Photo source and dialogue by Elise Valdorcia The desire to create stirs within each of us, the question is what gift(s) were we born with, and how do we take it from seed to bloom and share it with others? Photo source and dialogue by Elise Valdorcia Elise said, "My greenhouse-style studio is conducive to creating all kinds of artwork, in all formats. It is an inspiring workplace where materials take form and gather movement, guided by shadows and emotion. The past meets the contemporary, poetry and dreams are made real, and works are crafted. My studio is a beating heart that brings sculptors from quattrocentro Florence back to life." Photo source and dialogue by Elise Valdorcia Each Saturday I like to use my blog to platform an artist that I admire. Today it is Elise! Photo source and dialogue by Elise Valdorcia "Sculpted wood, baroque and contemporary lines, gold leaf, glass, sheet metal, and paper mâché—they all meet here, and the adventure can be colorful or extremely minimalist." Adds Elise about what she used to create her beautiful art. Photo source and dialogue by Elise Valdorcia Photos source and dialogue by Elise Valdorcia Technique from our ancestors Elise creates paper mâché sculptures using a time-honored technique. Paper mâché first appeared in the Far East in the 8th century and made its way to Europe in the 16th century. In Italy, paper mâché earned recognition as a noble and poetic art form. Photo source and dialogue by Elise Valdorcia “I regretted not leaving Carrare marble for paper mâché more often, this divine material that always went beyond it in nobility and finesse.” From the memoirs Benvenuto Cellini, sculptor and goldsmith, 1500-1571 Photo source and dialogue by Elise Valdorcia Follow this link to locate where Elise offers her art for purchase. Galleries & Stores in France and abroad Photo source and dialogue by Elise Valdorcia More about Elise: Each piece is unique "From my workshop, the Elise Valdorcia Studio in Provence, I take each piece from idea to drawing to creation. I make mirrors, light fixtures, small tables, and other household objects, harmoniously mixing styles and eras. I am an artist and decorator, specialized in antiquing objects (using polychromy or gold leaf). My passion for my work comes through in my paper mâché creations. Laurent makes wooden sculptures, creating unique pieces from 18th- and 19th-century wood. He also practises marquetry, having...

There’s something undeniably romantic about an artist’s studio. They’re always filled with light, and paper covered in scribbles and sketches. We’re instinctively drawn to thes

The restoration and expansion of Porthmeor Studios in St Ives continues the 200-year story of a building that grew organically out of the Cornish sand

A new book guides readers through the historic spaces of artists from Edward Hopper to Jackson Pollock

Their airy Manhattan loft is a creator's paradise.

Ariele Alasko-Isaiah Palmer Fleetwood Mac - Dreams "Now here you go again you say you want your freedom well who am i to keep you down it's only right that you should play the way you feel it but listen carefully to the sound of your loneliness like a heartbeat...drives you mad in the stillness of remembering what you had and what you lost, and what you had, and what you lost..." pullthemetal.com Lynne Hoppe's studio Gisele d'Ailly van Waterschoot van der Gracht Jessica Barensfeld and Simon Howell Aylesford.com englishmuse.com Introducing New World's markmahaney.com Isabel and Ruben Toledo

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Veja uma seleção incrível de maravilhosos espaços de trabalho para artistas dos mais variados tipos

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If what we see shapes who we are, what better reason is there to make an effort to see art? For me, art is a prelude to discovery; it is a symbol of a point in time and history that can help navigate the present and future.

We recently stumbled on Flavorwire's tour of 10 famous artist's studios, a welcome break from cleaned-up interiors pictures that are everywhere. These spaces are interesting because they're fluid, unconcerned with conventional notions of stylishness, yet uniquely beautiful in surprising ways. Often they reveal important elements of the work process — like taping a nap, resting or hanging out — as indicated by the lounge chair in Georgia O’Keefe’s studio in Abiquiu, New Mexico, Alexander Calder's living room of a home studio in France... ...and the adirondack chair in Mark Rothko’s studio in East Hampton, New York... Some we love because

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I’m in the market for a another work space. Our makeshift dinning room office is not only driving Abe crazy, it just isn’t sustainable anymore. And now that Coco is just half a year away…

Good artist lighting for painting is essential to producing quality art. Learn what kind of lights are out there and which will work best for your studio.

Filled with rustic and industrial elements, an artist's earthy residence in Colorado mountain town mimics its rocky surroundings.

Lucy Liu in her studio.

Image 5 of 40 from gallery of Jackson Dinsdale Art Center / TACK architects. Photograph by Tom Kessler

Wall art comes in so many different ways. Sometimes I want to live with white walls with nothing on them, and at other times I want the walls around me to be mayhem, plastered with images. Whichever route you choose to go, I hope the process is sweet.

lulu ~ watercolors, gouache and oil pastels on old paper - approx. 3" x 4 1/2" it looks like lulu might pick a fight with the next person that wanders by! i've painted ten faces on these cards now and they've all been a joy, even feisty lulu... on december 19th the sun shown in my art room windows illuminating it entirely. the same thing happened yesterday as the sun was in the same position it was in before the solstice. i know, i know, the sun's not actually moving, it's the earth - but it certainly looks like it's the sun! i love to watch the movement of the sun, especially at this time of year... the wall behind my chair - that red thing is a blanket on the back of my chair... i snapped a lot of pics, ha! this is what was on the table. it's a 7" x 9" sennelier journal that this lovely person gave to me. i'm really enjoying working on a bigger page... and i'm getting close to finishing another pocket moleskine, and still painting on the cards. i like the diversity of it all... i don't have a link to the sennelier journal - i'm not sure if they are available online. i've just discovered stillman and birn journals, though, which seem very promising. click on 'paper specifications' (top right on the home page) to quickly see what kinds of papers are used in their journals. XO

Where all of the ideas come from I design and construct one-of-a-kind sculptures and produce all the clothing and hats with vintage or antique fabrics, trims, and embellishments. I begin with a general design in mind, sometimes with a thumbnail sketch, but most of the time I see the finished work in my mind, and then build it allowing the sculptures to evolve as I work. I create props, such as fireworks or lanterns from scratch or adapt items from my collections. Available materials often decide the final outcome, an entire personality or sculpture developing from one item. A glimpse at one part of my studio. I love holiday celebrations and the decorations that go along with them. My inspiration comes from my collections of vintage and antique holiday decorations, vintage fabric, antique laces, trims, and miniature props that I buy at the thrift stores or make to have on hand. Interior design and fashion, the paraphernalia of magic tricks, as well as the designs and graphics on fireworks are a great source of inspiration. Ideas for new characters and items drop into my brain continuously; the hard part is finding the time to make them. Here is a close-up of my desk. This is what is called a glamour shot, it is sort of tidy. I usually work on several sculptures at a time consequently it is a horrendous mess when I am at work. My journey as an artist - from art school to now I was born and raised in Victoria BC, Canada and have lived in Victoria for most of my life. I attended the Vancouver School of Art and have worked as an artist and designer for over 35 years. In art school I produced mixed media sculptures and worked in set design and construction, receiving a scholarship at the end of the first year. After leaving art school I pursued off-loom weaving and basketry techniques for sculptural forms. I received a Canada Council Explorations Grant to explore woven sculptural forms using the basketry and off loom weaving techniques and had a summer installation at the Art Gallery of Greater Victoria. Two pieces of my work were exhibited in the 1980, "International Miniature Textile Show", in London, England, Europe and North America. I also had work appear in “American Craft” magazine. Me a few years ago painting Jack-O-Lantern heads and Black Cat heads for ornaments that I was producing. Despite these successes, I felt frustrated with contemporary art. In 1985 I came across Margaret Schiffer's Book, "Holidays - Toys and Decorations", bought a copy and was amazed at the quality and detail in the German candy containers and toys. My immediate reaction was, “These are the items that I want to make!” I began to create sculptural toys and figures, candy containers, feather trees, pull toys, jack-o-lanterns, marottes and decorations inspired by the turn of the century holiday ornaments. I bought several old hand turned spindles and used one for the handle of this extravagant party rattle. This giant portrait rattle, Jack as the Autumn jester, is 22 1/2 inches from the base of the handle to the tip of the autumn leaves About ten years ago, I realized why I had felt so frustrated creating contemporary sculptures using the basketry and off-loom weaving techniques, I was trying to be a serious contemporary artist but at the sacrifice of my sense of humour. I get bored very easily working in one medium; I need a variety of creative outlets. Working in paper, cloth, metal, composition, or whatever is required to complete a sculpture suits me perfectly. I created this garden scene on our kitchen table to display five Spring shoe sculptures. The flowers and grass are fake but the marble is real. I also produced props for parties, malls and shops. The prop making and the holiday inspired sculptures fueled one another giving me wonderful ideas. I love working on a very large scale for a large prop, as well as on meticulous detail for a small sculpture. The 8 foot tall stork candy container, the wing lifted to reveal all of the small cabbage candy containers inside. The rest of the cabbage candy containers that didn't fit are at the base of the stork. Over the years I have created props for private parties: an enormous caterpillar sitting on a five foot tall mushroom, nine foot crayons, an eight foot free standing stork candy container, filled with 6” cabbage candy containers intended as party favours for a baby shower, and for a local shopping mall, a family of four articulated pumpkin headed scarecrows, a mother, father, brother and sister, that hung from the high ceilings in the mall’s centre court. The parents were sixteen feet tall and the children were ten feet tall. This scarecrow family inspired my first Hallowe’en candy containers.

The sculptures shown in Walker’s studio include a figure of Dante, a full size statue of Circe, which was exhibited at the Royal Academy in 1907 and on the shelf, the Florence Nightingale memorial relief from St. Paul’s Cathedral. The figure seated in the foreground is the artist’s brother Harold, who is also depicted in Tea in the Studio. Both of these paintings were exhibited at the Royal Academy in 1932. Walker was based at Cedar Studios, Glebe Place, Chelsea from 1890 but in 1933 he moved to Dorset and it is likely that he painted this group of studio views to record his old home before the move. [Royal Academy of Arts, London - Oil on canvas, 66.8 x 56 cm]

I walk a mile to work each day, and no this isn't like one of those stories that your parents or grandparents tell you about they had a walk a mile up hill

Studio photography of artist, Sarah Graham by Greg Funnell

Our new series “The Genesis of Craftsmanship,” in collaboration with A. Lange & Söhne, takes us into the studios of makers whose painstaking manual work...

I have had so much fun filming "Lollapalooza Three:The Big Grig Journal" It's almost as if I just can't stop because there are so many different creative and fun ways to do this type of journal. But I must stop somewhere. As you see it takes me lots of stuff to film this workshop but it makes me so happy because I am using supplies that I don't use very often. Good for the "guilt over massive supplies" syndrome. I hope you have been able to take advantage of the sales for these three upcoming classes. If not you can sign up here. Sale ends April 29th. April 29th

Un langage plastique sculptural.

By @yaroslav_shuraev ✨🎥 https://www.instagram.com/p/B210GKvIHmT/?igshid=1l11ieg6n59b1

Completed in 2014 in Clinton, United States. Images by Anton Grassl_ESTO. Project Siting The new Kennedy Center for Theatre and the Studio Arts is sited directly across from the recently completed Ruth and Elmer Wellin...