Opening Reception: Friday, September 26th, 6-9 pm.
"My recent work explores veiled light, and the ideas of loss, remembrance, and war. The work is inspired by a traditional Buddhist lantern ceremony, which is held every summer at Forest Hills Cemetery in Jamaica Plain, MA.
In a ritual of remembrance, visitors to the lantern ceremony assemble paper lanterns and set them afloat, candle-lit from within, on the surface of Lake Hibiscus at dusk. The number paintings are studies of the light filtered by the tissue shade of the lanterns. They are also a meditation on loss, especially loss resulting from the war in Iraq. In the Lantern Ceremony, participants write messages or names on their lanterns in memory of loved ones who’ve died. The number paintings recall that practice, except the numbers represent the losses due to the war, both U.S. soldiers and Iraqi civilians. The numbers provide witness to the human consequences of war in general, and to the great disparity between the losses due to fighting and the “collateral damage” – the civilians who are victims of the war.
Whereas the numbers are an abstraction, impersonal and generalized, the composite painting “Counting Breaths” is a representation of the physical process of acknowledging each individual. Each mark represents the loss of one individual civilian, and is made by scraping away the top layer of paint, revealing the black underneath, marking the absence of each person lost. Each panel represents a year in the nine-year war between 2003 and 2011.
The installation “Buried Youth” commemorates the losses from the war of those under the age of 21. In one panel, the names and ages of U.S. soldiers surround an empty silhouette of a soldier. In another panel, the silhouette is one of an Iraqi school girl, her form filled in with the names of Iraqi children killed. In addition to being an acknowledgement of the individuals lost, the dichotomy of presence and absence is evoked by the empty frame accompanying each drawing."
Terry Boutelle was born in a small town in rural Massachusetts, and moved to Boston for undergraduate work at Boston College where she studied psychology, literature, philosophy, theology, and art history These areas of interest combined with a strong connection with nature have informed the development of her work. In 1981, Boutelle moved to the Boston neighborhood of Jamaica Plain, where she found a strong community of artists, musicians, and performers, and it has remained her creative “home” for over 30 years.
For more than a decade Boutelle studied figure drawing and printmaking with Robert Siegelman, an artist and faculty member at the School of the Museum of Fine Arts. She studied color and composition with Provincetown painter Cynthia Packard, and studied mixed media with Laurel Sparks at Massachusetts College of Art and Design (MassArt). In Fall 2013, she completed an MFA degree in the MassArt Low Residency Masters program at the Fine Arts Work Center in Provincetown, MA.
Boutelle is former President of the Jamaica Plain Artists Association, a founding member of the JP Printmakers Collaborative, and a member of the Fort Point Artists Community. She is a faculty member of the Eliot School of Fine and Applied Arts since 2006. Solo exhibits include “Remembrance” at Andover Newton Theological School, “A Forest in Mind” at the Arnold Arboretum of Harvard University, and “Treescapes” at VCC Gallery at Bentley College. This year she showed at the Massachusetts State House, Roxbury Community College, and the Harriet Tubman Gallery in Boston as part of the “Violence Transformed” project.
Her work is in public and private collections throughout the eastern U.S. website.
Skin Pix ─ Your Body, My Canvas
These images, made by projecting my photographs onto a model, allow me to explore an entirely new way of creating body art. Using the body as a canvas isn't a new concept. Tattoos (permanent and temporary), piercing, painting, henna, cutting, and tribal markings are ways to make a statement by individualizing one's body beyond what clothes, make-up and hair styles can accomplish. Using projection to create body art allows me freedom to position my image on the model, wrapping it around an arm, draping it over a shoulder or hugging a hip. In some of these works, the body is almost totally absorbed by the projected image while in others the projection creates a backdrop and emphasizes the body as a canvas. I use light to create an ephemeral construct that I then make permanent by photographing the result.
Lora Brody is best known for her images of Red Sox fans as well as a series of photographs that document the final decade of an iconic snack shop at Provincetown’s Herring Cove Beach. Her work extends to non-digital techniques such as cyanotype, Van Dyke brown, albumen and salt prints. These images are captured using traditional film, as well as Polaroid, Holga and handmade pinhole cameras. Images from these portfolios have been recognized in juried shows and competitions such as the Copley Society Juried Show and PX3 Prix de la Photographie, Paris, and hang in private collections. They have been in solo and group shows at The Schoolhouse Gallery in Provincetown, Massachusetts.
Images from the Fenway portfolio have been exhibited at The Museum of Fine Arts in Boston, Harvard University, The Griffin Museum of Photography, and a public installation created by The Magenta Foundation on the Boston Harbor Walk. Several of the Fenway images have been acquired by the Boston Red Sox and hang in the team’s corporate offices as well as in the private collections of its executives.
She received a Gold Medal award in the 2014 San Francisco International Photography Exhibit, juried by Paula Tognarelli.
Brody’s photographs have been published on the cover and in feature articles in The Boston Globe Sunday Magazine and The Cape Cod Times. Her food photography has been featured in Horticulture Magazine, Cape Cod Magazine and Cooking Light. Her travel blog, lorabrody.com/the-big-trip, documents in words and images extended journeys in South East Asia, India and Sri Lanka. She is the author of twenty books relating to food and cooking, including three books of essays and recipes.
She has recently completed a residency at The Goa Center For Alternative Processing in Goa, India. In addition, she is a Visiting Research Associate in the Scholar’s Program of the Women’s Studies Research Center at Brandeis University where she is working on a project about aging as documented in both image and text.
"The idea for photographing Horses came to me in a dream. As in Rubens’ painting The Descent from the Cross, it is the loss of our human form that comes as a reality to us all. In my work, it is my hope that I create a world in which all forms can exist.
These images were photographed with a 4x5 studio camera. My desire to hold onto the traditional aspects of black and white film and then crossing it with the alternative process has taken my work, creating a vision uniquely my own. The negative, through controlled exposure and development yields the contrast and density that I desire. The liquid emulsion allows my work to flow, to become something of itself and something that for me has become a world of its own.
The liquid emulsion is brushed onto watercolor paper under the red lights of the darkroom, and then exposed with the photographic negative. The darkroom chemistry is brushed on after the exposure has been made and is applied in a fashion that has become very natural to my intuition as a craftsman. The variations of the brush strokes of the emulsion and the painterly qualities of the chemistry dripping down the photograph presents to the viewer an image that is not only photographic, but also inherently related to printmaking and painting."
Dana Dunham holds an MFA in Fine Art Photography from the Massachusetts College of Art and Design in Boston. He passionately strives to continuously develop his own unique work while remaining committed to the traditional aspects of film photography and digital media. He applies his skills with a strong interest in the vulnerable aspects of the human experience, which is, perhaps, the commonality that ties us all together.
Most recent Exhibitions include: 2013 Museum Collections - Provincetown Art Association and Museum, Provincetown, MA; AMP: Art Market Provincetown - Group Exhibition, Provincetown, MA; School House Gallery – Photography Group Exhibition, Provincetown, MA; 2012 Yellow Peril Gallery – Group Show, Providence, RI; AS220 Pop-Up Gallery - Co-Exhibition, Providence, RI; Hera Gallery – AS220 Group Show, Wakefield, RI; 2011 Art Current Gallery – Solo Exhibition, Provincetown, MA; MFA Thesis Show – Group Show, Provincetown Art Association and Museum, MA; and Dialogue with the Homeless – Solo Exhibition, 100 Days of Spring, San Francisco, CA. Website.
Henry Bunyan Appleseed
The series “Henry Bunyan Appleseed” makes use of the naiveté of illustrative forms in order to directly and explicitly talk about the content of these images, many of which are attempting to uncover the mythology surrounding what is typified as “sheer labor”. As labor in an entrepreneurial and knowledge economy becomes fragmented and abstract, the monolithic figure of Paul Bunyan becomes even more nostalgic and poignant. Haynes brings John Henry, Paul Bunyan, and Johnny Appleseed into her work as places to meditate upon as well as challenge a dogged idea of “hard work” and “honest labor”.
Victoria Haynes was born in Atlanta, GA, and grew up in Connecticut. She studied semiotics, critical theory, and contemporary choreography under Boris Groys, Chinnie Ding, and Aly Rose. She decided to pursue painting seriously and transferred to RISD where she is in her third year of a BFA. Her interests in performance, literary forms and structures, and American culture find their way into the media of playwriting, painting, video and installation work, and drawing. Website & Website.
Folkdevils is a photo magazine published by Provincetown artist Tim Winn. The magazine is intended as a barrage of images. The Folkdevils aesthetic relies on the spontaneous and compulsive nature of contemporary picture taking. During the AMP exhibition, tearsheets of selected images from each issue will be displayed and the first two issues of Folkdevils will be available for purchase.
Tim Winn was born in Methuen, Massachusetts, in 1971. He attended the School of the Art Institute of Chicago, where he earned a BFA in photography in 1994. He has lived in New York, Chicago, Los Angeles, Paris, Boston and Honolulu. Based in Provincetown since 2010, Tim graduated from the Massachusetts College of Art and Design’s low-residency MFA program at the Fine Arts Work Center in 2012. Website.
Mo Ziochouski’s work includes representational and conceptual sculpture, assemblage and small-scale installation. The works are constructed utilizing found objects: primarily metal, wood, glass, stone, images from her photography or torn from books and magazines, and the occasional plastic item thrown in for good modern measure.
The notion of Trash as a cumulative result of excess, detritus of changing worlds, ghosts of an industrial past, the endless (re)cycle of things to reclaim and re-contexturalize provides a bottomless bounty for her art.
All of her work reflects a love of material and metaphor, and the effect of time and the elements on objects. It also pays homage to the historic avant garde, along with some of Provincetown’s own art legends – Paul Bowen, Mike Wright, Martha Dunigan, and the craft of the metalworkers and machinists of the industrial age.
Mo Ziochouski is a self-taught artist who lives and works in Cambridge, Massachusetts.