Current Exhibitions: January 2020
"Liberty II (Nothing Is Inevitable)," 40 x 30 in., acrylic on canvas, 2018.
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Tectonics
Diana Zipeto My folded paper paintings investigate issues of freedom and equality. The paintings express these ideals as both formidable and fragmented, unshakable and vulnerable, solid and uncertain. Starting with paper photographs, I fold the images to give them a new 3rd dimension, communicating both disruption and resilience. The ability to fold and reconfigure uncovers new meanings in familiar images. I make large paintings of the fragile paper constructions to fix transitional moments in a solid form. As an American female raised in the 1980s, I grew up in a time when liberty and equality seemed inevitable and always advancing. My paintings question that inevitability, and look at the uncertainty and possibility in our new era. |
"Inner Poet ( Homer)," Inkjet print on paper, 12 x 15 in., 2019.
Face to Face
David Weinberg
For now we see through a glass, darkly; but then face to face:
now I know in part; but then shall I know even as also I am known.
(1 Corinthians 13:12 KJV)
What do we see when we look into the mirror? This bible passage translation from the original Greek uses the word “glass” rather than the more accurate “mirror”, and “darkly” rather than the alternatives “dimly” or “obscurely.” Seeing our true self would be “face to face,” but what version of self do we see, or wish to be seen?
In this series of composite photographs, I explore the various components of self that lurk in the background of the image we present to the outside world, components of the self that may even evade our conscious awareness. The images were created through an interplay between video monitor, mirrors, and lighting to combine images in real time rather than by computer manipulation. During the photographic session, I wanted to experience the altered images that stared back at me as I positioned myself in front of the mirror. I was often surprised (or dismayed) by the result.
The Swiss psychologist Carl Jung felt that our personalities are composed of many versions of “self”, and that one of our goals to integrate these selves into a single self through the process of individuation. At our core is a true self, intangible and elusive, and which we may never truly know face to face.
David Weinberg
For now we see through a glass, darkly; but then face to face:
now I know in part; but then shall I know even as also I am known.
(1 Corinthians 13:12 KJV)
What do we see when we look into the mirror? This bible passage translation from the original Greek uses the word “glass” rather than the more accurate “mirror”, and “darkly” rather than the alternatives “dimly” or “obscurely.” Seeing our true self would be “face to face,” but what version of self do we see, or wish to be seen?
In this series of composite photographs, I explore the various components of self that lurk in the background of the image we present to the outside world, components of the self that may even evade our conscious awareness. The images were created through an interplay between video monitor, mirrors, and lighting to combine images in real time rather than by computer manipulation. During the photographic session, I wanted to experience the altered images that stared back at me as I positioned myself in front of the mirror. I was often surprised (or dismayed) by the result.
The Swiss psychologist Carl Jung felt that our personalities are composed of many versions of “self”, and that one of our goals to integrate these selves into a single self through the process of individuation. At our core is a true self, intangible and elusive, and which we may never truly know face to face.
January's Curator Platform: "Folding Time"
Robin MacDonald-Foley, Stephanie Roberts-Camello, Beverly Rippel
Robin MacDonald-Foley, Stephanie Roberts-Camello, Beverly Rippel
Robin MacDonald,-Foley, "Rust Cycle", Photograph, 18"X18" (framed), 2019.
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Stephanie Roberts-Camello, "Weather Dependent", encaustic relief over old letters and joint compound, 12"X12"X3.5", 2017.
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Beverly Rippel,
"Tidal Pool", Oil on Linen, 11"X14", 2017.
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“FOLDING TIME” presents works by three passionate artist/friends who stand in observation and reflection: on the edge of personal history with the Land, next to Nature’s grand aggregate formations, or by the sanctuary of the sea with its ever rhythmic tidal flow.
Through mixed media, echo printing, photography and painting, Stephanie Roberts-Camello, Robin MacDonald-Foley and Beverly Rippel honor the Land as it has been worked and walked, cursed and loved, and shaped by wind, sun, water, and drought throughout geological time. Through abstracted and real images - of watermarks, written words, rocks, roots, shadows and leaves, they capture ‘what is now’ as well as what remains; what history and memory have folded into their visions within the parameters and the constancy of Time.
Robin MacDonald-Foley “Observing form, color, and texture in our ever changing environment have greatly influenced my work, empowering me to further investigate a multitude of ideas, akin to my own life experiences. Photographing in nature is not only about what I see, but how I process those visions. In a given moment, I’m looking in, or through, as though I’m waiting for the unexpected. My sources of inspiration are islands and coastal regions, places I’ve known since childhood. Earth’s natural forms and changes in our climate reveal through my lens—cascades of color, shades of grey, a place, or object. These close and distal views of endless shapes, textures, and colors, frequently become rearranged “drawings” of weathered stone, and images of tree decay. where “bones” are what remains. Nature is my studio. It’s my way of recording time and being present in the moment.”
Stephanie Roberts-Camello: “My work evokes the past with the presence of old family letters written during the Great Depression and the dust bowl days of Texas. I come from a long line of cowboys and farmers out west and their battles with drought, destructive storms and money struggles, and all are documented in many of these letters.
Although different in content, we all have times that are difficult in life and require endurance to persevere. The encaustic forms that wrap and fold throughout my paintings I use as metaphors to show a process of struggle that is captured as the wax cools. They confront you and enter your space. I feel like they are life forms that have come through their own battle.”
Beverly Rippel (Curator): “I often paint in Lanesville/ Cape Ann, Gloucester, MA in the same exact place by the sea where my sisters and brothers, children and grandchildren have come to visit, learn to swim in the granite ‘bathtub’, and enjoy the Beauty of the land throughout these past many years. The huge rock formations, the scratches and marks on them, and the shadows cast by the sun cascading on them are nearly the same as I remember when I first laid eyes on this sea sanctuary when I was just 5 years old. For the past 25 years, I have been lucky enough to set up my “Studio-by-the–Sea” right here and paint what I feel, see, and remember. The colors of the water, sky and rocks - the breathtaking sunrises and sunsets - are different each day, and yet remain forever present. As a ritual, the neighbors from the lane venture down to the water’s edge each evening to watch the passing of one more day, and often applaud as the sun slips beneath the West facing horizon. It is exhilarating to paint -with my feet sometimes in the water- as I work just ahead of the incoming or outgoing tide. The wind, the mist, and the sun all get mixed up in the orchestration of the paint’s quickened movement. In turn, the paintings become love poems.”
Through mixed media, echo printing, photography and painting, Stephanie Roberts-Camello, Robin MacDonald-Foley and Beverly Rippel honor the Land as it has been worked and walked, cursed and loved, and shaped by wind, sun, water, and drought throughout geological time. Through abstracted and real images - of watermarks, written words, rocks, roots, shadows and leaves, they capture ‘what is now’ as well as what remains; what history and memory have folded into their visions within the parameters and the constancy of Time.
Robin MacDonald-Foley “Observing form, color, and texture in our ever changing environment have greatly influenced my work, empowering me to further investigate a multitude of ideas, akin to my own life experiences. Photographing in nature is not only about what I see, but how I process those visions. In a given moment, I’m looking in, or through, as though I’m waiting for the unexpected. My sources of inspiration are islands and coastal regions, places I’ve known since childhood. Earth’s natural forms and changes in our climate reveal through my lens—cascades of color, shades of grey, a place, or object. These close and distal views of endless shapes, textures, and colors, frequently become rearranged “drawings” of weathered stone, and images of tree decay. where “bones” are what remains. Nature is my studio. It’s my way of recording time and being present in the moment.”
Stephanie Roberts-Camello: “My work evokes the past with the presence of old family letters written during the Great Depression and the dust bowl days of Texas. I come from a long line of cowboys and farmers out west and their battles with drought, destructive storms and money struggles, and all are documented in many of these letters.
Although different in content, we all have times that are difficult in life and require endurance to persevere. The encaustic forms that wrap and fold throughout my paintings I use as metaphors to show a process of struggle that is captured as the wax cools. They confront you and enter your space. I feel like they are life forms that have come through their own battle.”
Beverly Rippel (Curator): “I often paint in Lanesville/ Cape Ann, Gloucester, MA in the same exact place by the sea where my sisters and brothers, children and grandchildren have come to visit, learn to swim in the granite ‘bathtub’, and enjoy the Beauty of the land throughout these past many years. The huge rock formations, the scratches and marks on them, and the shadows cast by the sun cascading on them are nearly the same as I remember when I first laid eyes on this sea sanctuary when I was just 5 years old. For the past 25 years, I have been lucky enough to set up my “Studio-by-the–Sea” right here and paint what I feel, see, and remember. The colors of the water, sky and rocks - the breathtaking sunrises and sunsets - are different each day, and yet remain forever present. As a ritual, the neighbors from the lane venture down to the water’s edge each evening to watch the passing of one more day, and often applaud as the sun slips beneath the West facing horizon. It is exhilarating to paint -with my feet sometimes in the water- as I work just ahead of the incoming or outgoing tide. The wind, the mist, and the sun all get mixed up in the orchestration of the paint’s quickened movement. In turn, the paintings become love poems.”
Upcoming Exhibitions: February 2020
Demetrius Wilson, "life sentence", acrylic on canvas, 24x30, 2019.
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Demetrius Wilson
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Christine Palamidessi ICONS & TALISMANS
Christine Palamidessi, "Internet Madonna" (detail), monotype with mixed media, 20 x 22, 2019.
Christine Palamidessi's large mixed media monotypes and plaster talismans are inspired by the 900-year-old frescoes she found in out-of-the-way chapels, crypts and Crusader hideaways in Southern Italy. “During that era, pictures of the divine were linear, flat and stable; in candlelight they flickered, moved and fascinated.”
Palamidessi converses with the traditional Byzantine image-text pattern by writing dialogue on many of the images. For example, her “Internet Madonna” bemoans the shortening attention span of her dear son and worries about his getting homework done. Her plaster talismans project from the wall and depict graceful, emotional hand gestures that are meant to touch the heart and to be touched by the viewer.
In her studio, while putting together this series, Palamidessi couldn’t help but be reminded of how the past is also the present and hear the movie character Yoda’s words: “Luminous beings are we.”
An artist, sculptor and published novelist, Palamidessi works in her Boston studio and in Salento, Italy, which is the southernmost region on the heel of the Italian boot.
The human form and its irrepressible spirit continues to be the object of her study.
Palamidessi converses with the traditional Byzantine image-text pattern by writing dialogue on many of the images. For example, her “Internet Madonna” bemoans the shortening attention span of her dear son and worries about his getting homework done. Her plaster talismans project from the wall and depict graceful, emotional hand gestures that are meant to touch the heart and to be touched by the viewer.
In her studio, while putting together this series, Palamidessi couldn’t help but be reminded of how the past is also the present and hear the movie character Yoda’s words: “Luminous beings are we.”
An artist, sculptor and published novelist, Palamidessi works in her Boston studio and in Salento, Italy, which is the southernmost region on the heel of the Italian boot.
The human form and its irrepressible spirit continues to be the object of her study.
February's Curator Platform: "Art for the Heart"
curated by Jane Paradise
curated by Jane Paradise
