Sandra Lauterbach: Sewing Her Art

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Using the traditionally female tool of a sewing machine, artist Sandra Lauteback creates vibrant contemporary art from textiles and fabric that pull viewers into a stunning visual landscape swimming with color and depth.

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A Los Angeles native, Lauterbach grew up in the textile industry, gaining intimate knowledge about the design and use of fabric as well as the creation of prints, at her parents’ company, Alexander Henry Fabrics, Inc.

According to Lauterbach, “Thread, fabrics and yarn are my paints. Instead of brush strokes, I stitch. I see strength and power in the stitch…it’s a way of leaving a print to be remembered.”

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Strongly influenced by her mother and grandmother, the artist’s images build upon the past, while infusing her work with a contemporary perspective on the changing roles of women and the vast dimension of creativity that so-called “women’s work” can provide.

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Although she works with traditional materials, her creation process is hardly traditional. Lauterbach uses heat and paint to alter materials, focusing on the interaction between shapes, colors, line and texture. She uses this interaction to exploit dimensions in physical space and create a complex, layered, three-dimensional aspect to her work. The overlapping of these layers allows viewers to see both exposed and hidden aspects of the work. Swirls, circles, flowers, patterns, lines, and prints are pieced together to form a kaleidoscopic and transcendental piece of time and place. Drawing on her background in drawing, painting, photography, and weaving, she works primarily in fiber art, fascinated by what she terms its “limitless exploration possibilities.”

“Because I am a visual person, I am captivated by the perceptual nature of art. The viewer’s imagination is needed to complete my work as I intentionally create pieces that leave much to be explored and discovered,” she relates.

Lauterbach’s beautiful designs have the effect of quilts for the soul. Incorporating techniques that are similar to those employed by quilting, she stitches dream-like images of dazzling colors, often forming abstract shapes that with extended viewing take on more substantial forms.

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Her “Color Collage 2” with its swirls and feathered patterns resembles a bird poised for flight; the delicate fine thread stitching in “Arpeggio” evokes fish, fish bones, water.Lauterbach_Black&White&Red_Full

“Black & White & Red All Over” seems to represent many different layered landscapes, many different strata of meaning.

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“The Royal Peacock” is representational and dimensional enough to strut off the fabric on which it is sewn. The feathers from this delicately crafted mosaic-like image are made from intricately small pieces of brocade and other elaborate fabrics.

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Her “Byzantine Gate” could be a constellation of stars, a distant universe far flung across a glittering sky, or a map of a mysterious world. But in fact, Lauterbach describes the piece as “inspired by the gate at the The Peggy Guggenheim Collection Museum in Venice, Italy.” Created of interlaced ribbon, lace, and yarn on a hand-painted silk background, the effect is almost ecstatic, beyond any representational time or place.

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Many of her works take on an almost other-worldly quality, something as much at home in a galaxy far, far away of our own imagination as it is anchored in reality.

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Her “Odyssey,” recently exhibited at the Laguna Art Museum, is another such piece, continents or constellations swirl, connected by netting and thread as near-translucent as gossamer.

Lauterbach’s work has been exhibited in national and international exhibitions, museums and galleries across the country, including the Laguna Art Museum, Los Angeles Art Association’s juried Open Show, and the California Open Exhibition at TAG Gallery, juried by Laddie John Dill, where her work received an Honorable Mention. She is currently exhibited at The Textile Museum in Washington, D.C. through early September. Lauterbach will be exhibiting in a solo show, Material Matters, at LA Artcore Brewery Annex on June 5th. At her Artcore exhibition, 8 to 10 of her abstract constructions will be on display.

Join Lauterbach in exploring the beauty and depth of textile art, and the reason “Material Matters” at LA Artcore Brewery Annex, located at 650 A South Avenue 21 in Los Angeles. See http://www.laartcore.org/ for more information: opening reception June 5th 1-3 p.m.; the exhibition runs June 2 through 26.

  • Genie Davis; Photos: artist, Shoebox PR

Botart: Barrels of Art for World Art Day

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Celebrating World Art Day, an exhibition featuring Botart International artworks offered barrels of fun and fine art at the Brewery arts complex on April 17th.

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Botart is a collection of art pieces produced on wooden wine barrels, featuring work by invited artists around the globe. These beautiful free-standing pieces are as varied as the artists chosen to create them. At the far right, the beautiful glowing pastel of Hung Viet Nguyen’s barrel.

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Above, artist Cynthia Friedlob created “Tipitina,” titled after the classic new Orleans jazz song that was this Los Angeles artist’s inspiration. “My art is inspired by jazz. I essentially created a Mardi Gras piece to lighten it up. There are beads on top of the barrel. The black stripes on the barrel represent city streets – it’s very much a New Orleans-style piece,” Friedlob explains.

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Hanging behind her barrel was her painting “Notes 101C” which is one of a series of paintings based on general chords and orchestral passages. “I was inspired by the great jazz towns of the 40s and 50s, New York, Los Angeles, Chicago, and St. Louis,” Friedlob says.

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Above, Yvonne Beatty with Baha Danesh.

Yvonne Beatty’s barrel is titled “Linear.”  The title refers to the way “wine” is written in a variety of languages. “I looked up the word, and each of the images on the barrel is based on a particular script in which the word ‘wine’ is written. What I discovered is that calligraphy is based on a actual being in the world. There is a ghost of a living creature in each script image,” she reports. Beatty’s both charming and pointed painting of another living creature, a squirrel armed with a gun, was hung behind her barrel.

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Titled “Phil,” Beatty says of this piece “I know this squirrel. He lives in my backyard. He’s protecting himself from hunting season for squirrels.” The hyper-realistic piece is created in acrylic ink and paint on canvas.

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Sunflowers burst from both an oil-on-canvas painting and the wine barrel created by Ada Pullini. “The painting is a sunflower field in Tuscany that I painted while burning up in the sun.” The heat and intensity still radiates.

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The exhibition was curated by Shawn Barrett, with creative direction from Andre Miliposky and Baha Danesh. A tour of a number of artists’ studios at The Brewery complex was organized by Dale Youngman.

Art work was also on display at Gallery I-5 in the Brewery complex.

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Above, the delicate, mosaic-like landscape of Hung Viet Nguyen. From trees, to sea,  the work depicts an internal, spiritual world as well as the external.

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  • Genie Davis; all photos: Jack Burke

 

Fresh and Fine: Fundraiser for South Bay Contemporary

 

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A beautiful sculpture by June Diamond graces the trees at the South Bay Contemporary fundraising gala, Fresh.  The piece, “Chain” will be installed at the Hollywood Sculpture Gardens in the Hollywood Hills in the next week, but for the gala event, it was one of a number of site-specific installations, creating a lush outdoor gallery.

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Held April 23 in the Italian-style courtyard of the Shriver estate in Rancho Palos Verdes, Fresh was exactly that, a bright and engaging artistic take on the fundraising scene.

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Above, video installation by artist Cie Gumucio, who describes her work as “sometimes whimsical, sometimes profound.”

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The mermaid skirt on the sculpture above was just one of several at the event, with additional, mylar-created pieces available to try on and dance in, all created by artist Beth Elliot.

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Above, the work of Rob Hutchins, retired mechanical engineer and vibrant sculptor.

The art highlight of the evening was for us the the beautiful sculpture garden installed, with a wide ranging variety of pieces from artists such as Cansu Bulgu, who created Transformative Sand drawing sessions; a vibrant video installation by Cie Gumucio (above); Taco Bell sauce tarot readings from Chrysanthe Oltmann; sculpture created from tire shavings by Nate Jones;  a brilliant kinetic wind sculpture by Rob Hutchins (above); as well as pieces by Anne Olsen Daub, June Diamond (top of article), Jake Dotson, Beth Elliot (above), Jan Govaerts, Patty Grau, Theatrium Elysium, and Thinh Nguyen.

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Above, artist Sylvia Greer with her table centerpiece.

Silent Auction Sculptural Center Pieces created magic in the courtyard and was donated by many artists who will also have their work displayed in the upcoming Skyline exhibit May 7th at SBC’s Loft in San Pedro. Participating artists included Anita Dixon, Lauren Evans, Patty Grau, Sylvia Greer, Nicholette Kominos, Connie DK Lane, Carolyn LaLiberte, Kristen Marvell, Karrie Ross, Denis Richardson, Peggy Sivert, Ron Therrio, Tracey Weiss, Jaye Whitworth, June Diamond, and Ben Zask.

South Bay Contemporary director Peggy Sivert Zask, said the evening was about “unity” as much as it was a fund raiser to support SBC and the culture of contemporary art in the South Bay. Certainly attendees were unified in their enjoyment of the asparagus crostini, chicken alfredo, crab cakes, and quinoa salad, the fun and fruity mixed drinks and homemade wines, and fun touches like the silver mylar mermaid skirts for swirling, live music, and the chance to peruse the art-filled auction tables.

Stay Fresh, South Bay Contemporary – and readers, don’t hesitate to volunteer to support SBC, through donations, attendance at events, and administrative support. Founder Peggy Sivert Zask is looking to welcome a wide community into the artistic fold south of LAX.

  • Genie Davis, Photos: Jack Burke, Ron Hutchins’ sculpture photo by Gloria Plascencia

Heidi Duckler’s Site Specific Dance Classic: Parts & Labor

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“At the car wash…talking about the car wash…” that’s what audiences will be doing on Saturday, May 7th, when the Heidi Duckler Dance Theatre stages a classic dance performance at the Santa Palm car wash in West Hollywood.

Presented in part with a grant from  City of West Hollywood and its Arts and Cultural Affairs Commission through WeHo Arts (www.weho.org/arts), and support from Los Angeles County Supervisor Sheila Kuehl, this exciting piece features four dancers staged on a vintage 1970s Cadillac Coupe de Ville. The Cadillac is more than a stage and a prop – the percussion trio Antenna Repairman will be miking it and using the car as an instrument, too.

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Heidi Duckler Dance Theatre creates deeply innovative dance experiences in non-traditional, site-specific locations, inviting its audience and artists to connect with their community in a fresh way. Duckler founded the troop in 1985, and the choreographer has earned the moniker “reigning queen of site specific performance.” Each staging is a contemporary art experience that integrates audience and performers.

Duckler has created more than 200 dance pieces around the world, receiving awards from the City of L.A. Department of Cultural Affairs, the California Arts Council, and the National Endowment of the Arts. With original percussionists Bob Fernandez and MB Gordy of Antenna Repairman still performing, Duckler felt the time was right to re-stage “Parts & Labor.”

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Originally performed in 1993, “Parts & Labor” explores our love/hate relationship with cars, and our dependency on them. The theme is more timely than ever, as LA highways grow increasingly congested and alternative transportation becomes more and more relevant. The piece was originally performed in a Studio City car lot, where dancers performed on an amplified Cadillac, a used car salesman tried to sell Caddys to the audience, and vintage film clips of Detroit’s view of the future screened in the background.

Percussionist Fernandez came up with the original idea to mic the car as a resonant instrument after visiting Cuba and noting the metal in pre-60s era vehicles driven there.

The 1992 performance featured four women in long black veils cradling gas pump nozzles, then changing into doctors’ scrubs, with the Cadillac going into labor and giving birth to a hood ornament. The current iteration will focus on the car as a symbol of freedom, as well as having the potential for entrapment.

“We live in our cars,” Duckler notes. “The car is our home.”

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This Saturday’s car wash location should also add a new look to the piece. “It’s more about relationships,” Duckler relates.

Combining exciting rhythm with progressive dance in a wide range of local settings is hardly a first for Duckler, who has been creating pieces and setting them in locales from the Los Angeles River basin to laundromats for decades.

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Check out her new vision for “Parts & Labor” this weekend, and be prepared for one “driving” evening of stellar dance and riveting rhythm.

“Parts & Labor” will be performed May 7, 2016, at 8 p.m. in the Santa Palm Car Wash, located at 8787 Santa Monica Blvd. in West Hollywood.

See http://bit.ly/hddtpartsandlabor for more information and to purchase tickets. Tickets will be available at the door as well, until sold out.

Visit http://www.heididuckler.org/ for more information about the full range of programming planned by this innovative dance group.