Contemporary Arts + Crafts Market
Lucy Gentry of LGM Studio is hosting a Contemporary Arts + Crafts Market for 2 weekends in December. Stop by and Shop from a large array of Local Artists, featuring a Diverse Range of Products, including woodworking, jewelry, ceramics, paintings, textiles, cards, calendars, and books.
Dec 5, 6, and 7 + Dec 12, 13, 14
Friday 5-8 pm + Saturday and Sunday, 12-5 pm
PARTICIPATING ARTISTS
- Lynette Charters
- John Corzine
- Lucy Gentry
- Lynn Helbrecht
- Melissa Nicholas
- Rose Nicholas
- Randi Parkhurst
- Francisco Reyes
- Julie Simpson
- Mariana Vera
- Kelly Watson
Mixed Media Artist
Lucy Gentry is a multimedia artist whose passion lies in the transformative power of art as a catalyst for social change and raising awareness. Born in Seattle, WA, Lucy has traversed various parts of the country, absorbing diverse cultural influences that inform her creative practice.
With a background in costume design and a wealth of knowledge gained from teaching at institutions such as Brown University and Evergreen State College, Lucy brings a multidimensional perspective to her artistic endeavors. Her expertise in costume design adds a layer of visual storytelling to her work, enhancing her ability to communicate ideas and concepts. Her mentor in theater work is the outstanding designer Patricia Ziprodt. Lucy studied with her for three years, and after finishing her MFA degree, she began working with her in New York City. Artists and designers who continue to influence her work are Nick Cave, Alexander Mcqueen, Amy Sillman, Tracy Emin, David Park, Joan Mitchell, Richard Diebenkorn, and Max Ernst.
Currently based in Olympia, she draws inspiration from her surroundings and continues to explore the intersections of art, activism, and social consciousness.
Border Christening, Cost of Crossing
In this body of work, I used clothing belonging to children to express issues of loss, absence, and memory. Anything that has been used or touched before by humans has a history, and as such, the children’s garments are imbued with emotion, power, and significance.
I started working on this body of work during the Trump Administration and have continued to create more plaster clothing through the summer of 2023.
My work is dedicated to encouraging dialogue about the dehumanizing treatment of migrants and their children.
Salton Sea
In 1905, the Colorado River swelled, breached its levees, and flooded the desert valley known as Salton Sink. The water flowed for two years, creating a 15 by-35-mile lake called the Salton Sea. This body of water is now California’s largest lake and one of its most significant natural and environmental resources. The Salton Sea provides a diverse array of wildlife habitats supporting several threatened and endangered species and more than 400 resident and migratory birds. It is also part of the Pacific Flyway. An ecological disaster hit the Salton Sea in the 1970s.
The incredible salinity of the lake, which has no drainage outlet, combined with the heavy agricultural runoff from the Imperial Valley, slowly destroyed the ecosystem, leaving behind a surreal, apocalyptic vision.
Salton Sea Relics
I visited the area last October and was shaken to the core. From afar, the white beach shores and calm water of the 360-mile-long Salton Sea appeared tranquil and serene, but looks can be deceiving. The sea is polluted with pesticides and is saltier than the Pacific Ocean. Only one fish species has survived, while migratory birds are poisoned with botulism and other lethal bacteria. As the wildlife decomposed, the sand became coated with layers of salt deposits, engulfing fragmented fish and bird skeletons.
The hypersaline sea acted as a collaborative presence with this body of work. I collected natural objects ethically and lovingly for this project, creating a unique commentary on the eerily beautiful Salton Sea. I wanted to work with salt to recreate the otherworldly quality of the Salton Sea environs and harness the beauty and decay.
Working in a new medium had many challenges and surprises. During production, my studio had a mineral-rich atmosphere, and I was always aware of the salt on my skin and its subtle taste on my tongue. I combined chemistry and artistry to transform natural objects into ethereal sculptures. The natural objects emerged after being submerged in a milky bath, glistening anew with salt crystals.
My work is dedicated to raising awareness and encouraging dialogue around ecological issues.
The natural materials I work with are imbued with structure and strength, yet they are fragile and eventually will fall apart. I mine personal experiences of loss, love, and beauty and weave figures into unconventional beauties, mythological figures, and heroic women.
My work suggests both coming together and falling apart, viewed within the content and context of organic matter. It is a reminder of sloughing and shedding, both real and figurative. Given the ephemeral nature of my work, decomposition can be seen as a kind of performance.
I view my installations as temporary collaborations between myself and the viewers that invite reflection upon themes of place, time, decay, beauty, death, life, greed, and excess.