Serena Kovalosky’s signature piece, Forest Pod,
will be among the 57 small works of art selected by juror Erin Coe
to be featured in the Small Works Show at the Shirt Factory Gallery

Forest Pod by Serena Kovalosky

“From witty to sardonic, from the exquisitely beautiful to the astonishing and bizarre, the works selected for the Shirt Factory’s first annual juried exhibition speak to currents in contemporary art by some of the brightest talent in our community and region,” says juror Erin Coe, Chief Curator and Interim Co-Director of the Hyde Collection in Glens Falls.

Join us for the Opening Reception!
Friday, March 1, 5pm-7pm

Shirt Factory Gallery
Corner Lawrence & Curran Streets
First Floor, Suite 120 (Loading Dock Entrance)
Glens Falls, NY
518-907-4478

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October 2013

Serena Kovalosky has been invited back to Tannery Pond in the Adirondacks for an exciting exhibition featuring a brand-new sculptural series.

More information to come soon!

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Come to the Affordable Art Show where you can buy original art for $99 or less! My popular fine art gourd ornaments will be there, along with artwork from artists throughout the region!

Opening Reception is this Thursday, February 7 at Gallery 99 in Glens Falls, NY, a popular and successful pop-up gallery that will be open for this event for 3 days only!

Click GALLERY 99 for times and details!

See you there!

- SerenaK

Ornament by Serena Kovalosky

Ornament by Serena Kovalosky

Every year, I create a limited edition collection of ornaments during the Christmas holiday season and this year’s series is spectacular! I managed to find some wonderfully round gourds that were just the perfect size for ornaments and created a one-of-a-kind series that will add a unique sparkle to your tree, or will make wonderful gifts for friends and family.

For those of you within driving distance of Cambridge, New York, come to the Christmas Exhibition beginning Thanksgiving weekend where a full range of my collection will be available for purchase:

Christmas in Cambridge

These ornaments are already selling fast! I’ll have to remember to make even more next year!

I wish all of you an artful holiday season!

- SerenaK

I love my photographer. He makes me look good. Of course, he’ll always say that the subject of the photograph is the most important ingredient, but I’ll tell you – it’s not an easy task to take great pictures of sculptural artwork.

Photographing paintings is a cinch by comparison. My painter friends just drop off their work, and their photographers hang them on the wall, adjust the lighting and they’re good to go.

But with sculpture, you have thousands of angles to work with. First, you have 360 degrees all around, plus all the angles depending on the height of the camera placement. You could easily drive yourself crazy and spend an insane amount of hours trying to get each shot just right.

Jim and I work together on my photo shoots. Sometimes I see my work differently from how he sees it and we might have to negotiate to decide on which side of a particular sculpture is the best. Jim’s been photographing my work since the beginning of my career, and it does get easier over time. Slightly.

But the time spent is well worth it and the results are always spectacular, as you can see by the images on this site.

And our work was recently featured in an excellent blog post by Kesha Bruce on the importance of artists using professional photographs of their work on their websites:

Is Your Art Website Killing Your Art Career?

I am so fortunate to have such a talented, amazing photographer. I’ll give him much of the credit for my successful art career, since more people see images of my work, rather than experiencing them in person. To me, it’s the best investment a serious artist can make.

Jim McLaughlin Photography
Queensbury, NY
518-792-5175

www.mclaughlinphoto.com

Check out my Artful Vagabond blog site – I’ll be chronicling a powerful, art-inspired, year-long
New Year’s Resolution, in celebrations of artists everywhere.

A Juicy New Year’s Resolution

At 6:30AM on Monday, November 21, I started writing a book. It had been with me for a long time, even before I started working as a visual artist. It lay just below my consciousness as I was fighting my way out of the corporate world and moving towards a more creative life.

As I began my search for how this creativity should emerge, synchronicities and symbolism started appearing, offering subtle hints as I made tentative steps towards this new path. I became close friends with a writer named Élise whom I met during a weekend workshop retreat in Quebec’s Eastern Townships. I stayed in a room that was named, “Myosotis” and felt compelled to jot the name in my journal, thinking it might have some meaning for me at some point in my journey.

Élise inspired me to start writing, and after the workshop, I started filling notebooks with stories, fairy tales, and anything that passed through my head. We spent many hours talking about writing and creativity, which was a breath of fresh air to me after so many years working long hours in an corporate office environment.

We attended more workshops, and the push towards writing came up in almost every one. During a guided meditation, I had a vision of climbing to the top of a mountain to meet with a wise elder who gave me a very special “gift” in the form of a beautiful red book. When I opened the book, however, the pages were pristine white and completely empty. I was baffled, expecting the book to contain some wisdom as to what path I needed to follow next, but upon sharing the vision with others, I realized that perhaps it was up to me to fill those pages. I needed to write.

That winter, as Élise and I were soaking up the creativity at Montreal’s Salon des métiers d’art, we came across an artisan who crafted exquisite ink pens entirely out of glass. Of course, we each bought one and as I perused the color choices for the accompanying inkwell, I immediately recognized the one I needed: Myosotis Blue.

Despite the urges towards writing, there were also conflicting messages that arose, making me realize that, yes, my creative ventures would include writing some day,…..but not right now. At the same time, I was being drawn back into creating artwork, which I had been doing since I was a child, but I’d be taking my work to the professional level.

Fifteen years and many successful art exhibitions later, the call to write returned. So I began on that Monday in November, convinced that now was the time, but wondering how this was all going to fit together with my art career. I knew it was right, but I needed a sign.

From my lips to God’s ear……. I paid a visit to the studio of a fellow artist and good friend Leslie Parke just yesterday. We hadn’t seen each other since the summer and were looking forward to getting caught up on what was going on in our artistic lives. As soon as I arrived, she handed me a package.  “It’s an early Christmas present,” she announced. I looked inside and found a red, leather-bound book. Opening the book, I discovered pristine white pages just waiting to be filled and my mind flashed back fifteen years to that meditation where I received an enigmatic red book from a wise old man on a mountain.

Now I understand…….

The best gifts are the simple ones. And they are often the most overlooked because it is easier to be impressed by the obviously spectacular. But when one takes the time to appreciate and understand a simple gift from the heart, the rewards are greater and long-lasting.

When I was in my 20′s and still working in the corporate world, I had seen a documentary film on Native American traditions. During the film, one of the elders gave the gift of an eagle feather to a younger member of the tribe, who dropped to his knees in thanks and gratitude.  I remember my surprise at the young man’s reaction. “Well, THAT”S a bit overdone,” I remember thinking. “You would’ve thought he’d received the keys to a new Porche.” I imagined this scene taking place in our American culture. There would’ve been a confused look, perhaps a roll of the eyes and the feather probably would have been discarded on the way home. But at the same time, I felt a yearning to understand that Native man’s simplicity of appreciation.

I received a package the other day from Denise, a friend of mine who recently moved down south. I opened the package and smiled with delight, finding a small treasure trove of the most luscious selection of seeds, nuts and pods. Knowing I worked with raw, natural materials, Denise took the time to carefully choose these wonderful gifts and mail them to me. As I explored the contents of the package, that movie I saw almost 30 years ago came to mind. I’ve learned alot since those early days, and I knew how I should honor this gift – so I brought it right up to my studio to take the time to contemplate each piece.

The first piece I pulled out of the envelope was this:

It’s only a couple inches in diamter, but there’s so much going on – tiny holes that draw your attention in, but a spiny exterior keeps you from getting too close.

There there was this, which seemed to have a wise, old energy, reminding me of ancient ceremonial masks:

These seeds have a beautifully mottled exterior:

And these curly pods are smooth on the inside and velvety on the outside:

I have an entire wall of cubbyholes in my studio, filled with intriguing organic forms, from milkweed fluff to bird’s nests, that inspire my creative process (see Welcome to Serena’s Studio). Some were gifts, others I found in my woodland travels. These pieces will join the others, and their forms and textures will eventually find their way into my work, and remind me of the importance of appreciating life’s simple treasures.

Thank you, Denise!

"Forest Pod" by Serena Kovalosky

I came across this short but powerful blog post by the immensely talented sculptor Shane Wilson, and it changed the way I think about my work. (See: Saving Slow from Slur)

In his post, Shane talks about the value of Slow Art – work that takes time to create, maturing like a fine wine under the skillful hand of the artist.

I had been berating myself lately for not being able to create more quickly, or to produce enough to have a vast inventory of available work. I create slowly…..sometimes a piece could take months or even a year to finish, because for me the point of creating artwork is the process itself, which is organic and knows no time constraints.

"Earthpod II" by Serena Kovalosky

From a business point of view, this is absurd. In a profitable business model, an efficient production system is mandatory or the business will fail.

In recent years, I’ve been tempted to find a way to speed things up a bit. Produce more work, loosen the detail, simplify the process. I really don’t want to, but I feel I might have to in order to maintain a sustainable income level. I’m not the only artist who’s considering this. I’ve had many conversations with my contemporaries and we are all looking for ways to produce in a more efficient, cost-effective manner.

Then I came across Shane’s blog post and exhaled for the first time in months. I can’t work any other way. I have to take the time to sit with my raw materials, especially the gourds – to hold them in my hands, and see what they have to say. I can’t just start cutting away at a piece – I carve a little at a time to allow the material to incorporate the energy shifts that take place with every chip that falls to the ground. My woodburning tool provides a moving meditation as it glides across the surface, creating designs that do not come from me, but come through me.

The world is moving more quickly with every passing day, and perhaps this type of work will no longer be relevant in the near future. Artwork that takes time to make also takes time to appreciate. Those who understand it are the ones who stop long enough to hear its subtle message. And it is very subtle. Many people don’t stop. It can be hard to find in the midst of easier eye-candy.

I can perhaps create other series, broaden my body of work, but I will still find the time to create slow. Not so I can change the world, but so that I can keep my grounding as the world changes around me.

Shane posted a wonderful quote on his Facebook page:

“We recognize inherently the value of slow art, because we value our own lives
and the limited time we have on this earth. We are constantly asking the question:
what is worth doing, how should we spend our time?

When an artist chooses to invest days, months or years of their life
into a particular painting or sculpture or work of art,
they offer their answer to this question.”

Shane Wilson

Take the time to experience Shane’s sculptural work: www.shanewilson.com

All sculptural artists have a “stash”.  Whether it’s stone, wood, found objects or recycled materials, we all have studios bursting with “potential artwork” in every corner. My stash is mostly gourds. Gourds of all shapes and sizes, not to mention pieces left over from past projects. The thing about my gourd stash is this: I can never have too many gourds. And I rarely have enough room to store them all.

Fall is the time of the year when farmer’s markets are filled with deliciously vibrant ornamental gourds, feeding my addiction for more “sculptural materials”. I just can’t help rummaging through the bins at Gardenworks, marvelling at all the patterns and textures and funky shapes. It sets my creative mind whirring and before I know it, I’m elbowing other women in order to snatch that perfect addition to my stash.

On my most recent visit, I came across a gourd that had such a unique color for its shape, I just had to take a picture:

And then I found THIS…….

Whoa! What the heck…….?

Now I’m on a mission!

They’re like snowflakes – no two are alike.

I want to take them all home!

I always wish they’d keep their colors as they dry, but they don’t.

Some are edible…….

Others I’m not sure…….

But they’re all pure visual eye-candy!

I had to restrain myself and only choose what I thought I could use in my work. So here are the new additions to my “stash”.

Now I’m off to find a good cider donut…….

Hundreds of works created by over 60 of the finest professional artists in the region are exhibited in a rustic barn surrounded by the spectacular rolling farmland of Washington County, NY. Exquisite cheeses and pates from area farms and wine from New York’s Finger Lakes and beyond make this a truly extraordinary event.

Sales are always brisk, so if you see something you like, don’t hesitate!

This is my first year exhibiting at Landscapes for Landsake, so I thought it might be helpful to those attending if I provided images of my works that will be included in the exhibition.

Artwork sales benefit not only the artists but the farmers of this beautiful region with proceeds going towards the Agricultural Stewardship Association.

Serena Kovalosky Artwork

10th Annual Landscapes for Landsakes Exhibition

"Deep Mahogany" - 27"h x 11"d

"Ancient Tree Bowl" - 4"h x 7"d

"Earthpod Orb VI" - 6"h x 6"d

"Female Figure" 11"h x 10"d

"Dancing Vine" - 17"h x 18"d

"Mother Earth" - 9"h x 18"d

"Earthpod Orb V" - 5"h x 7"d

"Earthpod Orb IV" - 7"h x 7"d

I caught a glimpse of the rest of the show when I delivered my work to the barn at Maple Ridge. It’s going to be a spectacular show, curated by art appraiser Barbara Sussman.

Here’s a preview of the rest of the show:

Click for SLIDESHOW

Landscapes for Landsake

Click here for more information