Art Notes by Elizabeth Howard

the-memories-within — *The Memories Within*, acrylic and graphite on paper on canvas, 46 x 36,” 2014

Charlottesville’s Les Yeux du Monde Gallery is presently exhibiting a solo show by mixed media painter and landscapist Anne Slaughter, profiled earlier in Streetlight. Slaughter is known for her layered sculptures and earthy, semi abstract landscapes, works that show the effects of weather and time’s relentless passage. Her present show, Connections, is dedicated to figures, although faceless, for the first time. Slaughter’s show will run until November 16th. Visit https://www.lydm.co/ to read more.

the-friendship — *Amicizia (Friendship)*, acrylic on paper mounted on canvas, 50×40″ 2014.

The McGuffey Arts Center’s Sarah B. Smith Gallery is now showing samples of the Charlottesville area’s quality pottery, fiber art, furniture, jewelry, glass, leather and woodwork. The comprehensive and eclectic show previews The Artisans Studio Tour, this year’s Tour to include 40 artisans — potters to silversmiths — who will open 22 studios in the surrounding region. The 20th Anniversary Show will be held from 10 a.m. to 5 p.m. November 8th and 9th. For further information, check facebook.com/artisans.studio.tour.

photos from https://www.artisanstudiotour.com/

McGuffey’s lower South Hall Gallery features the work of Lindsey Oberg, a mixed media encaustic printer. Oberg describes her technique as combining old and personal objects to give them, the artist and viewer second chances or alternative experiences. In Oberg’s imaginative process, the newly combined pieces are “transformed and revitalized.”

webAmadeus — *Amadeu*s, encaustic wax, copper, cicadas wings, fabric, collage. oil 12×12,” 2014

Moody Blooms and Swinging Moods, ink on paper works by Kathy Plunket Versluys are exhibited in the lower North Hall Gallery. “My method,” says Plunket Versluys, “is to keep the process as simple as possible. I have a ‘plate’ (just a piece of plexiglas from the hardware store) on which I smear oil-based ink. Next step is to push the ink around until I begin to see a picture. Then I work hard to pull it up out of the inky mess. Finally, when I think I have it, I dampen my Stonehenge paper, blot out the water, place the paper on the inked plate, and crank it through my etching press, ( a 500-pound Takach etching press bought from a neighbor a decade ago.)”