Kelly Street Gallery: Butterflies In Motion

January 10 – 31, 2010
Butterflies in Motion
recent work on fabric and paper
by
Jennifer Clark

Join us for the Opening Reception
Sunday, January 10 from 1 – 4 pm


Jennifer Clark—Artist and Naturalist
by Carina Woudenberg and Deborah Clark

Whether she’s holding a pencil, paintbrush, or camera, Jennifer Clark—artist and naturalist—has spent most of her life visualizing, creating, and designing art in a variety of media.

“In my case, I’ve always had a propensity for taking things apart, and then rearranging, transforming, reconstructing, and transposing them,” Clark said. “I think this stems from being infinitely curious about how things work in combination with my desire to make life better, or at least different, somehow.”

“At age two, I became fascinated with what I could create with a simple pencil,” she remarked. “And, I have been making some kind of art ever since.”

Clark extended this early philosophy and has now applied it to her recent illustrations and photographs—gathering objects, especially from the natural world, most particularly butterflies—drawing, painting, or photographing them, and then further rearranging and transposing the images in transformative ways that engage people to see the objects and the world differently.

“For example, in my butterfly and caterpillar drawings and designs, I place emphasis on details that the naked eye doesn’t immediately perceive.” Clark said. “But, the details are really inherent in the insects themselves! If you examine an insect under a magnifying glass, you will discover the details and see that they are indeed there. By placing the emphasis where I do, people easily see this extraordinary complexity. When people then turn their attention next to a live butterfly, say, they can then see the same level of detail more easily.”

Clark graduated with high honors from Eastern Michigan University in 1983 where she studied painting in addition to black & white photography. In her final year at the university, Clark was awarded “Most Promising Senior” from the Michigan Foundation for the Arts. She was also granted the opportunity to apprentice with a former teacher and established artist, Charles McGee, who’s been referred to as “One of Detroit’s Greatest Treasures.”

“I was lucky enough to apprentice with Charles who really instilled in me that art is a way of seeing,” Clark said. “You can’t really teach art—it’s fundamentally about learning to see.”

As her drawing and painting skills increased, Clark dreamed of becoming a book illustrator. Growing up, she frequently concocted illustrations and cartoon drawings, hoping that her friends would write stories that she could then illustrate. Shortly after graduating from college, she got her wish. A friend and noted butterfly expert, Dr. Philip DeVries, was documenting the butterflies of Costa Rica when his camera equipment was stolen, including all the slides that contained all the images for his upcoming book.

DeVries sent Clark a letter asking if she would illustrate the butterflies to replace the missing photo images and she gladly accepted his offer. The book, The Butterflies of Costa Rica and Their Natural History, generated substantial interest and Clark was invited to illustrate a second volume, which studied the symbiotic relationship between ants and caterpillars and ultimately earned DeVries a MacArthur Fellowship.

Working on these illustrations merged Clark’s love of drawing and love of butterflies, which are now featured prominently in her work. “I’ve always been passionate about butterflies,” Clark ruminated. “I’ve just always loved them. I remember very distinctly I was just awed by this one butterfly as a child—a Mourning Cloak (nymphalis antiopa)—and still to this day that’s one of my favorite butterflies.”

Clark has created her intricate butterfly and flower patterns for nearly fifteen years. Her contemporary art form began as a way to decompress from the tight, scientific illustrations destined for book publication. The process begins somewhat chaotically by clipping her butterfly photos in Photoshop. She then organizes the different images by color, shape, texture, and line to create balanced schemas, or sections. After she’s happy with a particular section, she’ll work on mirroring, flipping, and using transposition often “cutting up” and rearranging smaller and smaller sections within the larger ones. It is a very complex, labor intensive, time-consuming process—one in which she revels.

“The process is what I love,” she noted. “It’s like working a puzzle—putting the pieces together in a way that creates a harmonic balance.”

Clark’s January 10 opening of “Butterflies in Motion” at Kelly Street Gallery in Half Moon Bay will feature her wall and paper prints along with her silk scarves—a more recent venture into wearable art—and her new fabric panels will drape from the ceiling. In addition, her cards and bookmarks will be offered.

The busy artist still searches for new ways to expand her work. She plans to use her designs as the basis for table cloths, napkins, and pillows, and would one day like to create an installation piece that makes use of an entire space—creating an environment for visitors to wander through and explore.

“I think the perfect epitaph for me would be ‘variations on a theme,’” Clark said. “And my theme seems to be transposition of whatever strikes my photographic fancy at any given moment.”

Jennifer Clark’s show runs from January 10 – 31 at the Kelly Street Gallery. The gallery is open every Sunday from 12 – 5 p.m. The “Butterflies in Motion” opening reception takes place from 1-4 p.m. For a private viewing or for more information contact Jennifer Clark at clarkbydesign@earthlink.net.

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Outstanding in the Field's 2009 Season Comes To a Close…

Tour Bus

The adventurous 2009 farm dinner season has come to a close! The intrepid Outstanding in the Field crew has successfully set the long farm table at more than 50 locations across the land. Check this link to see the tables of 2009.

We’re already starting to plan for 2010. We will keep you updated regarding our progress. Now is the time, while we are making plans, to send us all of your great ideas. Many events have come about as a result of guest suggestions.
Email events@outstandinginthefield.com.

Gift Certificates
Outstanding gifts for the holiday season. We now have gift certificates! It’s fun to see that many guests arrive as a result of a surprise from a loved one.

0901 Plates

Beach NC Table

Thank you

With the close of the 2009 season we want to take time to thank all of those who made the past season possible.
The Chefs
The farm dinner guest chef is tickled to get out there. To take creative passion and bring it to mountaintops, beaches and farms is not only a chef’s dream but potentially a great challenge. With good cheer, chefs took to their task, gathering ingredients from farmer, fisherman, cheesemaker and rancher for our grand al fresco feasts.  Thanks for joining us!
Check our map to see every chef’s 2009 menu with additional dinner details.
0901
Chef Bill Telepan & crew at Queens County Farm, NY

The Staff

Many thanks to our hardworking Outstanding in the Field crew.  They come from many places: Chicago, Georgia, the Netherlands, Canada, Vermont and California. With armloads (truckloads) of patience and dollops (really shovels full) of ingenuity, they took on every challenge. Everyone did their best under the most trying of circumstances. Read about our staff here.
The Storytellers

Everyone is contributing to the dinners, and it’s not just the often colorful plates our guests bring. Blogging and bloggers have contributed several memorable stories of Outstanding dinners far and near. Here are some of our very favorites with a fantastic mix of story telling skills and scenery: the amazing Minnesota dinner where the dramatic weather provided unforgettable beauty; the Pemberton, British Columbia event which surely provided the most spectacular scenery we have ever encountered; a special entry from a couple of our young guest farmers at a Portland, Oregon event; and ”Lewis Likes It”- Lewis, one of our biggest fans, really should have his own TV show. Blogging may be of the moment but print media is still doing a great job of telling the OITF story. This article in Vivid Magazine captures something that few writers have been able to articulate so well.

Thanks to all of those who share their experience of Outstanding in the Field.

0901
North Arm Farm, Pemberton, British Columbia
The Guests
People come to lots of dinners (as many as 13 in one season).  People come in groups, some people like to come by themselves. Many people make a point to come to a dinner in a part of the world they have never been to. Then there are those that are coming from just down the street. A surprising number of folks come as part of a surprise (see gift certificates).  However you arrived, thank you.  We are happy you made it because your support makes it all happen.
The Farmers and Producers

You are the reason we are here. Our mission is an appreciation for the people whose hard work and skill brings food to the table. We celebrate you and your contribution. Thank you.


Looking ahead to 2010

In 2010 we go even further afield visiting both old friends and new. We begin in late spring with a full tour of the United States and North America before venturing out to set the long table in new lands. Look for all the great info soon!

Jim Denevan
Founder
The Outstanding in the Field Team

Our Blog

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John Vonderlin: 1920: Movie-man drowns near Moss Beach

Story by John Vonderlin

Email John: benloudman@sbcglobal.net

Hi June,
Moss Beach doesn’t get mentioned often in the old newspapers, but this is one that they would have gladly done without. While the distaff rescuer bravely tried her best, she’d have done a heck of a lot better if nylons had already been invented. The best thing about this sad story is the date. It was published May 29th, 1920, in the “San Francisco Call.” That is ten years after the previous 1910 date that was the Newspaper Archive cutoff. How long before they add the 20’s and 30’s? I hope I’m ready, because the Coastside really started to hop in that period.  Enjoy. John
MOVIE MAN’S SLIP FROM ROCK ENDS IN DEATH
Charles A. Gilchrist Goes to Watery Grave Near Moss Beach San Francisco.—ln spite of desperate attempts to save his life, Charles A. Gilchrist of Oakland, a motion picture cameraman, was drowned May 20 while engaged in filming big waves four miles north of Moss Beach in San Mateo county.
Mrs. K. S. Heck, cousin of the drowned man, heroically tried to save Gilchrist by lying flat on the rock from which he bad fallen and throwing to him an improved life line, but her efforts failed and Gilchrist perished before her eyes. Mrs. Heck was 150 feet away from Gilchrist when she heard him utter a cry for help. Scrambling down a steep cliff, risking her own life, Mrs. Heck reached the boulder from which Gilchrist had fallen. He was struggling in the water when Mrs. Heck sighted him. Tearing her leggings loose, Mrs. Heck tied them together and, lying flat on the rock, held them down to Gilchrist. Gilchrist grabbed the makeshift lifeline and Mrs. Heck pulled with all her might. Just as she had dragged Gilchrist partly from the water the leggings parted, Gilchrist sank back into the water and disappeared before Mrs. Heck could repair the hastily improvised life line.
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John Vonderlin: The Wreck of the Alice Buck (5)

Story by John Vonderlin

Email John: benloudman@sbcglobal.net

Hi June,
Another unusual aspect of the reporting about the wreck of the “Alice Buck,” was the number of small articles in the various newspapers, detailing events similar to that which first drew my attention to this story, another corpse washing ashore. The ultimate of pathos amongst the more then half dozen reports was the last one, on October 14th, in the “Sacramento Daily Union,” reporting, “Another corpse, from the wreck of the Alice Buck came ashore to day (sic) at the beach at San Gregorio, said to be the body of the boy, George Parker.”
With that big load of rails just sitting in the shallows, naturally a salvage was attempted, as reported in the November 7th, 1881, issue of the “Daily Alta,” in a small article stating: “The steamer Ferrdale, has succeeeded in clearing the wreck of the Alice Buck, so as to get to work on the railroad ties (sic.)”
It must not have been successful though, as through the month of December, 1881, the attached ad was run repeatedly. I suspect the dock was never built,  as it is never mentioned again in the papers, nor is Mr. Demarest.
December 16th, 1881 “The Daily Alta.”
“NOTICE TO DOCK BUILDERS
Proposals are invited for the erection of a wharf from the Sea Beach near Spanishtown to the wreck of the ship “Alice Buck.”
All proposals must be in sealed envelopes and addressed “Proposal for Wharf to Wreck of “Alice Buck,” and be filed with Johnson & Veasey.  324 Davis street, San Francisco, on or before 12M, TUESDAY, December 20th, when all bids will be opened.”
Less then four years later the “Johnson & Veasey Company” was declared insolvent. Undoubtedly, they railed against the Fates. Enjoy. John
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John Vonderlin: 1901: The Sculptress Sybil Easterday

Story by John Vonderlin

Email John: benloudman@sbcglobal.net

From The San Francisco Call

January 27, 1901
SYBIL EASTERDAY
The girl sculptress of San Francisco
lives in her little studio, five flights
up, in the tiptop of an old building
on Montgomery street. When the
first rays of sunshine, arrive through the
quaint little round skylights in the roof
to make a light for her, she begins her
work and she does not finish until the
sunshine departs by the way it came,
leaving her alone in the dusk.
Once there was a little girl down on a
farm near Niles. Her name was Sybil
Easterday, and she was very fond of play
ing in the mud.
But It was not mud pies she made. It
was the same sort of things that she
wrought out of the putty, which she
scraped from the edges of the window
panes, and the same sort of things that
her mother found the butter patties made
into on the pantry shelves. In short,
Sybil Easterday was a sculptress in em-
bryo, and it was genius that was trying
to work its way out through the mud and
putty and butter.
When she grew up there was an in-
teresting collection of crude wood carv-
ing in her room at the Easterday farm
house and there was no peace on the
whole  farm until she had gained her
parents’ consent to come to San Francisco
for a course of art instruction.
She came and the Hopkins Art Institute
found in her one of its cleverest pupils.
On the farm she had dabbled, too, in
painting, and from under her paint brush
there sprung yellow haystacks and gray
oaks with such crude naturalness and
realistic effect as to make plodding Illus-
trators stare and arouse the interest of
the instructors. But for her painting she
did not care, so much; her passion was
sculpture, and she plunged into clay
modeling and its accompanying studies
of anatomy with a determination born of
a great love for her work.
She made .progress. Such  astonishing
progress, that those of ordinary clever-
ness stopped to make note and congratu-
late. As soon as she had mastered suf-
ficient technique to work independently,
she took her studio and shut herself up
with her work, and while the sun shone
no one was admitted. Earnestness and
ambition kept her within her four walls,
and the little art world of San Francisco
had almost forgotten her, until it found
her work prominently placed in  the In-
stitute of Art exhibitions.
Since then she has been an acknowl-
edged factor of importance in San Fran-
cisco art circles, her study figures have
appeared at all the principal art exhibi-
tions and have been given prominent
positions.
The girl sculptress is independent as
well in ideas and the execution of them
as in bread-winning. When the first bar-
rel of plaster for casts was brought into
her studio and the white powder left a
little trail along the floor; when her tub
of wet clay tipped over and she found her
hands and face and her skirts all covered
with the sticky substance, then Miss
Easterday had one of her independent
ideas and she proceeded to put it into ex-
ecution. The next day when the baker
boy called the door was opened for him
by a young person in a light flannel shirt
and white duck trousers. The young per-
son had a sculptor’s knife and a little
wad of clay in one hand and the other
was held out with wide-stretched fingers,
fresh from the tub mixture. But what
made the baker-boy stare was the young
person’s head. It was a. mass of fluffy
red-brown hair, bound up loosely with a
band of black velvet and shading the seri-
ous face and earnest blue eyes of the girl
sculptress.
Since first adopted it Miss Easter-
day has worn the practical attire at her
work.
Miss Easterday’s visitors and the baker
boy have long since become accustomed to
her practical eccentricity and the girl
sculptress herself has become so appre-
ciative of its comforts that it is with a
sigh she dons her street attire, which she
never does until the moment of her going
out.  .
Many are the comments of the little Bo-
hemian circle of artists anent the girl
sculptress. They say she is strange, and
odd, and queer, but they unanimously
agree that she is clever and independent
and that she is earnest and ambitious.
She herself is indifferent to all com-
ment. Her world is her studio and her
art. Her life motto is work. She has al-
ready met with unusual local success and
it is safe to predict that some day she
will be heard of beyond the limits of the

West.

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John Vonderlin: The Wreck of the Alice Buck: Hovius & Hale (4)

Story by John Vonderlin

Email John: benloudman@sbcglobal.net

Hi June,
This article from the October 1st, 1881, issue of the “Sacramento Daily Union,” four days after the wreck, adds another new wrinkle to the reporting about the wreck of the Alice Buck. I can’t remember any previous lifesaving efforts by the folks of the Coastside being rewarded with other then their name in the paper in previous reports about shipwrecks. Considering the danger of trying to rescue the crew or passengers of a shipwreck along our wild coast, often at night in inclement weather, it’s amazing how altruistic Coastside farmers and residents were repeatedly.
Though I now think “Hovious and Hale” are generic names, as used in the article, perhaps a play off “Hale and Hearty,” I first thought how odd they both have sea-related names, as in hailing a passing ship, and the “Yo, Heave Ho” chant of sailors’ rope hauling. The fact that there was a Hovius living in both Purissima and Half Moon Bay in 1890 makes me unsure, especially because it was an unusual name in a sparsely populated area. Enjoy. John
HEROISM TO BE REWARDED. The account recently published of the wreck of the Alice Buck at Spanishtown having called the attention of the Board of Trade and Chamber of Commerce to the heroic deeds of life-saving performed by the farmer boys — Hovious and Hale — at the scene of the wreck, those institutions propose to take some means to signify to the boys an appreciation of their conduct. It is probable that solid gold medals, the size of a $20 gold piece, will be suitably engraved and presented to the brave young men.:
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John Vonderlin; Wreck of the Alice Buck (3)

Story by John Vonderlin

Hi June,

The reporting about the wreck of the “Alice Buck” in the articles I was finding was very similar to previous shipwrecks’ reporting, until I found this article. It appeared in the October 1st, 1881, issue of the “Sacramento Daily Union.”  I suspect intercity rivalry may have had something to do with the tone of this point-of-view reporting. But, given the facts, a little righteous indignation in the press was probably a good thing. Especially, given the title of Mr. Buck, the owner, and probably the husband of the Alice, who the ship was named for. Enjoy. John
“AN INHOSPITABLE PORT.
The treatment of sailors in San Francisco has always been abominable, but the climax of inhumanity appears to have been reached in the case of the survivors of the ship Alice Buck, which was wrecked the other day off the San Mateo coast. These poor fellows, after having been buffeted for hours by the waves, were rescued in a pitiful condition. They had saved none of their effects. The clothes they had on were torn to rags. And they were bruised and sore from their long struggle. But on reaching San Francisco they discovered that unless they were absolutely incapable there was no shelter or relief for them. The consignees of the wrecked vessel refused to do anything for them, on the ground that the ship’s papers were lost, and they did not know what was due the crew. The United States Shipping Commissioner professed himself powerless to help them; and the only persons who took any interest in them were the crimps and kidnaping land-pirates on the water front, who hoped to make a prize of the destitute men, and. secure their advance wages for another voyage, after the usual fashion. In fact these poor fellows could hardly have fallen upon worse treatment had they been wrecked among savages, and there are many savages who would have behaved a thousandfold more humanely to them than the supposititious Christians and civilized beings upon whose mercy they have been thrown. The destiny in store for these miserable creatures appears to be abandonment to the sailor boarding-house rogues, who will thrust them aboard some other ship before they have recovered from their bruises, and will steal their wages in advance. They have six months’ wages due them, but already they have been coolly informed by the United States Commissioner that they had better not try to obtain what is owing to them, since it will cost it all to secure payment. In fact it is plain that there is no consideration anywhere for the shipwrecked men, and that nobody pities the hard fate to which they seem doomed. It is no wonder that San Francisco is one of the worst places in the world to obtain sailors in, and if they understood their own interests they would refuse ever to ship for so inhospitable a port. They have no political influence, however, and so they cannot obtain decent treatment in any quarter, and even the representative of the National Government thinks it perfectly safe to snub and ride roughshod over them.”
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