Drawings
adapted to digital production
COCO, a collaboration in process.
Characterization / Contextual
Schematic Illustrations
Coco with Aunt Lisette
San Francisco, CA
Book One
Mixed Media
Copyright 2013 All Rights Reserved
Olivia Horoshko Doyne and Sonja Horoshko, San Francisco, CA USA
First Day at Newbie International School
Book One
For Information:Sonja Horoshko
970-565-0715, artjuicestudio@gmail.com
Below
The Gift - Holiday Cards 2020-21
As wild as it seems in retrospect; stark, chaotic and sometimes forlorn, my West Denver childhood provided the foundation of fluidity and resourcefulness that has served me well as I conduct my life to the fullest experience possible in all the arts.
That context was also the time of the original West Side Story musical - our reflection of inner city turf, territories, borders and boundaries surrounded by deadly hood games as well as competitive neighnorhood turf play - Hopscotch, King of the Hill and Kick the Can. I am grateful for my West Side / Inner City point of view. To see out from the center of the common ground has proved a valuable asset I cherish and rely upon in my rural life, in southwest Colorado." SMH 2013
Below:
Row One: My Mother's copper coffee pot and creamer from the Arctic in Norrbotten, Sweden. Pen and ink.
Row Two: Portraits of Tirzah and Tio, and Sophie Lundberg's Visit, Cardboard and Acrylic.
Row Three: Banquet at Coyote Rock, Sharehouse Mural with novice artists; A Seat at the Table, Sharehouse Workshop
That context was also the time of the original West Side Story musical - our reflection of inner city turf, territories, borders and boundaries surrounded by deadly hood games as well as competitive neighnorhood turf play - Hopscotch, King of the Hill and Kick the Can. I am grateful for my West Side / Inner City point of view. To see out from the center of the common ground has proved a valuable asset I cherish and rely upon in my rural life, in southwest Colorado." SMH 2013
Below:
Row One: My Mother's copper coffee pot and creamer from the Arctic in Norrbotten, Sweden. Pen and ink.
Row Two: Portraits of Tirzah and Tio, and Sophie Lundberg's Visit, Cardboard and Acrylic.
Row Three: Banquet at Coyote Rock, Sharehouse Mural with novice artists; A Seat at the Table, Sharehouse Workshop
On Various Studio Settings.
Art Juice Studio is my home, my exhibit space, the place we make music, write poems, and publish various manifestos like the one five collaborators dubbed a "Field Manual" from our own community Department of Peace, 2003. We didn't need a hard real estate space to work. We simply needed a reason to write, an idea, some visual and language skills and a computer set up at Art Juice Studio near a local printer willing and able to produce a ‘zine easily, and on demand without judgment.
In warm months my studio work is conducted outside for large scale paintings. In cold weather I move indoors to one of the three available desk areas and the kitchen counter where I can produce table top projects, and journalism. Although I have maintained two small studios for short periods of time during my twenty-eight years here, Cortez is a town without a dedicated gallery or exhibition space and little affordable studio space today. It is possible this will not change in the near future. It is more appropriate that I work where I reside now. Present tense. In the moment. In my own investment. At home. In Art Juice Studio.
At Hovenweep I worked outside with people from the Navajo families living nearby. There were many. On any given day during that year you could find us out in the shade houses, or walking a precarious trail on Cahone Mesa, or following the sheep or horses, even sitting quietly at the bottom of a wash where strands of pastel pebbles crisscrossed the soft pink loess dry stream beds offering material for our compositions and beauty before us all around.
Being outdoors, drawing and painting together was a natural circumstance and more than adequate for the record we rendered around the national monument on their land. The comfort fit me well. I feel confident working in-situ to this day, exhibiting and holding workshops on canyon rims, in the alleyways and temporarily in warehouses in town when I need the space, and beside the streams and aspen forests in the mountains. It is a balanced manageable way to proceed, and I have adapted my property to that philosophical point of view. Happily, it works for me.
In warm months my studio work is conducted outside for large scale paintings. In cold weather I move indoors to one of the three available desk areas and the kitchen counter where I can produce table top projects, and journalism. Although I have maintained two small studios for short periods of time during my twenty-eight years here, Cortez is a town without a dedicated gallery or exhibition space and little affordable studio space today. It is possible this will not change in the near future. It is more appropriate that I work where I reside now. Present tense. In the moment. In my own investment. At home. In Art Juice Studio.
At Hovenweep I worked outside with people from the Navajo families living nearby. There were many. On any given day during that year you could find us out in the shade houses, or walking a precarious trail on Cahone Mesa, or following the sheep or horses, even sitting quietly at the bottom of a wash where strands of pastel pebbles crisscrossed the soft pink loess dry stream beds offering material for our compositions and beauty before us all around.
Being outdoors, drawing and painting together was a natural circumstance and more than adequate for the record we rendered around the national monument on their land. The comfort fit me well. I feel confident working in-situ to this day, exhibiting and holding workshops on canyon rims, in the alleyways and temporarily in warehouses in town when I need the space, and beside the streams and aspen forests in the mountains. It is a balanced manageable way to proceed, and I have adapted my property to that philosophical point of view. Happily, it works for me.
