gallery ten

Second Saturday Gallery Reception & Holiday Celebration:
December 8, 5pm–8pm

The Mendocino Art Center hosts a free Second Saturday Artists Reception each month. Enjoy snacks and wine, and meet the exhibiting artists. The December reception also serves as a Holiday Celebration and the Artists in Residence will open up their art studios to the public.

November 28 – December 30, 2018

Mendocino Art Center's
Artists in Residence
Holiday Pop-Up

Mendocino Art Center's 2018/19 Artists in Residence – Steven Colby, Debra Dolsberry, Dorae Hankin, Ian Hazard-Bill, Mariangela Le Thanh, Karina Mago, Maxwell Mustardo and Lauren Stanford – exhibit work created in the Mendocino Art Center studios during their residencies.

The Mendocino Art Center’s Artists in Residence (AIR) Program brings both emerging and established artists from all over the country to a unique art center on the rural Northern California coast. The location provides tranquility and inspiration in a community full of local artistic talent.

Steven Colby

Steven Colby is a studio potter and educator recently arrived from Carbondale, Colorado. With constant reverence for the past, Steven works to push forward clay traditions in the studio and in the classroom. Steven received his MFA from Penn State University in 2012 and his BFA from Alfred University in 1999. He has been an artist in residence at Baltimore Clayworks, Arrowmont School of Arts and Crafts, Carbondale Clay Center, Archie Bray Foundation and Studio for Arts and Works.

Visit Steven Colby's website

Steven Colby

Debra Dolsberry discovered silk painting in 1997 and has been watching dye flow on silk ever since. Silk painting lets her create fabric patterns for a truly unique look when applied to her bias cut blouses, dresses, and jackets. She places the motif so that it dances across the body, transforming the wearer, lightening her mood and freeing her spirit. In creating her clothing and wall art, she starts with white silks of varying weights and textures from gauzy chiffons, mid-weight satins and jacquards to heavy crepe de chine. She makes the fabric sing by brushing dye onto the silk and using water based resist, starch, dye thickeners or a dry brush technique to delineate her motifs. Salt, alcohol, and sprayed water create texture. Debra’s motifs are primarily botanical and geometric, though she also paints plein air landscapes. She uses her hand painted silk to construct bias cut garments with no side seams using sergers, traditional sewing machines, and hand sewn finishes. She also combines multiple plein air pieces into stunning garments. For the last 10 years, Debra has been conducting beginning and intermediate silk painting workshops.

Debra was born in the midwest in the mid-fifties and moved to California after receiving degrees in Philosophy and Computer Science at Kansas State University. She wrote software and edited computer science texts. In the late 1990's, she discovered silk painting while being the mommy helper for a Montessori class Mother's Day project and has been making dye run on silk ever since. Sewing since her teens, she was able to apply her hobby of silk painting to create unique looks when applied to her garment designs. Later in life she started her more serious pursuit of an art career by taking classes in drawing, painting, sculpture, photography, textiles, metalwork, and pottery. This term she is making use of her residency to take classes across the full range of offerings at the art center.

Visit DEBRA DOLSBERRY's website

Steven Colby

Working with clay is a continual process of listening and responding to the material in my hands, an exercise in patience and persuasion. I am drawn to clay for its malleability and memory, for the way it records the movement of my fingers. I love the evidence of that process made permanent through firing, and the honesty and intimacy of a handmade mark.

I am inspired by the potential of utilitarian forms like cups, plates and bowls, because they are by necessity part of our daily lives. We understand these objects through use, by placing them on our tables, by holding them in our hands. In functional pottery I see an avenue for communication between the maker and the user: the marks my own hands make are in turn read by another person's hands, eyes, and even lips as they put my pottery to use. Through this exchange, I find the means to not merely facilitate the experience of eating, drinking or sharing a meal, but to contribute meaning and thoughtfulness to that experience as well. The right bowl, a beautiful plate, a mug that fits perfectly between hands — these objects make ordinary experiences feel special, and they make good food taste even more delicious.

Dorae Hankin grew up in Northern California and received a BA in Studio Arts from Carleton College in Minnesota, where her studies in the arts led her to ceramics. She has been working with clay at every opportunity since, making primarily functional pottery for the kitchen, table, and home.

Visit DORAE HANKIN's website

Ian Hazard-Bill

Ian Hazard-Bill was born and raised in Marin County. He started working in clay in high school and has continued since. He has a B.A. ceramics and community based sustainability from The Evergreen State College. He has been an apprentice to Seth Cardew in Spain for three months, an artist in residence at the Cub Creek Foundation, studio manager at Sugar Maples Art Center, and assistant to Director at Cub Creek Foundation before his current residency at the Mendocino Art Center.

Visit Ian Hazard-Bill's website

Mariangela Le Thanh

I think of my work more as a personal journal because it is created with an indefinite, self indulgent narrative and emotions in mind.

Candy Falls is a person who inhabits my paintings and prints: they are not me, but they might be someone in between me and everybody else. If I were to tell someone else’s story, it still would be Candy’s story.

Lately I’ve been interested in the relationship between Candy Falls and the outside. Somehow there is some sort of constant, hurtful incompatibility between the two. Candy has a big appetite for new experiences and emotions, and ends up taking lots of space, disrupting the peaceful flow of things, even when they have the best intentions. Through their eyes, a noble landscape is transformed into an afternoon playground or the stage for great love fantasies. Yet the landscape dictates the end of play time, when it suddenly starts raining or getting dark and cold. Suddenly Candy can feel the melancholy of many clouds passing by. During this residency I hope to create a series of work around this (to me) enigmatic relationship. This is also an excuse to stroll around beautiful Mendocino.

Mariangela Le Thanh was born in Italy to Vietnamese refugees and grew up in Saluzzo, in Piemonte. At 18 she moved to San Francisco where she obtained a BFA from the Academy of Art University with an emphasis in printmaking. She particularly enjoys working with gouache, intaglio, and stone lithography. Since graduating she’s been printing and working as a studio monitor at Max’s Garage Press in Berkeley, CA, and she’s been a participant in their East Bay Print Sale for the past four years. Mariangela has shown her work in San Francisco and the East Bay, but also nationally and internationally. Some recent exhibits include 510 All Stars Round Two at Nielsen Arts, Berkeley, CA; the 3rd Global Print; and the 9th International Printmaking Biennial in Douro, Portugal.

Visit Mariangela Le Thanh's website

Karina Mago

My work is informed by my experiences as a Venezuelan immigrant — one who, like many, has lost the ability to both physically and emotionally return to her place of origin because she’s no longer belongs there. An individual whose fate was sealed by a decaying government that has largely ignored the needs of its citizens, while feasting on unceremoniously earned riches. I make in order to cope with that sense of loss of place, but also to celebrate the fact that I was lucky enough to escape. 

The themes that inspire my work are place and memory: the makings of identity. I look back onto my memories of Venezuela, and I notice how they become fainter each day. These memories present themselves as land masses getting washed away by a sea of overwhelming light and color. Spreading further apart, continents become islands, continents become rocks, and rocks become shapes underneath the waves. These thoughts translate to ceramic forms hanging precariously on the wall, from the ceiling and onto each other. The forms themselves take the shape of passing landscapes. Inspired by the kinetic works of Alexander Calder, as well as the suspended installations of Jeanne Quinn, I wish to make more suspended work that further pushes ceramics into an unexpected, precarious position. During my time in Mendocino, I also want to work towards creating larger and larger installations that incorporate paper and mixed media along the ceramic forms.

Karina Mago is a Venezuelan artist currently interested in making ceramic and paper installations that activate spaces through their shadows. Raised in Caracas, then promptly transplanted to South Florida, she was forced to trade rolling mountain ranges and towering steel for sandy beaches and pastel shopping plazas. This shift in surroundings inspired an ongoing fascination with place and memory, the makings of identity. She received her BFA from Florida State University in the spring of 2017 with concentrations in ceramics, printmaking, and painting and since has completed an Artist Residency for Goggleworks Center for the Arts in Reading, PA. At the Mendocino Art Center, Mago will be creating a series of installations that will combine the mediums of printmaking and ceramics.

Visit Karina Mago's website

Maxwell Mustardo

My objects, often coy and laconic, play with comprehension and abstraction. I treat making as a means for mapping meaning and an opportunity to reflect and examine the possibilities of that dense and dynamic process. From modernistic pottery to more eccentric sculptural investigations, I toy with meandering identities, imbricated indexicality, ambiguous materiality, and provisional functions.

Many projects revolve around broad notions of the vessel, the body, and language, using their intimate relations to foster doubt or titillation. Objects are focused upon as vital witnesses and participants, reflections and poems, animate and imagined.

Maxwell Mustardo was born in 1993 in rural New Jersey. He received his Bachelor of Fine Arts and Bachelor of Science in Art History and Theory from the New York State College of Ceramics at Alfred University in 2017.

Visit Maxwell Mustardo's website

Lauren Stanford

Creating ceramic sculpture is a dynamic process. What was essentially mud has the ability to be transformed through sculpting, firing, and glazing into a permanent piece that will exist long after I am gone. This transformation of malleable clay to a stone-like sculpture directly relates to the healing process I experience while creating my art: each piece brings a clearer understanding of self that is stronger and more permanent than the previous version. Clay also allows me to articulate isolating thoughts and feelings into a tangible object that creates a dialogue with others. I am perpetually surprised and comforted to learn that my own hopes and fears are shared by many.

Various species of animals serve as my muses. Sculpting them allows me to return to the unencumbered moments in my childhood in which I ran around the Alaskan woods pretending to be whatever critter my imagination chose. In my sculptures, I use familiar and foreign shapes and textures to share human narratives. I identify with multiple characteristics of the creatures I choose, which means these animals embody contradictions of strength and fragility, of fierceness and sensitivity.

Lauren Stanford was born and raised in Anchorage, Alaska. Her childhood summers were spent at her grandparents’ remote homestead on Lake Clark, Alaska. As a fourth generation Bristol Bay commercial fisherman, she now spends her summers setnetting for sockeye salmon near the mouth of the Naknek River. Lauren began taking ceramic courses at Colorado State University while obtaining her BA in English, Creative Writing. After graduating in 2010, she returned to Alaska. Within a few years, Lauren, ever the chronic student, returned to school full time to study art. She earned her BFA in Ceramics from the University of Alaska, Anchorage in 2018. Her sculptures and paintings have been featured in campus shows and in Anchorage galleries, as well as private collections in Alaska, Washington and California.

Visit Lauren Stanford's website