Opening Reception: Friday, August 30th 6-9 pm.
I seek to make the invisible visible; exploring what is hidden through common forms found in nature. I use the graphic language of design to point to the universality of forms for various functions. A diagram of a root system is a symbol of many systems. These systems are invisible or unseen but flow through the ground as energy flows through us, and the air around us. This energy could be electricity, radio waves, air currents, or microwave transmission. In depicting the “natural world” I use industrial materials such as vinyl and milled plywood. Our culture is built on the hyper real object, home furnishing, vehicle, or manicured landscape. Our things are intertwined with us, as every living system needs its supports, has hidden foundations, layer upon successive layer.
Converge is an abstract of a sun/root system on a street grid near where I was born in Los Angeles, protected by forms of nature, trees. This is overlayed with small yellow systems darting across the airspace referring to wind speed, cumulus cloud formations. Omnipresent microwave towers diffuse the atmosphere sending out their own information, often disrupted by solar flares; our inability to control the natural world, the one we’ve created and their convergence.
Caitlin Bermingham was recently in House Beautiful, an exhibition in a 1956 ranch style home the San Gabriel Valley, CA, a 3-person show titled Radical Fabric at Long Island University's Humanities Gallery in Brooklyn, where she exhibited a large scale sculpture and installation of sewn vinyl. She was also in an exhibition at the Galapagos Kunsthalle, Brooklyn and attended the Artist Summer Institute on Governor's Island, a program co-sponsored by Lower Manhattan Cultural Council and Creative Capital. She has been showing her work at the Texas Firehouse in Long Island City since 2006, and was in a group show there this past summer. She attended a residency at the Vermont Studio Center in 2010 where she was the recipient of an artist's grant. She was also nominated for a Rema Hort Mann Foundation Grant in 2009. She has exhibited in Berlin, Melbourne and at the NADA Art Fair Miami with Participant Inc. Website.
In the Pools project I am photographing the same area over multiple years in different seasons, weather conditions, times of day, and times of tide flow, it is a meditative practice.
Writing inspired by the Pools series from poet Annie McDonnell, 2012: Every half turn of the planet, the land becomes sea. As the moon orbits halfway around the earth, they reach for each other, earth and moon, and the reaching becomes a great swell. High tide, a pregnant belly of sea. Perched on such an edge, the tide spreads out like the earth’s great exhale, flooding the salt marsh. The pool spills its edges and melts into a shallow sea while the whole Atlantic is pulled, the land in its great slow spin, the sea bulging towards the moon.
Jennifer Moller is an interdisciplinary free-lance artist working across many boundaries, time and space, mediums and disciplines. Working with the power of visual poetics, Moller creates drawings, animations, videos, installations, and community service engagement art. She encourages the possibility of collaborations with creative people and travel at any opportunity. She and her creative partner, Beth Ireland, are building a mobile art studio for her to use for travel and teaching this spring. Moller has also been teaching art processes and practices to undergraduate and graduate students in Boston, Massachusetts, Santa Fe, New Mexico, and most recently at the University of Massachusetts, Lowell.
Jennifer Moller is also an accomplished photographer artist whose many clients have included Provincetown’s own John Waters. Website.
Every thing becomes another
Suara Welitoff works with time via the moving image. In her videos, seconds of film are stretched into minutes and hours — the traditional structures of time and narrative are discarded in favor of a charged gesture or sequence. The video clips are often appropriated from films or news programs, but also from film footage and photographs she’s made using analog cameras.
An imposed narrative is replaced with a pictorial language full of nuance and suggestion. In the gallery, Welitoff combines video, photographs and sound into a collage, a dialog between the works.
Suara Welitoff’s work is included in the collections of the Museum of Fine Arts, Boston; Worcester Art Museum; Deutsche Bank, New York; List Visual Arts Center, Massachusetts Institute of Technology, among others and has been exhibited at the Institute of Contemporary Art, Boston; NGBK, Berlin; Participant Inc. and Threadwaxing Space, New York; Western Bridge, Seattle; Museum of Fine Arts, Boston; and CCC Strozzina, Florence. She was named the 2002 Maud Morgan recipient, and received a Louis Comfort Tiffany Foundation Award in 2009. In 2012 she was honored with the deCordova Museum’s Rappaport Prize, and exhibited with La Rete Projects in Milan.
In 2013, along with her present show at AMP Gallery, her work has been shown at Document, Chicago, and at the James Harris Gallery, Seattle. She will have work in the upcoming 2013 deCordova Biennial at the deCordova Sculpture Park and Museum, in Lincoln, MA.
Suara Welitoff lives and works in Cambridge, MA and shows with Barbara Krakow Gallery, Boston. Website.
Petal |+14inches Gallery|
Light and geometry play a prominent role in James Forren’s work. While engaging the human body’s occupation of space, the work elevates our awareness of the use and application of materials, whether paint on canvas or glass and steel construction.
Inspired by the intimacy of the +14inches gallery space, Petal condenses notions of site specificity and perspective into the tight hollow of the wall. It is designed as if the wall has been crumpled and ruptured to reveal a cavernous world within.
The sculpture’s geometry builds off of the positioning and orientation of the crevice gallery, playfully coalescing in a geometric dance calculated around principles of perspective construction.
The presence of light and its aperture, perspective-play and improvised geometry derive from grand and absurd late-twentieth century narratives of site-specific art. However, the methods and modes of production (the explicit reference to the wall’s surface) are born of present day preoccupations of surface and depth in architecture.
James Forren is an architect, artist and principal of Stilfragen Architecture, Art, and Design. His diverse projects range from paintings, sculpture, furniture, to the design of residential, commercial, and institutional buildings. His art has appeared in several venues around New England and he has led the design of numerous civic and institutional projects regionally and worldwide. He is currently a Full Time Lecturer in Architecture at Northeastern University.