bwuphoto.com

May 12, 2022

Award-winning landscape and fine-art photographer Anthony Lamb talks to Peter Dench about his creative and engaging minimalist approach to landscapes

---

Modern life can be frighteningly fast-paced and overwhelming. In a world of chaos and clutter, where everything is available at the click of a mouse, to understand what is essential and keeping it to a minimum can seem impossible. Throughout his career, landscape photographer Anthony Lamb has determinedly incorporated a stripped-back minimalist approach to his craft. ‘The world is only chaotic because of the way we choose to see it,’ he explains. ‘We see the world in such a large panoramic that sometimes it’s difficult for people to see the world in a more simplistic way. Simplifying what’s out there can be easier than you think; minimalism can be uncovered all around us.’

Lamb partly attributes his interest in the landscape to his childhood. While many families would head off on sun-guaranteed package holidays to Spain or the south of France, his travel-loving parents had a more bespoke approach to family trips – taking a hike in Scotland, exploring the Lake District and Jurassic Coast, an eye-opening trip to Tunisia, Africa, and contrasting trip to Chamonix, France, in the shadow of Mont Blanc which Lamb eventually climbed as an adult.

‘These places were heavily inspiring because of their beauty and the changeable weather,’ he says. ‘A lot of the time when we were hiking, it was raining, and that transpires into my work to this day. I tend to shoot in difficult and challenging conditions – storms, sleet, snow, and even dust storms. I find that much more appealing than heading out on a pleasant, calm blue sky day. For me, that isn’t experiencing all that nature can offer. My wish is to provide people with the emotional connection of what I see through different times of flux.’

Minimalist education

Lamb partly attributes his interest in minimalism to his schooling. ‘It comes from a deep root in my educational background,’ he reveals, ‘when I studied art and design at college in Stockport, Manchester, then furniture and product design at university in Nottingham. I gravitated towards linear designs, and I was always interested in a simplistic design approach, similar to that of the Bauhaus movement, classic examples of less is more.

Much of my early work was black & white, using a high-key and low-key aesthetic to produce simplistic monotone images that capture a brief moment in time. This further inspired me to follow a minimalist route in my photography.’

Born in 1976, it wasn’t until he turned 27 that Lamb, self-taught, started to take his photography seriously; abandoning a career in sales, and turning professional around four years ago. Based in the United Arab Emirates, where he’s lived since 2011 with his wife and two young daughters, the desert was
an inevitable lure for the minimal man.

‘When you first visit the UAE and exit the plane, you’re bombarded by awe-inspiring, but overwhelming skyscrapers,’ he explains. ‘It’s chaotic, but when you head out of the big city lights you can capture a new perspective of the skyline – the overwhelming buildings now appear very small with a big expanse of sky above. So if you’re looking for minimalism, it’s still possible to find it.’

Lamb’s pictures of the desert are ethereal and calm, the composition exquisite. Carefully placed objects hint at a more hostile environment, a sandblasted tree or decaying oil drum. ‘When I’m in the field, I’m not thinking like a minimalist – looking for a single post or detail. Instead, I do a lot of research, find specific elements within the landscape that are appealing and when I arrive on location, I’ll shoot that particular subject. I’ll then look behind me, to the left and to the right.

I’m not just visiting that location for one shot, I’m always looking for other opportunities. I’m visually sorting through what’s in front of me, I’m really looking and arguably seeing more. Minimalism makes you consider every aspect of the photograph. Everything present is more susceptible to being judged, so it’s paramount to get things as close to perfect as possible in camera.’

Negative thinking

The negative space in Lamb’s images is crucial to his aesthetic. ‘It’s optional when you’re shooting to consider utilising negative space, but don’t just select a blue sky as your negative space; contemplate the inclusion of cloudy or moody skies. This usage of space mustn’t be too simplistic, it needs to hold some weight and texture. Water can also be used as negative space, particularly when using long-exposure photography.

If you take a choppy sea that hasn’t been smoothed by using a long exposure, there’s a different emotion when you see it visually. It may make you feel more unsettled. Conversely, if you visualise a lake in the morning stillness, you offer a more peaceful emotion. Negative space is part of my minimalist photography approach and is why I continue to use it in the field. It’s also in line with my preferred aesthetic. Over the years, I’ve learnt how to use negative space to my advantage.

I call it positive space because what it’s doing is pulling an object, like a tree, into the environment.’

Heading to the coast

Living close to a searingly hot and inhospitable desert, it’s not surprising to hear Lamb’s latest adventure took him to the cold and wet coastline of Brittany. Several years ago, after seeing a few images of rugged huts and stone houses hunched on the edge of the Atlantic Ocean, he scoured the land and sea periphery via satellite to find interesting locations.

From around 80, he decided on half. Over ten days, he sought them out, shooting three frames of each subject to make sure the light, long-exposure and sharpness were captured correctly. He reckons ten to 15 shots have made the cut, maybe five or six will be acceptable and one may stand out. ‘I’ll be lucky if I can shoot three or four great photographs a year. That’s insane! Not many people would do the job if they realised that.’

Lamb doesn’t take on the entire burden of curating his work solely himself, sourcing the opinion of gallerists, art consultants, and his wife. These second opinions offer him a clearer understanding of which images will enter the market. He’ll then do test prints to check
for imperfections.

Out from within

How can you make your first minimal steps? ‘When I’m teaching somebody photography,’ he explains, ‘I ask them to look at what drives them – whether it’s landscapes, seascapes, mountainscapes or deserts – to find something that motivates their passion for photography. Once they have an idea of what’s driving their subject choice, then it’s important to think about what influences them as a person – I ask them to look at their art collection at home, consider what type of art spoke to them as a child and what speaks to them now. American painter Mark Rothko influences me now, for example.

It’s about accessing your hidden passions rather than being overly influenced by social media. Don’t get bogged down by what other people are shooting. Try to find your own originality. Capture images that drive you as a person, and you will find your own voice.’

Post-production is the final step in the purification of Lamb’s images. ‘It’s a personal aesthetic choice. When I was younger, I used to bump the clarity up to 25-30, I thought it looked great at the time. But all it’s doing is amplifying the noise across the image. Now, I look for balance throughout the photograph, not pushing the sliders too far to find that equilibrium within the post processing.

To keep it relatively close to what I saw and give it an aesthetic close to what I think is suitable for the image. Selfishly, the editing I do is what appeals to me,
I aim for soft, calming, desaturated colour, which holds an ethereal feel.’ Lamb’s clean and serene images are often achieved in the sort of hostile environments that present both physical and mental challenges.

His search for aesthetic perfection has been refined over time and may have taken its toll. ‘I’m trying to expand from the minimalist genre,’ he reveals. ‘I think I got into it unintentionally; I don’t necessarily want to be classed as a minimalist photographer, but I’m more than happy to be called a landscape photographer. Looking back, I never intended to follow this pathway – it was something that transpired from my influences, inspiration from other photographers, my journey as a designer and the way I compose a frame.’ His quest to be minimal has taken maximum effort.

Why it Works

The one image that resonates is a photograph I captured in the Arabian Desert called ‘Captivation;. I was revisiting a small, secluded desert in an area called Seih Al-Dahal – an intimate collection of dunes that’s positioned on the perimeter of a cycle track. There was a storm developing on the horizon, which offered the perfect contrasting backdrop for the softly lit sand.

On rare occasions, I will spot a photographic opportunity immediately, visualising exactly how to compose and frame the subject. Walking over a dune crest, the scene revealed itself, a perfectly sculpted dune field, a balanced collaboration of congruous landforms. In the centre of the composition, as if placed there by a tentative paintbrush, a tiny desert shrub exemplifying the sense of scale and subject interest.

In a split second, I knew precisely how to capture this minimalist spectacle. Using a long lens to compress the image, I used the dune layers to lead the eye through the scene. I centralised the shrub and the dash of orange between the dunes, which is the different coloured sand blown in from the desert plains. The blanket of cloud above thinned for an instant, creating the luminosity required to increase tonality, and I clicked the shutter.

---

Anthony’s top six landscape tips

1. Don’t always head out at sunset/sunrise or in calm conditions. Some of my best images are captured in challenging weather. Storms, gale-force winds, and blizzards can all add another dimension to your work. Aim to visit at different times of the year, as the sun offers infinite lighting conditions.

2. Keep returning to the same locations and take your time in exploring the area. Get to know the landscape intimately and how conditions can influence the subjects you’re drawn towards.

3. Look for subjects that open the door to a portfolio rather than a single capture. This might be the study of lighthouses or rivers, or simply a collection of seascapes. A collection of photographs relies on selective composition, complementary post-processing, and subjects that create a flow.

4. Seek out simple compositions using the long lens. For example, look for details in the landscape by breaking down the big vista. But continue using the same compositional techniques when framing your subject to ensure the eye is led through the image. The above example was shot at 200mm.

5. Researching your locations prior to visiting them is crucial, as it will help you get the best out of the environment. I have a number of apps on my phone that allow me to check the weather, tide times and sunset/sunrise times, and I regularly refer to Google Maps, where I’ve saved hundreds of locations.

6. Select locations based on what you enjoy looking at and your interests, not what’s popular on social media. You must enjoy creating photographs that reflect your vision and imagination – that way, you will be on the journey to finding your own voice as a photographer.

---

Top 6 locations for minimalist landscapes

1. The Empty Quarter, United Arab Emirates

The desert is a location that’s been close to my heart since relocating to the region in 2011. It’s a place of solitude and intimacy. It can also be extremely challenging. The weather can take a turn for the worse; winds can reach 40-50kph, temperatures as high as 40°C and the humidity can hit 90%. I thrive in these conditions; dust particles in the atmosphere, thin clouds and flat light offer an ethereal aesthetic.

2. Brittany, France

From its wild, rugged coastline to the beauty of the lighthouses, Brittany has many opportunities for the landscape photographer. If it’s long- exposure photography you’re looking for, you won’t be disappointed, or capture some of the rolling waves that continually pound the granite coastline. Make sure you don’t get caught in one of the downpours that peel off the Atlantic Ocean!

3. North Norfolk coast, UK

A hidden gem for landscape photography in the eastern England, the north coast of Norfolk. I was attracted to the region in 2018 due to its low-lying, expansive fens, which resonate with my style, and negative space is in abundance. Making my first visit, the coast grabbed my attention with its dune-fringed beaches, beach huts, piers, and small rocky outcrops.

4. New York, USA

Endless compositions, beautiful architecture and great food! Why wouldn’t you want to take the plunge and visit New York City for photography? My top tip – charter a small helicopter from White Plains airport at sunset. It offers unimaginable views of the city, you have free rein where to fly and the pilot will even take the doors off for you so you can get a better view.

5. Cape Town, South Africa

Cape Town is a city of so much diversity. Stunning beaches, beautiful harbours, Lion’s Head and Table Mountain, the famous wine regions and a selection of game reserves on your doorstep. I’m itching to go back and continue exploring the many empty beaches and coves that circulate the entire peninsular. I’d recommend visiting Boulders Beach and Long Beach, located close to Chapman’s Peak.

6. Maldives, Indian Ocean

These atolls are under threat from climate change and based on the stories I heard while I was there, the threat is very real. The islands are flooding, and the ever-increasing tides are destroying reefs. Documenting the beauty of these islands was one of the most memorable experiences of my photographic career. I hope we have time to save these pockets of paradise.

---

Kit list for minimalist landscapes

Fujifilm GFX 100S

It’s the best camera I’ve ever owned. It’s relatively lightweight for a medium-format camera, weather-sealed and captures mind-blowing detailed images, perfect for large-format prints.

Shutter-release cable

Much of my work is long exposure, so it’s paramount I have a shutter-release cable, as it will allow me to switch to bulb mode and reduce any risk of camera shake when conducting exposures of up to four or five minutes.

LEE Filters

I’ve been using LEE Filters for over 15 years and I’ve always been impressed with their capability and quality. I carry six graduated filters and three neutral-density filters. My most commonly used are the 10-stop and 15-stop ND filters for seascapes captures.

Three CDs

Bit of a strange one, but with the digital age, I have many redundant CDs lying around the house and always carry three in my camera bag. Why, you may ask? They’re the perfect companion when using a tripod on the beach, as you can place one under each tripod leg to help distribute the weight and reduce the chances of camera movement on the wet sand.

L-bracket

It is probably one of my favourite pieces of equipment, as it allows you to change the camera’s orientation quickly. But it also stops the camera from unintentionally rotating on the connection plate due to the camera’s weight.

---

Anthony Lamb

Anthony Lamb has over 50 international photography awards. His work has appeared internationally in exhibitions, galleries, magazines, and interior decor stores, and his fine art limited edition prints are collected globally. His book, SAND, is available through KOZU Books. Visit www.anthonylambphotography.com

---

Further reading:

Beginners guide to Landscape Photography

Intimate Spring: landscape photography with a difference

 
Follow AP on Facebook, Twitter, Instagram, and YouTube.

Washington is the culmination of the geological and natural majesty of the Pacific Northwest. With its high mountains, primeval forests, and status as a gateway to the wilds of Canada and Alaska, Washington exists as a national and spiritual frontier for people across the country. For landscape and nature photographers, Washington is something of a mecca, offering spectacular artistic opportunities for all styles and genres. With its rugged coastlines, frigid peaks, alpine meadows, winding canyons, and abundant wildlife, there is something for every taste and persuasion. While one could never see the whole state in a single trip, the list below gives a taste of what Washington has to offer and should convince you why a visit to the Evergreen State is well worthwhile.

The Washington Coast

The Washington coastline has drawn admiration and awe from artists and tourists across the world, and there’s a good reason huge swaths of it are protected within the borders of Olympic National Park. Endless beaches of smooth grey stones run into groves of dark fir and cedar crisscrossed with secret hiking trails and campsites. At places like Rialto and Ruby Beach, sea stacks form natural islands with arches and rooftop gardens stretching all the way from the foaming surf to the horizon. Many of these beaches bear the brunt of the Pacific storms, and the warped silver sculptures of driftwood the size of eighteen-wheelers regularly wash up on shore, creating a beautiful and strange tableau of natural ruins.

Majestic Mountains of Washington

In opposition to the rhythmic fury of the ocean are the far and foreboding peaks of Washington’s two mountain ranges. To the west stand the Olympic Mountains, the secret peninsular refuge of wild bears, mountain goats, and old growth cedar. Though the Olympics may not stand as tall as ranges like the Rockies or the Sierras, drive up to Hurricane Ridge and you’ll experience a view like no other, with 360 degree panoramas of snow capped peaks and deep verdant valleys of hidden rivers and untouched wilderness.

To the east rises the northern terminus of the Cascades. What begins with Mount Shasta in California far to the south culminates in the volcanic towers of Mount Rainier, Mount Baker, Mount Saint Helens, and the glacial wilds between them all. In North Cascades National Park, the turquoise waters of Diablo and Ross Lake are surrounded by ancient forests rising up to mountainsides of lupine and scarlet paintbrush and finally crowned by a maze of ice, heather, and bare rock. It’s a sharp boundary between beauty and survival, drawing in climbers, hikers, and artists alike.

The Five Forests of Washington State

Washington has the greatest tree coverage of any state on the West Coast, and is home to five national forests: Colville, Gifford Pinchot, Mount Baker-Snoqualmie, Okanogan-Wenatchee, and Olympic. The forests of Washington are denser than in other places in the western U.S., making them difficult to navigate without a trail, but protecting unspoiled beauty all across the state. The Hoh Rainforest, on the western slopes of the Olympic Mountains, is especially of note for being the wettest place in the contiguous United States. Giant maples hung with tapestries of emerald moss guard the upper reaches of the Hoh River, a major migration route for steelhead and king salmon. In winter and late summer, lucky visitors might get a chance to see the silvery-red fish fluttering up the lazy stream to their natural breeding grounds deeper in the valley beneath Mount Olympus.

Puget Sound

From an aerial perspective, the whole of Washington State appears split in two—a huge body of water separating the Olympic Peninsula from the rest of the state. This dividing line is known as Puget Sound, and runs north from the capital of Olympia until it hits the Strait of San Juan de Fuca and the marine border with Canada. Washington operates a number of car and passenger ferries which move down and across the sound, and taking a ride on one of them offers spectacular views of the mountains to the east and west and the best sunsets to be found anywhere in the state. The sound also offers easy access from Seattle to the more scenic areas near the coast.

Islands of Washington State

Spread within Puget Sound are scores of islands, ranging in size from Dinner Island, with scarcely enough room for a large house, and Bainbridge Island, a major commuter hub for nearby Seattle. Each group of islands has its own personality, from the suburban getaways like Vashon and Bainbridge in the south to the quaint farmlands and private beaches of the San Juan Islands in the north. Most of these islands are only accessible by ferry, but it’s well worth it to spend a day and see some of the less explored insular wilds of the state.

Wild Rivers of Washington

With Washington’s high mountains and the bustling waterways of Puget Sound, it should come as no surprise that the state is home to a number of major rivers. At the border with Oregon is the mighty Columbia, carving through its eponymous plateau and making way for a collection of small towns, swimming holes, and majestic cliffs. To the north, the Skagit emerges from the redoubts of the Cascades before being dammed to create the brilliant blue waters of Ross Lake which power Seattle to the south. The Olympics are home to numerous runs of cool, clear water, from the Sol Duc and the Hoh to the Quinault, the recently freed Elwah, and many more. Each offers splendid hiking and ample opportunities to see and hear the mountain snow gradually making its way to the sea.

Washington Waterfalls

With rivers and mountains come waterfalls, and many spectacular cascades can be found across the state. Most famous of all are Snoqualmie Falls, the iconic landmark from the opening credits of the show Twin Peaks where visitors can watch tonnes of rumbling water plunge 268 feet into a deep pool below. Panther Creek Falls, in Gifford Pinchot National Forest, is a huge fan of white water flowing over a fountain of bright moss and black stone. At Palouse Falls, in eastern Washington, the Palouse River makes a sheer drop into a huge circular pool, throwing up rainbows throughout the day. There’s a trail to get down to it, but it’s considerably steep and narrow, and hikers take it at their own risk.

Canyons of The East

As part of the Pacific Northwest, Washington is often associated with evergreens, crashing surf, and high mountain peaks. However, to the east of the Cascades, this classic image is nowhere to be found. Instead, visitors encounter the “scablands,” a vast region of desert prairie carved through by deep canyons reminiscent of southern Utah or Arizona. The result of glacial erosion and the slow journey of turbid rivers, places like Sun Lakes-Dry Falls State Park offer an incongruous but intriguing view of a lesser-known side of Washington State.

_______________________

This list is only a highlight reel of Washington’s scenery. The true beauty and majesty of the state comes from driving along the lonely evergreen highways, hiking through the flowered meadows, and hearing the roar of the Pacific through the cedars. Few places in the U.S., or even in the world offer such lush and full wilderness, and there’s good reasons photographers have been drawn here year after year and decade after decade.

Nov. 10—New Exhibits Opening

“Colossal and Intimate: Nature, Abstraction, Imagination Through the Artist’s Lens” features the photography of Artist Member Laura Davis.

“Beauty is hidden in plain sight. My work is a joyful interpretation of the divine details which surround us. Reflections in dewdrops, peeling paint, beetle paths, wood grain, and patterns in natural or human-made structures are captured and highlighted by my lens.” (Laura Davis, Artist Statement)

In her visual art, she notices details, often overlooked by others. For the title of the exhibition “Colossal and Intimate: Nature, Abstraction, Imagination Through the Artist’s Lens,” her inner wordsmith provides the choice of “colossal” for macro, and “intimate” for close-up.

She sees the abstraction which surrounds us, in exquisite compositions, with symmetrical or asymmetrical balance, fractal patterns, spirals, and flower petals following Fibonacci sequence, Sacred Geometry, and the Golden Ratio.

The act of creating leads to stories: beetle’s lairs, walls, and creative practice, The Beetle’s Way. Biophilic collage, tangled with Celtic knots. Mirrored photographs become mandalas. Compositions are created by the simple act of framing, or by detailed, organic journeys through line, shape, form, color, and texture.

As a sculptor early in her art making pursuits, earning a BFA from the Kansas City Art Institute, she explored shadow and movement, image projection interacting with fabric in site-specific installations.

She earned an MFA in the Art Media Studies program in the School of Art at Syracuse University. Pattern, movement, and projection of light informed her video productions. Cutting edge video image manipulation tools, in its infancy in commercial television, was available for experiment. One of the pieces which came out of this period was “You Never Left,” winning a national award in Experimental Video from the American Film Institute.

She was hired at the East Carolina University School of Art to develop elective courses in video art. During those seven years she began to integrate traditional media, such as works on paper and gels applied to acetate, into her video productions. She created large works on paper, which were exhibited in a solo exhibition at the Greenville, North Carolina, Museum of Art.

Upon her return to her home state of Colorado, she began to explore photography, especially macro close-up imagery capturing the color, texture, and pattern of Mother Nature’s palette. Her digital collage uses photography interwoven with patterns and knots, a pursuit she has been exploring for over a decade. The advent of digital cameras, and the explosion of accessible, affordable, and easy to use digital tools, has enabled her abstractions and digital collage. Her “straight” photographs capture details, textures, and pattern from our surroundings, directing our attention to, and celebrating, the patterns that surround us in the natural world.

Her portfolio of large scale painted works on paper from North Carolina was included as part of her application to Decorate Utility Boxes (DUB) in Estes Park, Colorado, in 2018. She was one of the five artists, all women, chosen to paint the boxes in 2018. Her two boxes are behind Kirk’ s Fly Shop on the Riverwalk, just east of the new Women’s Monument.

2022 was her first year participating in the Estes Park Studio Tour, founded and funded by working artists in our community. She was juried into artist membership at the Art Center of Estes Park in 2018. Much of her work is also available printed in various formats including wearables, jigsaw puzzles, and yoga mats. www.lauradavisartstudio.com

“Special Holiday Exhibit” features the photography of Founding Artist James Frank and Invited Artist Lydia Pellow, potter.

James Frank: Being from northern Ohio and growing up along the banks of Rocky River, I became familiar in my early years with forest, stream, and things wild, all cultivating a love of the outdoors and a passion for all things in nature. Little did I know that the river I often frequented would be linked by namesake to the mountains I roamed later in life.

After a single visit the decision to move to Estes Park and the Rocky Mountains was easy. The journey was made in 1978 when Estes Park became my home for what now amounts to more than 40 years. I met and married my wife, Tamara, near the alluvial fan in Rocky Mountain National Park in September of 1988. In the mid-1990s we adopted our daughter Claire. Family and a home in these sacred mountains are more than I’d ever dreamed they would be.

I became interested in art at Doane College during several art appreciation courses. There were friends at school who were musicians and played in bands, so my interest in musical and visual arts was growing in leaps and bounds. One of the two main reasons for wanting to live near Rocky was to nurture my love of photography to begin a career involving capturing moments in nature and the world around me that told a story and hopefully inspired not only attention but also happy memories.

My wife and I as business partners have owned a front range postcard company, and two galleries based in Estes Park. For a decade we also owned and published the local magazine Estes Park Vacationland.

From the very beginning and across all these years my photography was catalogued and licensed for publication through James Frank Photography and a handful of agents both national and international. My work has been widely published in books about Rocky, Colorado, and the American West. Through owning and operating galleries, a niche in fine art photography blossomed and is currently the emphasis of my photographic work and business. My art photography is represented by Aspen and Evergreen Gallery in Estes Park and at my website, jamesfrank.com.

Lydia Pellow: I started taking pottery classes in 1976 in Colorado Springs, but it wasn’t until my teacher, Jake Anderson, offered me an apprentice position that I began learning the really hard parts of making pottery — mixing glazes, loading kilns, firing pots, and making money from my art.

During my career I have studied with many famous potters — Daniel Rhodes, Paul Soldner, Tom and Elaine Coleman, Jim and Nan McKinnell, Steven Hill, and others — primarily in hands-on, workshop-type settings. I have been passing on what I’ve learned to my own students since 1977, and I love to share my passion for the creative artistry that is pottery.

The Boulder Potters’ Guild, which I joined in 1986 and am currently the president of, has been invaluable as an avenue for me to teach and share with other amazing artists. The Guild has been an active nonprofit for fifty-three years, is a Tier III SCFD organization, and is dedicated to supporting artists and giving back to the greater community. I also founded an artists’ co-op in 1989 on the Pearl Street Mall called Handmade in Colorado.

Functional pottery is very important to me. Using a one-of-a-kind piece of pottery made by a fellow human being is truly a joy! I like to put “messages” on the bottom of some of my pots. I imagine someone washing it with care (although all my pieces are dishwasher safe), seeing my message, and smiling. All of my pots are also microwave safe and lead free.

I am influenced in part by Japanese pottery and love their concept of Wabi Sabi (“the elusive beauty of imperfection”} in life as well as in art. I invite you to feel my joy in the pottery I’ve create.

Opening Reception

November 11, 5 — 7 p.m.

Opening Weekend Door Prize

“Summer Serenity” Photography 11.7″Wx16.5″ H giclee print donated by Laura Davis.

The public is invited to enter for this Door Prize from 11 a.m. Friday, November 11 to 5 p.m. Monday, November 7, at which time a name wil be drawn and the winner notified

Also on display in the gallery are the outstanding work of the other Art Center artist members, including other works in oil painting, watercolor, pastel, jewelry, ceramics, charcoal, graphite, glass, wood, sculpture, fiber, photography, printmaking and mixed media.

The Art Center is open 11 a.m. — 5 p.m. Friday through Monday.

Art Class in November

3D Zentangling® Layering: a Pretty Porcelain Mug with Annie Reiser. November 19, 1 — 3 p.m.

Art Center Members: $27. Non-Members: $30.

Get a start on your holiday gifts. Nothing is more special than something created by you, like this lovely and unique cup. Annie Reiser, certified Zentangle,® (CZT) teacher will share her experience with tangling on 3-D objects as you decorate a beautiful mug with your favorite tangle patterns or copy Annie’s design. She will tell you how to make it permanent for handwashing (not dishwasher-safe). You may also explore adding color to your designs with porcelain paints that Annie will share. All levels and kids welcome.

Materials: A kit is available to buy (directly from the teacher on the day of class) for $7. (The kit will include a plain white porcelain mug, 1 black Dual-tip Identipen from Sakura, a piece of chocolate, and handout.)

Important Note: If you decide not to purchase the kit, you will need to bring a plain white mug and a black dual-tip Identipen marker.

Teacher will provide: Colored porcelain paint pens to share, rubbing alcohol or fingernail polish remover, Q-tips, cotton pads, solvent blender markers to share.

All Students Should Bring: Sketchbook and pen to take notes.

Call For Entries

“The Magic of Masks” — Some Mardi Gras Fun in Estes Park

The Art Center of Estes Park would like to invite you to participate in our community mask challenge! All you need to do is pick-up your 8″x10″ canvas and create a mask that will fit on that canvas. Entry fee $20. Only one canvas per person.

Winter is coming and this is a great time to engage your creativity and share your results for Mardi Gras fun in February! Limited number of canvases are available!

—Any age 5 to 105 can enter.

—All masks must be for sale …range $20 to $150. You’ll receive 60% of the sales price.

—Each canvas will come pre-drilled with wire and hooks for hanging, you can choose your preference horizontal or vertical orientation. Title card/price form taped to back of canvas.

—Any media is fine- 2D painting, collage, or 3D… as long as it fits on the canvas and can be hung on the wall. Just be certain that any dangling ribbons, feathers etc. do not extend more than 1″ off the canvas.

—Exhibit: Saturday, February 18 to March 13, 2023

—Opening Reception: Saturday, February 18, 2-4pm

—Completed Masks delivered by February 11,12,13, 2023 (Sat-Mon) with completed Title Card/Price Form.

—Prizes will be Awarded!

Entry form and canvas can be pick-up daily. Limited number of canvases available!

Satellite Exhibits

A new exhibit is now on display at the Estes Park Health featuring Pat Greenberg and Diane Visinstainer. VERT and Snowy Peaks Winery has a number of Art Center artists on display. John Long is on exhibit at US Bank.

(c)2022 Estes Park Trail-Gazette, Colo. Distributed by Tribune Content Agency, LLC.