Opening Reception: Friday, July 27, 6-9 pm
Refractions & Redemptions
“The thing you need is often nearby.” - James Joyce
"As an artist, I am in the construction business: Constructing. Reconstructing. Deconstructing.
I work with materials readily available from the street or studio, redeeming things that have been: overlooked, scrapped, ditched, abandoned, repudiated, run over, forsaken.
I often frame spaces first, gleaning inspiration from the wood and shadows then playing chess wit objects, paint and tape with no fear of mistakes.
Art is everywhere for the taking. I take it."
Martin R Anderson has been an actor and director, pinhole photographer and teacher, Trager® Bodywork Practitioner and Tutor, a daydreamer, a painter, an assembler, a drawing teacher, a dune shack dweller and a beach comber, a bicycle rider and a street comber. He imagines that he can speak French. He stays close to home (Brookline), but occasionally makes forays to Provincetown, Paris and New York City.
Merriam-Webster: free, unrestrained
"A feter is a chain or shackle for the feet or, more broadly, anything that confines or restrains. First used in 1601 by the poet John Donne in his work Progress of the Soule : “To an unfettered soules quick nimble hast / are falling stars and heart thoughts, but slow pac’d.” This word came to me out of the blue one day. I liked the sound of it and so looked up the meaning. I take the word as a surprising gift, a little signpost."
Midge Battelle studied fine and graphic art at Greenfield Community College, and received a BFA from the Massachusetts College of Art and Design. Battelle’s foundation in color theory, design and the graphic arts remain influences on her painting practice.
Through the use oil paint and graphite drawn innovative free forms and grids , her intent is the simple contemplation of beauty, harmony, rythme, and the poetry of color to intuitively express an inner world of thought and feeling. A friend and fellow painter once described her paintings as Romantic Expressive Minimalist.
Battelle’s work has been widely exhibited and over the years has found it’s way into both private and museum collections. She is also a teacher, curator and gallerist, as well as a year round resident of Provincetown, Ma.
"Sharing kinship with artists of the Arte Povera movement, my work is guided by the transformative possibilities of everyday materials to provoke experiences that are both haptic and liminal.
Originally a painter, over time my paintings began to creep off the picture plane and into the physical space of the viewer. When asked to describe my work, the best I can say is that the 3D work tends to be flat and the 2D work is lumpy.
The Untitled (Hanging Green) work in this show grew out of a bounty of iris leaves produced one season in my small city garden. Large, strapping, bold green leaves-- a shame to waste. Gardens mark time: the past, the now, the future; with each iteration embodying feelings of hope, desire, regret and tranquility.
Suspended in free space, these leaf remnants on tulle move with changes in air, a reminder of a space that came and went."
Carol Greenwood makes objects and installations that explore the imperfections, impermanence and the increasingly tenuous relationship we have with our physical world. Anchored in materials that have been leftover, discarded or degraded, her work employs a formal framework that allows an intuitive and highly experimental process.
Her work has been shown both regionally and nationally and is held in private collections. Recent exhibitions include the 25th Drawing Show at the Mills Gallery, Boston Center for the Arts, Kingston Gallery in Boston, MA and the Lunder Center for the Arts at Lesley University in Cambridge, MA.
Carol grew up in Rhode Island. She is a graduate of the School of the Museum of Fine Arts (at Tufts) and received a BA in English Literature and an MBA in Finance from Boston University. She works at Vernon Street Studios in Somerville, MA.
“My series “Levitation” had its origin in my interest in suspending objects against gravity. Levitation, from the Latin levitas or lightness, is the process by which an object is suspended in space. The illusion of levitation is created by the relationship among metal foregrounds, attaching pins, spaces, light and shadows. The work is inspired by colors, experiences and imagination, as much as by the spaces and the meaning of places for which they were created.
My work can be characterized by continuity and discontinuity: the continuity is reflected in the repeating qualities of the forms while the discontinuity reflects the variability shaped by my momentary experience. No two elements are ever the same. Slowly the ingredients, metal and movement, pins and paint, imagination, lights and shadows, come together to create a splash of color that is bigger than the sum of its parts.
I express myself in metal, mostly steel and aluminum. For my twisted metal elements, I place one end of the metal in a vise while sliding the other end through a slit in the lower end of a “T” shaped primitive instrument that I built. I achieve the form of each element by using the power of my full body on the upper arms of the “T”, pushing and pulling against the inner strength of the metal. Mostly my strength overcomes the inner tension of the metal. Occasionally the strength of the metal wins in this game of arm wrestling, creating the unexpected ripples of the element that speak to the quality of the medium.
Often my patterns are soft, contrasting the hardness of the metals; pleasing and agreeable to the senses they soothe their surroundings. This softness raises doubt about the hardness of the metal. Organic finishes, while exposing the true nature of the metal, create delicate silk-like ribbons. A recent piece, Order out of Chaos, was largely defined by the nature of the work of a national logistics company that receives containers of a product such as soap or cereal, and distributes them across the world to match orders. On the other hand, my piece Zandrian, was inspired by the play of colors of the work of Mondrian and responded only to my whim. The Cosmo Wave represents the playful stream of humanity that meets at the Cosmopolitan Hotel in Las Vegas to enjoy the elegant thrill of uncertainty and possibilities. The Wave is comprised of 380 unique elements; each unique and different like the people who are transported daily between gambling and conventioning. Like life, The Cosmo Wave, undulates to the rhythm of our breath.”
Creating in three dimensions is a challenge that always interested Zammy. Working with raw metal, he brings life and motion to the new and recycled metal. His work does not intend to express a vision of the world, nor specific concepts. Rather they represent images that form in his imagination, which he wants to share with others. Forms connect to each other in space or in their relationship in space. Elements and their finished texture are manipulated to reflect the inner world of fertile and vital imagination.
Zammy Migdal's work is found in private collections throughout the world and Art in Public places. He has had several gallery and museum exhibitions, including at the Armory Art Centerand at the Galerie Bernd A. Lausberg - Düsseldorf.
"I am amazed by the images and mysteries of the oceans and skies in changing weather, Hubble-type images of the universe, and my own physicality during the painting process. There's an intimacy to the space in my work but also an immensity. The process I use and the mere physicality of it help me explore spatial complexities that yield marvelous surprises, often carrying me in directions I cannot anticipate. I like to think of my artwork as an 'event' or an 'occurrence'; that is, an action that emerges in the here and now — the subject matter symbolizing the images and mysteries of creation."
Jeannie Motherwell, born and raised in New York City, inherited a love of painting from her stepmother Helen Frankenthaler and father Robert Motherwell, who introduced her to summers in P’town in the mid 1950’s. She studied painting at Bard College and the Art Students League in New York. Continuing with her art after college, she became active in arts education at the Bruce Museum in Greenwich, CT, until relocating to Cambridge, MA, where she worked at Boston University for the graduate program in Arts Administration until retiring in 2015. She served on the Cambridge Arts Council Pubic Art Commission from 2004 - 2007 and is currently on the Advisory Boards of North Cambridge Arts (NoCa) and Joy Street Artists Open Studios in Somerville, MA. Her work is in public and private collections throughout the US and abroad.
Jeannie's studio is in Somerville, MA. She is represented by the AMP Gallery in Provincetown, MA; M Fine Arts Galerie in Palm Beach, FL; and the Rafius Fane Gallery in Boston, MA.
“I seek to create a visual rebuttal to the omnipresent brashness and turbulence in today’s world—elements that immobilize engagement.
My work, thus understood, is a political refutation wrapped in a contemplative “package.” It fights to give the viewer a moment of contemplation, repose and reflexion. This moment opens the potential to create change, change that comes about through the attentive viewer’s awareness and capacity to act and react intentionally with his/her environment in its widest form.”
Judith Trepp a native New Yorker, has lived in Zuerich, Switzerland, the major part of each year since 1970. From 1974-85 she also lived in Tuscany, Italy, and since 1990 has maintained an atelier in Provincetown, Massachusetts, USA, where she had a one-person show at the Provincetown Art Museum (PAAM) in 2011. In addition, Trepp has traveled extensively in various regions of India and Japan as well as in Europe. These diverse enlargements of vision — intellectually and culturally — resonate in her work. For further information regarding Trepp’s background, publications, and exhibitions please go to the website judithtrepp.net.