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show at Long View are the watercolors of Philip < Jamison, and the sleeky enigmatic ceramic vea-.r.
, Just wfcst of “downtown* in a kind of cosmic valley, the Oldway Art Center and Glassworks Gallery sits against the background of the. looming Blue Ridge. 7b reach the gallery, viators must leave their vehicles on the near shore of the Thornton River and venture over a freshly painted, hand made suspension bridge. Erie Kvarnes, glass blower, teacher, gallerist, landlord, father and husband, is the owner/wizard v of Old way, a thriving community of artists and studios that he coloured from the ruins of the old Sperryville scrap nietal junkyard. The installation includes spaces for woodworking, welding^ environmental projects, massage therapy music recording, and of course, Kvarnes’ own glass blowing. The glasswork studio is in an industrial shea behind the gallery, and hous-'!’ es not only the usual accoutrements of the ? craft, but also some i^triguirtgly “repurposed” objects like Kvarnes’ mother’s old fridge turned firing oven and a gas pump handle turned hot glass rod holder. Kvarnes has been working with glass for 30 years, making simple, elegant vessels and objects nt: rich colors. The gallery also shows Monika Fischer’s textured stoneware, Michael Saulnier’s smooth wood work, Steve Berry’s functional metal work, and Christina Kvarnes’ gem-like glass beads.' * ’
South of Sperryville, the tour continues at Barbara Romney’s bright, modern studio on a hill. Once surrounded bf rolling pasture, the building is now hidden behind the pine forest she and her husband planted 25 years ago. Romney , is a screen printer turned watercolorist. Many of her screen prints, softly abstract and earthy in tone, depict expansive western scenes from her travels to Utah and Taos, New Mexico. Her recent watercolor work consists of local views as well as scenes taken from the small sketch books she takes on her many national and international trips. These books are art objectsin themselves and are filled with written notes‘and visual “moments” grabbed from a speeding transcontinental train or an afternoon’s quick sit-down in an exotic caf6. Romney learned this “moment” technique from one of her teachers, noted painter and sculptor, Hilda Thorpe. The idea is to sketch as many closely observed details as possible of a scene, and theiyback in the studio, paint the scene as a whole from memory. The technique, which begins with kernel of visual truth in the
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