Meet Holly Coley: Ceramic Wall Hanging Workshop on 10/22

We are excited to have Holly Coley come to the LPP Workshop to teach a ceramics workshop. The workshop is 10/22 from 1-4. Each student will receive an LPP Art Kit with all materials included to work in the class and at home! Students will pick up their wall hangings two weeks after the class once it has been fired. We have a few more spots! Go to our online shop to sign up!

Holly Coley is an SF based interdisciplinary artist and teacher working in clay and illustration. Four years ago she founded Holly Coley Designs, a small batch handmade ceramic company and has turned more then a few heads at curated craft shows in the Bay Area with her whimsical living sculptures, sloths and clay narwhals. Check out some of Holly’s creations and follow her studio practice on Instagram @hollycoley. Artist website Hollycoley.com.

1. When did you get into ceramics? 

I started working with ceramics in high school but was more interested in painting at that time. So I would say that I got really interested in ceramics about 5 years ago when I started to hand build characters from my paintings.

centaur

 

2. Is there an artist who’s work you are really excited about lately?

Genesis Belanger, I recently came across her work on Instagram. She’s a Brooklyn based artist.  I’m in love with her muted color pallet, objects and her comical feminist narratives. She’s just so great.

www.genesisbelanger.com

genesisbelanger

Above image from genesisbelanger.com

3. I see that you make hand built objects, but your thrown forms also are beautiful! Do you prefer one way of working with clay over the other? Is there a large difference between these processes for you? 

I work between the two techniques but hand building is my preference.

If I get tired of sculpting and hand building, the wheel is a nice break - there’s a lot of play there.  I like to add elements of hand building to my wheel work. Making functional work is a new experience for me.

slothmug

4. Your website says you’re a community arts activist! I see you’re very involved in arts education, what other forms does your activism take?

I donate my work and time to support art nonprofits in SF. For instance, I have been a Monster Drawing Rally (Southern Exposure) artist for the past four years helping to raise money for their programming. Every year I donate work to Root Division to support art education in public schools.  Keeping art in peoples lives is very important to me because I would not have made it out of high school without it.

5. What are sources of inspiration for you? If you ever find yourself in a creative/personal funk what helps you get out of it?

I’m inspired by mythologies and ghost stories.  I love Japanese animation, ceramics, and culture.

I’ve lived in SF for 20 years so I’ve had the privilege of getting to know a lot of artists and musicians and their work. I’m constantly inspired by the community here. Living in the Bay Area has made me love water dwelling creatures, especially grey whales.

whales

I sometimes struggle with thinking that there’s not enough room in the world for what I’m saying and making with my art. When I get those dark thoughts, I execute a challenging project for myself. If it turns out, great! If its an epic fail i learn a lot. Either way, I try not to sit around hating on myself.

All images from hollycoley.com unless otherwise noted.

Hope to see ya at Holly’s workshop!

Meet Shaine Drake: Intro to Marbling Paper Workshop on 10/21

We are excited to have Shaine Drake come to the LPP Workshop to teach the art of paper marbling. The workshop is 10/21 from 1-3:30. Each student will receive an LPP Art Kit with all materials included to work in the class and at home! We have a few more spots! Go to our online shop to sign up!Shaine Drake is a weaver and marbling artist. She lives and works in San Francisco, CA.

1. How did you get into marbling?

A little over 5 years ago I was working at an art supply store in the city and discovered a
basic starter kit for marbling. I love old books and recognized marbling from the paper used for
the inside covers and spines. I was pretty much instantly attracted to the process. It’s become
really cathartic for me actually. Marbling requires a lot of letting go and leaving things to
chance. The kit didn’t give me the results I really wanted though so I became obsessed with
figuring it out myself. I’m still looking things up online and finding new and old books about the
craft all the time. There’s so much you can do with marbling, I don’t think I’ll ever get tired of it
or stop learning new techniques.

Untitled-1

2. Is there an artist who’s work you are really excited about lately?

There are so many people making incredible work right now! I love Sheryl Oppenheim’s
work. She’s a marbler as well and creates really striking pieces using traditional patterns in
different ways and incorporating double marbling and masking. She’s also created amazing
books using her work, which is something I’d love to do. The work she posts inspires me to
experiment more in my own practice…and makes me a little jealous too. They’re so good!

sheryl

Above image from includingbutnotlimitedto.tv

3. You also make weavings, how did you start doing that? 

Just after moving to San Francisco, I met a local weaver who was selling her handwoven
clothing and wall hangings and she told me about a home studio in Berkeley that taught a
Japanese-style weaving called Saori. I started attending weekly floor loom weaving classes at
the studio and fell in love with it. My sister-in- law is also an incredible weaver, using a more
structured pattern-based weaving style than Saori, and she introduced me to a beautiful
weaving/fiber community in the bay area through the non-profit Fibershed…which everyone
should check out!

weave

4. Do you find your weavings and your marbling cross-informing each other? Do you think of these processes alike, or are they completely different ways of working for you?

They’re so completely different in terms of materials but I do think of them as alike in a lot of
ways. I keep them pretty separate and focus on one at a time but my style and approach to
both practices are really similar. There’s a decent amount of prep work involved in each
process. With all the prep I can be really meticulous and then when actually weaving and
marbling I can be messy and play around.
I do have a fantasy of weaving marbled patterns as a way to bring them together. I love pattern-
making and both really feed into that. The artist Kustaa Saksi created a collection of insane
jacquard woven tapestries that incorporate some marbled imagery that blew my mind.

marbleweave

 

5. What are sources of inspiration for you? If you ever find yourself in a creative/personal funk what helps you get out of it?

Since finally moving to the Sunset earlier this year, I’ve definitely been inspired by the colors
and style of the neighborhood. I love stone inlay work too and the combination of natural stones
and geometric patterns. I find a lot of inspiration in the flooring and walls at places like the Getty
Villa. Walking around the city, Chinatown has some amazing spaces with a lot of contrasting
stonework and some of the older buildings downtown have beautiful, more classical marble
inlay. One of my favorite constants in the city is terrazzo. I’ve recently found a way to create a
terrazzo-like look in marbling that I’m so excited about.

marb
When I’m in a funk I try to get out of the city and visit places along the coast and go on hikes.
Point Reyes and the Marin Headlands are a couple of my favorite places to visit and walk
around. I always end up feeling inspired and just generally better after visiting. I love SF but
you can really feel how compact it is sometimes. Also, as part of The Commons at the
Headlands Center for the Arts, Ball-Nogues Studio just created an amazing terrazzo installation!

All images from shaine-drake.com unless otherwise noted

We hope to see you at Shaine’s workshop!

Meet Isabella Hill: Embroidery Workshop on 10/15

We are excited to have Isabella Hill come to the LPP Workshop to teach the art of embroidery. Her workshop is 10/15 from 1-5. Each student will receive an LPP Art Kit with all materials included to work in the class and at home! We have a few more spots! Go to our online shop to sign up!

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Isabella Hill is a native San Franciscan who grew up in a community of artists and creators. Her grandparents were heavily involved in the Hippie art and fashion scene, and her mother was a weaver and clothing designer. From a young age, she understood that clothing is a powerful form of personal expression. She began customizing clothing with embroidery and beading a few years ago as a form of creative release. Her idiosyncratic, playful style quickly gained a following. She has created collaborative pieces with designers Creatures of Comfort and Evan Kinori, as well custom clothing for musicians, artists and other flashy dressers. Her inspirations include Victoriana, vernacular photography, outsider art, country music and the American West.

LPP’s Dylan Johnson who also shares a love of embroidery asked Isabella a few questions about her craft!

When did you start working with embroidery?

I started doing embroidery when I was a child. My grandfather Jerry Wainwright was the photographer behind Native Funk and Flash, a book of hippie fashion that has kind of a cult following among crafters. Having these images and personalities around when I was younger was a huge inspiration. I picked up embroidery again a few years ago when I was feeling frustrated and in search of a creative outlet, then I couldn’t stop!

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Your collaboration with Creatures of Comfort is amazing. How did you get involved with them?

I got involved with Creatures of Comfort through a kind of circuitous route. My good friend Megan Plunkett runs a small press, Kingsboro Press, with Seth Zucker, the partner of Creatures of Comfort designer Jade Lai. He showed my work to Jade. She was in the process of designing her Spring 2017 collection which is inspired by Mexico City. She wanted to incorporate some hand embroidery reminiscent of traditional Mexican embroidery, so she reached out to me.

Where did your inspiration come from for the imagery you used?

The imagery I used in the Creatures of Comfort collaboration began with Jade’s touchstone of Mexico City. For me, this expanded to include Frida Kahlo, mexican masks, milagros and retablos (Mexican devotional paintings.) Since my work already incorporates a lot of folk art and surrealistic themes, it ended up being a perfect fit.

image

It seems like garments play a huge role in your embroidery. How do you pick certain pieces of clothing to work on?

I define my aesthetic as reimagined western wear, so I try to find clothing that fit this theme. I look for vintage american work wear, like Levi’s, Wrangler, and Carhartt. A classic, unisex fit and quality fabrics are also important. I recently designed my first original piece of clothing! It’s a customizable canvas chore jacket that will be available at West Coast Craft this November!

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What has inspired your work lately?

Lately my work has gone in two different directions, inspired by some of my recent collaborators. The store Better For Living lent me some amazing denim by Eckhaus Latta to embroider on. The theme of those pieces is “Protective Demons.” I’ve had a lot of fun going over the top with color and details. The result is totally trippy and insane. I also have done a couple small projects for Evan Kinori. His focus is on great craftsmanship, and sophisticated, simple designs. His work inspired me to create tone on tone imagery, simplified to its essential elements.

We hope to see you at Isabella’s workshop!

Amanda Boe

amandaboe

“Amanda Boe (b. 1978) is a photographer based in Brooklyn, New York. She also works as a freelance photo editor at The New York Times. Her photographs have been exhibited internationally, including at SFMOMA Artists Gallery, San Francisco Camerawork, RayKo Photo Center, The Griffin Museum of Photography, The New York Photo Awards, Southern Exposure, Project Basho Gallery, and Photographic Center Northwest. She received an MFA in photography from the Academy of Art University in 2011 and a BA in architecture from the University of Minnesota in 2001″

You can see more of Amanda’s work here and on Instagram.

All text and images from amandaboe.com

October Workshops at Little Paper Planes

fern

Our October workshops are up in the online shop! (and in shop as well) Go check it out, we’ve got some great stuff lined up for y’all!

Now Featuring Will Bryant

Will Bryant’s color-charged compositions throb with enthusiasm and kinetic imagery. An accomplished illustrator and designer, he’s also growing a body of personal work that’s loose, fun, and inviting.

Print 1, Worn Out But Grinning Through It

Print 1, Worn Out But Grinning Through It

Print 2, No One Cleans the Baseboards Anymore

Print 2, No One Cleans the Baseboards Anymore

MH: Can you talk about how you got into design and illustration? It sounds like it wasn’t always your path and that something sparked for you in college. 

WB: Illustration was not really on my radar until undergrad at Mississippi State. Honestly, I didn’t know what illustration or graphic design was until an intro class with Kate Bingaman-Burt (one of my best friends/mentor/hero). I had some “creative endeavors” in high school and was into things outside the average classmate, but what I ended up having a career doing is a total surprise. I attended Mississippi State because my parents did, and I grew up cheering for the Bulldogs—not very good reasons. I thought that I would major in business, but the fear of numerous math classes and the charm of a dilapidated art building turned me towards graphic design. The  program and community inspired me to pursue a lot of personal projects and take a few painting classes.

One of those projects was a deejay persona called The Hooded Deer. I wore costumes on stage at ridiculously themed dance parties that I organized. This was a very important creative outlet for me. Not only was it a way of making friends (art and social practice, if you will), but a critical outlet for conveying personality through stage installations, costumes, merch, and promo material.

WB-Studio-2

It was such a cool time! It started out as house parties for 30 and 60 people then turned into 150 people dancing in the best dive bar in Starkville, MS. Eventually it became a full on stage production with legit sound systems, lighting, and projections for 900+ people in an old theatre in Columbus, MS. One of the larger parties featured a 22 foot tall skeleton made out of LED tubes with a laser coming out of its mouth that my crew installed for a halloween show! Imagine Dan Deacon (Wham City) meets Richard Simmons meets Southern Hospitality.

WB-SouthernTropics-2014

MH: How did you find your way as a freelancer? It’s such a jump to be developing your creative voice and simultaneously finding your footing running your own business.

WB: The short answer is through making a ton of work and cultivating relationships with amazing people. While in undergrad I started cranking out loads of projects outside my classes: making personal work, experimenting, and reaching out to bands I really admired to make posters for them. Early on I also contributed to a few art/design blogs that helped get my name out there as well.

After undergrad, my involvement in the Austin based studio collective Public School helped me figure out how to run a business. This group of guys is consists of entrepreneurs, photographers, designers, and artists that have worked with such a wide range of clients and started several businesses. The relationships, connections, and general knowledge of running a creative endeavor contributed to a lot of my early client work as well as figuring out how to do my taxes, invoice clients, make presentation decks, and all the other professional aspects you don’t always learn in school. All of this ultimately snowballed into a full-time career of doing what I love that has continually shifted over the past decade.

WB-Studio-3

MH: Who are the characters in your art and illustration? When a client approaches you, or when you sit down to work on a personal project, what are you pulling from inside yourself, you or specific vocabulary, as it were?

WB: I try pulling from a range of influences and experiences to convey a particular tone or energy with each piece—regardless if it’s for a client or personal. A lot of my client work is personal work as I’m intentionally forgetting where I draw the line between the two.

I find personal work, that I’m into/proud of, is much harder for me to generate. It’s easier for me to jam out some flowing pattern piece or linework study, but things that feel “new” or “interesting” don’t come so easy. The really good work just takes time in the studio and might come in spurts. When working with a client I find the process much easier and clearer—there are goals, objectives, and deadlines to dictate and motivate each decision. I like this process, but also like the freedom of making work for the gallery. Each year I feel like my mix of these two types of projects is getting to a more enjoyable balance.

WB-AdidasHoops-1

MH: Perhaps as a follow up — can you talk about humor in your work, and how it relates to themes of sports and office life (best combined in the blue ribbons for participation in a meeting that could have been an email). Do these themes emerge because they’re relatable or are they coming from something inside yourself?

WB: I rarely sit down and come up with an idea based on a problem. It happens! But not always. Most of my humorous pieces come from a personal experience and often sneak up on me while I least expect it (in the shower, during a run, or during a conversation at a bar).

WB-Studio-WorryAboutItTomorrow

That meeting ribbon idea (“I survived another meeting that should have been an email”) came to me after leaving a meeting…it just felt like such a waste of everyone’s time to go over a printed PDF that I had already looked at in my inbox and literally had no questions about it. Why did we waste paper? Why did someone drive across town to do this? “Ok, great to see you, thanks for the coffee, ok bye! I’ll send you an email about this meeting that we could have just covered in a two minute email.” So dumb! But that ribbon is very relatable, regardless of profession or industry, people get it. That’s really the only thing I’ve made that has circulated in such a way.

Most of my other humorous pieces aren’t as relatable to a broader audience—typically more quirky or obscure or just not that funny!

WB-OuttaShape-Install

MH: After building a successful freelancing career, why did you decide to take time to do graduate studies in fine art, in a program that didn’t focus on design or illustration? Now that you’re a few years out from that period of study, what do you think you gleaned from it? 

WB: I really felt the need to challenge myself and push my work into new directions, and graduate school seemed like the best opportunity to do this. I also wanted to live outside of the south for the first time and was wanting to move to Portland, OR, to once again join forces with Kate Bingaman-Burt. She was head of my graduate committee and I was her TA. We shared studio spaces together, co-taught classes, and did workshops together. Such an incredible time!

As for the graduate program (MFA Studio Art Practice at Portland State University), it was ridiculously challenging for me to go into fine art academia after a few years of mostly making commercial illustration work. The first year was brutal. It was overwhelming and confusing—I’ve never been filled with so much self-doubt about every single decision in nearly every aspect of life. I was conceptually and aesthetically pushed, and stretched in a way that could only happen in grad school.

WB-Rythm-ofthe-Paints-VII-2016

The exposure to different corners of the art world, diving into performative and video art, pretty much everything that would be categorized as contemporary art, was so fresh. I really tried to push myself and make more conceptually driven work. The visiting artist lecture series allowed me to have studio visits with artists such as Brian Bress, Sara Greenberger Rafferty, Wendy White, Anna Craycroft, and Olaf Burning.

These visits were influential on my practice, just being able to talk to established artists about making work in an academic art institution and what it’s like afterwards. Looking back on my MFA experience, I know for certain my work wouldn’t be where it is today. While I’m not showing in many galleries nor is my work more politically challenging after my grad studies, I think it has matured in a lot of ways. I am much more aware of my influences, and can approach projects, especially installations, with a different perspective that I had before. I also have a much easier time sorting personal work and client work, as my motivations and intentions are different for each. Was it worth the money? Yes. Have I paid it off yet? Nope. Ha!

WB-Portrait-CaseyDunn-1

Raymie Iadevaia

raymie adevaia

“I’m looking for the gaudy. Thick, garish, and fierce. My gaudiness is about intensity, density, and the provocation to frazzle—a clowder of cats—their eyes sparkle in the night. A delusion of grandeur heavily weighted by its own encrusted mass. I paint things over again and again to get to this encrusted mass. An accretion of imagery—driving in Los Angeles can be a gaudy experience—a profusion of dabs—iridescent pavement—colorful strokes, smears, stains, washes, tangents, indentations building up a surface.

The main thing is to know how to set about it, to be able to concentrate your attention on a single detail, to forget yourself sufficiently to bring about the desired hallucination and so substitute the vision of a reality for the reality itself.1

The gaudy is a fragrant saturation. Devotion, desire, and detail are the dials that gauge the grandeur of the gaudy. Like a cat brushing its head on objects to scent and communicate with a space (bunting), I paint things over again and again with an obsession to get closer to the texture of the world. My paintings are a filmy membrane of translucence, not opaque as to block or impede sight, and not transparent, as to cloak or be an unerring wraith, unattainable to vision, but rather a glowing mesh that gleans new sights—To cast the glamour. Painting as an engine of endurance that frazzles the senses, pushes the body to the brink of exhaustion while holding it there locked in suspended animation. Frazzled with feeling. In short, exhausted, but craving more.

Too much of a good thing can be wonderful.2

1 Joris-Karl Huysmans, Against Nature (A Rebours), 1884 2 Mae West, On Sex, Health and ESP, 1975″

You can see more of Raymie’s work here and on instagram.

all text and imagery from raymieiadevaia.com

 

Kumi Yamashita

KumiYamashita

Kumi Yamashita (山下 工美 Yamashita Kumi) is a New York City–based Japanese artist. Yamashita is best known for her light and shadow sculptures constructed from everyday objects.

To see more of her work, click here.

Clare Owen

ClareOwens

Clare Owen is a freelance Illustrator and Designer currently based In Bristol, UK.

To see more of her work, click here.

Tracy Ma

TracyMa

” Tracy is a graphic designer. She can illustrate, design, lead teams, make zines, teach, animate, design for the web, produce events, and think creatively. She is great at collaborating and enjoys working with others … She studied graphic design in Canada and lives in Chinatown, New York. It reminds her of Hong Kong, where she immigrated from in 1996.”

You can see more of Tracy’s work here and on Instagram.

All text and images from tracyma.com/KXUeZ/KTYlZ/.