Watercolors and glass work share spotlight for two art buddies

By Victoria Gail-White
Advertiser Art Critic

This combination creates a dance of color and light on the second floor and reflects the ethereal, transparent beauty inherent in both. Working together was an expansive creative process for these artists filled with serendipity.

Jefferson has been teaching watercolor at Linekona for 12 years. Her new work in this show, however, represents a real departure.

"My work is usually much more specific and realistic," says Jefferson, "and now I am trying to get beyond that. This is my first show in a more abstract format."

"In the Beginning" was the pivotal painting for her. It is mandala-like in its circular shell-like form textured with yellow, blue and teal patterns bordered by layered colored shapes.

Jefferson says, "It came out of nowhere, and I looked at it and thought, yeah, this is what I really want to do." Some paintings morphed in the process. "Out of the Blue," inspired by 'ohi'a lehua blossoms, appears to be a sea anemone.

Using a technique of preliminary color layering for the under-painting, Jefferson also put layers of color on afterward.

"It thrilled me because it made the painting twice as mysterious," says Jefferson.

After giving herself permission to let go, she says, "I ended up painting in the unknown. It was exhilarating for me to finally get there. I believe that art should be something that comes not from just what you see. That is what makes it art rather than a reproduction. That's what I long to do and ask my students to strive for."

Easton, a resident of the Big Island, used to be a small glass operator, but now, after purchasing a new 22-inch kiln, is working in a big glass format — with new technical considerations.

"It is like going back to school," says Easton. "I was interested in different surface techniques that I had not applied while making fused glass jewelry. This is a big departure for me."

"Auto Da Fe (Trial By Fire)," Easton's first piece, began her exploration in texture.

Her 10 pieces incorporate sandblasting, etching, layering dichroic glass (literally two-colors — reflective and transmitted), raking and irridizing.

The "Bronze Rainbow Bowl" was fired in the kiln four times at temperatures of 1,450-1,600 degrees.

"Each time you fire you take a chance it could break," says Easton. "I can only fire one large piece at a time and it is ultra-high risk. The last firing is to slump it into a bowl form or gentle curve."

"Round, Found & Ground" is a kiln formed and sandblasted bowl with affixed found and ground glass.

The coefficient of expansion, the compatibility of different sheets of glass, metal oxides and stains are all part of the glass worker's creative process. Easton's next project will be exploring the capabilities of float glass.