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work to outside eyes. There is no guarantee that the product of their creative whim will speak to an audience.


“The artist brings 50 percent,” says McIn-


tyre, probably Carpinteria’s most acclaimed collage/assemblage artist. “I can tell you what I was thinking, what the piece means to me. I don’t know 100 percent. It comes from inside of me. It teaches something about me.” Judges of McIntyre’s work have approved.


From humble roots in Santa Barbara City College Adult Education and Carpinteria’s Step One gallery (855 At the Arts has taken the location), over the last decade she has become a sensation with her bold, some- what edgy works. She has had three pieces accepted into two galleries in New York and says her proudest accomplishment was when two pieces, “Songbird,” and “Watching the Clock Pod,” were accepted to the Pleia- des gallery in New York City. A Guggenheim associate curator juried the nationwide open show. Additionally, one of McIntyre’s pieces also found a home overseas in a German gallery. Anything goes in McIntyre’s work. She resurrects many antiques, including type- writer keys, shoe lasts (wooden forms insert- ed into shoes to their shape) and whatever grandma might have found in her sewing


66 carPinteriaMaGaZINE


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