Longview Farm House Art Gallery Solo Show Photos!

in

My Longview Farm House Art Gallery solo show in Town and Country, MO (a St. Louis suburb), is still up through November 17th! It is viewable during gallery hours, which are weekdays from 9am-4pm, and the address is 13525 Clayton Road, Town & Country, MO 63141. For those of you who can’t visit in person, here are some photos!

I also took a few photos while checking out the Gateway Arch (both from outside as well as from the inside at the top through the small windows) and the Missouri Botanical Garden with my good friend Susan Nelson!

Whiterock Art Show Photos!

in ,

Here are some photos from my three-person show Whiterock Art at the Betty Strong Encounter Center in Sioux City, IA! You can still check out this exhibition in person through November 13, 2022. I have 37 works on display, including 20 chromatograms, 15 site-specific ceramics, and 2 painted bas reliefs on panel using the polymer clay I helped create (QuickCure Clay).

As you can see, I arranged dried botanicals harvested from Whiterock Conservancy in four of my 41.816, -94.646 ceramic vessels to show this ceramic collection’s utility and connection to the landscape. My friend, former colleague, and master ceramist Susan Nelson inspired me to do this, as she often shows and photographs her ceramic work with ikebana, or the art of Japanese flower arrangements. I also placed a representative sampling of the small rocks, twigs, and other debris I cleaned out of the clay in a fifth display inside one of the smallest dishes.

At the reception for the show, I sold four of the 41.816, -94.646 ceramic pieces! I was pretty pleased with that, particularly because my price point for pieces in this collection was significantly higher than that of my stoneware work, given all the additional labor that went into this site-specific series. One of the buyers selected a piece holding dried botanicals, and another picked the vessel containing the rocks, twigs, and debris cleaned out of the clay body; both shared with me that they plan to keep those displays intact. That intent surprised me, but I’m happy that my decorative touches felt so appropriate that they’ll continue on beyond the exhibition!

My 41.816, -94.646 Ceramics

in

In my three-person show Whiterock Art at the Betty Strong Center here in Sioux City, IA, I have 37 pieces on display! There are 2 painted reliefs, 20 8x8” chromatograms, and 15 handmade ceramics. I’ll post photos from the show and reception shortly, but right now I want to focus on those 15 ceramic pieces in detail.

My Whiterock Conservancy ceramic body of work is special in that it is 100% site-specific in every component. I dug my own clay out of the Middle Raccoon river beach cliff, cleansed it of rocks, roots, and other debris, and then I did not amend it (often potters mix additives into their harvested clay to improve elasticity or other desirable characteristics, but I thought that would weaken this collection’s conceptual power). Below are images documenting my clay collection!

I handbuilt 15 different vessels, and as I was doing so, I thought about if I should glaze them at all, and if so, would transparent glaze from non-local sources taint the project…? I shared this quandary with friends, including my wonderful former colleague and master ceramist Susan Nelson.

After a couple of weeks mulling it over, Susan arrived at a different solution: ash glazing. I learned from her that ash can be used as a glaze, often in combination with clay to lower its melting point and smooth out the finish. I reached out to Whiterock Conservancy co-founder Liz Garst to see if I could collect some of the ash they generate, and she was kind enough to collect me a gallon bag of ash from a slash pile burn primarily composed of invasive honeysuckle bushes.

I inter-library-loaned a book on natural and ash glazes and conducted a variety of tests to determine the best ash glaze mixtures, application methods, and firing temperatures - but I also had deadlines to meet that meant I couldn’t dally too long in the experimentation phase. I eventually settled on using three ash glaze mixtures that used different proportions of clay to ash mixed with water and put 6 pieces in a Cone 8 electric kiln firing and 9 pieces in a Cone 9 gas kiln firing. Below (respectively from left to right) is a still wet raw ware handbuilt bowl, bisque-fired pieces, my work study students and I experimenting with ash glaze recipes in the ceramics studio, and ash-glazed bisque ware awaiting its glaze firing.

Below are are the finished pieces in the 41.816, -94.646 collection. Those title numbers are the latitude and longitude of the artworks’ origin, and if you input them into a map application you’ll see a pin drop on Whiterock Conservancy near the river beach! I love that these ceramics are made of the land itself, and are glazed with the conservation efforts of people today trying to restore what we’ve lost in ecosystem health and diversity. The colors, texture, and variation resonate in this body of work, and I look forward to comparing these pieces with future geographic coordinate collections, as I plan to create site-specific ceramics from other localities as well.

Upcoming: Longview Farm House Art Gallery Solo Show

I’m excited to share I have yet another solo show coming up very soon! Later this week, I will drive down to the St. Louis suburbs to install at Longview Farm House Art Gallery in Town & Country, MO. This show will run from October 6 - November 17, 2022. It will be viewable during gallery hours, which are weekdays from 9am-4pm.

The opening reception will be held at Longview Farm House Art Gallery on Thursday, October 6th from 4:30-7:30pm. The address is 13525 Clayton Road, Town & Country, MO 63141.

After I return, I’ll share some photos with you!

Upcoming: Whiterock Art at the Betty Strong Center!

in ,

You may remember I attended an artist residency at Whiterock Conservancy outside of Coon Rapids, IA, in summer 2021. My good friend and colleague Terri McGaffin had already completed a residency there that spring 2021, and turned me on to the opportunity. Another Sioux City artist, Pauline Sensenig, then followed suit this summer 2022.

All of us will be exhibiting our work in a three-person show called Whiterock Art at the Betty Strong Encounter Center in the Lewis & Clark Interpretive Center in Sioux City, IA, from October 2 - November 13, 2022. The reception will be on Sunday, October 2nd at 2pm, and I hope you can join us - there will be a reception and presentation by Whiterock’s own Liz Garst, co-founder and Board of Directors member of Whiterock Conservancy.

I designed our show logo, postcard, and poster (viewable at the exhibition) - below you can take a look at the digital postcard.

Show postcard back design

My Lauritzen Gardens Show!

in

If you haven’t checked my solo show at Lauritzen Gardens (Omaha’s Botanical Center) out yet, you have a bit more than a week left to do so as it closes at the end of the business day on September 24th! If you plan to check it out, make sure to pick up an image list from the entry kiosk to reference while looking at the artwork as well as a rack card - both for my own artwork on the face, as well as the show info and future exhibition information on the back.

Here are some photos of the installation for those of you who aren’t able to see it in person!

Color-Blindness-Alleviating Glasses!

in

Late last spring, I budgeted for and acquired two types of color-blindness-alleviating glasses for my design class in specific and the Morningside art department in general. Today was my introduction of our first color theory project in that class, so I brought the glasses out and said that if any students were having trouble either grasping the assignment or seeing colors change, they should try the glasses out to see if they could make a difference.

One of my students told me that he was not seeing the colors change in the project examples, but he was sure he wasn't color blind. I shared that there's a spectrum so it doesn't have to be all-or-nothing color blindness, and he could just test out if the glasses would help or not. He tried the deutan pair on and saw no difference. Next he tried on the protan pair and was surprised as he immediately registered color changes. I sent him outside just to check the world out and he came back after a few minutes and said he had no idea how much red was in our bricks or that there were maroon/brown moments mixed in the grass. Then he rocked the glasses for the rest of the class period while working on the color theory exercises.

You guys. I knew the glasses would help some students eventually, but on their debut they are already making a difference to a student for this project and more meaningfully for his general understanding of and experience with the world around him. I am so happy.

If you’re curious, the company I bought them from is EnChroma, and by coincidence it also happens to be International Color Blindness Awareness Month, so I’m both doing my part by raising awareness but also if you wanted some yourself, EnChroma is currently celebrating with 20% off.

And Now, the Morningside University News!

in , ,
A screenshot of the beginning of the Morningside University News article about my LSU Vet Med residency.

The Morningside University News just got in on all the excitement - “Associate professor of art Shelby Prindaville uses skills towards historical process” was published on August 26th! The image on the right is a screenshot of the introduction, but check out the whole article in the link above or take a look at this PDF.

Country Roads Magazine Feature!

in , ,
A screenshot of the beginning of the write-up.

Country Roads Magazine just published a fabulous article on my LSU Vet Med artist residency in both their digital and September print edition! On the left, you can see a screenshot of the beginning of the write-up to whet your appetite.

You can read the digital piece here, see a full PDF, or pick up a physical copy if you’re in the Louisiana/Mississippi distribution zone!

Lauritzen Gardens Solo Show

in

Just a reminder that I will be installing my solo show at Lauritzen Gardens (Omaha’s botanical center) today, and you can see the show in person from August 17-September 24, 2022! I’ll publish some photos from my installation and of the exhibition itself in a subsequent post for those of you unable to visit in person.

Screenshot of Shelby Prindaville's exhibition listing on Lauritzen's website

Sioux City Journal Feature!

in ,
A screenshot of the beginning of the SCJ feature

I’ve been getting some nice Louisiana press for my summer LSU Vet Med artist residency, and now there’s great local coverage as well - with more in the works! Here’s the Sioux City Journal digital article “Morningside professor participates in first-ever artist residency at LSU vet school” by reporter Dolly Butz, and here’s a PDF of the print version!

Louisiana PBS Televised Feature!

in ,
Some documentation of the interviews for my LPB PBS feature.

Louisiana Public Broadcasting Service’s The State We’re In did a televised feature on my artist residency and exhibition at the LSU School of Veterinary Medicine - you can watch it here!

From their own website: “Louisiana: The State We’re In, Louisiana's only statewide news magazine, is in its 45th season on the air. The program airs Fridays at 7PM and Sundays at 4:30PM on the six-station LPB network that includes stations in Alexandria, Baton Rouge, Lafayette, Lake Charles, Monroe, and Shreveport. It also streams at lpb.org/livetv and airs on LPB’s sister station WLAE-TV32 in New Orleans on Fridays at 7PM and on WYES-TV, the PBS station for New Orleans and the Gulf Coast, at 7:30PM.

This award-winning show combines in-depth coverage about the important issues in the state along with expert analysis. […] It is one of the longest-running television programs in the nation.”

My LSU Vet Med Exhibition and Opening Reception!

in , ,

Here are photos from my solo exhibition and opening reception at the LSU School of Veterinary Medicine, co-sponsored by the LSU School of Art! The reception was amazing; over 80 people attended and they were all very engaged throughout the evening. We began with a welcome speech delivered by LSU School of Veterinary Medicine Dean Oliver Garden, followed by speeches from LSU College of Art + Design Dean Alkis Tsolakis and LSU School of Art Director Rod Parker, and then my artist lecture!

By the end of the evening, 6 of the 8 paintings/relief/sculpture were sold (only Hosts and Singularity remain available), and 3 of the 13 ceramics were purchased in addition to countless prints and greeting cards. Through the course of the rest of the exhibition, 3 more ceramics sold along with additional prints and greeting cards. I was a little surprised at how popular the mosquito reproductions were as they sold out quite quickly, but I’ve since learned there’s a well-known joke that mosquitoes are the state bird of Louisiana!

In the slideshow, you’ll see that in addition to the artwork walls and reproduction sales table, I also had a display table of some of the veterinary materials - medicines, chemicals, stains, tools, bones - I used in each of the pieces of artwork!

LSU Vet Med Artist Residency Artwork 20 Process

in ,

Here are a couple of photos of the in-progress Vulture Sculpture! In the first image, you can see how I built an internal armature out of pink styrofoam insulation, wire, and disposable chopsticks. Armatures are really helpful for a few reasons: A) they provide structure and support to bolster strength and keep the clay from sagging, B) they weigh a lot less than clay which makes the piece-in-progress lighter so it puts less stress on weight-bearing areas while wet/uncured C) if you leave the armature inside - like you can do with QuickCure Clay - the finished piece is lighter than if it were solid clay which is typically desirable, and finally D) the armature materials usually cost less than using an equivalent amount of clay.

Then in the second image, it’s midway along; I’m still sculpting the QCC (note the head and wings are unfinished) but it’s taking real shape and I’ve already incorporated the artificial turf, though I have yet to “mold” it with the heat gun. Finally, there’s the finished piece in a similar orientation for comparison!

LSU Vet Med Artist Residency Artwork 20

in ,

This is the final piece of artwork I completed on-site at LSU Vet Med during my two-month summer 2022 residency! I think finishing 20 exhibitable pieces including mixed media paintings, a relief, ceramics, and a sculpture in 7 weeks is a remarkable feat, so I am very happy with my productivity.

I worked right up until the day of the exhibition opening on this piece, but I managed to get it “finished” in time - I put that in quotes as I still needed to briefly borrow it back from the exhibition midway through to put a protective varnish on top!

I had wanted to do a sculpture this whole time because A) I’ve always liked putting on exhibitions that have multiple disciplines and media on display to more deeply engage a broad viewership, B) I wanted to really highlight QuickCure Clay, as I’d helped create it with Dr. John Pojman at LSU a decade ago and it felt right to use it in at least a couple of pieces this summer, and C) I had been given a couple pieces of artificial turf from the wildlife hospital that I wanted to incorporate into artwork in some way, and relatively early on I had a lightbulb moment wherein I thought the astroturf had vulture neck-feather vibes! It worked very well, in that a lot of people couldn’t figure out where the artificial turf was used and at least one viewer told me she thought I thought the gravel I used as an installation aid was astroturf. Another viewer asked me if this was a taxidermied piece, which made me feel really good about the likeness!

I titled this piece Vulture Sculpture mostly because I didn’t have time to think about titling it when I had to make the show labels (I didn’t even think it was likely to get finished for it!), but I also do like the rhyme and the clear identification of the species of the bird. I sold this sculpture that same evening to the fabulous Dr. Mark Mitchell from Wildlife and ZooMed and his partner Dr. Lorrie Hale Mitchell from Integrative Medicine! They very kindly were willing to let me take it on exhibit first (as I’m doing with the rest of the sold paintings), but I made some delicate choices with this piece - the claws, the beak tip - that meant I thought it best to let them just take it after my LSU Vet Med solo show came down instead of potentially injuring the piece in shipping.

This is Vulture Sculpture, a mixed media sculpture of a black vulture including QuickCure Clay and ZooMed’s artificial turf, 13.5" x 7.5" x 20.5", 2022.

LSU Vet Med Artist Residency Artwork 8-19 Process

in ,

Here are a few of photos of the in-progress work for Skeletal Ceramics. The first image has some of the bones used in their respective vessels, followed by two more images of the raw ware or green ware. I didn’t take photos while glazing because I was doing it outdoors in 98*F weather so I was sweaty and covered with glaze - as well as acutely aware that I probably needed more glazing time than the shop would be open for!

LSU Vet Med Artist Residency Artwork 8-19

in ,

This is Skeletal Ceramics, assorted handmade stoneware vessels imprinted with or formed around various canine, equine, and swine bones from the anatomy lab, 2022.

Shelby Prindaville's Skeletal Ceramics collection

I made this body of ceramics start-to-finish on site at the LSU School of Veterinary Medicine and with purchased supplies and firing assistance from Southern Pottery Equipment. The canine, equine, and swine bones used include skulls, jawbones, various vertebrae, scapula, femurs, and sacra. The glazes used were an Amaco Shino Cacao Matte Cone 5-6 Glaze (SH-32), a Spectrum Satin White Hi-Fire Cone 5 Glaze (1121), and a Spectrum Satin Mottle Hi-Fire Cone 5 Glaze (1122). I applied the Cacao Matte to all the textured/impressed areas and then sponged off the outer surfaces, then put on a generous two coats of the Satin White, and then painted a little of the Satin Mottle on kind of haphazardly and then more carefully at the lips. I fired to Cone 6. I was really happy with how this combination performed, as they do look like bone themselves! Seven of these pieces sold during the exhibition to three different buyers.

The anatomy lab allowed me to take the bones I’ve been using back with me so that I can continue to develop this collection, so stay tuned for more.