” (to glue), is the technique of creating visual art by attaching various separate objects to a support to create a unified composition. The objects used in a collage can be essentially anything, from newspaper clippings to pieces of driftwood, or whatever else may suit the aesthetic purpose of the artist. In spite of the name, the objects can be attached to their support by any means necessary (although some kind of glue is still the most commonly used method).

Examples of this technique can be found in antiquity, particularly in the pasted paper works of China and Japan, and the gold-leafing and gluing of gemstones onto a painting that was typical in the medieval period in Europe could also be considered a form of collage. In the 19th century, scrapbooking enthusiasts used collage-like techniques to create fun and interesting memorabilia. However at that time the form never gained any real acceptance within the fine arts community.

With the advent of the Modern Art movement at the beginning of the 20th century, collage as we know it today came into being. As with so many other things in the genesis of Modern Art, the legitimization of collage as a means of expression is generally credited to Pablo Picasso and Georges Braques, the founders of the art movement known as Cubism. From about 1905 to 1917, these two painters developed an entirely new way of looking at art and simultaneously helped to shift the cultural perception of the meaning of it.

From a purely pictorial standpoint, the basic idea behind Cubism was to literally shatter the concept of the painted image as being untrue to the real experience of seeing the world, so the Cubist image is composed of a series of discrete glances, each one seeing just a fragment of the subject. It was this fragmented nature of the Cubist style that may have allowed the two artists to develop the idea of literally taking objects from the outside world and bring them directly into the painting.

Georges Braque is generally credited as being the first of the two to add collage elements into his artwork. He was the son of a faux finish painter and had been trained for that job himself, so he was familiar with many techniques for creating the illusion of different surfaces. While working on some charcoal drawings, most likely preparatory sketches for oil paintings, he was using a wooden table as part of his still-life setup. Rather than drawing the woodgrain surface, he decided to use a piece of faux oak wallpaper, which he glued onto the drawing where the table would appear. It’s possible that Braque was just doing this as a way to save time, rather than actually planning to use the wallpaper in his painting, but in any case, Picasso was the one who, upon seeing his friend’s drawing, realized the potential of this new means of expression.

Picasso’s first painting that included collage elements was his “Still Life With Chair Caning,” from 1912, which used another faux finish element, a piece of oilcloth with a chair caning pattern painted on it by an unknown craftsman. From that point forward, collage (as they began to call it) elements became a regular part of the aesthetic for both painters.

The collage fragments that entered into their paintings were put there for a very specific purpose: they had the effect of bringing the real world directly into the picture plane and the choice of objects was also usually very telling. Newspaper clips with text that described a story of the day were common, as well as other items that tied the paintings into the time and place where they were created. The idea behind Cubism was to create something new, something Modern, and the addition of collage served to build a context for the work that was a uniquely 20th century invention.

Braque continued to use collage throughout the rest of his career, although less so in later years. Picasso, as was his reputation, quickly left Cubism behind and moved on to explore new concepts, but his passion for using found objects continued in his sculptural work. However, the collage form itself was taken up and more thoroughly explored by others in the ensuing decades.

Collage was a foundational part of the Dada and Surrealist movements, who greatly appreciated the value of randomness and the potential for art to be found in ordinary things. The most interesting of these was Kurt Schwitters, who wandered the streets of pre- and post-World War II Berlin picking up the trash that people dropped carelessly. These seemingly waste items, ticket stubs, cigarette packages, etc., would become elements in paintings that were at once ethereal abstractions and firmly rooted in the grubby, urban reality of Germany at that time.

Today, collage is a completely accepted and regularly seen means of expression that is used by many, many artists. It still functions as it did from the beginning - to firmly root the art in its time and place.

What’s the most interesting element(s) that you’ve used in collage? Keep the conversation going!

And be sure to visit BINDERS website and get stocked on the supplies you need for your next collage masterpiece.

Wednesday, June 2, 2010

This Week @ BINDERS - June 1-6

ART SALE | ART CLASSES & WORKSHOPS | ART HAPPENINGS

June is chock full of great new classes at The Art School at BINDERS! There will be plenty of opportunities to learn this summer, so call us, stop by the store or sign up online today!

A 4-day Watercolor Class with Judy Greenberg begins June 8 and continues each Tuesday 9:15am-12:15pm through June 29.

Two totally new experiences for BINDERS are Artwrite: Putting Your Art in Words and
Contemporary Gold Leaf. The former is taught by Judith Schonbak on June 10 from 10am to 2pm. It's a workshop dedicated to developing strategies to write an effective artist statement and bio. The latter is with Shannon Forester and runs Mondays June 14 through July 19 from 6-8 pm.

Last but not least, Barry Sholder will be back on June 26-27, from 11 am to 4 pm, for the Beginning Adult Watercolor Workshop.


ART CLASSES & WORKSHOPS

Monday, May 31:
Happy Memorial Day! No special art events today.


Tuesday, June 1:
No special art events today.

Wednesday, June 2:
Impressionist Paintings From Photos with J.Z.Torre
1-4pm, Wednesdays, 6 Sessions, May 26-June 30
Advanced Beginner to Intermediate
Fee: $160 | Min. 6/ Max. 12

Silk Dye Painting Basics with Hellenne Vermillion
2-5pm, Wednesdays, 6 Sessions, May 26-July 7 (no class June 23)
Beginner to Intermediate | Fee: $155 (includes some materials)
Min.3/ Max. 10

Copperplate Calligraphy with Anne Elser
6-8:30pm, Wednesdays, 6 Sessions, June 2-July 7
Beginner to Intermediate | Fee: $140 | Min. 4/ Max. 15


Thursday, June 3:
Italic Calligraphy with Anne Elser
6-8:30pm, Thursdays, 6 Sessions, June 3-July 8
Beginner to Intermediate | Fee: $140 | Min. 4/ Max. 15

Sign up today!

Friday, June 4:
No special art events today.

Saturday, June 5:
New Limelight Gallery Exhibit Opens — After Hours
  • Artwork by: Angela White, Carol Violanda Haslach, Chris Van Beneden, Dawn Kinney Martin, Gillian Theunissen Horsley, Elizabeth McAllister, Karen Barron, Kathy Vashaw, Marion George, Martha Elena Diaz, Sam Alexander, Suzi Howard, Terry Hamrick
  • Showing June 5 - July 2
  • Opening Wine Reception: Monday June 7 from 5-8pm, Live music provided by Eddie Varsalona
Sunday, June 6:
No special art events today.


Please note: Classes on this schedule are in our Atlanta store unless otherwise indicated. For more information please email or call Eli Pelizza at 404.237.6331 ext. 203.


Check out the full list of our upcoming art classes and art workshops! Sign up for 5 classes, workshops or demos and receive 25% OFF of your next sign up.


ART HAPPENINGS | THE LIMELIGHT GALLERY

June 5 - July 2 | Opening Wine Reception: Monday June 7 from 5-8pm, Live music provided by Eddie Varsalona

Artwork by: Angela White • Carol Violanda Haslach • Chris Van Beneden • Dawn Kinney Martin • Gillian Theunissen Horsley • Elizabeth McAllister • Karen Barron • Kathy Vashaw • Marion George • Martha Elena Diaz • Sam Alexander • Suzi Howard • Terry Hamrick



Visit BINDERS website!