Page 68 - enLIGHTenment October 2016

hidden Gem

above: If you look behind InsIde the artIst Colony
commercial art,” he quips. “For commercial art, the
these artists, you’ll see Despite all of the categories that Renwil serves, the subject ma er is of huge importance; landscapes,

stacks of various projects core of the company revolves around the in-house abstracts, orals, and wildlife themes are among
they’ve been working on.
All of the pieces they’ve art studio. As the executives point out, the market the top sellers.”
is ooded with reproductions of prints and paint- Adds Steve Rice of Rice Consulting Group, who
done that month are pre-
sented during a monthly ings. Cultivating fresh looks – inspired by the trends is currently working with the company, “The art
meeting for critique.
that Sklar observes worldwide – are what keep the studio has diversity, but remains consistent to the

company top-of-mind with customers.
overall brand.”
bottom: The Pali mirror
boasts a bright blue Given practically free reign to experiment in Karpman states, “We want to o er unbelievable val-
whatever medium or style of art they like, this cadre ue, but that can still be compared to the highest end.”
mosaic frame that will
add a pop of color to of artists is so diversi ed in technique that there is
interiors. It measures 36'' a harmonious camaraderie among them rather than

x 36'' and has a Blue and acrimonious competition. Once a month, the artists
Silver nish.
present the assortment of what they’ve been work-
ing on for a more juried selection process by the

executive team.
“We tread the
What does it take for an artist to come onboard?
line between
In evaluating artists, St. Germain looks for a di-
ne art and
versity of skills within his group. “Someone might
be strong in sculpture, or graphic art, or prints, or commercial

perhaps best with a paintbrush,” he explains, liken- art.”
ing his role as the studio’s supervisor to a curator

in a museum. St. Germain is also quick to point out — Patrick St. Germain

that there is a di erence between “ ne art” and
“studio art.” The la er is the process of adapting

the art – which is typically subjective – for a mass
audience. “We tread the line between ne art and

66 enLIGHTenment Magazine | OctOber 2016
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