May 11 - May 23 2018


Opening Reception: Friday, May 11, 6-8 pm

Terry Boutelle


"Lately I am confronted daily with the images of migration and it’s causes, and I paint in response.

This group of abstract paintings are a meditation on migration and the forces that cause the movement of great numbers of people away from their homelands: Escaping war, oppression, poverty, famine and the effects of climate change, seeking peace, security, safety, freedom, or Embarking on pilrimage.

The squares of tally marks I use as imagery in these paintings have come to represent to me populations of people: whether bound together by family, religion, ethnicity, culture, heritage, citizenship, or common cause. Together the squares construct community from the unknown, or they break apart.

My process alternates between applying color and building up the surface of the canvas. I might use plaster, fabric, paper, metal, papier mache, polyethylene foam, netting and other materials and found objects to create a textured or contoured surface. I try to stretch the limits of my materials and methods as I work on each painting. The “carving” of each tally mark into the paint surface is a way to concretize the journey of the individual traveller."

Terry Boutelle is a Boston-based artist and teacher, having completed an MFA from the Massachusetts College of Art and Design low residency program at the Fine Arts Work Center in Provincetown in 2013. Past exhibits include: “Counting Breaths” at the Koussevitzky Art Gallery at Berkshire Community College, “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.

Erin Burns

Into the Garden

"Taking a peripatetic walk around gardens and outdoor spaces – often at night - I search for quiet moments of natural beauty. The trees, shrubs, and tangles of plant life which we pass by daily – form the starting point for my work. Focusing on the interplay of form, I create images with my rustic holga camera or ancient 35mm SLR. Reluctant to go digital, part of the joy is getting film developed to see what has been captured. Light leaks from the basic camera often adding an eerie glow and interest. The images are then blown up and mounted on aluminium dibond. These images are then intuitively subjugated with mark making, paint, spray paint, and resin. Creating moments in time that reflect a melancholic attachment to the organic world, I investigate the formal qualities of painting utilising a process of layering various mediums over and over building up information as I go. Exploring relationships created through the juxtaposition of shapes, the paintings are built around my melancholic attachment to nature – with the moments of making inspired by personal loss and the fragility of life."

Erin Burns was born in California. She studied painting at the University of California at Berkeley where she attained a Bachelors of Fine Arts degree. At UCB she studied with and was greatly influenced by the late Wendy Sussman, who encouraged her to move to New York City to further her studies. Taking the advice, Burns went on to receive a Masters of Fine Arts degree from New York University. There she studied with and was the studio assistant to Cora Cohen and then to Lisa Yuskavage.

After several successful shows in her native San Francisco where she has shown on consignment with the Andrea Schwartz Gallery, she moved to the UK and in 2005/06 was awarded a one year residency at the Florence Trust Studios in London.

Her work involves delicately painting and marking the surface of a photograph taken in a natural environment which is then mounted on aluminum and then covered in multiple layers of viscous polymer resin and paint. The viewer appears to be looking through a translucent solid where textures, layers, and imagery converge.

Burns has shown in Paris, New York, San Francisco, London, Glasgow, and Edinburgh. She lives and works outside of London in the coastal town of Brighton, East Sussex. Her corporate clients include Nordstrom who commissioned 5 pieces for their new flagship store in Palm Beach, Florida; her work is also in these fine collections: The Ritz Carleton Hotel, Marina Del Rey; The Dorchester Hotel, London; and Great Ormond Street Hospital, London.

Yvette Drury Dubinsky

On the Move

A fascination with organic forms, lines (often maps of old cities), and shapes are a significant inspiration for Dubinsky's work while her internal reactions to life's experiences are another. Her art is an attempt to make sense out of what is bothersome or upsetting, or on the other hand what is astonishing and wonderful. Materials and process transform her feelings and meditations into complex compositions.

Yvette Drury Dubinksy has exhibited her work widely, throughout the US and France. She received her B.A, M.A and M.F.A from Washington University in Saint Louis (Now Sam Fox School of Design and Visual Arts). She has also studied at the Art Institute of Chicago, Santa Reparata Print Studio in Florence, The Maine Photographic Workshop, and The Fine Arts Work Center in Provincetown, Massachusetts.

Excerpts from: Map of Life: The Art of Yvette Drury Dubinsky (PAAM Exhibition, April 13-May 20, 2018) - by Lisa Melandri

"Yvette Drury Dubinsky’s art can be viewed through many different lenses, demonstrating a complexity and layering that mirrors the construction of each work. As a printmaker, she is deeply engaged with process, investigating numerous techniques and making experimentation core to her practice. Formally, she combines myriad marks, collages the hand-drawn with photographs and found images, juxtaposes the recognizable with the abstract, and creates intricate geometries on the picture plane. Alongside these numerous processes and aesthetic decisions, there is an underlying and consistent inquiry: the literal and figurative mapping of people, places, emotions, and experiences. The exhibition at PAAM, featuring works from 1990 to 2018, allows for a retrospective view of Dubinsky’s vision and the lines and threads, and streetscapes and geographies that connect one body of work to the next.

From very early on in her practice, Dubinsky included cartography to mark places meaningful to her life and as the indication of her family origins. She later employed maps to document her travel, and to bring focus to global, social, and political trauma. She weaves these found and scanned maps throughout compositions, collaging, printing, and overlaying them, building context and foils for them through the other elements in each work. But “mapping” is often also used as a strategy to better understand and see; she scans, documents, and visually probes land, fruit, plants, found objects, and even the human body.

In works from the early 1990s, Dubinsky began a series of experiments with photographic processes. The works from this period evidence the layering and compositing of photographic images that recur through her work to the present. Dubinsky also revisits the same source images in new contexts and combinations, proliferating their associated meanings by repositioning them.

Dubinsky creates works of visual intrigue, wherein, many of the building blocks of images are inspired by her own experiences, especially in relationship to travel. The airport luggage tape from Bangkok that stretches across almost the entirety of the width of Here and Gone reflects upon the ways in which we move through the world, collecting experiences that can be meaningful yet ephemeral. On the road, we are in-between places, people, cultures, worlds. While in transit we, and those around us, are here and gone.

Through her distinctive lens, Dubinsky explores and shares insights on the nature of place. She offers incisive perspectives on political events, reflections on the notion of home, and musings on the beauty of the environment. She examines the world around her; she also uses her work as the visual scrapbook of her physical travels and her emotional journeys. From series to series, over thirty years, she has offered viewers a map of life, inspired by her own lived experience—experiences we now share through her art."

Richard Fishman

New Paintings

"Before I returned to painting I had a career as a graphic designer. I am certain that the two disciplines have influenced each other in me.

In these paintings I make tangible my interest in space, depth, motion and color, things that have held my interest for as long as I have been looking around me. I love to work with the intersection of different paints by applying them to the paper and both controlling and not controlling their interactions. At times I break them back down into their original color characters or they may create colors that would not otherwise be on the paper. I like working on paper because it is really flexible which lets me move the paint around in more ways and absorbs the paint in ways I like.

Nature and some aspects of the human-constructed environment inspire me or, perhaps more accurately, awe me. I am not trying to create a pre-conceived vision of anything or mimic my surroundings. My paintings have scenes and characters galore that have emerged from the various paints I have applied. The only thing I plan before I start is what colors I will use first. I start out painting and follow where it is going. I might have an idea about something at some point that later disappears into a later idea. As I work I keep the surface fluid in both literal and/or metaphorical senses."

Richard Fishman was born in Boston and grew up nearby. He attended Bennington College where he studied with Pat Adams and Philip Wofford and received a degree in fine arts. Later Richard attended California College of the Arts in San Francisco/Oakland where he received a BFA in graphic design and illustration. Richard had a decades-long career as a graphic designer. and lived in such disparate places as New York, London, San Francisco, Vermont and DC before moving to the cape. He maintains a painting studio in Provincetown and lives in Truro with his dog Tyler.

Rene Lamadrid


Rene Lamadrid: "I grew up in lower Manhattan, when the area was a huge artist community. I've made art as long as I can remember. I make it with short money, which is how I learned to do it in my youth - using reclaimed materials and ephemera. The objects are not precious, the ideas are. I see the visitors to exhibitions as participants, not viewers. I was lucky to spend time with Carl Tasha in his studio on Howland St, where I learned as much about art as I did anywhere else."

Mark Redden

Songs of the Wampanoag

Following a methodical process Redden uses painting, sculpture, visual journals and the written word as tools to investigate universal perceptions; addressing the stability and uidity of how we perceive our physical and social environment. His works aim to provoke free associations, inciting the viewer to produce their own experience and develop their own interpretations.

He renders worlds in which symbolic and ambiguous forms coalesce, mutate and relate to draw identications from the individual and collective memory of their audience. In this way, he seeks to play with the meanings made available by the diversity of ways in which we understand the interplay between our cultural knowledge of visual language and our imaginations.The content of the works therefore draws on the signs and symbols through which we make sense of the world, exploring the foundations of our shared and divergent understandings and approaching the question of a universal visual system.

There are vague references to elements of science, history, literature, and the natural world. Fragments of information extracted from resources such as textbooks, encyclopedias, literature and the press are distilled through the imaginative process. By layering information until an exact de nition is lost, the meaning of the work mutates until it occupies its own reason for being.The cultural and social issues that inspire his practice reside in his works, leaving faint traces to arouse the thoughts and feelings of viewers, inviting them to expand and develop the ways we understand our world.

Mark Redden was born in Dublin in 1979 and grew up in the town of Stillorgan. He received a diploma in Fine Art sculpture from Dun Laoghaire Institute of Art in 2001, followed by a degree in Fine Art from Crawford Art College, Cork in 2004. At the end of his degree course he became apprentice to a boat-builder in a quiet village on the shores of Lough Corrib in Galway.There he learnt the art of boat building, the techniques of which in uence his sculpture. He has won several awards and residen- cies for his work, which has been described as all encompassing in its vitality and vi- sion.The motivation for his work stems from a study of global happenings along with his own observations and the constant study of colour, line and form. A fascination with universal conundrums imbues his work, which serves to form a narrative that in- vites multiple interpretations and aims to inspire far ranging thought in the viewer. He has exhibited in Australia, China and throughout Europe (this is my first show in the USA). He now works in Barcelona in a former orange juice factory which he converted into his studio.