Archive for the 'Classes/Workshops' Category

Indianapolis Art Center’s New Director of Educational Development

Picnic in the Park with Anya Aslanova

Anya Aslanova

Since one of her favorite things to do is picnic, we grabbed a basket of goodies from Costco (her favorite place to shop) and headed out to the riverfront with Anya Aslanova, the Art Center’s new Director of Educational Development, to find out a little more about her! Here are some of her favorites!

Tell us a little about your background.

I was born in Kiev, Ukraine and was there until I graduated from high school. During my senior year, there was a very unique opportunity for a foreign exchange program.

I was one of the 70 students accepted out of the 2,000 who applied. I spent a year here (in the U.S.) in Springfield, Ohio receiving a diploma from an American high school. That allowed me to apply to colleges here.

That was actually my lifetime dream. When I was six years old, if you asked me ‘where do you want to go to college?’, I’d say ‘in America.’ Of course, growing up in the Soviet Union, that truly was a dream; it wasn’t as realistic as it is even today.

Anya's mother, Nellie

Who is your role model?

Hands-down, it is my mother. I don’t know how she did it—letting a teenager, her only child!, go off to a different country. But she did it. Now, as a mother myself of two boys, almost ages 4 and 6 now, I really adore her for her sacrifice. I don’t know if I could what she did. I can only imagine what she must have been thinking. She wasn’t selfish; she let me go. She came over here permanently about three years ago to live with me and my family. She has sacrificed a lot to be here, including being apart from my father who has not yet been able to join us.

Nellie with Anya's son, Vlad

What was your major in college?

I attended Anderson University. My first major was Finance, thinking with the new economy in the break up of the Soviet Union that Ukraine was a new country and so people were a lot more business-minded. Entrepreneurship was starting up; nobody knew what it was. So I thought it would be good for me to learn business and finance. And I really enjoyed, and still do, that aspect of life and work.

How did you get involved in art?

Nellie, Anya's husband, Nick, with sons Vlad (left) and Dima, (right)

My campus job was working the late shift at the library. I used to go through magazines and liked doodling the different people I saw. A friend of mine, who recently had switched her major to graphic design, thought I should show my drawings to her art professor and see if there might be a future for me in art. Growing up in Ukraine, I was exposed to art history, it was just a part of my life and everyday conversation. However, last time I used a paintbrush was in my kindergarten art class. Although I knew well-known artists and could converse about various art periods, I had never, ever considered myself capable of drawing or creating any kind of artwork (hence, the original finance major). So I made an appointment with the art professor and when I met with him, he looked at my drawings very carefully. I’m sure he was trying to think of something complimentary to say because they were not very compliment-worthy. He said I had a great attention to detail. I still have those drawings. He signed me up for two art classes, 3-Dimensional Design and a general art history. And that was the beginning of a whole new life, a whole new career, a whole new perspective.

 What’s one thing people may not know about you?

Well, I lived through Chernobyl. Even though Kiev, my hometown, was 100 km away from Chernobyl, we were all very affected by this tragedy. I was in grade school at the time. I don’t remember too much other than being excited about going to summer camp with all my friends for the whole summer. They actually were evacuating all the children; most of the adults stayed.

When we arrived to camp (Caspian Sea resort area), I remember going into a tent where we were checked with a hand-held device that was constantly beeping (later I learned that it was a radiation meter and it was beeping because our radiation levels were much higher than normal). We were also instructed to take off all our clothes and were given new clothes. At the time, I didn’t realize they were going to bury our clothes for safety reasons. That’s what the city officials did in the fall with all the leaves to keep the radiation levels down. When school started in the fall, some kids went back to Kiev, others, including me, were sent to other areas. My mom sent me to Russia, where her family lived. Upon my return I was stunned to find a lot of my classmates lost their hair. 

Who is your favorite artist?

Because of my background, I have an interest in Russian constructivists, particularly El Lissitzky. My favorite is his “Beat the Whites.” Of course, I love Paul Gauguin. And Niki de Saint Phalle, I adore her attitude… She was bold! And I want her house!

What is your favorite band?

My favorite band is ever-changing. My old-time favorites are Luna, Gogol Bordello, Sleepytime Gorilla Museum, Faun Fables, Blonde Redhead, Blues Explosion. And, of course, I like Devo.

What is your favorite place in Indy?

I have to say Chatter Box for sentimental reasons. That’s where my husband and I met after an art opening.

Do you have a guilty pleasure?

I have lots, but none of them are guilty! If I had to choose, I’d say dark chocolate.

 What are your goals for your new position at the Art Center?

The Indianapolis Art Center is a truly remarkable, and important, organization in the city. I spent seven years in marketing. I learned a lot about what this organization does for the community. So, I don’t really see moving into Education as a huge change—I’m working for the same mission and really, the same goals in mind. I see myself continuing the wonderful legacy that this organization has and has had for 77 years. I’m so proud and cannot be pleased more to be a part of this wonderful mission and legacy. I think we owe it to the community to continue to be more accessible and relevant and to excite more people about art.

Check out our video interview with Anya on YouTube!

Ceramics Instructor Tim Ryan

Indianapolis Art Center ceramics instructor, Tim Ryan

Tim Ryan is one of the Indianapolis Art Center’s ceramics instructors. We spent an evening with him in class to find out what makes him so popular with students. See a video of Tim on the Art Center’s YouTube channel at http://www.youtube.com/user/IndyArtCtr.  

 Q. How would you describe your teaching style?

I’ve been teaching here a shocking 23 years.  I had no intention of ever being in one place that long, but there you have it. And it’s still fascinating to me. I’m still taken by surprise by somebody’s idea or somebody’s approach that there’s no reason it wouldn’t work, especially if I give them some technical support. For me, artist and teacher are so wrapped up together. New ideas that I have in my studio will be folded into my teaching. And vice versa.

Both here and at the Indiana School for the Blind and Visually Impaired, any teaching I do really, I try to differentiate instruction. I’m trying to seek out a student’s level and work with them at that level, looking forward to the next one, to bring them up to the next one. Clay is, there’s such a diversity of methods, ideas, it’s just all over the place. That’s why usually in here you’ll see wheel throwing and slab building and sculptural things because I think one informs the other. Any work you’re doing with clay will inform any other type of work you’re doing.

Most folks want to give the wheel a try. Ceramics takes repetition and practice. And changing it from instructions and ideas in your head to a kinetic memory in your hands and body. That’s what the repetition will help do. And that’s what you kind of have to do. You have to know and have a plan and create a structure, but at the same time you have to relax and let the clay be fluid and work those things over and over again so you’re not really thinking about it, so that your hands go where they need to be without having a map in your head.

 

 Q. Describe for us a typical class.

It always depends on what work everybody’s pursuing. Sometimes I’ll be doing demos on the wheel. Other times I’ll being helping somebody with trim in hand-building or slab-building.

The thing I like about my classes is there are so many people going in so many different directions that somebody walking in cold can see a lot of different things right off the bat. The people who take classes here, there’s really something special about them. And everybody in here at one point becomes an instructor. (It’s like) being the leader of a jazz combo and knowing when to let another player solo. And that happens in here.

 

 Q. You’re known for doing a really good job at creating community in your classes. Is that difficult given that all your students are at different skill levels?

Tim Ryan with his Wednesday night ceramics class

 

We’re always stressing basics. Whether you’re advanced, whether you’re 20 years into it or it’s your first week, the basics still need to be built upon. And it’s always good to review them. As you advance in technique and your ideas it’s easy to lose sight of the basic foundation of the thing and take it for granted. We welcome beginners in here because it’s a good opportunity to take everything down right to the beginning level as if you don’t know anything about clay. “It will no way impede your genius to stress basics over and over again.”

We usually do strive to find a method or approach or technique that suits (each) person. The great thing about these classes, the different backgrounds coming together and everybody has a different approach and looks at it differently usually because of the career they’re coming from. That keeps it fresh.

Everybody in here is very supportive. And it’s a “we’re all in this together” kind of attitude. It just happens that more experienced students wind up giving advice or lending a hand to the beginners. That’s so appropriate. It’s great for anybody to hear things put in a different way, it might be phrased differently than the way I say it. Or it might be done a little bit differently than the way I do it. And that’s fine. We try to encourage everybody to take a sampling of everybody’s approach and that way forge their own.

 
 
 

Tim Ryan's assistant, Darlene

 

Darlene, Tim’s monitor and assistant in class and at the Indiana School for the Blind and Visually Impaired, shares her thoughts on what makes Tim such a popular instructor.

(The students) are having a lot of fun. All the energy is there in the room. Everybody’s helping everybody. A lot of questions, answers, ‘how’d you do this?’, ‘how’d you get that effect?’ It’s just real fun.

I like working with Tim because of the way the class is constructed. Everybody’s working on their own, whether it’s hand-building or wheel-throwing, there’s all different levels—beginners to advanced. Everybody is helping one another. Advanced students sometimes you forget the basics and so it’s nice to have beginners in the group because you’re hearing Tim centering and all the foundation, wedging, and everything you have to do in centering and opening, once again, said and repeated. Everybody’s like “oh, yeah.” It’s a lot of fun.

In clay, it’s so broad. There’s so many aspects to it. You can spend a lifetime in clay and never get to all of it. So it’s nice in this class to have a little taste and snippet of things.

I’ll get in here and the next time I look at the clock, it’s 9 o’clock. The night just flies by.

Indianapolis is lucky to have a center that offers this type of medium to individuals. There’s not anything in town that does high firing and raku that I know of. Usually it’s for universities. For adults that have always wanted to try something, but were never able to do it or they did it in high school or college and then come back and have a facility like that is a really nice thing.

 

 Q. Why does a ceramics class take so many weeks (15 weeks)?

Any art medium has its challenges. Fifteen weeks (for ceramics) is a nice amount to stretch out into because it is such a process-heavy medium. You form the pieces. They have to dry. They have to get bisque fired. They have to get glazed. They have to get fired again. There’re so many steps in the process that we really need that timeframe to spread out in so that you can at least see your first wave come through. It’s going to be weeks before you actually see the results of the first piece you made and can learn from that and adapt or build on that. So the 15 weeks is very useful.

It’s amazing who comes in on their first night and can center a piece of clay and can center it and pull it. It happens. For some folks, it kind of is that easy for them. But usually it takes a lot of repetition, a lot of practice.

  

Q. What’s the most common mistake for beginners?

Nobody slips and scores enough usually when they’re hand building. The kids at the Blind School will say, “now I’m going to imitate Mr. Tim. Don’t forget to slip and score.” I probably say it 100 times. That’s something that everyone takes for granted; that’s how we attach parts. That’s the way handles get attached or sculptural elements get attached to each other. Otherwise, it’s all over the map.

It’s kind of fascinating how a rank beginner will do certain things beautifully and other things different from the person next to them. I have a theory that as far as the wheel goes, we all have a form that we throw naturally with doing the least amount of thinking. For some of us, it’s bowls; for others it’s something vertical. You can always tell which one someone is usually.

I think (students’) expectations are as diverse as their backgrounds. Some people have come in and have seen wheel throwing and it looks really easy. So that’s the first shocker—that it’s nowhere as easy as it looks. Some folks are here with specific projects in mind and products that they’d like to produce and others are here for the enjoyment of the process. I think everybody feels that spark from the potential that’s in the creative process, the power that’s there. Even if you’re not sure really what direction you want to take, being involved in that process is very compelling.

A lot of people are going to have a fear of entry into art making just because a lot of people haven’t done it since they were in middle school or high school. We also have some people come in here who are degreed in fine arts as well and want to get back into an art form. On that score, clay is one of the more available doorways for people. I think a lot of people see it as an entry level. It’s a little safer than brush and paint on canvas. It doesn’t seem to be as intimidating to folks.

Tim and 20-25 of his students are exhibiting a selection of their works at the IUPUI Campus Center’s Cultural Arts Gallery. The exhibition, Hands in Clay: Ceramics Works by Tim Ryan and His Indianapolis Art Center Students features about 100 works and runs now through April 29.

 

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Student Show Features Youth Artists

In addition to showcasing the work of the Indianapolis Art Center’s Adult students (ages 18+), we have a thriving youth and teen program as well. Students ages 4-18 who have taken classes, workshops or participated in our Spring Break and Summer Art Camps were invited to submit work for the show. The perk here is that all youth work is accepted. Because of this, the role of the youth division juror is to choose the award winners.

Gregory Dugdale, The Knit (age 16)

Each year a new juror is chosen to ensure a fresh take on what receives merit. Jurors can range from artists to arts professionals and collectors.

About this year’s Youth Division Juror, Travis DiNicola

Travis DiNicola is the Executive Director of Indy Reads, a non-profit organization which provides free tutoring programs for functionally illiterate adults in Central Indiana. Travis is also co-host and producer of WFYI Public Radio’s “The Art of the Matter,” heard weekly on 90.1FM. Before joining Indy Reads, Travis was the Director of Public Relations for Young Audiences of Indiana.

Orginally from Pennsylvania, Travis received his BA in Theatre and Dance and a MS in Art Eduation from Penn State University. He has worked as an actor, dancer, performance artist and writer. Awards received include a Creative Renewal Fellowship, an Indiana Individual Artist Award, WFYI’s Community Volunteer Award, Broad Ripple Art Fair Volunteer of the Year Award, the IBJ’s Forty Under 40, and he was a finalist in the 2009 Junior Achievement of Central Indiana’s Best & Brightest awards. He is currently a Vice Chair on the Lacy Leadership Association Board of Directors. Travis is married to Elizabeth Garber, owner of The Best Chocolate in Town (yum!).

Keve Cohen, Mom & Me

Award Juror’s Statement:

Congratulations to all the talented young students who entered the Art Center’s Annual Student Show! I thank you for the opportunity to be the juror for the Youth Division. There is a great deal of talent and creativity represented by the works submitted. And, what a variety of subjects and materials! Paintings, drawings, photographs, clay, glass, metal, and video as well. All the artists, and their instructors, deserve to be very proud of their work. With the difficult task of choosing work to recognized with an award I try to consider equally the artist’s creative vision and the skill used in executing the work. In the end, every work selected is on that I would be delighted to display in my own home.

It is my hope that all of the young artists who participated, whether they won an award this year or not, will be encouraged and inspired by this show to continue their work as artists. Your vision of the world is worth sharing.

Anna Eppert, Alternate Reality (age 16)

Not Flowers Again?!

Valentine’s Gifts to Make & Give

For those ladies among us with well-meaning gift-givers who year after year miss the mark, we have a solution: know exactly what you’ll get this Valentine’s Day by making your own jewelry!

For the clueless gift-giver (you know who you are), here’s a tip: there’s nothing a girl loves more than knowing you spent time on her gift. We’re talking real time. Not 10-minute dash in the mall or 2-minute order on the internet time.

In our workshop, Jewelry/Dear Valentine  (with Kimberly Conrad) you’ll leave with a beaded bracelet and earrings. Time commitment is a healthy and totally doable noon to 4pm on Saturday, February 12. It’ll set you back a mere $140.

If you’re not available February 12, you can give her the gift of time to herself – a weekend taking the Jewelry as Art  (with Nancy Lee) two-day workshop February 19-20. 

If you want to give the gift of art (think a one-of-a-kind vase for those roses), we have you covered there, too. The Basile Studio Shop will have extended hours Valentine’s weekend (Friday noon-8pm, Saturday noon-6pm & Sunday noon-6pm). Go ahead, last minute shop. We won’t judge. We’ll even make it easier for you – become a Facebook fan of the Shop for a Valentine’s Weekend special discount.

Valentine’s Gifts to Make By Hand or Buy Handmade

Mix it up this Valentine’s Day with gifts at the Indianapolis Art Center. Along with extended hours at its Basile Studio Shop, the Art Center offers themed workshops you can take…or give…and a date night Friday night that’s free.   

 

MAKE BY HAND   

 

Make Your Own Glass Heart                                            

$36  

Ages 10 and up  

Create a piece of glass art, and memories, to last a lifetime. With assistance from ArtCenter instructors, participants walk right up to the 2000-degree furnace, scoop out glowing molten glass and create their own colorful work of glass art. It’s an experience worth sharing – with your parents, your kids, friends or loved ones.  

The ArtCenter is the only place in the region for the public to work with this adventurous medium. Participants should bring water and wear a cotton shirt and pants (for safety reasons: synthetic fibers, open-toed shoes or shorts are not suggested). Pieces need to stay overnight to ensure they cool properly to avoid cracking and breaking, but can be picked up the next day.  

 

At this writing, four class sessions were already full (only one left!) so if you’re interested in this activity, you can always get your own group together. Contact Amanda Walters to schedule the glass studio for a group of ten (ages 10 and up) at 317-255-2464 x 249.  

 

Jewelry/Dear Valentine Workshop  

Saturday, February 12, noon-4p.m.  

$155  

This four-hour workshop by Art Center jewelry instructor extraordinaire, Kim Conrad, will teach participants to make their own beaded wire necklace and matching earrings. The cost covers all lab fees and materials – no previous experience necessary.  

 

Jewelry as Art Workshop  

Saturday, February 19, 10 a.m.-4 p.m. & Sunday, February 20, noon-3 p.m.  

$187  

This weekend workshop is the ideal gift to give an art-loving Valentine. Renowned local metal and jewelry artist, Nancy Lee works with participants to help them create their own wearable works of art inspired by personal imagery and architectural elements.  

 

BUY HANDMADE  

Extended holiday hours in the Basile Studio Gift Shop  

The Art Center’s recently re-opened Basile gift shop has tons of high-quality handmade works of fine art from jewelry to vases. The shop, conveniently located inside the front entrance of the Art Center, specializes in works of artists from around the region, and many of them Art Center students and instructors, for budgets small or large. There really is something for everyone. The Basile Shop is extending its hours to attract well-meaning last minute shoppers: Friday, Feb. 11 noon-8 p.m., Saturday, Feb. 12 noon-6 p.m. and Sunday, Feb. 13, noon-6 p.m. (The Basile shop’s regular hours are Monday-Friday, noon-7 p.m. and Saturdays, noon-4 p.m.)



 

Exhibitions Opening Reception  

Friday Feb. 11, 6-8 p.m.  

Enjoy a free Friday date night courtesy of the Art Center. This second Friday art show will showcase the submissions of Art Center Beginner through Professional level students. See examples of fine work in all art mediums, glass, ceramics, printmaking, painting, drawing, sculpture and more. There will be refreshments in the Ruth Lilly Library and additional works on exhibit throughout the building.

Happy 2011!

Happy 2011! 2010 saw the 40th anniversary of the Broad Ripple Art, the re-opening of the Basile Studio Shop, and some of the best exhibits ever. We’re ready for more.

Everyone is back in the swing of things after a holiday week off. We hope your holiday was a blast!

Big things are in the works for 2011 here at the Indianapolis Art Center. We have an exciting series of exhibits, tons of classes, the Annual Student Show, Fine Arts Day Camp and of course the 41st Broad Ripple Art Fair!

Keep an eye on our blog and website for the latest.

-KO

Naked Raku

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Contrary to what you may think the term “naked raku” implies, the piece is naked, not the artist.

Naked raku is a type of firing process where the glaze that’s applied to a piece before it is fired, “slips off” after the firing, leaving the piece “naked,” or without glaze. In this instance, rather than using water from a hose to spray off the glaze, students in Peggy Breidenbach’s Thursday morning ceramics class rolled their pieces through the snow (we respectfully refrain from reporting whether or not snowball fights ensued).

This Naked Raku firing was the culmination of the class’ 15-week semester. The pieces that were created were treated with clay slip before glaze was applied. They were put in the kiln at about 1500 degrees, a lower temperature than a regular raku firing. During firing, the glaze cracks. Once the pieces develop an orange peel texture, they’re ready for liberation to a trash can filled with sawdust and newspaper. The students fan the paper to get a good fire started and then put a lid on the create contained smoke. The smoke penetrates the cracks in the glaze.

Each piece is taken out of its container and rolled in the snow to give the piece a thermal shock. Pieces were constructed carefully to make sure the walls were even to avoid cracking the piece. The roll in the snow washes off the glaze and slip. Interesting black marks are left where the glaze had cracked. All black sides mean that the piece had not gotten hot enough to crack the glaze.  

 

 

 

 

 

11th Annual Day of the Dead Celebration

What is El Dia de los Muertos (Day of the Dead)?

Strumming Up the Spirits by Tres Taylor

The Mexican tradition, Day of the Dead, is a blending of both indigenous Aztec beliefs and Spanish Christian beliefs surrounding death. The Aztecs, Maya and other pre-Hispanic peoples of Central and South America saw death as a part of the process of life. They honored the dead by inviting the spirits of the dead to return on certain days, placing food offerings on their tombs. When the Spanish arrived in Mexico, they combined the Aztec people’s beliefs and rites regarding death into their religious calendar.

Day of the Dead is a family celebration, a reunion of the living with their deceased relatives. On November 1, departed children are remembered. This is known as the Day of the Little Angels or Día de los Angelitos. Adults are remembered on November 2. Different regions of Mexico celebrate in different ways. In some villages a boisterous masquerade parade takes place while in other areas residents hold candle-lit vigils in the cemetery. Mexican communities in the United States also celebrate the Day of the Dead, blending their traditional fiesta with modern festivities.

The Day of the Dead at the Indianapolis Art Center

The Indianapolis Art Center began providing Day of the Dead programming in 2000 as a response to the growing Hispanic and Latino populations in Indianapolis. It started as a way to engage this community through a celebration of culture and tradition. The Art Center has found that Day of the Dead programming bridges all communities because death is an experience shared among all people. Communicating the history and importance of this celebration through art activities that reflect the tradition and engage children and adults in discussion regarding their own beliefs has connected people from all walks of life. The Art Center serves an educational role regarding Day of the Dead and continues to strive to bring people of all backgrounds together.

The Art Center provides five different components to its Day of the Dead programming:

  • Exhibition of altars and shrines
  • Tours of altars
  • Exhibition of a Latino artist’s work in conjunction with the Day of the Dead
  • Workshops in the community
  • Celebration

Altars (exhibiting now through November 28)

The Indianapolis Art Center is celebrating its 11th Annual Day of the Dead Altar Exhibition and Celebration. Over the last ten years community members, artists, schools and families have been able to pay tribute to deceased loved ones or groups of people who have passed through the creation of an altar, ofrenda. The goal of constructing an altar, is to honor and symbolically welcome back the soul of the deceased person(s) during the 1st and 2nd of November, in Mexico this is known as Dia de los Muertos/Day of the Dead. In Mexico this is one way to celebrate this tradition of honoring deceased loved ones. Items on the altar celebrate the spirit of the deceased in a way that represents the life of that individual. Displaying such items as favorite foods and drink, photos and trinkets help to personalize the altar and tell a story about who is being honored.

This year’s Altar Exhibition Artists are: Montserrat Alsina & Roberto Ferreyra, Leticia Alvarez, Art Center Outreach Staff, Christ Church Cathedral, Consulate of Mexico, Mary Jo DeMyer, Patricia Hecker, Salvador Jimenez-Flores, The Latino/a Youth Collective of Indiana, Inc., Bianca Mandity, Andrea Marley, Amber & Estaban Martinez, Richard J. & Cassidy R. McGowan, Alyssa Oakley, Matthew Olson, Our Lady of Mount Carmel Spanish Class, Shelby Pendleton, Tamarindo Foundation, Kat Toebes and YMCA Youth Enrichment at Christel House Academy Foundation.

Shrines (exhibiting now through November 7)

A shrine serves as a type of memorial dedicated to an individual or a group of people who have died. Like altars, they’ve become a way of telling stories about people, providing individuals another way to express and transform loss into an experience of beauty. The shrine not only provides community members with an additional way to honor deceased loved ones but with a smaller format to work.

2010 Shrine Artists include: Logan Anderson, Erin Hanley & Crystal Mossberger, Patrick Flaherty, Mab Graves, Michelle Gunter, Joshua Harris, Kyle Herrington, Kris Hurst, Eric Jones, KEY Consumer Organization, Andrea Marley, Richard McGowan & Rob Millard-Mendez, Brooke Merry, Jacob Sexton, Michael & Michaela Shires and Erika Villarreal.

Check back throughout the week of October 25-30 for more stories on Day of the Dead, the Altars & Shrines, everything Day of the Dead!

-compiled by Art Center Staff

Third Biennial Iron Pour Symposium

The Indianapolis Art Center invites the public for one of the nation’s largest organized iron pours

This fall the Art Center is heating up for its third biennial Iron Pour Symposium, October 7-10. Around 175 participants will take part in workshops, panel discussions, a juried sculpture competition and even an electrifying pyrotechnics show.

The event attracts independent working artists and faculty and students in sculpture programs from colleges and universities nationwide. This year, the Art Center is promoting spectator events, exposing more Indianapolis-area residents to this rare and exciting event that takes place every two years.

Aside from just watching the 13,000 pounds of iron being poured and the sparks fly in the Art on Fire pyrotechnics show, they will be able to work hand-in-hand with professional iron artists, learning how to make and design a scratch sand mold and then watch it get poured. (The pyrotechnics show is free to the general public and is from 9-10 p.m.; making the scratch mold is $15 per person and is from 6-7:30 p.m.)

Around seven furnaces will be set up in half of the Art Center’s east parking lot atop 2-3 dump-truck-loads of sand (to protect against sparks). The furnaces take up to four hours to heat to the 2800 degrees needed for pouring, so the best viewing will be in the evening when the molten iron beams against the dark of night.

Events for the general public:

Workshops to make a sand mold: Sept. 25-26 ($291*) Make a scratch mold & watch it be poured: Saturday, October 9 from 6 to 7:30 p.m. ($15 per person)

Art on Fire pyrotechnics show: Saturday, October 9 from 9-10 p.m. (Free) Watch artists pour iron: Friday and Saturday, October 8** and 9 from 3-8 p.m. (Free) * Art center members receive a discount **

In conjunction with the Broad Ripple Village Fall Gallery Tour Iron Speak: Since participants will get to walk-the-walk of an iron sculptor, the Art Center offers a glossary for them to be able to also talk-the-talk. Here are a few new phrases bouncing around the Art Center during Iron Pour:

Tap Hole: the opening near the bottom of the side the furnace where the iron comes out

Slag Hole: the opening near the top of the side of the furnace where waste comes out

Ladle: just like the kitchen utensil, except it’s bucket sized and holds the molten iron to pour into the molds

Spot: heard called out when someone can’t hold the weight anymore – just as in weight lifting

For more information, contact us at 317.255.2464.

 

Irina Smulevitch, Art Center Instructor and Current Exhibiting Artist

One could chat with Art Center instructor, Irina Smulevitch, for hours and still not know all the adversity she’s overcome to become the successful artist and instructor she is today.

Throughout her life, Irina has been uprooted, always struggling to say goodbye to people and places she has grown accustomed to. Art is her way to cope, not only with saying goodbye, but with making a connection in a new home. It was advice given to her by a good friend Barbara, who said, “it’s not only the people who make a town yours, but also the places.” She advised Irina to paint different places of whatever new town she moves to as a way to “feel ownership of the city.”

Irina’s work currently on exhibit at the Art Center features watercolor paintings inspired by photographs on old postcards of places that no longer exist. She wanted to give new life to these extinct places that many people once loved, to share her experience of keeping the past alive as a way to deal with saying goodbye.

A Dream Denied

Irina was born in Odessa, a town south of the former Soviet Union during a time when political affiliation meant opportunity…and freedom. Her talent in art was encouraged from a very young age (her earliest memories are of drawing buildings in the sand on the beach with her grandfather) and her childhood dream was to be an artist.

But without protection and promotion from the Communist party, it was a long road ahead. Irina caught her first glimpse of the changing world outside of Russia in the form of The Beatles. For Irina, The Beatles were an example of freedom of expression. Although she could not understand a word without a dictionary, she felt inspired to internally question the rules and restrictions she lived under on daily basis. And another passion, for reading, gave her that huge imaginary world where you can escape from reality and be truly yourself.

At the age of 17, Irina accepted work at a local rug factory, spending long days drawing  and painting in watercolor miniature replicas of the large rugs that they offered at the factory. Although she was doing a task she loved (drawing), there was little room for freedom of expression. Artists were expected to create in the style of the traditional Russian artists of the past. 

After one year working at the rug factory, she was thrilled to be accepted to the Textile Academy in Moscow. Through her six years studying art and technologies, and despite consistent rejection and disapproval from select professors who were members of the Communist party, she graduated summa cum laude in 1989 and began to work in the fashion industry.

Things were looking up and she opened her own business. On a personal front, she met her husband and soon married. But it wasn’t long before her world was thrown upside down.

Leaving Home

Less than a year after they were married, Irina’s husband was offered a job in Dallas, Texas. For Irina, this was one of the most challenging times in her life. She was forced to leave all possessions behind. She didn’t speak a word of English.

But soon she started to learn the basics of the English language, reading books and taking classes at a community college. Her husband took a job in Long Island, New York and before long they had a son, Jacob, and Irina spent her days taking care of him, reading, and exploring the city. When they moved again, this time to Frederick, Maryland, Irina was painting again and for the first time since coming to America, she felt like herself.

Her work was shown in the Museum of Contemporary Russian Art in New York and she was selected for a solo show at Frederick Community College in Maryland. She began working at the college teaching watercolor, drawing, and fundamentals of design. Her dream of supporting herself financially as an artist was again becoming a reality.

The Frederick, Maryland community embraced Irina. A documentary of her, titled “Russian Artist in America” was broadcast in Russia. It was the first time Irina’s mother (still living in Russia), was able to see her daughter’s success. Irina continued to participate in shows in the Frederick area as well as D.C. and Baltimore.

Leaving Home Again

In the summer of 2008, Irina’s husband was offered a more advanced job in Indianapolis. Once again, she was about to be uprooted. But this time, when it came time to survey their new city, her husband, knowing it would take Irina some time to warm up to the idea of moving, took her first to where she would be able to make a connection. He took her to the Indianapolis Museum of Art. After visiting the museum, Irina decided that moving to Indianapolis may not be such a bad thing after all.

Home is Where the Art IsWatercolor Instructor Irina Smulevitch

Before returning to Maryland to pack her things, Irina visited Broad Ripple. She was immediately charmed by the district and leafed through the Broad Ripple Gazette on the plane ride home. She saw a small ad for the Indianapolis Art Center and made a mental note.

Immediately after her family moved into their new home, Irina searched the Internet for the Indianapolis Art Center. Here she has found a new home, teaching a variety of classes including watercolor painting and drawing for future painters. Irina credits the Art Center for her quick adjustment to her new community. “Art is my natural person and my true self,” she said.

Her involvement at the Art Center provides Irina with a place to work, teach, and be inspired. But perhaps the most valuable thing Irina feels she’s gained is friendship. Her students and colleagues have become trusted friends.

At this point, Irina can only imagine what her future will hold, but one thing is for sure: there will be art.

Registration for Fall Classes, including Irina’s classes in watercolor and drawing for future painters, is going on now at www.IndplsArtCenter.org/Fall10.

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