Currently in Gallery during Covid-19 Lockdown
Open to Visitors by Appointment
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Iwalani Kaluhiokalani, Long Distance, oil on canvas, 48" x 72" (2 panels), 2020,
M A G I C
Iwalani Kaluhiokalani
In these paintings, I have studied an embodied state of impossibility we could call magic. Magic is, in a deep sense the union of the impossible with actually seeing something that cannot be, yet is.
These kaleidoscopic, repeated, rhythmic images explore the translation of physical truth into ephemera. The junction of what is and is not, through body and image, M A G I C.
Susan Leskin, Life in the Bones, mixed media, 26 x 38 inches.
Susan Leskin & Lola Baltzell in Gallery II
Broken/Healing
Susan Leskin
The images in these works are intentionally ambiguous- not quite human, not quite plant or animal, but fully alive, nonetheless. They are about the loss and recovery of different things, including health, connection, and happiness. The process of healing may start with desperation, evolve into courage, and gain strength with tenacity. Things (and people) are not always restored to their previous configurations. Sometimes they look different. Sometimes they are better.These pieces are made with burnt paper, acrylics, ink, and pencil.
Broken/Healing
Susan Leskin
The images in these works are intentionally ambiguous- not quite human, not quite plant or animal, but fully alive, nonetheless. They are about the loss and recovery of different things, including health, connection, and happiness. The process of healing may start with desperation, evolve into courage, and gain strength with tenacity. Things (and people) are not always restored to their previous configurations. Sometimes they look different. Sometimes they are better.These pieces are made with burnt paper, acrylics, ink, and pencil.
Lola Baltzell, "Landing Gear (One)," encaustic painting on board, 12 x 12, 2019.
Plus One
Lola Baltzell
I am self-taught and find a lot of freedom in allowing myself to explore and find my own way. However, like the female painter in Virginia Woolf’s “To the Lighthouse”, I am terrified of the blank canvas. “Where to begin? — that was the question at what point to make the first mark? One line placed on the canvas committed her to innumerable risks, to frequent and irrevocable decisions.”
I like to incorporate mixed media, to give myself a starting point. You will often find collage elements in my pieces and I also love working on and with found objects.
We all have hidden yearnings and talents that seek creative expression. Over the years I have explored various media, starting with photography, oil painting, then collage and currently mixed media encaustic.
When you are truly absorbed in making art, it becomes a meditation. You are transported beyond the analytical, critical mind. From that place, the art makes itself. I see the "artist" as a channel, so that if we get out of our own way and let the creativity flow, we can tap into something wonderful, something beyond our limited sense of self. There are many expressions of Spirit, and my work is about making those connections, and bridging the spaces - within ourselves, and between each other.
Lola Baltzell
I am self-taught and find a lot of freedom in allowing myself to explore and find my own way. However, like the female painter in Virginia Woolf’s “To the Lighthouse”, I am terrified of the blank canvas. “Where to begin? — that was the question at what point to make the first mark? One line placed on the canvas committed her to innumerable risks, to frequent and irrevocable decisions.”
I like to incorporate mixed media, to give myself a starting point. You will often find collage elements in my pieces and I also love working on and with found objects.
We all have hidden yearnings and talents that seek creative expression. Over the years I have explored various media, starting with photography, oil painting, then collage and currently mixed media encaustic.
When you are truly absorbed in making art, it becomes a meditation. You are transported beyond the analytical, critical mind. From that place, the art makes itself. I see the "artist" as a channel, so that if we get out of our own way and let the creativity flow, we can tap into something wonderful, something beyond our limited sense of self. There are many expressions of Spirit, and my work is about making those connections, and bridging the spaces - within ourselves, and between each other.
Alison Moses Croney, Cedar Pod Blue View
March's Curator Platform: "Shaping the Grain"
Eliot School Faculty Exhibition
Alison Croney Moses, Michael Gleason, Ken Lindgren, Dan Paret, and Andrew Riiska
Exhibition Mar 4–29
Reception Friday, Mar 6, 6–8pm
Artists’ Talk Sunday, Mar 15, 3pm
The Eliot School for Fine & Applied Arts is pleased to present the works of five esteemed artists from its staff and faculty.Their fascinating functional and sculptural forms from wood are elegant, funny, functional and artful.
Wood’s rich and earthy colors exhibit graceful grain. Its smooth and durable surfaces shelter us, bring us comfort and beauty. Wood carries a wide range of hues and textures, soft or rough, smooth or cracked surfaces. Its fine or wild rings reflect histories of droughts and floods. It breathes and expands. It turns its infestations into beautiful variations of color and form. Wood may be one of the oldest and most common art materials, central to human creativity and long used on every continent to create functional, ceremonial and decorative pieces.
Eliot School Faculty Exhibition
Alison Croney Moses, Michael Gleason, Ken Lindgren, Dan Paret, and Andrew Riiska
Exhibition Mar 4–29
Reception Friday, Mar 6, 6–8pm
Artists’ Talk Sunday, Mar 15, 3pm
The Eliot School for Fine & Applied Arts is pleased to present the works of five esteemed artists from its staff and faculty.Their fascinating functional and sculptural forms from wood are elegant, funny, functional and artful.
Wood’s rich and earthy colors exhibit graceful grain. Its smooth and durable surfaces shelter us, bring us comfort and beauty. Wood carries a wide range of hues and textures, soft or rough, smooth or cracked surfaces. Its fine or wild rings reflect histories of droughts and floods. It breathes and expands. It turns its infestations into beautiful variations of color and form. Wood may be one of the oldest and most common art materials, central to human creativity and long used on every continent to create functional, ceremonial and decorative pieces.
Postponed Until Rescheduled:
Philip Gerstein,
Up-Rising, acrylic & mixed media on wood panel, 30 x 24 inches, 2016.
Carolyn Newberger, Everything Is Interesting, watercolor and pastel, 8 x 5.5 inches, 2018.
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Carolyn Newberger
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Carolyn Letvin, Interior #49, oil on wood, 18 x 18
Carolyn Letvin &
Christina Beecher
Inherent Surroundings Gallery III
Carolyn Letvin
Intimate Interiors
A realist painter, Carolyn Letvin’s subject matter comes from what she observes. She experiences life, with all its subtleties and intricacies, as a direct, perceptible experience. Carolyn finds interior spaces to be engaging and compelling, which is how She chose to paint them. The rooms she paints have a “lost in time” quality that is the essence of their allure to her. In the book, “The Poetics of Space,” French philosopher, Gaston Bachelard, analyzes domestic spaces and how they shape and hold our dreams and memories. “Houses and rooms; cellars and attics; drawers, chests, and wardrobes; nests and shells; nooks and corners: No space is too vast or too small to be filled by our thoughts and our reveries.” In each painting, Carolyn strives to make those spaces transport the viewer to another place, different from where they are in that moment of viewing.
Carolyn Letvin &
Christina Beecher
Inherent Surroundings Gallery III
Carolyn Letvin
Intimate Interiors
A realist painter, Carolyn Letvin’s subject matter comes from what she observes. She experiences life, with all its subtleties and intricacies, as a direct, perceptible experience. Carolyn finds interior spaces to be engaging and compelling, which is how She chose to paint them. The rooms she paints have a “lost in time” quality that is the essence of their allure to her. In the book, “The Poetics of Space,” French philosopher, Gaston Bachelard, analyzes domestic spaces and how they shape and hold our dreams and memories. “Houses and rooms; cellars and attics; drawers, chests, and wardrobes; nests and shells; nooks and corners: No space is too vast or too small to be filled by our thoughts and our reveries.” In each painting, Carolyn strives to make those spaces transport the viewer to another place, different from where they are in that moment of viewing.
Christina Beecher, Firestorm, Oil on Panel, 20X16 inches.
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Christina Beecher On the Edge: The Abstracted Landscape In her current work, Christina Beecher explores what she terms, “the very edge of the landscape,” in which the work diverges from realism to abstraction. In her abstract paintings, colors and shapes no longer conform to the natural world, but the horizon line remains rooted in reality. The presence of the horizon line allows her to remain “…just North of the abstract world.” |
