#Valerie Savarie

[geekynerfherder]

Haven Gallery presents 'Tales of Forgotten Familiars', a new solo art exhibition by Valerie Savarie featuring 19 new works, many made out of altered books, serving as portraits of animal familiars.

The exhibition is on display until March 24 2024 at��Haven Gallery, 50 Main St, Northport, NY 11768, open to the public for viewing, and on the Haven Gallery website.

[grunisment]

Valerie Savarie

[julialundman]

I will have two paintings in the group show “Guardians of the Feral Land”, Opening December 1 at the Kuehl Fine Art Gallery. “Bat Riders” and “Water Wight”. Link to the show is here (will be updated when the show opens!) The show is curated by Valarie Savarie, who is also having a solo show.

https://www.armitchellmuseum.com/events/kuel-fine-art-presents-valerie-savarie

[everydayoriginal]

What's In Your Tea, Alice? by Valerie Savarie

Alice, Oh Alice What do you see? It is not the same as I For you are drinking Mushroom tea.

You say I am a rabbit A hare as white as snow With a teacup for a skirt Accompanied by dancing yellow polka-dots All a glow.

    The teapot is made from a page of The Annotated Alice, hand sewn with vintage thread and painted in acrylic. The yellow polka-dots are scraps from book covers of past altered books. The background is artisan hand made paper. All within a vintage frame – piece can come with or without glass.

      VIEW DETAILS brought to you by Every Day Original

[houseofvans]

SKETCHY BEHAVIORS | Interview with VALERIE SAVARIE

Denver artist Valerie Savarie creates intricately carved book sculptures that she painstakingly maps out and cuts, forming her own unique narrative creation. Each of her unique sculptures can take her from 40 hours to over 100 hours to complete. Not only one thing, Valerie also runs a collective gallery, Valkarie Gallery in Colorado, where various artists in the community show and share work. We find out more about Valerie’s book sculpture process, what her favorite tome creation is, and the things that inspire her. 

Take the leap below! 

Photographs courtesy of the artist. 

Introduce yourself Howdy! My name is Valerie Savarie and I create carved book sculptures. I live in the Mile High city of Denver, Co, sharing a house with two cats Meelo and Varuka and my ever loving and supportive husband Matt. As cats are insatiable creatures when it comes to food and attention (which can turn into a zero creativity day), I eventually relocated my studio to Lakewood where it is connected to the collective gallery I run (Valkarie). I believe in lots of vitamin C to keep me healthy and creating (coffee, carrots and chips). Random fact: most of my tattoos are beyond the legal drinking age.

What was your introduction to art like? I was fortunate that my parents got myself and my sisters into art as kids. During the summers instead of wasting our time in front of the TV, we were enrolled in art programs. The city where I grew up - Madison, WI – also had this (and still does to this day) awesome thing called the Art Cart that would find its way to various parks over the summer and have free art projects – my favorite was the plaster casting of our faces at the beach. My dad also took us to many galleries and lectures. I can remember being in third or fourth grade and attending a Georgia O’Keeffe exhibition.

How did that eventually lead you to creating your own works and specifically your book sculptures? Honestly, I have an older (not too much older) sister that was always the artist so I shied away from art for years. Sure, I was a professional doodler, yet I wanted to be my own person and struggled with the sibling rivalry a la Jan and Marcia for years. I turned to creative writing in high school and the first go around of college. Finally, I moved away, and moved away again, tried college a second time majoring in interior design and minoring in scenic design (secretly I wanted to be an architect) and ended up having a professor that had an MFA – Robert Work – who I am still friends with (god, it has been over 15 years since graduation). He reignited that artistic spark in me. I even applied to grad school for art and got rejected from every school I applied to yet I still made art.

A few years down the road I met my husband and he really pushed me to get my art out in public, which was frightening. I ended up joining a co-op where I experimented with various mediums and styles. I created some cube sculptures (bartered autocad drawings for them) and I was in love. 3D art took over my heart, unfortunately, I couldn’t afford to buy the cubes out right and my cabinet maker friend didn’t need any more drawings. So I sought out something that I could afford for material, something that was also easy to come by and easy to manipulate. A thrift store junky, I decided to test my hand on carving up books. That was just over 7 years ago.

What is the process for book creations? From start to finish, how long does the entire piece take? My pieces are formed by three different processes of creation: what it is, what I want it to be and it will be what it will be. What it is means that the story in the book inspires me. What I want it to be means that I have an idea that I need to find a book that fits the visual story I want to create, whereas it will be what it will be means I take a book with no idea in mind as to how it will turn out and intuitively start cutting.

I would say about 67% of the books I create fall into the what I want it to be category so that’s what I will describe. I will get an image stuck inside my head and think about it quite a bit before I will put pencil to paper, working out basic concepts in my head and then creating a very rudimentary sketch (mainly so I don’t forget the idea). I then head off to the stacks – a very unorganized collection – in search of a book whose story has some of the same elements as mine. This is a daunting task as I have no idea as to what the content of at least 97% of the books I house is.

Sadly the adage “you can’t judge a book by its cover” is all too accurate. Titles can be misleading, the content seems like a good match but the cover has illustrations that are in conflict with the vision, and heaven forbid I can’t find any information on the book on Google and then have to decide if I have the time to invest in reading a few chapters or should just keep looking elsewhere.

After hours and even days of searching, I find the match – the perfect companion to my vision. I leaf through most of the pages, book marking those passages, illustrations, lack of text or unique text layout for me to revisit as I cut layer by layer, page by page. Then a slightly more detailed sketch is created – and then comes the point of no return …

I draw the shape of the cut out on the cover and with book and blade in hand, the transformation begins. All cuts are done with a craft knife – yes, even the cover. It is cut by scoring multiple times and then stab and drag, stab and drag. Sure, there are easier ways to do this - the not so occasional accidental sacrifice of blood still doesn’t deter me - I prefer to use my hands, to be able to pack up to my art, take it anywhere I chose to create and not worry about access to electricity. With the cover hole cut, I take out my file and smooth the opening, refine the curves and lines. Then another sketch of how the piece will be laid out is drawn on the front leaf of the book. This can be especially handy to have in more complex designs where I use the image as a template or stencil when cutting the many layers.

From then on out, it is just a matter of cutting one to three pages at a time. The number of pages is determined by the quality of the paper and over all design. Admittedly, this can become tedious if the depth of the layer is greater than ¼” but it is also important for me NOT to rush through the cutting of pages stage as phrases and images easily hide from view when I first go through the book in search of the elements I want expose.

Accidents do happen – the occasional over cut of a section or completely cutting out a page I meant to keep. I am very rigid in my creative process – if the section has been completely cut through, I just walk away from it – even though it would be quite easy to simply glue that section to the page below. The story can develop plot twists during this time as the layers start taking on a different life and their shadows start telling a story of their own as I cut deeper and deeper.

This, the lengthiest part of the creation process, I mentally start to flesh out what the painted characters – or inhabitants – of the book sculpture will look like (I can easily spend over 40 hours of just cutting the pages and so have a lot of “free creative brain time”) . How will they interact in the environment, what will their facial expression be? I dare not start painting them until all pages that will be cut, are cut, as I want the character - be in human, animal or other worldly - to look as if they had grown up in the book sculpture and has called it home forever. The characters are painted with acryla gouache on sheets of mixed media paper or directly onto the book page. The latter is more of a spirit creature – a ghost that is still very much part of the life force of the book. These little paintings are then mounted to illustration board for rigidity and cut out (again by hand with a craft knife).

Once the book cutting is complete and the character painted, I move on to the last creative piece which ties the story together (literally) - the stitching. Each altered book piece has some thread or string (occasionally wire is substituted) added to help in the visual story telling. It can be very elaborate such as sewing branches and leaves onto the cover or something as simple as a few blades of grass. The drilling to create the needle holes in the cover is (again) done with a hand tool called a jeweler’s drill. This nifty device has interchangeable bits from the diameter of a hair to 7mm lead. I believe the longest recorder amount of time I have spent drilling/stitching a single piece is 15 hours.

Now it’s time to do all the boring stuff that makes the piece ready to hang. All the pages are bound together, I create a little wire coat hanger in which the piece can be hung and sew it onto the back of the book as well as stitch in the publication and rebirth years. Both covers are glued to the bound pages, clamped and by the next day, what was once an orphaned book, now rid of its shell, is a three dimensional sculpted piece of art!

And that is how my book sculptures are born.

How long? On average 40 hours a piece. A few take less time and I have spent over 100 hours on a piece more than once.

Where do the books come from? Are they from collecting or via donation? How are you inspired when creating these intricate piece? Are they inspired by the book or from an idea you jotted down? My books come fro various sources. Initially I would get them at thrift stores, the rule was that they had to be as old as me. I normally still stick to that rule unless it is a commission or a piece created for a specific themed show. More recently, I have had a lot of books donated to me – some because the thrift stores won’t take them any more and others because the former owners’ had cherished them and hoped that they could find new life in my hands. On rare occasions I do order from Ebay. I prefer the hunt, stalking down the perfect book, taking weeks and even months. Sometimes, I don’t have that luxury due to deadlines.

Normally I have a concept I want to develop, I look through my stacks (which numbers in the 100’s and shelved at random) hoping to find one that has a similar story line. Since I don’t have time to read each one, I go online and do research – reading the synopses – as well as skimming the books. This can be dangerous as sometimes the books I am sorting through pull me in and new inspiration is born from the written word.

I see my pieces as more of a collaboration between myself and the authors and illustrators. I use their art form as an inspiration stream and add my own twist (or chapter) to create the stories anew.

Is there a piece that was directly influenced by a memory or experience you’ve had or story you’ve heard? It is rare that I remember my dreams but a few years ago I awoke and remembered having a very strange dream about tiny cyclops octopuses and tea cups. Shortly there after I stumbled across a Reader’s Digest collection that contained 20,000 leagues Under the Sea and so I had to create the little cyclopes – sans teacups. I really want to revisit that dream in art form again – with the tea cups – as of yet, I haven’t come across any books that would fit.

What’s the perfect day at the studio like for you? What kinds of things would we find in your creative space?

A perfect day would start around 6pm. I prefer to work at night until the early hours of the morning. I would have a nice cup of endless coffee at hand, a bag of baby carrot and raw nuts available for snacking (separate bags) and some left over Indian food for later in the evening/morning. The original Twin Peaks is playing in the back ground (i pretty much have the dialogue memorized) and my shoes are off and slippers on.

Spread around me on the floor (I work sitting on the floor) is a brand new cutting mat that smells of childhood summer beach toys, an assortment of craft knifes with brand new blades (I rarely use new blades as I have learned to sharpen them) and a vintage book begging me to caress its pages, ogle its inner beauty and then skillfully and slowly start to transform its story from the 2D writing into a 3D world it never knew it could be!

Within my studio I have quite a nice collection of small art (besides my own of course). I use it for inspiration and feed off the remnants of creative energy that the artists left with each piece. There are books, LOTS of books that have no rhyme or reason to their shelving locations or book neighbors. I have quite a few orchids which may or may not be in bloom – all of which were gifts. I have a cool vintage love seat which normally is a place for art to lounge on along with the occasional visitor. A nice collection of coffee mugs – with at least half of them needing to be washed- and of course a coffee maker. I also have an old radio from probably the 30’s that I occasionally plug in and turn on – the sound is great but there aren’t that many am radio stations with strong enough signal that are worth listening to.

What’s one of your favorite creations you’ve made and why? I created a piece based on Pan’s Labyrinth. It was the first piece of fan art I had ever created.

I rarely actually watch movies or t.v. - I listen to them but my eyes and hands are busy creating art. I don’t like foreign films that have voice overs, there is just something unnerving about them.

So with Pan’s Labyrinth, it is something that I actually had to watch. It is a visual masterpiece – as is everything that Guillermo del Toro does.

Creating art based off of something that is already a magnificent piece of art is quite challenging. I didn’t want it to be obviously fan art it was important I make it my own. I ended up using a book in Spanish about the Spanish Civil war. I also used some techniques that were new to me – removing the decorative fabric only from the cover to create pattern, adding color and even adding the cover of a larger book as a backdrop. Oh yeah, and a drop of blood – my fingers tips are pretty callused from art making it took a little more effort than I liked to get that blood.

It was exciting to use new techniques and to push myself to be precise and exact – an actual labyrinth with tiny stairs down to the portal – and at the same time use my imagination to explore concepts that I could only see (movie) and not read and translate them into my own design.

What’s your main tool for making art? Is there a medium you’re wanting to try? A craft knife with an Excel blade – the brand REALLY makes a big difference. In a tie would be a good mat – still looking for the perfect one.

I took a class last year on wood block cutting and would really like to do more with that. I think it would work well with the book page scraps I collective (I have many many boxes of them) plus it is another substractive art techniquewhich makes sense in my brain.

Who are some artists that you’re inspired by and have influenced you throughout the years? Edward Gorey is my main influence. Partially because he was both a visual artist and a writer. I love how dark his images are and the same time laced with humor. His black and white color palette obviously works for me as well. There is a simplicity to it and at the same time it is so masterfully done that the work appears much more expansive than it already is.

As far as artists that are alive and kicking today, my local biggest influences are Aria Fawn and Nicole Grosjean. They are completely different in everything they do and at the same time such masters of detail and story telling.

Aria creates surreal and fantastic worlds in watercolor, largely inspired by the beautiful and violent balance of nature and wild things and the cycle of life, death and rebirth. There is such organic and natural beauty in her style, a freeness that I strive to incorporate into my rigid calculated creation process. I probably own more of Aria’s art than anyone else's - I have multiple pieces by her in my studio and home. She is constantly with me, always inspiring, motivating and energizing my creative spirit.

Nicole on the other hand, creates tiny worlds from hand cut, hand painted paper – which she considers three dimensional illustration. Sometimes there are over a thousand individually cut and painted pieces of paper in one work of art. She is so precise, so CLEAN I have no idea how she does it. I have a very tiny praying mantis in a watch piece from her as well as a larger dragon that I got for my husband as a gift to cover all holidays for several years.

My my top three non locals are Jolene Lai, Jason Limon and Kristen Egan. They all are completely different from one another – Kristen creates magical creatures from gourds. I am dying to get my hands on one as 3D art really needs to be experienced in person to feel the texture, see how the light and shadow changes the mood of the piece. She makes it look so seamless – at first glance I thought the were ceramic.

When I first saw Jason’s work I thought it was the most amazing paper cut art I had ever seen, then I realized it was a painting! His playfulness along with social commentary paired with his insane talent to place highlights and shadows it something I strive for. I feel that my painted characters could be so much more influential – a better actor one could say – in the dioramas I create if they appeared more three dimensional. I am lucky to own one small original that lives with me in my studio.

And then there is Jolene. I would consider her one of the greatest artists of all time. There is so much emotion, energy, story telling in her paintings. Her use of color (and again light and shadow) makes her works hyper realistic to me – I feel sucked in and transformed as an active participant in her paintings. I own two beautiful graphite pieces of hers which live at my house.

What’s your experience been like with the art scene in your area? How is the artist community? I LOVE the art scene in Denver. We are a “new” city that still has not lost its small town connectivity in the arts. Artists support other artists, galleries support other galleries. It is not an us vs them mentality here and I really think it will stay that way.

I got my start in a traditional co-op gallery that sadly just closed this year after being open for nearly 30 years.

They rejected me the first time around and told me what to change for the next application round and I got in that second time.

Even at Valkarie we host a drop in creative night every Thursday – going on almost five years. All levels of artists come, from doodlers to professionals, painters to jewelry makers. We openly give feedback on what we re working on and share calls for art and discuss booth set ups for conventions – what works and what doesn’t.

How do you stay inspired on those days when you’re feeling uninspired? To be honest, it has been years since I felt uninspired. I think because of the super supportive art community I always have someone to run ideas off of. Also, the books themselves are full of written and visual inspiration, an unending supply of it. And all that awesome art I collect, for me it’s not a lack of inspiration it’s more a lack of what I want to focus on – too many bees buzzing with ideas in my brain.

When you’re not working in the studio, what are you doing? What do you enjoy? Truth be told, 83% of my waking time revolves around art. Besides spending time with my own art and running Valkarie Gallery, there isn’t much time for anything else.

In that 17%, I enjoy making pies from scratch with my husband, getting out into the mountains to escape all the compartmentalizing of city life and being servant to the cats – if they had their way, I wouldn’t get any art done at all.

If I ever find “free” time again I would love to get back into creative writing, pick up the violin again and go on more bike rides. Nothing sporty, just peddling around town with no destination in mind.

What advice would you give someone who is thinking of becoming an artist? Start young – before you get tied down with a house, spouse or kids. It is much easier to get by on less while you are young.

Don’t feel like you have to get a degree in art (I know I will catch flack for this one). Do take art classes, marketing classes, get involved in with meet up art groups and build community. Some of the most successful artists I know have no formal art degree. Their talent, passion and drive have given them much success without a pile of debt and they tend to be the most active in artist groups.

Know that rejection is 90% of the game and don’t get discouraged. It doesn’t mean you aren’t good at what you do, it can mean that you weren’t what they were looking for. If you are really passionate, you will always create no matter what others say about your art.

Develop a style that is unique to you. This can be the most difficult especially with everything being available to anyone with a smartphone, computer or tablet. I think it is one of the reasons I keep creating the book sculptures and expanding what they are.

What are your FAVORITE Vans?  It really depends on the weather and where I am headed. If it is snowy or raining and am headed to the studio, slip-ons are best, so I can easily take them off and on multiple times a day (sitting on wet shoes is a mistake only made once). In good weather, any Vans are comfortable enough to wear evening while squatting on the floor creating art.

Finally, can you tell us about any exciting things you’ve got coming up? This year I have had my art in five different states and at the beginning of December I will be showing in my sixth. I will have a booth at the Recycled Art Market in Santa Fe, NM. This will be the first time showing my art there and think I will come back with some pretty exciting new ideas on how to incorporate other repurposed items into my books and maybe even find some new resources for creating my sculptures.

I also have two commission coming up that I am really excited to get going on. Will be doing A Clockwork Orange piece and The Lion, The Witch and the Wardrobe(for two different clients). It has been decades since I read either but I think these two both warrant a reread before I start them (I really do my best to avoid watching movies of books for inspiration).

FOLLOW VALERIE SAVARIE | INSTAGRAM | WEBSITE

[printedinblood]

“Visions from the Upside Down”-Stranger Things:Artbook Artists List

As we inch close to the release date of our latest and most amazing Artbook release to date, We wanted to post a list of all of the included artists in the project. I am including their Social media @nametags  for Instagram (if they have an account there) so you can follow up on their amazing works outside of our new book.

Remember you can pre-order the book here:

Charles Adi @blackoutbrother

Brian Aldridge @aerosoulpro

Nick Allsop @nick_alsopp_art

Rafael Alvarez @alvarez_studio

Kwasi Amankwah @kwasi81

Stephen Andrade @stephen.andrade.7 (Facebook)

Orlando Arocena @mexifunk

Edgar Ascensao @edgar_asc

Dane Ault @monkeyminionpress

Noah Bailey @boyishdeathtribe

Giuseppe Balestra @artbygb

Mark Bell @markbellillustration

Angelina Benedetti @angelinabenedetti

Freya Betts @freyabettsart

Rick "dienzo" Blanco @dienzoart

Alejandro Blasi @alejandroblasi.art (Facebook)

Aaron Bolduc @alphaazieru

Alex Boniwell @erodingdesigns

Mark Borgions @handmade_monster

Bonnie Bozell @bbozellart

Michael Vincent Bramley @mvbramleyart

Matthew Brazier @matthew_brazier

Rio Burton @rioburton

Lin-Zy Busch @withlovelinzy

Matt Busch @matt_busch_instagram

Butcher Billy @thebutcherbilly

Sheila  C @studiosheila

Carlos  Cabaleiro @cabaleiroart

Chris Callahan @rgb_alpha

Josh Campbell @paybackpenguin

Daniel  Campos @stalk_danielcampos

Kate Carleton @keelhaulkate

Simon  Carpenter @simcarpe

Ryan Caskey @ryancaskeyillustration

Christa Cassano @christacassano

Justin Castaneda @whenuwerelittle

Victor Castro @victoroil

Lon Chan @lonchanillustrates

Alexander Cherepanov @cherepanov_inkart

Chogrin @chogrin

GMB Chomichuk @gmbchomichuk

Chris Chuckry @chrischuckry

Darren Coburn-James @asylumartz

Adam Cockerton @adamcockertonart

Joe Corroney @joecorroney

Carolyn Craggs @carriejc1983

Paul Cremin @paul_cremin_art

Ryan Crosby @rcillustration

Ronnie Crowther @ronniecrowtherart

Justin Currie @chasingartwork

Bob Dahlstrom @bobdahlstrom

Ted Dastick @teddastickjr (Twitter)

Jason Davies @jasondaviesart_

Neil Davies @neildaviesillustration1

Rich Davies @turksworks

Simon  Delart @s2lart

Mike Diaz

Garrett Dix @garrett_dix_artist

Rodney Dollah @rodneydollah

Dug Nation @sketchymonsters

Matt Dunn @matthewdunnart

Roberto Duque @rad_pencils

Damian Edwardson @damianedwardsonart

Sarah Elkins @NeilaK20 (Twitter)

Don England @donaldengland_art

Nicole Falk @legendsofthefalk

Bastian Faulk @bastianfaulk

Jaimie Filer @jaimie_filer

Malcolm Fisher @mal_made

Francisco Flores @artofmetalhand

Jared Flores (Circusbear) @jaredcircusbear

Julie Fordham @juliefordham

Luke Francis @twistedabnormality

Devin Francisco @devin_francisco_art

Bryan Fyffe @bryanfyffe

Anthony Galatis @anthonygalatis

Paul Gates @pickle.vision

Bruce Gerlach @bruce_gerlach (Twitter)

Sam Gilbey @samgilbey

Donny Gillies @dirtydonnyart

Dustin  Goebel @dgoebel00

Jason Goungor @jasongoungor

Art Grafunkel @artgrafunkel

Joshua Green @lvciferx

Justin Harder @clausstudioss

Paul Harrison-Davies @paulmhd

Matthew Harrower @hpmatt1984

Jordan Hart @jordyjordith

Simon  Heard @sinagedesign

Tomas Hijo @tomashijo

John J Hill @johnjhill

Michelle Hiraishi @_mhiraishi

Matthew Hirons @saintworksart

Chris Hitchman @chris_hitchman

James Hobson @jamesjamesjamescreative

Tony Hodgkinson @epictonedogg

Josh Howard @josh_howard

Rian Hughes @rianhughes

Faryn Hughes @farynh

Jon Hunt @huntillustration

Ian Jepson @ian_jepson

Bernard Jezowski @berniedave

Robert Jimenez @zerostreet

JoeJr @joejrberrelleza

Adem Kaan @ademkaanillustration

Ana Kahana @kahanita

Sandra Kamenz @sandrakamenz

Chris Kay @chris_kay_art

Michael Kelleher @michaelkelleherillustrator (Facebook)

Josh Kelly @jmonsterart

Tom Kelly @tomkellyart

Jemma Klein @jemmaklein

Heather Landry @sandpaperdaisy

Doug Larocca @douglaslaroccaart

Mark Levy @marklevyart

Alice Meichi Li @alicemeichi

Matthew Lineham @mlinehamart

Chelsea Lowe @cmloweart

Jerry Ma @epicprops

Ian MacDougall @ianmacart

Mike Mahle @mikemahleart

Tomasz Majewski @tomasz.majewski

Chris Malbon @melbs74

Matthew Manlove @mattmanlove

Christopher Maul @christopher_maul

Sam Mayle @sammaylearts

Kristopher McClanahan @deeplydapper

Bill McConkey @bill_mcconkey

John McCrea (w/ Dee Cunniffe) @mccreaman1 w/ @deezoid

Scott McKay @thescottmckay

Axel Medellin @axelmedellinmachain

Kelly Migliori @heyghoulhey

Jason Miller @jasonmillerart

Peach  Momoko @peachmomoko60

Akane  Morinishi @akaneschibiart

Micah Mowbray @curiousartglass

Murugiah @_murugiah

Christian Nannipieri @christian.nannipieri

Matt Needle @needledesign

William O'Neill @william.oneill.792

NOS4A2 Design @nos4a2lives

Angel Onofre @angelonofre

Rey Paez @reypaezart

Luke Parker @artofparker

John Pearson @johnjpearson

Xurxo Penalta @xurxopenalta

Jerry Pesce @pesceffects

Pestmeester @thepestmeester

Lucas Peverill @lucas_peverill_art

Michelle Prebich @batinyourbelfry

Dave Pryor @davepryor72

Gary Pullin @ghoulishgary

L.Jason Queen @ljasonqueen

Aldo Requena @aldorequenavalgorth

Joey Rex @iamjoeyrex

Rodolfo Reyes @rodolforever

Aleksey Rico @alekseyrico

Julien Rico jr @julienricojr

Dylan Riley @dylandraw

Matt Riste @mattristeillustration

Rafal Rola @rolsrafal

Stephanie Rosales @rosalesart1 (Twitter)

Stephen Sampson @thedarkinker

Scott Saslow @scottsaslow

Valerie Savarie @valeriesavarie

SCAR Studios @antoinette.rydyr (Facebook)

James Schneider @boardinker

Markee Shadows @markeeshadows

Jerry Shirts @artisticaerosol

Liza Shumskaya @kino_maniac

Bill Sienkiewicz @therealthatpolishguy

Randy Siplon @randysiplon

John Sloboda @sloboart

Brian Soriano @wrathcomics

Rob Stanley @robstanleyart

Guy Stauber @guystauber

Eileen Steinbach @sg_posters

Blake Stevenson @jetpacksandrollerskates

R.H. Stewart @rhsillustratorgmailcom

Justin Stewart @justin3000stewart

Matthew Stewart @stewartillustrations

Glen Stone @glenstoneillustration

Adam Stothard @ad_illustrator

Laura Streit @laurastreit_art

Mark Stroud @markblackblue (Twitter)

Andrew Swainson @andrew_swainson

Nick Taylor @nickillustratesthings

Theoretical Part @theoreticalpart

Steve Thomas @stevethomasart

Kevin Tiernan @jurassickevin

Felix Tindall @f_tindall

Angel Trancon @angeltranconstudio

Wayne Tully @waynetully

Cody Vrosh @codyvrosh

Jonny Wellman @jonnys_pixels

Bryan West @bryanwestart

Trent Westbrook @2023comics

Chris Willdig @rebelart1984

Matthew Woods @hallowwoods

Scott Woolston @scottwool

Clinton Yeager @screamingclint

[supermariosuperartshow]

by Valerie Savarie

bottleneckgallery.com supermariosuperartshow.tumblr.com

#chogrin #supermariosuperartshow #bottleneckgallery #bottlenecknyc #supermario #supermario #supermariobros #supermarioart #valeriesavarie

[supersonicart]

“Beneath the Skin” at Sally Centigrade.

Currently on view at Sally Centigrade Gallery in Denver, Colorado is the group exhibition “Beneath the Skin.”

The skull-themed exhibition was curated by Scot Nobles and features work by artists such as, above: Aria Fawn, Arna Miller, Valerie Savarie, Brendan Dorney, Michael Sieben and Heather Sundquist among others.

“Beneath the Skin” will be on display until November 25th, 2017.

Don’t miss Supersonic Art on Instagram!

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Denver Art Scene: Valkarie Gallery

Valkarie Gallery is the brainchild of Valerie Savarie and Karrie York. It was initially imagined as a space to create and show the work of artists like themselves back in 2013. Over the last five years it’s grown into an artist owned and run collective that showcases emerging and established artists from a wide variety of backgrounds. The collective itself

M’eye Heart Imagines, Lisa Luree

includes watercolor artists, jewelers, paper cut artists, book sculptors, graphic designers and photographers.

Valkarie has two exhibition spaces, a main gallery and a resident gallery, as well as extra studio space. From December 12th thru January 6th in the main gallery, you can see the work of artists Lisa Luree and Kim Anderson. Luree is a Denver based artist and founder of the ACEO movement. She’s also a proud recipient of Ebay’s Community Hall of Fame award. Her work has been included in numerous galleries and private collections. Specializing in vibrant watercolors, her paintings include animals, skeletons, nudes, giant eyeballs, and fantasy

Mask by Kim Anderson

creatures. Her work is incredibly detailed and magically psychedelic.

Anderson is a ceramics and mixed media artist who is also based in Denver. She attended The Collage of Santa Fe and earned a BFA from MSU Denver. Anderson has been very active in the local art community. She’s a member of the Artuvus Studio co-op and was co-owner of Id Gallery until 2012. Her work has been shown in a number of local galleries. She prefers to use clay, wood, and glass as mediums and appreciates natural, unrefined textures, and colors. She creates sculptures, vessels, reliefs, and detailed masks. She often incorporates animals, natural elements, and skeletons into her works. This exhibition is going to be awesome and I can’t wait to see how these talented artists come together stylistically.

While the main gallery features rotating guest exhibitions, the resident artist gallery displays creations made by members. Through December you can see work from the highly acclaimed photographer, Denis Frolov. Many of his

Mammillaria Schiedeana, Denis Frolov

photos feature high definition close-ups of plants and animals, as well as picturesque landscapes. His latest works are highly magnified images of patterns and complex designs found in nature. They are large scale and printed on metal, with no need for a traditional frame.

Valkarie is a great place to see a wide variety of artistic styles come together. They have the advantage of two gallery spaces, so they can run two exhibitions simultaneously. It’s also artists owned and operated, so they cut out the middleman and bring the artist straight to the audience. Valkarie is located at 445 South Saulsbury St. in Belmar. Hours are a little sporadic. They’re open Wednesday 4-7, Thursday 4-9:30, Friday 4-8:30, Saturday 12-6, and Sunday 12-5. You can check out their artist list and much more at valkariefineart.com.

from Blog https://ondenver.com/denver-art-scene-valkarie-gallery/

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Haven Gallery presents 'Wilde', a group art exhibition inspired by Oscar Wilde.

The exhibition is available on view at the gallery, open to the public for viewing the art safely with social distancing and masks required,  and on the Haven Gallery website. The exhibition is on display until July 4 2021.

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Ocean's Spell by Valerie Savarie

It is well know that mermaidss’ beauty in form and seductive songs allure seafarers. However few know that the ocean casts a similar spell on merfolk. This ocean spell lures them into waters where no merfolk live so that the ocean can have playmates.

  Hand cut altered book, acryla gouache, pastel, artisan papers, vintage metal frame

Book used: Riyme of the Ancient Mariner, published in 1920’s

Book: 3.125″ x 4.5″ x .25″, with decorative paper and frame: 6.125″ x 8.125″ x .625″

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Bringer of Claddagh by Valerie Savarie

With Saint Patrick’s Day approaching, this little fairy is a magical take on the Claddagh ring. This traditional Irish ring has a heart which represents love, a crown which stands for loyalty and two clasped hands symbolizing friendship. Made from a tiny book titled Irish Melodies published in the 1920’s, she is sure to share her love, loyalty and friendship with you.

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Heart, Moon and Mew: Lucky Wishing Cat by Valerie Savarie

A new year, a new moon, a new mew!

This little cat is here to help you bring in the new year by granting you one wish with its magical coin. Simply hold the coin, make a wish and place the coin behind its head. Although this is a cat and we know how fickle they can be so don’t be surprised if you find the coin under the couch along with some toy mice with your wish not fulfilled.

  Hand cut altered book, acryla gouache, ink, vintage thread, vintage wire 7 5/8"w x 10 1/4"h x 1 3/8"d Book used: Painting and Sculpting in the Museum of Modern Art, edited by Alfred H. Barr, Jr, 1948

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Forgotten L'nore by Valerie Savarie

This piece was created from a mini vintage copy of Edgar Allan Poe’s The Raven and Other Poems, published in the 1930’s.

With us being “in the bleak December” this seemed a perfect poem to create a piece about.

Lenore and the raven are one – her spirit takes flight, transformed into a raven. She tries to send a message of love and loss to her betrothed yet can only speak the word nevermore – doomed to haunted his chambers evermore.

  Altered book, acryla gouache, acrylic, watercolor, ink with vintage wallpaper background in vintage metal frame.

6″w x 3.75″h x .75″d, with frame 11″w x 9″h x 1.5″d

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