The object of art is not to reproduce reality, but to create a reality of the same intensity.
- Alberto Giacometti
Current Hours of Operation
Friday 11 am - 7 pm
Saturday 11 am - 7 pm
Sunday 12 pm - 4 pm
Monday 11 am - 5 pm
June 19, 2020
We are open Fridays, Saturdays, Sundays, and Mondays. If the the weather is nice on Tuesdays, Wednesdays, or Thursdays, we may be here. If the lights are on, come on in!
Your safety is important to us. We have hand sanitizer throughout the gallery and will maintain a 6 foot distance during your shopping experience. We ask that you also wear a mask when visiting.
Iris Grundler earned a BSAT degree in Architecture in 1984 at the Catholic University of America in Washington D.C. and immediately began her career in the industry. However, she found that her artistic side was unfulfilled and thus she started painting for leisure and, and in 2005, pursued pottery classes in her local community centers. The daughter of Peruvian parents, Iris' expressive style, and boldness attributed to her origins, with her Spanish and Incan heritage combining with American influences, resulting in an interesting international amalgam.
Iris uses four different clays, porcelain, black clay, brown speckle, and white stoneware, and Each clay have its property; therefore it calls for different techniques; Porcelain show the best of each glaze, She does not use underglazes, all the colors and homemade glazes. The black clay is as tricky as porcelain, when unfinished it shows its beautiful texture, this clay only take very few glazes. Brown earth has minerals that show through the enamel and has a lovely feel too, white stone shows very well all matte glazes as well as celadons.
Every piece is hand thrown or hand built. Sgraffito is the technique that all the pots have in common. It is produced by scratching through the surface and applying black, red or blue slip. Iris’ designs are dictated by the clay as well as each type of clay has its limits.
Sage glazed pottery
My work encompasses two primary genres - "Plein Air" landscapes and figures; using two primary mediums - oils and watercolors. The paintings are surely representational and indeed narrative at times, but the imagery is not about the pictorial. I use the subject matter (whether it be a farmhouse, tree, cloud, wave or figure) as elements of design in order to capture specific natural phenomena, moment in space and time and mood of "event." Painting is not just the celebration of vision but, rather a quest for experience. In this sense, my painting is not a recording of facts seen. It is the process of interpreting a fleeting muse. This process is, as a result, in a constant state of emergency. Like dance, painting
must change anew to the beat of the muse. After conceiving a painting in the field, establishing value relationships, coordinating color fields and bringing forth some detail resolution, I bring the painting home to its studio and let it "cook" for a while. Removed from the subjective space, the painting requires a life of its own. I hold suspicious a painting that is resolved easily. "Pushing and Pulling" an image, adding and subtracting values, adjusting color is what brings a painting together. I generally try to stretch my own canvases. I use four coats of gesso, each layer less thinned that the previous one and I sand between coats. More often than not, I will tone the canvas with Acrylic. This allows me to "Push and Pull" from the middle of the tonal value scale. It also presents a homogeneous color field, enriching the overall body of color. My palette is quite limited consisting of; Yellow Ochre, Cadmium Yellow, Alizarin Crimson, Cadmium Red, Cobalt Blue, Ultramarine Blue, Cerulean Blue, Viridian, Burnt Umber and Titanium White. I may occasionally add another color or two depending on mood and subject. I rarely draw on the canvas, preferring to immediately paint—allowing the "drawing" to sculpt itself. I rely heavily on good "drawing" skills and expressive painterly techniques. I may be seen on many highways and byways painting directly from nature.
My paintings have won numerous awards and have been accepted in many juried exhibitions both regionally and nationally.
Rich has been in the metal working trade since 1981. He was the 4th generation in the family machine shop business and spent 24 years there.
In his time with the family business, he has run manual mills and lathes, cnc machines, cnc programming, CADD design and manufacturing engineering, welding and fabricating most materials, has had ASME welding certifications and a very diverse mechanical learning experience. He started his part time welding business in 1998 and has put most of the income into tools and equipment. He has GMAW, GTAW and SMAW welding equipment for all materials, homemade pnuematic forging hammer and forge, forging related tools and anvils, material cutting equipment as well as all the other needed tools and equipment.
He has a full time machining job and likes the type of ironwork and welding jobs that can tolerate his full time job commitment. Rich also has some very experienced associates to assist him with larger, time consuming projects. McClure Ironworks is very creative, hardworking and dedicated to please it's clients.
Father, husband, artist. Born and raised along the Susquehanna River in the small town of Marietta, Lancaster County, Pennsylvania. Michael currently resides in the Kennett Square area of Chester County, Pennsylvania. Michael’s unique dimensional style stems from a lifelong study in the uses of oil, acrylic, and latex paints in conjunction with plaster, cements, glue, wood, etc. for intentional an unintentional uses. Every impression, image, and inspiration utilizes his experiences using these mediums in historical home restoration, construction work and furniture and cabinet building and refinishing. Each work comes from his imagination and life’s experiences into an art expression in his studio. After completing a piece his next step is to encase it in a custom frame to enhance and complete the artistic expression as a total work. Each painting andframe is signed since it is meant to be viewed, judged and experienced as acomplete piece of art. Michael encourages touching his paintings to experience the dimensional aspect.