Remembering Howard Behrens 2003 Show in Chapel Hill

Howard Behrens (1936-2014) and his wife Judi came to Turning Point Gallery in 2003 for a show when the gallery was one of the first Masters of Light galleries in the US featuring Howard Behrens, Simon Bull and Thomas Kinkade.

“Using the palette knife, Howard Behrens captured not only the softness of clouds, but also the boldness of mountains, the vibrancy of flowers, and the strength of water. Behrens moved the palette knife furiously as he applied deep, rich color in many layers to achieve dimension and mood. Behrens' skill with this instrument earned him recognition as America's leading palette knife artist. Behrens was also a classicist in his approach to composition so that there was plenty of room for the eye to rest and the imagination to wander, touring distant horizons around the world taking in crystal coves, wispy palms, pink villas, and stunning overlooks in the artist's paintings of these exotic places.”



 After visiting Giverny, France, he had created a "Tribute to Monet" series that was exhibited at the Embassy of France in Washington, D. C. As an official artist for the 2002 Winter Olympics, Behrens' painting, "In Motion," was featured at the games. The artist's works are in the permanent collections of many museums.  To celebrate romance with Behrens, a poet sculpting paint on canvases that are alive with color, is to join him on a romance with the sun that will never end.
 Early on a Sunday morning, I called Howard at his hotel and picked him up to visit Duke Gardens. The objective was to get there early enough for a full range of morning sun. He had his camera and at least 10 rolls of film. I asked him how he could paint the various aspects of the sun and he told me that he had to experience it, capture it on film and then try as best he cold to replicate it. He didn’t want to create something that nature couldn’t produce with sunlight. I quickly learned that that meant crawling through bushes and waiting 10 minutes to capture a spectacular “moment” in time as the sun colored leaves a certain way. He had the camera going with rapid shots and showed me how to find unusual locations and positions to see Duke Gardens in a “whole new light”. He then painted scenes from that day in a Duke Garden series of eight originals reminiscent of his visit to Giverny France. "I'm an expressionist. I like to use color and dramatic, long areas of light and dark. Sunlight makes things more intense than they are. …………………….. It's no accident that nearly all my paintings in the last twenty years are studies in sunlight, the interplay between sunlight and shadow. We all go through dark times, divorce, bad business deals, or health problems. But life is so good. We are so blessed, so fortunate in this country. I guess I'm just an optimist."

 Considered the master of the palette knife technique, Behrens perfected the use of this flat triangular metal tool that has more in common with a putty knife than a paintbrush. An instrument that is rather unyielding and inflexible, particularly when compared to the soft flexibility of brushes, the palette knife gave Behrens the artistic freedom he was looking for. "With brushes, I couldn't get enough paint down fast enough. Palette knife painting forces me to be free, spontaneous, and allows me to work fast. I don't lose the creative energy that inspired me in the first place," Behrens says. "When I started painting with the knife, I no longer belabored painstaking details."

The Ancient Art of Chinese Paper Sculpture

Chinese Paper Sculpture is a unique art form that has existed for thousands of years featuring both national and regional themes. Its origin is closely connected with the invention of paper during the Han dynasty (206 BC - 221 AD.) As paper was highly precious in the early days, the art of paper cutting first became popular in the royal palaces and houses of nobility as a favorite pastime among court ladies. Later, during the 7th through 13th centuries, paper cutting was immensely popular during folk festivals and celebrations. By the 14th century, the art had spread to the Middle East and Europe; and by the 15th century onward, cut paper art works had become an integral part of the everyday life of the people. It is said that entrances decorated with paper cut outs bring good luck.

In the rural countryside in mainland China, paper cutting is a traditionally female activity. In the past, every girl was expected to master it and brides were often judged by their skill. Professional papercutting artists are, on the other hand, usually male and have guaranteed incomes and work together in workshops.

There are two tools used for Chinese paper cutting: scissors and knives. Different artists use one or the other or both depending on their preferences and the piece they are working on.

The art of paper cutting has been on the verge of dying out during the past century as old China experienced successive years of the disaster of war brought on by domestic turmoil and foreign invasion. Amidst a myriad of changes in their lives, most people had no leisure time to engage in the study of the art of paper cutting. Today Chinese artisans are trying to revive the ancient art form and share it with the rest of the world.

Chinese Paper Sculpture interest continues to grow

Turning Point Gallery continues to support the local United States Equine Rescue League as the problem of neglected horses continues to grow and costs of care go up.

To help to financially support the volunteers, we are selling Chinese Paper Sculptures which are sealed in a shadow box type frame.

Give the Gift of Art

Turning Point Gallery has great gift ideas for any occasion! Our Gift Solutions pages show in stock items ready to be picked up or shipped for any price range. We also have gift certificates available in any amount. Call us at 919-967-0402 or email us at turningpointgallery@harmonyfineart.com with any questions or to make a purchase.

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Hand Colored Etchings by Simon Bull

Trained in the art of printmaking, Simon Bull has gone on to discover new and exciting ways of expressing his personal artistic vision through this powerful medium. The etchings, which were his signature works in the UK, were developed over a period of years and combine his love of watercolor, traditional etching and aquatint techniques. Together with a joyous expression of form, he fuses all of these elements into a celebration of color and life.

In 1997 Simon was awarded the accolade of the UK best-selling artist award shortlist, despite competing with a hand made editions program against mass produced editions. Again in the year 2000 he was short listed for the awards, this time in two categories: Best selling published artist overall and best selling original print artist. He won outright the Artist's Print Award for being the best selling artist in the UK of original hand finished prints.

Below is a quick description of the painstaking process involved in producing each hand colored etching.

First, Simon created the original copper plates by painting his designs in acid resistant varnish and then immersing them in acid several times to produce a ink holding texture. This plate is cleaned and reused for each print in the edition.

To produce and etching from the original plate, an even layer of ink is applied with a roller. The plate is polished with a course cloth, known as a scrim. The scrim removes the ink from the surface only, leaving some of the ink trapped in the etched areas.

The plate is then placed on the press and damp paper is laid on top. The plate and paper are pulled through the press, with the pressure of the press forcing the paper into the textured areas, thus transferring the ink.

The resulting black and white print is then hand colored with water based, transparent layers of colored ink. As soon as the inks are dry the gold sizing is brushed on and gold foil is laid in its place.

Next Simon adds pastel to the darker areas to enhance the jewel like feel. The pastel introduces a layer of opaque color to complement the transparent layers of ink. The piece is finally completed after Simon adds his signature and the edition number in pencil below the image.

Turning Point Gallery is going to be offering a variety of Simon's hand colored etchings for our November 2009 Simon Bull show. These etchings have increased in value ten fold since he last produced one in 2001. Come by the gallery to see these vivid works of art as well as a special order catalog of other available etchings!

Raku Pottery Process (by Joyce Furney of The Clay Cellar)

Joyce Furney, working at The Clay Cellar in Kansas, makes spectacular metallic luster raku pottery that is incredible in its color and form. Turning Point Gallery has proudly carried her work for years and is very excited to be featuring over 100 of her pieces in October. The show will be opening October 9, 2009 at the 2ndFriday Artwalk from 6-9pm and will be up through November 9. We've provided Joyce's description of the Raku process below so those interested can have a better understanding of the uniqueness of her work!

The Art of Raku is attributed to Zen Buddhist Monks of 16th Century Japan and was favored for the tea bowls of the great tea masters. In that culture and time Raku was much more than a method of making and firing pottery, it was a philosophy. The Japanese symbol for Raku can be translated as "enjoyment of freedom." However, as is often the case with adapting the philosophies of other cultures, we in the west have distilled Raku to a technical process. Raku is now generally accepted to mean a method of rapid firing and cooling of ceramic ware, and names the finished product.

Raku is the firing method used at The CLAY CELLAR. The process as we employ it involves the following: forms are either wheel- thrown or hand built, using a white raku clay body formulated to withstand great thermal shock. Metallic stains and engobes (colored clays) are often brushed on the greenware forms for decoration. When trimmed and dried, the vessels are bisque fired to cone 04. The forms are then glazed with either crackle white glaze or a variety of metallic luster glazes. When thoroughly dry the forms are gas-fired to 1660-1800 degrees.

Once glaze-mature temperature is reached, the kiln is shut off and opened. The forms are removed with raku tongs and placed in a reduction sand pit lined with paper. The hot form ignites the combustibles, and a lid is lowered over the ware, smothering the fire and starving it of oxygen. The forms remain in this smoky environment for 5 to 20 minutes. Three important reactions occur: First, the glazes are reduced. Since a fire needs a sufficient amount of oxygen to burn properly, the oxygen molecules contained in the clay and glazes are being removed from the glaze mix, thus reducing the glaze.

This produces the rich metallic luster colors ranging from oxidized copper greens through reduced copper blues, purples, plums, reds, and copper penny which are the hallmark of metallic luster raku glazes. Secondly, carbon from the smoke is being trapped in the white clay body, turning it gray to black wherever the glaze cracked or the body was left unglazed.

This reaction creates the traditional Raku crackle effect. The third important reaction is the additional cooling of the form. This helps prevent massive thermal shock cracks from occurring when the form is removed from the reduction barrel and quenched in water. The quenching is more important with metallic luster glazes than crackle white, because the water freezes the color and prevents re-oxidation from occurring. The form is then thoroughly washed, exposing the rich colors that lie beneath the carbon black. The Raku experience is serendipitous and more often than not yields spectacularly brilliant results.

There are three very important WARNING DISCLAIMERS we want to state very plainly. Due to the glaze chemistry and low firing process used:
1. RAKU IS NOT FOOD SAFE!
2. RAKU IS NOT WATER TIGHT!
3. RAKU IS FRAGILE!
The metallic luster glazes we use contain carbonates, oxides, and nitrates that will leach out if in contact with food acids. Therefore NEVER USE A RAKU METALIC LUSTER VESSEL WITH FOOD. Consider them as vessels for visual pleasure and enjoy them in the love with which we make them. It should also be stated that even though their form may imply a function, that function is limited by the fragile nature of the non-vitrified clay body. Specifically in the case of vases, if used as a fresh cut flower vase, water would eventually leach through the porous clay and leave a stain on a wood table. Therefore if used with water use a plastic liner or place the vase on a glass plate to protect your furniture.

Raku should always be handled with care as it does not have the strength of stoneware. Whenever possible, use both hands to pick it up and never pick a piece up by its lip. Raku may be cleaned with a mild soap and water or lightly buffed with very fine (0000) steel wool.

We hope you're intrigued! Raku is unique, affordable, and appreciated by nearly everyone. Great for spicing up a room or giving as a gift! With over 100 of Joyce's pieces (not all shown on the website) there is surely something for everyone!

Number One in the Edition of Four Simon Bull Giclees!

Those of you familiar with art reproductions know how important the numbering system can be. Low numbers in small editions are the most valuable in a series. Simon Bull's highly collected worldwide work is no exception. That's why we at Turning Point Gallery were thrilled when we received not one, but FOUR of Simon's newest pieces that were number one in their editions!

Often artists will keep the number one piece or arrange for it to go to a special client. So now we are offering you the chance to be that special client and own a number one piece of internationally known artist Simon Bull! (Wikipedia- Simon Bull) Call 919.967.0402, come by, or email us today to make sure you don't miss out!