October 16, 2017
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Wheat Field with Cypresses, Vincent van Gogh, 1889












                                                                                    “I devour nature ceaselessly, I exaggerate, sometimes I make changes                                                                                                                 in the subject, but still I don’t invent the whole picture.                                                                                                                                                On the contrary, I find it already there.                                                                                                                                                         Its a question of picking out what                                                                                                                                                              one wants from nature.”

                                                                                                                                          Vincent van Gogh

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Rustic Seaside Waterman’s Cabin

June 13, 2016
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This light filled painting with shimmering water and atmospheric qualities makes "Seaside Waterman's Cabin" simply sing!

SEASIDE WATERMAN’S CABIN © Barbara J Hart is oil on canvas board and measures 6″x6″


On the Atlantic side of the Eastern Shore of Virginia you can see a few rustic cabins built on stilts and perched on the marshland along the remote barrier islands. These tiny cabins were used by watermen to guard their oyster beds from poachers. There are only a few still standing due to the weather and waves that continually reshape this chain of islands. I couldn’t resist painting this little gem of a cabin with the shimmering water and atmospheric qualities of the afternoon sun.


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Edgar Degas: A Strange New Beatuty at MOMA

April 6, 2016
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Recently I went to NYC for my friend Mary Diodardo’s opening at Kathryn Markel Fine Art (see April 5th post). While in New York I was fortunate to see the new MOMA exhibit, Edgar Degas: A Strange New Beauty.

Edgar Degas, Landscape with Rocks (1892).Photo: Courtesy of the Museum of Modern Art.

Edgar Degas, Landscape with Rocks (1892). Photo: Courtesy of the Museum of Modern Art.

The exhibit is about monotypes as well as experimentation, transformation and repetition. And, because monotypes are one of my favorite forms of printing, well, I was over the moon! Through his monotypes, Degas captured the idea of movement and created new ways to portray urban life of the 19th Century. It’s a wonderful exhibit dedicated to how his experimental mark-making used in creating monotypes freed him from tradition. The exhibit focuses on Degas’s process of exploring/manipulating materials and includes more than 120 monotypes together with related paintings, drawings, pastels, sketchbooks, and prints.

One of the fun things about the exhibit are the magnifying glasses made available. They encourage the viewer to look closely at each image  – see the wonderful details of Degas’s fingerprints and smushes.  Look, see how his landscapes are created with a swipe of his finger.

The exhibit also shows how Degas often would pull two or three impressions of the same plate, this leads to a degradation of the image with each print.  The image would be the same but different.  Often he would use the second and third images as an under-layer for pastels.

I came away so inspired by Degas’ process and his passion for materials and experimentation.  I’m heading into the studio to make some monoprints!

Jodi Hauptman, Senior Curator, Department of Drawings and Prints organized the exhibit with Karl Buchberg, Senior Conservator, Heidi Hirschl, Curatorial Assistant, The Museum of Modern Art, and Richard Kendall, independent art historian and curator.

Edgar Degas: A Strange New Beauty runs through Sunday, July 24, 2016. I hope you get to see the exhibit.


You can read about my monoprint experiments in a previous post, The Art of the Monoprint – The Process (April 22, 2015).

A definition: A monoprint or monotype is created by applying print ink or paint directly to a plate. A single print is created by transferring an image that has been painted onto a plate and transferred to paper. Or, you can cover the plate with ink/paint and selectively remove the ink/paint to create an image. It’s about process and experimentation. It is a spontaneous technique that lends itself to immediacy and experimenting with a wide variety of materials, papers, transfer techniques and plates. A monoprint is often used as a starting point to rework and revise the original image.


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A Visit to the Studio of Russell and Ann Jones, Eastern Shore Potters

August 14, 2015
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When you meet Ann and Russell Jones you are immediately drawn in by their enthusiasm, playful spirits, and love of artistic pursuits.  In this interview they discuss how they found their way to pottery, sharing studio space, and their upcoming exhibit.

Russel and Annie Jones in their ceramic studio.

Russel and Annie Jones in their ceramic studio.

Why did you choose ceramics and what is the most challenging (and best) part of working in your medium?

Russ: Throughout our marriage of 43 years we have admired and collected decorative pottery. Our exploration of various art forms has taken us throughout the U.S. and inevitably included at least one if not more trips to someone’s pottery studio.

Many years ago we thought we might be able to convert an old barn on our property to an art gallery and studio space. Although that venture didn’t come to fruition, during that time, we learned a great deal about the vast differences and variety of art mediums. I was interested in exploring pottery and Ann expanding into fiber arts, hand work and sewing which had been a hobby of hers for some time.

Ann: Discovering Seagrove, North Carolina over 20 years ago was perhaps a turning point for Russ. He’d taken other opportunities to watch pottery demonstrations but in Seagrove the potters had their studios and kilns adjacent to their homes. In 2006 after we retired Russ had the opportunity to take a class with Elizabeth Hunt, an amazing ceramic artist who lives in our town. The challenge was the frustration in the once-a-week scheduling of classes. It was difficult to keep the momentum going in the learning process with that schedule. At the time we were renovating our home in Onancock and decided to add a “project room” — now studio for each of us. My sewing machines have been safely tucked away after I also started working in clay almost two years ago. Once again, we find ourselves working together as we did for many years in business. Now, however, we simply walk out our back door and explore new and fun things about clay.

How does living on the Eastern Shore influence your art?

Ann: The Eastern Shore of Virginia has some wonderfully talented artists as well as several art organizations that promote their members. We have been supporting members of the Artisans Guild for some time. A number of years ago Russ’s work was juried into the Guild. The Eastern Shore Art League Gallery was the first to show and sell his pottery. Now both the Red Queen Gallery in Onancock and the Ellen Moore Gallery in Cape Charles carry both of our work.

This year the Artisans Center of Virginia helped to organize an Artisans Trail Network on the Eastern Shore. The kick off for the Trail will happen this year and will include the largest number of trail sites to date.  Since Russ is a juried member, our studio is a site on the Trail.

What does having a physical space to make art mean to your process?  Describe your studio space and how, if at all, it affects your work? How do you make your space work for you?

Russ: When we decided to change the plans for the renovation of our home to include our studio, it was more of a way to give us the luxury of having our own spaces rather than of necessity.  However, it has proven to be the best means by which we can explore pottery. The ease of having the space directly out our back door is invaluable. The wheel and kiln are in one room, a table for slab work in the next. It’s truly not an issue to work on something at anytime necessary. We have come to the point that we can “multi task” home chores while waiting long enough for something to dry so it can be trimmed out a slab to cut. Laundry and yard work certainly gets done in a more timely fashion!


Ceramics in the kiln.

Ceramics in the kiln.

Describe your working routine.

Ann: We find our work routine to be not as structured as it might be. However, this winter Russ organized a number of workshops with some other potters in Onancock. We explored surface treatments with slips and stains, spraying, and an especially fun barrel firing. This kept us a bit more structured. Now the summer demands have started and we find we are working more. Recently we’ve been in the studios each day. Russ usually works in the mornings and I head out to the studio in the afternoons.

What personal narratives are related to the work? What inspires you?

Russ: I named my studio Useful Pots and that says it all about my work. Functional bowls and dishes are the bulk of what is created on my wheel. For the most part, my pieces are named to denote their purpose. Munch Buckets and Pails are bowls with handles so that you can carry your snacks and drink outside with one hand. Batter Bowls have a handle to make pouring easy and Walk-Abouts are bowls with a handle that make hot foods easy to handle on the move.  Recently, I’ve expanded my repertoire to include pedestal pieces and free-form dishes.

Russ's works in process

Russ’s works in process

When Ann decided to try making pots she quickly transitioned from the wheel to slab work. Her background in sewing and crafts formed the basis for understanding some of the construction techniques. Her pieces have a function but are rarely plain. Texture and decoration of some kind are on incorporated into each piece. Boxes are a favorite-each one different and distinct. Because she enjoys flowers and baking, vases and casseroles regularly come off her work table.

Ann's works in process

Ann’s works in process

The two forms compliment each other. We now call the studio Useful Pots – by famous unknown potters. We enjoy trading ideas and encouraging each other to try new techniques and designs.

How do you navigate the art world?

Ann: Since the business we sold in 2005 was a technology based firm with no link to the art world at all, navigating the art world is a rather new experience for us. Certainly the aforementioned Artisans Guild and Art League have been more than helpful locally as have the galleries that carry our work. In addition, we have attended a number of classes at the Penland School of Crafts in Penland, NC. Taught by potters whose work we admire and often discovered in books and online, exposure to this level of craftsmanship is inspiring.

Is there something you are currently working on that you are excited about that you can tell us about?

Russ: We’ve been talking about collaborating on a few things. I’d like to make some bowls and have Ann “dress them up.” Recently Ann has been taking a class with Elizabeth Hunt in slab, coil and pinch pots. As a result, there are new ideas each week after class. Stay tuned!

What’s next? Are you involved in any upcoming shows, workshops? When and where?

Ann: We will be the featured artists at the Red Queen Gallery in Onancock for the Art Walk, 2nd Friday on August 14, 2015. In addition, each year the Artisans Guild sponsors a two day show on the weekend following Thanksgiving and this year our studios will be a featured site for that tour. Of course we are also very excited about the launch of the new Virginia’s Eastern Shore Artisans Trail. You can follow the progress of the launch at

What advice would you give other artists?

Russ: Just like Simon Leach says — “keep practicing!”

What are you currently reading, listening to or looking at which fuels your work?

Russ: We constantly refer to books we’ve accumulated. One Ann has recently gotten that has lots of great tips on slab building is From a Slab of Clay by Daryl E. Baird. Ceramic Arts Daily. Ceramic Arts Daily also is a great resource and has an endless stream of videos and books from which to choose.

Is there anything else you would like to add?

Ann: Pottery is a relatively new part of our lives. We feel like it’s something we can do and continue to explore for many years. We love visitors and love to talk about the fun we are having in the studio. Please visit us at Useful Pots or come by to see us sometime in Onancock.

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“Inspiration exists, but it has to find us working” Pablo Picasso

June 11, 2010
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Clouds Outside my Long Island Studio Window © Barbara J Hart

Clouds Outside My Window

Do you ever go looking for inspiration? Where do you find yours? You can find it almost anywhere, a walk down the street, a poem or right outside your window. I’ve been finding my inspiration with Kelly Rae Roberts’ e-course, Flying Lessons: Tips + Tricks to Help Your Creative Business Soar. Check out the button on the right side of this post!

One of my goals for the class is to begin posting on a regular basis, so what better way to begin than to quote Pablo Picasso.




“Inspiration exists, but it has to find us working.”


One day while working in the studio this delicious cloud appeared (photo above) in my window and I couldn’t resist grabbing my camera to capture its beauty before returning to my painting. By capturing its image I’m able to keep its beauty in sight and feel inspired by that moment.

Kelly Rae writes about “inspiration + passion + commitment” as necessary ingredients as “we chase after our creative business dreams.” She speaks extensively about the importance of making connections and having to start somewhere. Don’t you think that the creative process, whether in the studio or on the business side is about commitment and flexibility and allowing things to unfold. Again I think Picasso says it so well:

“I begin with an idea and then it becomes something else.”

So, here are my meager beginnings and hopeful post. I promise I will tell you all about the adventure of having an opening on the Eastern Shore of Virginia during the remnants of Hurricane Ida and a Nor’easter, or as some people call it, Friday the 13th Storm!

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