Artsy Abroad by Lesley Frenz

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Hiya, Artsies!  Artist Candice Smith Corby recently took a group of students on a little artsy tour of Venice and is here to share her experience with you!  I’ll be checking in and letting you know what’s been happening in my world soon, I promise.  Without further adieu, here’s Candice!

I was delighted when asked to do a guest post for the Artsy Abroad column!

Recently, my colleague, Bill Pettit, and I led a cultural and artistic tour in Venice, Italy. We’ve been partnering up over the last couple of years through our arts collective, The Bottega, to offer fresco painting in Italy for students, as well as collaborate on projects that revolve around our shared interest in pigment and material origins. With the sea being so influential, we decided that watercolor painting and the cuisine of the Veneto region would be ideal themes for our workshop in Venice. It was also a great opportunity for us to share what we love- art, travel and good food!

Duality, dream space, and determination review by Cate McQuaid

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Candice Smith Corby's fantasy-and-fairy-tale show, in the back room at Miller Yezerski, makes a lovely counterpoint to Fitch's photos. Corby stirs dreams of centuries past with her materials alone — gold leaf, cochineal ink, and more on parchment. Her surreal, dreamlike imagery often takes on domesticity and feminine identity in ways that blend courage and desire.

In "On the Edge," she draws the seated, mundane bottom half of a woman's body on a green chair; from the waist up, she's a golden castle on a hill. "She Bears the Night With Dreams" turns the tale of Goldilocks on its head, and places a bear cuddled on a star-strewn blue blanket. Or perhaps this is Ursa of the heavens. Either way, beware of waking her up. She might bite.

Inhabiting Folk Portraits, Fruitlands Museum Reviewed by Stace Brandt

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Extrapolating from glinting eyes and smirking lips, Candice Smith Corby invents the perspectives of sitters from the Fruitlands Museum's collection of 19th-century middle-class portraiture. The portraits, though compelling, are no Sargents. Painted in "plain style" by itinerant artists who were paid by the hour, the sitters' and artists' identities are often little-known. (to view the full review please visit the link above0