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2018-01-16T15:19:33.677Z
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LPP is so excited to have Cathleen Bishop join us on Sunday 10/29 to teach a fun workshop on how to make a macrame plant hanger. This workshop is sold out, but keep your eyes peeled for a fun announcement from LPP on how to learn how to make macrame plant hangers soon! And keep reading to learn a bit more about Cathleen!

Cathleen Bishop is an artist and graphic designer based in San Francisco, CA. She grew up in San Diego and moved to the city to complete her degree. Here, she is able to pursue her passions in culturally and technically diverse surroundings. It has been her goal over the past year to experiment with alternative techniques and expand her creative arsenal. On her days off, you’ll find her hiking with her puppy, Willow, tending to her plants, or harnessing a new skill. She never leaves the house without a sketchbook and a sweater, but often leaves without her phone. Bishop’s artistic passions lie in illustration, photography, layout, typography, fiber arts, and printmaking. She received her Bachelor of Arts in Design from University of San Francisco in 2016.

You can view more of Cathleen’s work by clicking here.

What is your favorite part of creating/making? I love to work with my hands. I spend a lot of time on the computer and it’s a really nice break to move my eyes away from the screen...

We are excited to have Alice Gould come to the LPP Workshop to teach a ceramics workshop. The workshop is 10/28 from 12-4. Each student will receive an LPP Art Kit with all materials included to work in the class and at home! We have a few more spots! Go to our online shop to sign up!

Alice Gould received a BFA from the Rhode Island School of Design and an MFA in from the Nova Scotia College of Art and Design, both in the field of Painting. She grew up in Portland, Oregon, has lived primarily in California’s Bay Area, and often spends time exploring wilderness areas. Nature informs her work. Large oil canvases, spirited gouache works-on-paper, and nature photography are homages to life forces, weather and plant dynamism. Color, craftsmanship and the materiality of art-making are important considerations in her work. She now lives in Oakland. Please visit alicegouldportfolio.com to view her work and CV.

How did you start painting? 

I had always loved to draw then took a painting class at the Portland Art Museum when I was 13. The assignments felt too rigid, but introduced me to paint. At home I played around with making geometric patterns, then...

We are excited to have Holly Coley come to the LPP Workshop to teach a ceramics workshop. The workshop is 10/22 from 1-4. Each student will receive an LPP Art Kit with all materials included to work in the class and at home! Students will pick up their wall hangings two weeks after the class once it has been fired. We have a few more spots! Go to our online shop to sign up!

Holly Coley is an SF based interdisciplinary artist and teacher working in clay and illustration. Four years ago she founded Holly Coley Designs, a small batch handmade ceramic company and has turned more then a few heads at curated craft shows in the Bay Area with her whimsical living sculptures, sloths and clay narwhals. Check out some of Holly’s creations and follow her studio practice on Instagram @hollycoley. Artist website Hollycoley.com.

We are excited to have Shaine Drake come to the LPP Workshop to teach the art of paper marbling. The workshop is 10/21 from 1-3:30. Each student will receive an LPP Art Kit with all materials included to work in the class and at home! We have a few more spots! Go to our online shop to sign up!Shaine Drake is a weaver and marbling artist. She lives and works in San Francisco, CA. 1. How did you get into marbling?

A little over 5 years ago I was working at an art supply store in the city and discovered a
basic starter kit for marbling. I love old books and recognized marbling from the paper used for
the inside covers and spines. I was pretty much instantly attracted to the process. It’s become
really cathartic for me actually. Marbling requires a lot of letting go and leaving things to
chance. The kit didn’t give me the results I really wanted though so I became obsessed with
figuring it out myself. I’m still looking things up online and finding new and old books about the
craft all the time. There’s so much you can do with marbling, I don’t think I’ll ever get tired of it
or stop learning new techniques.

2. Is there an artist who’s work you are really excited about lately?

There are so many people making incredible work right now! I love Sheryl Oppenheim’s
work. She’s a marbler as well...

We are excited to have Isabella Hill come to the LPP Workshop to teach the art of embroidery. Her workshop is 10/15 from 1-5. Each student will receive an LPP Art Kit with all materials included to work in the class and at home! We have a few more spots! Go to our online shop to sign up!

Isabella Hill is a native San Franciscan who grew up in a community of artists and creators. Her grandparents were heavily involved in the Hippie art and fashion scene, and her mother was a weaver and clothing designer. From a young age, she understood that clothing is a powerful form of personal expression. She began customizing clothing with embroidery and beading a few years ago as a form of creative release. Her idiosyncratic, playful style quickly gained a following. She has created collaborative pieces with designers Creatures of Comfort and Evan Kinori, as well custom clothing for musicians, artists and other flashy dressers. Her inspirations include Victoriana, vernacular photography, outsider art, country music and the American West.

LPP’s Dylan Johnson who also shares a love of embroidery asked Isabella a few questions about her craft!

When did you start working with embroidery?

I started doing embroidery when I was a child. My grandfather Jerry Wainwright was the photographer behind Native Funk and Flash, a book of hippie fashion that has kind of a cult...

“Amanda Boe (b. 1978) is a photographer based in Brooklyn, New York. She also works as a freelance photo editor at The New York Times. Her photographs have been exhibited internationally, including at SFMOMA Artists Gallery, San Francisco Camerawork, RayKo Photo Center, The Griffin Museum of Photography, The New York Photo Awards, Southern Exposure, Project Basho Gallery, and Photographic Center Northwest. She received an MFA in photography from the Academy of Art University in 2011 and a BA in architecture from the University of Minnesota in 2001″

You can see more of Amanda’s work here and on Instagram.

All text and images from amandaboe.com

Our October workshops are up in the online shop! (and in shop as well) Go check it out, we’ve got some great stuff lined up for y’all!

Will Bryant’s color-charged compositions throb with enthusiasm and kinetic imagery. An accomplished illustrator and designer, he’s also growing a body of personal work that’s loose, fun, and inviting.

Print 1, Worn Out But Grinning Through It Print 2, No One Cleans the Baseboards Anymore

MH: Can you talk about how you got into design and illustration? It sounds like it wasn’t always your path and that something sparked for you in college. 

WB: Illustration was not really on my radar until undergrad at Mississippi State. Honestly, I didn’t know what illustration or graphic design was until an intro class with Kate Bingaman-Burt (one of my best friends/mentor/hero). I had some “creative endeavors” in high school and was into things outside the average classmate, but what I ended up having a career doing is a total surprise. I attended Mississippi State because my parents did, and I grew up cheering for the Bulldogs—not very good reasons. I thought that I would major in business, but the fear of numerous math classes and the charm of a dilapidated art building turned me towards graphic design. The  program and community inspired me to pursue a lot of personal projects and take a few painting classes.

One of those projects...

“I’m looking for the gaudy. Thick, garish, and fierce. My gaudiness is about intensity, density, and the provocation to frazzle—a clowder of cats—their eyes sparkle in the night. A delusion of grandeur heavily weighted by its own encrusted mass. I paint things over again and again to get to this encrusted mass. An accretion of imagery—driving in Los Angeles can be a gaudy experience—a profusion of dabs—iridescent pavement—colorful strokes, smears, stains, washes, tangents, indentations building up a surface.

The main thing is to know how to set about it, to be able to concentrate your attention on a single detail, to forget yourself sufficiently to bring about the desired hallucination and so substitute the vision of a reality for the reality itself.1

The gaudy is a fragrant saturation. Devotion, desire, and detail are the dials that gauge the grandeur of the gaudy. Like a cat brushing its head on objects to scent and communicate with a space (bunting), I paint things over again and again with an obsession to get closer to the texture of the world. My paintings are a filmy membrane of translucence, not opaque as to block or impede sight, and not transparent, as to cloak or be an unerring wraith, unattainable to vision, but rather a glowing mesh that gleans new sights—To cast the glamour. Painting as an engine of endurance that frazzles the senses, pushes the body to the brink of exhaustion while holding it there...

Kumi Yamashita (山下 工美 Yamashita Kumi) is a New York City–based Japanese artist. Yamashita is best known for her light and shadow sculptures constructed from everyday objects.

To see more of her work, click here.