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2005, SOFT-COVER, 8 1/2" x 8 3/4", 88 pages
(Only a Few Still Available – Now out of print)
Several years ago, Mary Whyte moved to a small South Carolina barrier island. Quite by accident, she met a group of senior citizens who were making quilts in a small abandoned church. Longtime residents of Johns Island and descendants of slaves, this extraordinary group of African American women welcomed Whyte to their community and changed her life and paintings in astonishing and unexpected ways.
Chronicled in dialogue and images are the Gullah way of life and the evolution of an incredible friendship between the artist and Alfreda LaBoard, who became the subject of many of Whyte's paintings. Whyte uses the watercolor medium to produce rich dark tones and textures. Her combination of tightly controlled brush strokes and loose broad sweeps of washes, coupled with contrasts of light and dark, produce a level of intensity not usually associated with watercolor.
2005, SOFT-COVER, 8 1/2" x 8 3/4", 88 pages
(Only a Few Still Available – Now out of print)
Several years ago, Mary Whyte moved to a small South Carolina barrier island. Quite by accident, she met a group of senior citizens who were making quilts in a small abandoned church. Longtime residents of Johns Island and descendants of slaves, this extraordinary group of African American women welcomed Whyte to their community and changed her life and paintings in astonishing and unexpected ways.
Chronicled in dialogue and images are the Gullah way of life and the evolution of an incredible friendship between the artist and Alfreda LaBoard, who became the subject of many of Whyte's paintings. Whyte uses the watercolor medium to produce rich dark tones and textures. Her combination of tightly controlled brush strokes and loose broad sweeps of washes, coupled with contrasts of light and dark, produce a level of intensity not usually associated with watercolor.