Archives for posts with tag: art

I first was introduced to Pat Sharp by a mutual friend of ours, a neighbor of hers when Pat lived on Lombard Street in Philadelphia. We met in a crowded seventies singles bar. Pat was hoping to hire someone to work with her, painting murals for interior decorators. I showed her my portfolio. I was hired.

The Pat I met on that rainy spring night was the Pat I would know for many decades. A personality bigger than life. As if what was inside of her couldn’t be contained by just her body. Her energy field extended way far beyond. As most people are, she was a mix. Pat was a mix of the ethereal, ( her extensive knowledge of astrology ) and the practical. Not loud or bossy or even demanding. She was a great deal older than I was, but she acted young and effervescent and she laughed a lot. Sure, I would like to paint murals with her. I was not working at that singles bar anymore and I had a feeling it would be fun to work with Pat.

Pat painted the walls with either a large or small crew in peoples’ homes. An example of a small crew was me alone being asphyxiated in an oil painted plaid closet. The decorator had sold the job to someone with bad taste, as was often the case. We would go into these expensive townhomes or penthouses, Pat swinging a paint can, later, sloshing a coffee cup, later still, a beer can. (“Don’t worry,” she would say, “There’s a drop cloth underneath me!”) Her car was a giant ashtray filled with spilled dried paint, paint cans and root beer barrels with root beer barrel wrappers. It was missing the muffler. Also consider the equipment she had to lug around: ladders, 5 gallon paint cans, drop cloths, etc. And I have to say, the car was a maroon small sedan with black interior which of course, you couldn’t see. We, the crew, would crowd in and she would drive us to the job, where she worked alongside us. My being alone in the plaid closet was an exception.

A large crew example, was a job which required scaffolding and six of us painting the kelly green living/dining room walls with white bamboo designs from baseboard to crown molding. This was a client who fixed us, the crew, breakfast, lunch and dinner on white tablecloth covered tables, in her dining/living room. My brother, Rusty even worked for Pat, not that he lived in the area, but during a summer break from college, he came to visit me and Pat put him to work on the bamboo job. Rusty, being a terrific dancer, taught us all how to dance on the scaffolding. Philadelphia was the center for old school soul music. An ordinary AM station had great dance tunes. Back and forth on the highest of levels, Pat and her crew learned how to dance, paintbrushes in hand.

All her life, Pat was a painter. A true artist, understood by others or not, she remained true to herself. She was giggly, fun, a gourmet cook. She had even been called a walking talking party. When she was visiting the food pantry because she had no money for food, she would make these gourmet meals, eating and enjoying them by herself. Actually she made meals which transcended gourmet. A foodie before Pat knew the word.

That was the Pat I knew. I knew her as this incredible, validating, vivacious artist who made up her own rules and charged through life with immense energy. Later on, many years later, she was living in a coastal town in Maine, ( which, she told me, is a Pisces state ) and she would laughingly tell me she was banned from the dollar store, ( How do you get yourself banned from a dollar store? ), kicked out of her doctor’s office, frequently saying “This is not the America I grew up in !” I had no idea that someone could be kicked out of those places and it’s interesting I never asked her why. Why? because it happened to Pat. But mostly charming to people, her auto mechanic, Dave, traded his work on her car for a painting of Pat’s. He had it hanging in his automotive office for years. An oil painting of water in a gold luminescent frame. She was proud of that work. The Water Series. And happy Dave liked it enough to buy it. She became attached to people and took care of them, in a way.

I miss Pat’s phone calls, her talking about Paul Klee giving her advice in her dreams, her many friends, fashion designs ( and executions ) she did for Milbridge’s Black Fly Ball every year, the Sunday suppers she attended at the church every week. And how proud she was of Jen and her husband, Lafayette. And of course, Cosima, Rafe and Ashton.

Nope, I guess there’s no replacing Pat Sharp. Touching my heart and life and the lives of so many. I will have to get to the other side to see her again. And with her, it could only be a great adventure!

Patricia Sharp May 4, 1939-December 12, 2023

Pat Sharp in the 1980s painting on her front porch in Medford Lakes, New Jersey.

Copyright 2024-2030 All Rights Reserved Hollis Hildebrand-Mills and Jen Compton No reproduction of Patricia Sharp’s artwork or photograph made without the Sharp or Compton family’s permission


Hollis Hildebrand-Mills

Divine Imagery is Everywhere (TM)

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Ceres Gallery is having their annual group show, “Raising Women’s Voices II,” June 25-July 20. I am exhibiting the piece above, made up of collage, oil and acrylic on canvas. There is charcoal in it as well. No internet images, just magazine tear outs. My piece, entitled “Coat Hangers,” measures 26″ x 36.”

The opening reception for the show is Thursday, June 27, 6-8PM.

Ceres Gallery
Suite 201
547 W 27 Street
New York, NY 10001
Hours: Tuesday-Saturday, 12:00-6:00PM, Thursday 12:00-8:00PM

212 947 6100
art@ceresgallery.org

IMG_2872.jpeg I have been invited to participate in Art Papers 20th Annual Art Auction. The collage above is what I have donated. It is made up of magazine pieces, paint, pencil and pen on board. Framed in a 2 and 1/2 ” deep floater frame. The piece was started and completed last week. (2019) It measures 5″ x 5″ and is titled “It took So Long To Bake It”

You can make a bid for it online if you go to http:www.artpapers.org/events

The live auction is on March 2, 2019, 7:30 PM at 200 Peachtree St. N.W.
Atlanta, GA

I hope you can join the fun! It is a very special art magazine and I am participating with a lot of very talented artists!

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My piece, “Soft voices” is in the show, “Raising Women’s Voices.”  It is 5″ x 5″, magazine collage and paint on board, 2018.       Copyright Hollis Hildebrand-Mills 2018 All Rights Reserved

“Raising Women’s Voices” is a group show of selected Ceres Gallery artists. Opening on May 22-June 16, 2018.
Ceres Gallery
547 West 27 Street, Suite 201
New York, NY 10001
http://www.ceresgallery.org
212.947.6100
Gallery hours: Tuesday-Saturday 12noon-6PM
Thursday 12noon-8PM

IMG_8613.jpgWhen I lived in Philadelphia, I lived in a five story walk-up. Red carpeted, very nice, cheap apartment. That last floor to my apartment was steep. Killer actually. I knew some wall writers. Some graffiti artists. They were very young, bad ass kids. I thought it would be a great idea if they painted my bathroom with their tags. I bought pizza and soda and some cans of silver, neon oranges, pinks and greens and gold spray paint. I think they brought their own markers. I taped the tile with newspapers so all they would be marking were the walls above the tile. Graffiti as an art form was not well known then.

In fact I found out recently, that Philadelphia started it all, with a kid who tagged with the name, “Cornbread.”  He wanted his girlfriend at the time to remember him; He wrote “Cornbread” with a crown over the letters all along her bus route. It even shows up in the video of Bruce Springsteen singing the soundtrack for the movie, “Philadelphia.” Springsteen walks right by a “Cornbread” tag.

Enjoy this picture of Greg Davis. Also known as “T-Bone.” His writing as well as “Meanstreak’s” and “Eyeski’s” can still be seen from all the trains and buses in the Philadelphia area.

Oh, when I found these black and white photos, the “kids” went crazy with excitement.  That night, I took the photographs with my single lens reflex 35 mm camera, which happened to have black and white film in it, 400 ASA.

It’s kind of like a happy ending to the story of Peter Pan. The kids are all grown up now. The work of Keith Haring, Basquiat and Cy Twombly has sold for millions. The wall-writing technique in their paintings are in museums and auction houses today. But these three young graffiti artists, although now far away from the artistic agility required to be an effective sneaky wall writer, still consider themselves Bad Asses.

IMG_7930In my room. Senior year at Moore College of Art and Design. Having my best friend and her husband over for dinner. The dinner I cooked in my room at twenty years of age. My best dinner was: canned green beans, noodles, ground beef and canned stewed tomatoes all mixed together. Fruit salad. Accompanied by a drink of homemade kaluah and ice cream, which was called a Polar Bear because of the color white the drink turned when I added ice-cream to the already vodka soaked liqueur. I was certain this dinner was a winner. Also my everyday ( even for special occasions ) outfit was Army Navy bells with an Army Navy turtleneck sweater. That was it. In my youth, what I didn’t know was vast. I wish I were that naive and at the same time, so certain of things as I was then.

As art students, we carried our cameras everywhere. But we only took B and W’s which we would develop and print later. If there was dust on the enlarger ( as is in this print ), we would hit it with the correct shade of spot tone. ( I had no patience with that. ) There are no photos of my best friend and her husband at this dinner. However she insisted that her late husband’s FAVORITE dinner was that canned green bean concoction.

Sadly, my best friend and I lost touch. I don’t make kaluah anymore. And I don’t do that electric fry pan green bean thing anymore either. I have grown more food-sophisticated, more clothing aware, but I have to say, nothing in the world can come close to the bursting enthusiasm of being twenty and the ever-expanding years of possibility and adventure ahead. The Army Navy sweater and pants combo, not bad either. That, I would wear today.

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“Dressed Right for a Beach Fight,” 2015, 39” x 29” (framed with a mat), charcoal and pencil on paper. The drawing will be in a group show at Ceres Gallery, 547 W. 27th Street, Suite 201, New York, NY 10001, June 20th-July 15th. The reception is June 22nd, 6-8 PM. The name of the group exhibition is “My Favorite Things.”

Originally, I did this drawing for a solo show. My work for the solo show was related to clothes and how much I crave them, remembering events in my life by what I was wearing at the time. Since, I have decided not to do an exhibition based on clothing.

Therefore when the Ceres group show came up, I wanted this drawing to be in the show because I still catalogue my memories in this way and it goes very well with the theme. The title of the drawing is strange, but if it confuses you or seems to evoke questions or need explanation, just think of it as “Drawing Number One.”

fullsizeoutput_2868 This is the finished “mixed media” painting-number 10 of my series of crosses. When I showed the series in New York last year, “The Cross Series”, I only showed nine. Actually nine was the perfect number for the gallery. I did this one this year. I think this painting reflects the political climate of the time. It is definitely more frenetic and complicated. It took longer to resolve.

There is a lot of work for me to do. I am planning on doing four smaller paintings, each assigned to a different venue. The deadline for these is in about six weeks. Sometimes, my best work is work done very quickly. Less overworked, less second guessed, more spontaneous. Hope I don’t have the same struggles with these as I did with the above work.

The good news, is, the freeway in Atlanta is fixed! Or will be by next Monday, therefore I will be going back into town more often to work. No more clogged surface roads, clogged sinuses due to bad ventilation in the basement. Everyone was using the backroads causing sinkholes. More blocked traffic. The world, at least locally will return to the way things were.

IMG_7528.jpgAbove is what is called “a Work In Progress.” I thought it was far enough along to show. (What you can see of it, anyway.)

My daughter took this photograph while she was doing a video of me working on the painting. The camera went off and bam, not prepared, I have this to post.

It is the tenth Cross Painting, adding to the nine painting series shown in New York about a year ago. I thought I would even the series out to ten, as I am currently applying to a variety of venues for which I’ll keep the series in tact.

As you might know, a few weeks ago, Atlanta had a fire underneath a major intersection of freeway. The fire burned through the steel support beams melting the pavement, destroying the highway, preventing any traffic to cross over. The estimated amount of vehicles passing daily through this particular span of freeway is 450,000. Also worth noting, is the fact that this span of road is necessary for most commuters to get to and from work everyday. And this has caused commuter time to triple due to everyone taking surface streets to circumvent the accident site.

Virtually, Atlanta is crippled.

Therefore, for now, I am working at home. Not that I stay exclusively out here. I do brave the ungodly slowed-down traffic to do some work in my “real” studio at least once or twice a week. But, in this little home studio in the basement, it’s fine for the majority of work that needs getting done immediately. There is a minimum of clutter around. Just my tackle box full of paints, some favorite artist reference books I consider important to this project, an extra glass pallet and brushes, all of which I toted from my studio on the other side of the forbidden stretch of road.

I enjoy working at home, but I do believe I am better off if I physically separate work from home. Painting is such an immersive thing, both mentally and physically. I get Turpenoid all over my hands so that they tingle at night, even after washing them a million times. And I feel so dirty. Of course I work longer hours, being at home. But the time spent working, could be the time spent decompressing, as my drive home does for me. A nice ride to make my brain come to attention and get the darn Neil Young songs out of my head.

Let’s hope the road is fixed soon. And I can enjoy my spacious studio time on a steady basis again. But for now, I am lucky to have such a small, perfect space at home where I can keep moving on my work. Get it? Keep Moving?

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A friend of mine on Instagram recently asked me about my art rituals. The things I do to get into the frame of mind to work. I decided to write a blog post about it, since it couldn’t easily be put into a list. And being obsessive compulsive, I had to get it right.

Working at a studio 45 minutes from my home (although I have a second studio in my basement- another story-another set of rituals) I live in a culturally different place from the tattoo/piercing and cannabis servicing places – the little section of town where my “in town” studio is located. This space is in an old school house, built in the very early 1900s. I have an entire classroom to myself. I have painted the floors white to match the walls.

To get to my studio, I switch my thinking over to work. I take the backroads, never the freeway. When I get there, I open the door, take the dehumidifier down the hall to empty it, since I have no running water, turn off the fume eliminator, and take my jewelry off. I place rings around my watchband, fasten it and put bracelets in a formica tan/brown patchwork salad bowl on my long table. This is the table where I sit to contemplate the work I am doing at the time. The work is always about 15 feet in front of the table, on an easel. There is a row of waist high big tables beside the easel, upon which I put the paints, glass palette for working in oil paint, many containers of acrylic paints, assorted meat trays and yogurt containers for mixing the acrylic paints with plastic spoons. There are mediums and brushes and a huge plastic bucket for water, which I keep on the floor. I have to go down the hall to fill this, if I am working in water based paints that day. I always stand to paint. I never use a stool or table.

I believe that I am a channel for the work I do. I believe it does not come from me, but from something outside myself. Therefore, to achieve entry into this parallel universe, I put on some music made by someone who also believes a “zone” has to be reached in order to do good work. The music has to be loud.

Then I start mixing. I start painting. Moving back and forth to and away from the canvas. Pausing, usually, only for a lunch I have made and placed in the refrigerator next to the microwave. Always with a Diet Coke. Sometimes I will sit at the long table and spend time looking. Sometimes I can look for an hour. Sometimes, I get up suddenly and paint a piece of paper and place it temporarily over an area in the painting, before I commit to painting that color on the canvas. Most of the time, I glue the magazine pieces on the canvas as if they are paint, sometimes painting over them, sometimes leaving them alone. Squeegy-ing the glue out from under the magazine paper with a small triangle. And wiping the remainder off with a baby wipe.

After cleaning up, (down the hall), I turn out the lights and start the long drive home. I usually am very tired, and for a while, there was a specific intersection in Atlanta where I routinely had an anxiety attack. For many years, I avoided this intersection by going miles out of my way. Or stopping to ground myself in some store for re-entry into the “real” world. Now that intersection has no power over me. I think, though, it should have a sign that says, “End of Right Brain Thinking…You Are Now Entering The Suburbs. Be Sure To Get Yourself Together. NOW.”

Copyright 2017 Hollis Hildebrand-Mills All Rights Reserved