Category Archives: Art

Bar Harbor, ME – MDI Biological Lab

E-announcement AMSExhibition June 20th – September 30th

A Fresh Field of Life: Artists, Naturalists and the Vision for Acadia is the theme of the MDI Biological Laboratory’s fifth annual Art Meets Science exhibit that features science-inspired work by local, national, and international artists. Concurrent with the centennial celebration of Acadia National Park, this year’s exhibition tells the story of art and science coming together on this island in the 19th century, the founding of a national part and how art and science connect our knowledge in the 21st century.

Featured Art & Science Collaborators

Robyn Ellenbogen with Keven Strange, Ph.D., & Dustin Updike, Ph.D.
Linda Rowell-Kelley with Jane Disney, Ph.D.

Opening Reception > Thursday, July 7th
Preview showing for artists and their guests begins at 4 pm
Open to the public at 5-7 pm

Weekly guided tours > June 21st through September 30th
For more information and to pre-register: mdibl.org/events

Interview with Meghan Widger, textile and fiber artist

Interview with Meghan Widger, textile and fiber artist

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In the past 6 months I had the pleasure of working on a collaboration with another artist. While I work with other people consistently in my visual marketing career, I never thought to work with others in my personal artwork. I’ve been in a collaborative mood lately, and decided to take a page out of what many people on instagram and social media do – collaborate!

I had been following Meghan Widger, or Hills and Thread on instagram for awhile, as I admired her work and skill with fabric and quilting. Then an idea struck me as I was working with the mandala form with my images and thought that they’d look awesome with a quilting technique, closely linked to traditional tapestries, so I reached out to her and we scheduled a Skype meeting.

One of the things I love the most about the internet is being able to network and connect with other like minded individuals. I, for one, wouldn’t have a career, if it weren’t for the internet, or maybe I would but it wouldn’t be where it is today. Anyway, I’ve successfully used the internet for networking and collaborations regarding my work, and when done ‘right’ can be a really amazing tool to help you in proceed your career.

I’ve sat down with Meghan Widger, owner of Hills and Thread and asked her a few questions about the work she does today.

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1. What made you start the work you do today?
As far as I can remember, I’ve always loved creating. But my sewing journey started at age 14. I got really hooked on the show Project Runway and just felt like I wanted to do what the designers did. I felt a spark, like this was something I could be good at. I wanted to learn, so my awesome parents gifted me with a sewing machine. I taught myself to use it and designed my own garments. However my interested shifted from fashion design to quilting, and has been evolving and expanding ever since.

2. Do you have a vision, goal, or destination in the work you do?
My main destination is to someday teach my own workshops. I want to teach people not only the skills and knowledge to sew or paint, but how to enjoy the process and how therapeutic it can be. I’d also like to travel around to display and sell my work at different festivals and shows. Basically I just want to learn, share, and teach.

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3. What did you enjoy about working with me/us?
I enjoyed getting to know a new artist and learning about your Electrography project. Collaborating two completely different skills and talents is such a fun experience. Not only did I learn a lot from you but I also gained a lot of inspiration from this project!

4. What do you do outside of when you’re not designing/creating?
I spend most of my time creating. If I’m not sewing then I’m painting or making something else. But If I’m not making something then I’m taking care of my plants, practicing yoga, or listening to music/podcasts. I love being outside, reading/writing, and thrift store shopping.

5. What made you start Hills and Thread?
Starting Hills and Thread was actually a huge step for me. As an introverted person who used to be painfully shy, I never liked to draw attention to myself and was never one to show off my work. I realized that starting my own business would be constantly challenging me to go outside my comfort zone and, in turn, help me evolve and grow. It took a lot for me to just start posting things I made on social media for exposure, then I was terrified of starting an Etsy shop. But every time you do something that scares you, you take control and the fear loses its power little by little. I decided I wanted to overcome as many fears as possible not only for myself, but to inspire others to do the same.

I, myself, enjoyed working with Meghan and Hills and Thread and look forward to see how this project develops. We have plans to develop our collaboration down the road, possibly supporting a cause that helps Kenyan women through sewing and other awesome ideas. If you are looking for a unique gift idea, or a new home decor piece; check out our work at at: SHOP K GLYPHICS (http://www.facebook.com/electrography) and Hills and Thread (https://www.facebook.com/hillsandthread).

Be on the lookout for future articles by Kristi which will feature ‘tips and tricks for artists to get ahead,’ Artwork ‘currently on view,’ Projects ‘in the studio,’ Travel Stories ‘on the road and in the air,’ and finally ‘lifestyle’ adventures. You can find more about Kristi, and her work on her blog:  http://blog.kglyphics.com.

New Project: Quilt Mandalas

Last summer I participated in the Hyarts Artist Shanty program in Hyannis, MA. Since then I have maximized my experience by writing down inspiration, tidbits and things people have said to me, that came to my mind and random things. I usually do this with action-packed experiences because if I have a lot on my mind I tend to forget it!

While working on this experience I experimented a little bit with my artwork on clothing and I really like how it turned out. It was really sell-able as well and seems to be the most cost effective way to produce artwork prints. However, getting into clothing manufacturing is a bit tricky. I’m not a seamstress and can hardly cut a straight line so I wouldn’t be the one making the clothes. I have to find a manufacturer that will do private labeling… essentially I design the clothing and claim it, but it will be manufactured in a factory, or something like it. Part of me wants to collaborate with others on the fashion line but part of me doesn’t want to split the credit…sounds selfish but I want it to make it my own, but without doing the dirty work! Only because it’ll just be another thing to be added onto my plate so I want to focus on what matters, the artwork.

So, I started searching on instagram for artists whose work will mix well with my owIMG_0272n. Since my mandalas fit the hippy, new agey vibe and I’ve been wanting to market to this crowd more. I connected with a fiber artist and designer from Missouri whose done some awesome incredible things. She made a whole bunch of bags, filled them with school supplies and then sent them off to a non-profit organization – Generation Next, for students in Africa.

She owns a small etsy based business called, Hills and Thread, and designs bags and other fabric based items with quilting techniques.  I contacted her if she wanted to collaborate and she was ecstatic to! We skyped the following week and came up with a bunch of ideas. It’s nice seeing my work in a different form with color and in a completely different light.

We have other plans to expand this project if successful. BUT I’m happy with the current progress.

 

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CAMBRIDGE, MA – ArtScope Mag Mention

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In preparation for the 30. Below exhibit in Cambridge, MA which opened today at the Katheryn Schultz Gallery, Kristi was mentioned for her ‘stark and intriguing’ artwork in ArtScope’s latest issue:

Kristi Beisecker’s “Olivo,” a black and white 22” x 28” photographic image, is stark and intriguing. A stand-alone image that challenges viewers to make sense of what they are seeing, it appears to be time-lapsed in motion with light bursting in multiple directions. A bit organic, a bit alien, floating in a void of darkness, she pushes the limits of traditional print photography.

Thanks so much ArtScope Magazine!

3 Artistic Apps to Bring Out Your Artsy Side

Artistry comes from the soul and is then translated with the movement of our hands regardless if we’re holding a pencil, a mouse, or a stylus. Though the problem with designing anything on a computer is the tedium and imprecision that comes with it, thus a lot of artists still prefer to draw free hand and leave desktop platform to the graphic designers.

Perhaps the best invention that combines art and technology is the drawing tablet and the apps that transform your portable computer into a modern sketchpad. As a contributor of SitePoint notes, a stylus is generally much easier and more comfortable to hold in your hand than a mouse, and allow for an incredible degree of precision in your work?

Here are the top recommended iPad apps for artists:

  1. Paper by FiftyThree
    The availability of free drawing apps are quite slim, so if you’re not looking to invest in a mechanical sketchpad, Paper by FiftyThree should work for you. Designed for the budding and the seasoned artists, this beautiful app can be used with or without a stylus.
  2. ArtRage
    For a variety of art mediums, ArtRage has got you covered. To transform your digital canvas into spectacular work of art, you’re provided with additional tools such as pens, pastels and even spray paint, along with rollers and palette knives to help you build and blend.
  3. Procreate – Sketch, paint, create
    Possible the most powerful artistic app on the market, Procreate is an Apple Design Award winner and has the most amazing resolution, layering system, and 128 brushes for all your toolbox needs. The app is definitely worth more than its price.

To think that your tablet can do much more than your laptop might have been bizarre five years ago, but now mobile tech designers are surprising us with new functions of our devices. Gaming Realms, such as, the group that supplies online slots for Pocketfruity, predicted that mobile usage would exceed desktop usage in 2013, and in plenty of ways, it has, especially now that we can see the versatility of our tablets. And the ability to sketch on your iPad is as authentic as your vision can get from a technological standpoint.

PARIS, FR – Vernissage de l’exposition “GAIA”

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As usual click the above image to be taken to the facebook album.

 

Pine Needles hanging.
Pine Needles hanging.

 

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Visite de l’exposition du mairie du 18ème Eric Lejoindre et de la conseillère de Paris Danièle Premel commentée par la commissaire de l’exposition Julia Rajacic / Paris 18th city mayor Eric Lejoindre with the counsillor in charge of popular education Danièle Premel visiting the exhibition with the curator Julia Rajacic

 

Visit of the exhibition of the hall of the 18th Eric Lejoindre and the adviser of Paris danièle premel commented on by the commissioner of the exhibition Julia Rajacic / Paris 18th City Mayor Eric Lejoindre with the counsillor in charge of popular education danièle premel Visiting the exhibition with the curator Julia Rajacic

CAMBRIDGE, MA – 30 Below

Olivo was accepted into Cambridge Art Association’s 30 Below exhibition for next January.

 

Juried by Mary M. Tinti, Curator of the Fitchburg Art Museum
Presented at the Kathryn Schultz Gallery, January 9 – 28, 2016
Award Presented January 14th Reception | Best in Show, $250

About Our Juror
Mary M. Tinti is the curator at the Fitchburg Art Museum (FAM). Tinti is an art historian and curator specializing in modern and contemporary art, with a focus on public art. Prior to her appointment at FAM she was the Koch Curatorial Fellow at deCordova Sculpture Park and Museum in Lincoln. ‘Ms. Tinti received her bachelor of arts degree in 2000 from Providence College and a Ph.D in 2008 from Rutgers University. Prior to joining the staff at deCordova, she was the first-ever public art fellow at the New England Foundation for the Arts (2010-2011) and the deputy artistic director of WaterFire Providence (2008-2010).
For more information click here.

30. below : Important Dates
JANUARY 4, 2016: Shipped Artwork Deadline
DECEMBER 12 – JANUARY 7, 2016: In Person Drop – Off
JANUARY 9 – 28, 2016: Show dates
JANUARY 14, 6-9PM: Opening Reception
JANUARY 29TH & 30TH, 11-5PM: End of Show Pick-UP

Congratulations to the accepted artists!

Christopher Abrams Could Cloud 3 Copper Wire, Styrene Plastic 7″LX5″WX4″H $250
Kristi Beisecker Olivo Traditional Photography 22″x28″ $400
Darek Bittner New York #17 Collage 8×10″ $350
Molly Blumberg Clouds For Mountains Handmade Paper, Found Wood 72″x20″x8″ $950
Olivia Boi Hardshape Series #86 Spray Paint and Latex Paint on Canvas 28 x 33″ $500
Carlie Bristow Untitled, part of “Food Landscapes” series Digital Print 16X20 $200
Emily Brodrick Jagged Acrylic Yarns 3’x3′ 1,700
Celine Browning Draw Plastic, Wood 18″x6″x8″ $375
Mia Cross Oleg’s Flowers Oil on Canvas on board 43″ x 36″ $2,000
Elizabeth Ellendwood Building Study 4 Archival Silver Gelatin Print 16×20 $450
Sarah Fagan Organize VII (Daylight Saving Time) Acrylic on Canvas 12 x 12″ $450
Anthony Febo “The Patriot Act” as part of the series “Captain America vs. The Universe” Digital Print 16X20 $150
Emily Garfield Aorta Isles (Cityspace #210) Water-Soluble pencil 24”x32″ $1,250
Aubrey Gauthier Funny enough Wood, Paint and Paper 3″ x 2.75″ $100
Graehound Durner’s Chandelier Mixed Watermedia on Arches Black 44″ x 30″ $2,300
Amanda Hawkins Mount Desert Isle Acrylic 34×36 NFS
Sofie Hodara Drone On Toner Transfer on paper 26 x 42″ $1,200
Alli Keller 23 (Lawn Games) Lithograph 23 x 29.5″ $400
Haley MacKeil Thin Wall, Revealed Linocut 22″ x 30″ $250
Brittany Marcoux The Birthday Tape Archival Inkjet Print 15″ x 19″ $300
Dina Martinelli Zulma Acrylic on Canvas 30″x36″ $300
Norah Remmers Small and Wise #2 Woodblock Print 26.5 X 32.5” $400
Nicole Reynolds Nobody Home Photography Size? $30
Steve Sangapore Virtuality Acrylic on Canvas 44″ x 32″ x 4″ $1,950
Hilary Tait-Norod This Is Personal Oil and Mixed Media on Canvas 36″ x 60″ $3,200

Info from: http://www.cambridgeart.org/30-below/

More on the Climate Summit in Paris

Below is an article by Michael T. Klare about the upcoming Climate Summit in Paris in which my artwork is in conjunction of during the GAIA exhibition.

 

Why the Paris Climate Summit Will Be a Peace Conference
Averting a World of Failed States and Resource Wars
By Michael T. Klare

At the end of November, delegations from nearly 200 countries will convene in Paris for what is billed as the most important climate meeting ever held. Officially known as the 21st Conference of the Parties (COP-21) of the United Nations Framework Convention on Climate Change (the 1992 treaty that designated that phenomenon a threat to planetary health and human survival), the Paris summit will be focused on the adoption of measures that would limit global warming to less than catastrophic levels. If it fails, world temperatures in the coming decades are likely to exceed 2 degrees Celsius (3.5 degrees Fahrenheit), the maximum amount most scientists believe the Earth can endure without experiencing irreversible climate shocks, including soaring temperatures and a substantial rise in global sea levels.

A failure to cap carbon emissions guarantees another result as well, though one far less discussed. It will, in the long run, bring on not just climate shocks, but also worldwide instability, insurrection, and warfare. In this sense, COP-21 should be considered not just a climate summit but a peace conference — perhaps the most significant peace convocation in history.

To grasp why, consider the latest scientific findings on the likely impacts of global warming, especially the 2014 report of the Intergovernmental Panel on Climate Change (IPCC). When first published, that report attracted worldwide media coverage for predicting that unchecked climate change will result in severe droughts, intense storms, oppressive heat waves, recurring crop failures, and coastal flooding, all leading to widespread death and deprivation. Recent events, including a punishing drought in California and crippling heat waves in Europe and Asia, have focused more attention on just such impacts. The IPCC report, however, suggested that global warming would have devastating impacts of a social and political nature as well, including economic decline, state collapse, civil strife, mass migrations, and sooner or later resource wars.

These predictions have received far less attention, and yet the possibility of such a future should be obvious enough since human institutions, like natural systems, are vulnerable to climate change. Economies are going to suffer when key commodities — crops, timber, fish, livestock — grow scarcer, are destroyed, or fail. Societies will begin to buckle under the strain of economic decline and massive refugee flows. Armed conflict may not be the most immediate consequence of these developments, the IPCC notes, but combine the effects of climate change with already existing poverty, hunger, resource scarcity, incompetent and corrupt governance, and ethnic, religious, or national resentments, and you’re likely to end up with bitter conflicts over access to food, water, land, and other necessities of life.

The Coming of Climate Civil Wars

Such wars would not arise in a vacuum. Already existing stresses and grievances would be heightened, enflamed undoubtedly by provocative acts and the exhortations of demagogic leaders. Think of the current outbreak of violence in Israel and the Palestinian territories, touched off by clashes over access to the Temple Mount in Jerusalem (also known as the Noble Sanctuary) and the inflammatory rhetoric of assorted leaders. Combine economic and resource deprivation with such situations and you have a perfect recipe for war.

The necessities of life are already unevenly distributed across the planet. Often the divide between those with access to adequate supplies of vital resources and those lacking them coincides with long-term schisms along racial, ethnic, religious, or linguistic lines. The Israelis and Palestinians, for example, harbor deep-seated ethnic and religious hostilities but also experience vastly different possibilities when it comes to access to land and water. Add the stresses of climate change to such situations and you can naturally expect passions to boil over.

Climate change will degrade or destroy many natural systems, often already under stress, on which humans rely for their survival. Some areas that now support agriculture or animal husbandry may become uninhabitable or capable only of providing for greatly diminished populations. Under the pressure of rising temperatures and increasingly fierce droughts, the southern fringe of the Sahara desert, for example, is now being transformed from grasslands capable of sustaining nomadic herders into an empty wasteland, forcing local nomads off their ancestral lands. Many existing farmlands in Africa, Asia, and the Middle East will suffer a similar fate. Rivers that once supplied water year-round will run only sporadically or dry up altogether, again leaving populations with unpalatable choices.

As the IPCC report points out, enormous pressure will be put upon often weak state institutions to adjust to climate change and aid those in desperate need of emergency food, shelter, and other necessities. “Increased human insecurity,” the report says, “may coincide with a decline in the capacity of states to conduct effective adaptation efforts, thus creating the circumstances in which there is greater potential for violent conflict.”

A good example of this peril is provided by the outbreak of civil war in Syria and the subsequent collapse of that country in a welter of fighting and a wave of refugees of a sort that hasn’t been seen since World War II. Between 2006 and 2010, Syria experienced a devastating drought in which climate change is believed to have been a factor, turning nearly 60% of the country into desert. Crops failed and most of the country’s livestock perished, forcing millions of farmers into penury. Desperate and unable to live on their land any longer, they moved into Syria’s major cities in search of work, often facing extreme hardship as well as hostility from well-connected urban elites.

Had Syrian autocrat Bashar al-Assad responded with an emergency program of jobs and housing for those displaced, perhaps conflict could have been averted. Instead, he cut food and fuel subsidies, adding to the misery of the migrants and fanning the flames of revolt. In the view of several prominent scholars, “the rapidly growing urban peripheries of Syria, marked by illegal settlements, overcrowding, poor infrastructure, unemployment, and crime, were neglected by the Assad government and became the heart of the developing unrest.”

A similar picture has unfolded in the Sahel region of Africa, the southern fringe of the Sahara, where severe drought has combined with habitat decline and government neglect to provoke armed violence. The area has faced many such periods in the past, but now, thanks to climate change, there is less time between the droughts. “Instead of 10 years apart, they became five years apart, and now only a couple years apart,” observes Robert Piper, the United Nations regional humanitarian coordinator for the Sahel. “And that, in turn, is putting enormous stresses on what is already an incredibly fragile environment and a highly vulnerable population.”

In Mali, one of several nations straddling this region, the nomadic Tuaregs have been particularly hard hit, as the grasslands they rely on to feed their cattle are turning into desert. A Berber-speaking Muslim population, the Tuaregs have long faced hostility from the central government in Bamako, once controlled by the French and now by black Africans of Christian or animist faith. With their traditional livelihoods in peril and little assistance forthcoming from the capital, the Tuaregs revolted in January 2012, capturing half of Mali before being driven back into the Sahara by French and other foreign forces (with U.S. logistical and intelligence support).

Consider the events in Syria and Mali previews of what is likely to come later in this century on a far larger scale. As climate change intensifies, bringing not just desertification but rising sea levels in low-lying coastal areas and increasingly devastating heat waves in regions that are already hot, ever more parts of the planet will be rendered less habitable, pushing millions of people into desperate flight.

While the strongest and wealthiest governments, especially in more temperate regions, will be better able to cope with these stresses, expect to see the number of failed states grow dramatically, leading to violence and open warfare over what food, arable land, and shelter remains. In other words, imagine significant parts of the planet in the kind of state that Libya, Syria, and Yemen are in today. Some people will stay and fight to survive; others will migrate, almost assuredly encountering a far more violent version of the hostility we already see toward immigrants and refugees in the lands they head for. The result, inevitably, will be a global epidemic of resource civil wars and resource violence of every sort.

Water Wars

Most of these conflicts will be of an internal, civil character: clan against clan, tribe against tribe, sect against sect. On a climate-changed planet, however, don’t rule out struggles among nations for diminished vital resources — especially access to water. It’s already clear that climate change will reduce the supply of water in many tropical and subtropical regions, jeopardizing the continued pursuit of agriculture, the health and functioning of major cities, and possibly the very sinews of society.

The risk of “water wars” will arise when two or more countries depend on the same key water source — the Nile, the Jordan, the Euphrates, the Indus, the Mekong, or other trans-boundary river systems — and one or more of them seek to appropriate a disproportionate share of the ever-shrinking supply of its water. Attempts by countries to build dams and divert the water flow of such riverine systems have already provoked skirmishes and threats of war, as when Turkey and Syria erected dams on the Euphrates, constraining the downstream flow.

One system that has attracted particular concern in this regard is the Brahmaputra River, which originates in China (where it is known as the Yarlung Tsangpo) and passes through India and Bangladesh before emptying into the Indian Ocean. China has already erected one dam on the river and has plans for more, producing considerable unease in India, where the Brahmaputra’s water is vital for agriculture. But what has provoked the most alarm is a Chinese plan to channel water from that river to water-scarce areas in the northern part of that country.

The Chinese insist that no such action is imminent, but intensified warming and increased drought could, in the future, prompt such a move, jeopardizing India’s water supply and possibly provoking a conflict. “China’s construction of dams and the proposed diversion of the Brahmaputra’s waters is not only expected to have repercussions for water flow, agriculture, ecology, and lives and livelihoods downstream,” Sudha Ramachandran writes in The Diplomat, “it could also become another contentious issue undermining Sino-Indian relations.”

Of course, even in a future of far greater water stresses, such situations are not guaranteed to provoke armed combat. Perhaps the states involved will figure out how to share whatever limited resources remain and seek alternative means of survival. Nonetheless, the temptation to employ force is bound to grow as supplies dwindle and millions of people face thirst and starvation. In such circumstances, the survival of the state itself will be at risk, inviting desperate measures.

Lowering the Temperature

There is much that undoubtedly could be done to reduce the risk of water wars, including the adoption of cooperative water-management schemes and the introduction of the wholesale use of drip irrigation and related processes that use water far more efficiently. However, the best way to avoid future climate-related strife is, of course, to reduce the pace of global warming. Every fraction of a degree less warming achieved in Paris and thereafter will mean that much less blood spilled in future climate-driven resource wars.

This is why the Paris climate summit should be viewed as a kind of preemptive peace conference, one that is taking place before the wars truly begin. If delegates to COP-21 succeed in sending us down a path that limits global warming to 2 degrees Celsius, the risk of future violence will be diminished accordingly. Needless to say, even 2 degrees of warming guarantees substantial damage to vital natural systems, potentially severe resource scarcities, and attendant civil strife. As a result, a lower ceiling for temperature rise would be preferable and should be the goal of future conferences. Still, given the carbon emissions pouring into the atmosphere, even a 2-degree cap would be a significant accomplishment.

To achieve such an outcome, delegates will undoubtedly have to begin dealing with conflicts of the present moment as well, including those in Syria, Iraq, Yemen, and Ukraine, in order to collaborate in devising common, mutually binding climate measures. In this sense, too, the Paris summit will be a peace conference. For the first time, the nations of the world will have to step beyond national thinking and embrace a higher goal: the safety of the ecosphere and all its human inhabitants, no matter their national, ethnic, religious, racial, or linguistic identities. Nothing like this has ever been attempted, which means that it will be an exercise in peacemaking of the most essential sort — and, for once, before the wars truly begin.

Michael T. Klare, a TomDispatch regular, is a professor of peace and world security studies at Hampshire College and the author, most recently, of The Race for What’s Left. A documentary movie version of his book Blood and Oil is available from the Media Education Foundation. Follow him on Twitter at @mklare1.

Follow TomDispatch on Twitter and join us on Facebook. Check out the newest Dispatch Book, Nick Turse’s Tomorrow’s Battlefield: U.S. Proxy Wars and Secret Ops in Africa, and Tom Engelhardt’s latest book, Shadow Government: Surveillance, Secret Wars, and a Global Security State in a Single-Superpower World.

Copyright 2015 Michael T. Klare

 

Original Link: http://www.tomdispatch.com/post/176063/tomgram:_michael_klare,_are_resource_wars_our_future/

Now at Seaporium!

Beginning November 1st you can find my products in Hyannis, MA at Seaporium, a consignment shop that features local artisans and handmade crafts. A little sampling of what you see here on the website will be found there. We will mention that the price may be adjusted to adhere to the rules of the shop.

Consigning is going to part of the next phase in our plan to expand to gain more customers. If you own a shop, or feel that our products will fit your customer base, email me and we can discuss.

 

See what Linda has to say,

So hope this very talented young woman agrees to showcase her items here at Seaporium. Her medium is Electrography. She exposes images by using electricity on an object (plant material) on photo sensitive paper. After they’re developed, she changes to positive on her computer. The electricity exposes the water materials of the plants to give you these beautiful photos! How cool is that?

 

Check out Seaporium on facebook!