Category Archives: Pompano paintings

Sullivan Summer Show

Trust (detail), 1998, oil & collage, $200
Trust (detail), 1998, oil & collage, $200

Every year librarian Karen Trainer at the Sullivan Library in Chittenango, NY, offers me an art exhibit in the library’s community room for the month of July.  And every year when the time comes, I forget if I had asked her. I called last night and, yes, she was expecting me.  Said I could come in any time to install the show and also said I could have the space through August!

I Said the Wrong Thing (detail), 1997, oil & collage, $200
I Said the Wrong Thing (detail), 1997, oil & collage, $200

I love this small space.  I’ve shown my own work so many times – all sizes – and I’ve shown student work many times as well.  There are only eight of those long hook things that connect to a chair rail in the wall and additional S pegs if you want to display a lot more pieces.

Life (detail), 1998, oil & collage, $200
Life (detail), 1998, oil & collage, $200

I chose to do an exhibit of eight works from one of my Pompano series.  I created them in ’97-’98.  Eight 18″ x 24″ canvases depicting Pompano Beach, Florida and my subsequent life back in Syracuse, NY after graduate school.

We've Spoken These Words Before, 1997, oil & collage, $200
We’ve Spoken These Words Before, 1997, oil & collage, $200

My work is autobiographical and this time of my life was sort of a see-saw of comedy vs. drama.  It was about change, really, insofar as who I truly was as a person and what I presented to the public.  I wasn’t sure who I was and what I wanted, to tell you the truth.  I would have to say that I had misaligned convictions.

Quiet (detail), 1998, oil & collage, $200
Quiet (detail), 1998, oil & collage, $200

I was almost fighting the idea of traditional me and trying to be super artsy.  I’ve come to find out that I am somewhere in between.  Or maybe not.  😉

III, 1998, oil & collage, $200
III, 1998, oil & collage, $200

These paintings are like old friends.  Seeing them again makes me reflect on my progress in this crazy world.  It seems like art gallery dealers only want to see an artist’s latest work.  But I am comfortable sharing this retrospective.  I’m not like Madonna who once said she didn’t want to sing any of her old ’80s songs in concert because she was bored with them (I’m paraphrasing).  I saw her in concert (on TV) and I absolutely loved the way she retro-fitted her old songs with new melodies – taking dance tunes and turning them into ballads, for example, going guitar only or remixing old melodies with new and noticing commonalities in the lyrics.  So I guess it turns out that her comment had been a flippant in the moment thing and she found a way to welcome those old songs back into her life, lol.

Fool, (detail) 1998, oil & collage, $200
Fool, (detail) 1998, oil & collage, $200

I welcome you to see my exhibition.  These paintings are all framed in gallery style maple hardwood and are priced at $200 each.  I would love to sell them so they don’t end up back where I stored them in the little closet of my second bedroom.

Fish Out of Water (detail), 1998, oil & collage, $200
Fish Out of Water (detail), 1998, oil & collage, $200

Whatever is old can be new again and these oldies look fresh to me again.  I’m glad they will see the light of day for the summer and I hope, if you are in the area, you will stop into this wonderful library right off the main “strip” in Chittenango, NY.  The Sullivan Library is located at 101 Falls Blvd., and is open at 10am most days in the summer.  Show’s up through August 2015 but if you want to buy one (or all) I can always switch it up.  I don’t mind a cash and carry art display.  And more about that coming soon.

 

 

I Have a Dreamtime

I finally repaired my painting, Dream Time.  I’d lost a couple of the Scrabble pieces because I had it leaning against the kitchen door for the longest time and one or both of the cats must have knocked them off.  My sister found the exact letters I needed at the flea market and gave them to me for Christmas.  Best gift ever.  Because I think that this painting is one of my favorites and now I can share it with you.

Karen Tashkovski, Dreamtime, 2000, oil & collage $500
Karen Tashkovski, Dream Time, 2000, oil & collage, NFS

This was the first piece in the Dream Time series.  I stretched all the canvases myself with a thicker canvas, added collage items – coasters from Empire Brewing Co. and playing cards, and then I gessoed the canvases, added Martha Stewart latex paint in Milk White, and painted them with oil paint.  There was this routine that gave all the paintings harmony, as well as devices like drawing in pencil, but I used a different color scheme in each one.  This one is my favorite because I am in love with its buttery color and how effortless it felt to create it.  It was seriously like a dream the way it all came together.

My favorite paintings are often the first in a series, I guess.  I never noticed that before.

Karen Tashkovski, Pompano Revisited #1, 1996, oil & collage, NFS
Karen Tashkovski, Pompano Revisited #1, 1996, oil & collage, NFS

I keep the above painting in my bedroom and probably will never sell it because it is actually a narrative of one of the last times I returned to Ft. Lauderdale, FL after living there for two years.  The rest of the Pompano Revisited series were variations on the theme – the puzzle piece layout, the shark, the Goodyear blimp; but none carry the same emotion for me as this one does.  And there’s that light Naples yellow again.

Karen Tashkovski, Secret, 2008, mixed media, $200
Karen Tashkovski, Secret, 2008, mixed media, $200

You haven’t seen the next two paintings yet. A few years ago, I took the Talisman series to John Dowling, a professional photographer in the area.  http://john-dowling.com/

He photographed them for me.  That’s why I posted them to Shopify – because they are the best photos I have.  But I’ve changed these two since the photo shoot.

Karen Tashkovski, Find, 2008, mixed media, $200
Karen Tashkovski, Find, 2008, mixed media, $200

In the above painting, I painted the little man figure with the black chalkboard paint.  It was white in the Dowling photo.  I changed the ribbon in Secret.  I keep them both in my bedroom too.  In my defense, there are a lot of walls in my house, all plaster and in need of something to cover their blemishes and cracks.

I also have a dreamcatcher, which may actually work because I’ve only had one nightmare since moving here nine years ago and when I woke up after it, I noticed the thing had fallen off its hook and landed behind the lingerie chest.  Not to be superstitious or anything….

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I have been having the most vivid dreams lately.  Not sure why but they are the kind with a plot, like the entire seasons of Dallas and Knot’s Landing when it turned out that  Pamela had dreamed the whole thing.

(Does anyone remember that Valene Ewing named one of her twins Bobby because he was dead?)

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It’s funny because as viewers we need to accept the premise and then we’re fine with whatever the outcome.  It’s all entertainment.  That’s how I feel about Star Trek.  You just accept that they are able to go to warp drive, accept that they can transport by vanishing and reassembling their molecules elsewhere, accept that even though there are photon torpedoes and phasers set to stun and/or kill, in the end, Captain Kirk and the bad guy or Spock and the bad guy will come to fist-to-cuffs blows and Starfleet will always prevail. (I think you can tell I had a Star Trek movie marathon this weekend?)

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https://www.youtube.com/watch?v=pSq_UIuxba8

http://www.nydailynews.com/entertainment/tv-movies/star-trek-actress-nichelle-nichols-martin-luther-king-jr-impacted-decision-stay-enterprise-article-1.154674

It seems easy enough to accept the premise of world peace, accept each other for who we are and what we bring to the artistic table (or any table) without having to sleep on it.  But if lucid dreams are really a thing, I want to have a dream dinner with Gene Roddenberry, Martin Luther King, Jr., and Walt Disney.  The ultimate dream team.

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Cards on a Beach

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I think this is the first article anyone ever wrote about my artwork.  I exhibited in Sweet Babas restaurant in Armory Square, which is an area in downtown Syracuse, NY, referred to as the Karen section of town in the 1980s by my cousin Nick, when it was just art frame shops and antique stores.  I think I was the only one who ever went down there back then.

Sweet Babas was built between two buildings so the exposed brick from the facades was the interior walls.  I loved the way my paintings looked in that place – I think it was something like seven feet wide and so it was an intimate dining experience.  I sold the painting pictured for $200.  It was one of my first oil and collage paintings, called Jacks, with card jacks as well as the metal game pieces.

For some reason, I really love that this article is plagued with typos.  You know how it goes – when you think you’ve finally “arrived” as a force to be reckoned with in the art arena, that you think you’re a big fish in the small sea of your local town – it’s just funny.  The artist Linda Bigness once told me that I would have to paint for twenty-five years before I’d get any real recognition (something like that) and in a way she was right.  It took me about twenty-five years to decide to create this website!

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The above article is from The Syracuse New Times, from around the same time because at the bottom where it says Art Around Town, they list my Sweet Babas show.  I’ve always loved captive audiences because they do not come for the art but they may fall in love with it and that emotional attachment can lead to a sale and even a life long patron, which is why I used to (and still do!) solicit for shows in restaurants and coffee shops, and libraries.  In this article, the author responds to the Goodyear blimp in my Pompano paintings as atomic bombs.  I have mentioned this to my students during lessons on art criticism.  Interpretation in the art criticism format is what you think the artist was trying to tell you – like why they made the paintings.  Maybe my playful Florida landscapes contained this ominous item and meant that life is fragile.  In a way, my life in Florida had its demise so maybe there is an underlying truth to her interpretation, but let me be honest and say that clearly, I was not that “deep” when I painted them.  The blimp is simply another device in my repertoire that reoccurs throughout the years.  You can take the girl out of Pompano but you can’t take the Pompano out of me.

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Karen Tashkovski, Deerfield Beach, 36″ x 48″,  1990, acrylic & collage, $1,000

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Karen Tashkovski, Pompano Beach, 36″ x 48″, 1994, oil & collage, $1,000

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Karen Tashkovski, White Pompano, 36″ x 48″, 1998, oil & collage, $1,000

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Karen Tashkovski, Three Crosses, 36″ x 48″, 1995, oil & collage, $1,000