The Artists

Elantu

Painting, drawing, writing

Prior to 1980, my studies of knotwork patterns and zoomorphic designs were primarily focused on the work of the Bronze Age Eastern Europeans. By 1982, the body of my work had become distinctly Celtic. The use of plants and animals in my designs defines my work.I begin with the zoomorphs, arranged in a pleasing mathematical relationship to one another, and then design the knotwork to complement the figures. In many cases, the knotwork is designed to describe movement associated with the animal.

The pieces are first drawn on the paper in India ink and allowed to dry sufficiently overnight. Then the first layer of color is applied in flat colors of permanent ink and when they are dry, subsequent colors are washed over the top to define the spaces clearly. If gold leaf is to be added, it is applied to the painting a day after the inks are dried. Colored pencil and/or wax transfer is added last and blended into the existing color scheme as an additional highlight.

My education in the arts has come by way of my own curiosity and experience. In 1972, I was fortunate to meet Aggeak Quakjuk, a prominent Inuit artist, and studied the Inuit perspective in art with him for two years. In 1986, I won a grant to study a Jagiellonian University in Cracow, Poland. The focus of my work there was “Pre-Christian Elements in Eastern European Folk Art.”Although I am not a native to New England, I lived in Vermont and in the Greater Boston area for nine years and my work there attracted the attention of the New England Arts Council. I was one of twenty-six artists invited to show at the Helen Day Museum show of New England artists.


Harry

Photo-graphics, photography

Harry began his professional career as a teacher in the field of anthropology. An artist at heart, he accepted teaching positions in areas of the country that would provide him with new experiences as well as access to a variety of wildlife habitats. Harry reads everything and thoroughly enjoys comparing what he reads in books to the world outside.Along the way (reading everything he could in every library he came across) he acquired his PhD in Library Information Science. After earning his doctorate from the University of Pittsburgh he spent some time teaching in New England. Teaching……and rummaging around in the wooded areas chasing down everything from the perfect late evening photo of a mill pond in fall to sneaking dangerously close to moose in Vermont.

Besides teaching, reading and roaming the woods with a camera, Harry enjoys turning over rocks and learning about their history. Elantu, Harry’s wife, claims that he accepted a job in Vermont primarily so he could get a closer look at the Green Mountains and pick up rocks.One thing Harry never learned from books is the concept of vacation. He prefers to live there (wherever “there” happens to be this time) for a couple of years rather than visit for a short time. He has maintained residences in: Japan, Arizona, Florida, Alabama, Oklahoma, Hawaii, Maine, Texas, Pennsylvania, Vermont, Massachusetts, and Colorado. He has visited a sizable portion of the rest of North America for what he considers to be short periods of time, i.e. less than six months.

Living in Japan for three years had a qualitative effect on Harry’s approach to art. He has adapted to his own techniques, the Japanese sensitivity to light and shadow, an artistic trait clearly visible in his photographs of archeological sites, ancient structures, and geoforms. Harry is also enjoys integrating graphic art with his photography to create unique images.

In photographing wildlife, Harry likes to spend time in the animal’s habitat and learn something of the spirit. He rarely resorts to the use of telephoto lenses in wildlife photography, preferring to wait for a closer opportunity. The photographs of Bighorn sheep presented on Harry’s pages were obtained while driving along a back road in Utah with another destination in mind. Harry spotted the animals on a distant ridge, pulled over, and began a slow walk at an angle to the animals’ destination. When he was close enough, he began to speak to the ram in a low tone, telling him what he wanted. “I’m not after your life, your women or your grass.” Harry told the ram. “I just want to show the world how beautiful you are.” With that, the ram walked towards Harry and posed. The portrait photo of the Bighorn Ram was taken with twelve feet of the animal. A typical Harry photo.