July 15 through August 10


Opening reception: Friday, July 15, 6-9 PM

Liz Collins | Postcards

"For the past several years, I have participated in the Visual AIDS annual fundraiser called Postcards from the Edge, where anyone can submit an artwork the size of a postcard to be exhibited and sold during this frenzy of a sale that happens for a few days, at a prominent NY art gallery once a year. Hundreds of postcard size works by artists and others inspired by the call hang side by side without names on them, and you pay $85 to enter the sale and first come first serve get to pick one. People have fun guessing who made what and it is a huge community event. Every year I make a needlepoint postcard- a tradition I have come to look forward to.

The size is something so manageable. I can make them in a quick and playful manner, allowing for the grid to direct me each time into a new image/pattern/idea that emerges as I go. This improvisational work is like drawing….slow and thoughtful, meditative, and always tied to the grid to which the stitches attach.

The second reason for the Postcards title is to acknowledge P’town summer life- so many people from all over the world coming and going, loving on this incredible place that so many of us feel so connected to. I am an ongoing visitor to this place since 1991, and can’t imagine going a year without coming at least once.

It used to be when one traveled one would send postcards to friends and family. What treasures they were! And again- such a playful, easy medium to communicate image and text to others. Who sends postcards now????

The sentiment of these smaller works is one of playful experimentation typical of my textile works. I am an artist obsessed with pattern to the point that I reflexively make it without even trying. I think in pattern, I fantasize in pattern….

So these small works are like an experimental visual diary of abstract and geometric pattern and form."

Liz Collins Liz Collins works fluidly between art and design, with emphasis and expertise in textile media. Embracing abstraction, optics, and extreme material contrasts, Collins explores the boundaries between painting, fiber arts and installation, intuitively laying bare expressions of energy, emotion, and the viscereality of existence.

Collins has had solo exhibitions at the Tang Museum, Saratoga Springs, NY; Candice Madey, LMAK, Heller galleries in NYC; AMP Gallery, Provincetown, MA; and the Knoxville Museum of Art in Tennessee. Her work has been included in numerous exhibitions including at the Drawing Center, ICA/Boston, Leslie Lohman Museum, the New Museum, the Museum of Arts and Design, MoMA, Addison Gallery, RISD Museum, September, Sargents Daughters, Kristin Hellegerde, Rossana Orlandi and many more. Collins’ awards include a USA Fellowship, a MacColl Johnson Fellowship, Drawing Center Open Sessions, and residencies at Siena Art Institute, MacDowell, Haystack, Yaddo, and the Museum of Arts and Design. Collections include Addison Gallery, Estee Lauder, Fidelity, FIT Museum, JP Morgan Chase, Microsoft, Museum of Arts and Design, and RISD Museum.

Currently Collins has a held-over solo show at Luis de Jesus gallery in Los Angeles, and in October will have a solo retrospective exhibition at Rochdale Art Museum in England guest curated by Art Historian Julia Bryan-Wilson.

Zammy Migdal | Selected Works

“Zammy Migdal shows his interest for movement and volume re-inventing it. From scraped and raw metal, exquisitely and creatively intervened, he depicts feelings and emotional instants of life. The main subject of his sculptures is life itself, with its individuality and with the events that affect the whole community.

The high standards and techniques used by Zammy make possible for the artist to create a variety of textures and visual effects, from the rusty like appearance to shinning primary vibrant colors. Zammy Migdal finds the essence of movement, undoubtedly influenced by his interest and active support of contemporary dance. As in a paradox, using the strongest materials he delicately depicts stress, equilibrium, torsions, swings or the act of stretching. The beauty of form empathized by color or texture, is represented in his series, with suggestive titles such as Tropical Tango or Broken Sails.

Migdal's art is powerful and in each one of his sculptures the viewer can perceive the artist's love for esthetics and harmony, Zammy celebrates the best of emotion.

In our present world where the end of creative action, the ugliness and the paralysis of thoughts are tantalizing menaces, the prolific creativeness and the dynamic message of artists like Zammy Migdal fulfill us with hope and bliss.” – Maria Velia Savino, Art critic and curator

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 was born and raised in Tel Aviv, Israel.

His work has been shown in many solo and group exhibitions nationally an internationally over the years, and is in numerous private collections. Some solo shows include When Metal Becomes Abstract, one man show, Broward Community College, Davie, Florida, Fall 2006; From There to Here and More, Adamar fine Arts, Miami Design Districts, March –June 2012; SOFA - Sculpture Objects & Functional Art, Adamar Fine Arts, Navy Pier, Chicago, November 2012. Currently, he has a solo show entitled Internal Knot, The Work of Zammy Migdal at the Coral Gables Museum, Coral Gables, Florida, May 2022.

Migdal has also done a number of public art installations including Metal in 25 Movements, wall installation, University of Miami Miller School of Medicine, Department of Family Medicine, Miami, Florida, January 2007; Zachor-Remember, Holocaust Memorial Monument, Temple Beth Am, Miami, Florida, May 2007; The Cosmo Wave, wall installation, Cosmopolitan Hotel, Las Vegas, Nevada, December 2010; In Search…, wall installation, Clinical Research Building, University of Miami Miller School of Medicine, Miami, Florida, January 2011; Dancing In the Shores, wall installation, Miami Shores Village Hall, January 2012; Bloomingdales, Aventura, Florida, October 2012; and The American Spirit, Aventura City Hall, Aventura, Florida, May 2014.

His work has been featured on TV and in numerous publications including Casa & Estilo, 2006; Vanidades en Español, 2006; Florida Today, NBC Channel 6, Miami, Florida, 2007; Miami Herald, Neighbors Front Page, 2007; Ocean Drive Magazine, 2007; Miami Magazine, 2007; Miami Today, 2007; Coral Living, 2007; Coral Gables Gazette, 2007; Glass Quarterly, 2008; and CNN in Español, featured interview 2012.

Christopher Tanner | Sally's Beach

"My work is a celebration of beauty and remembrance, expressed through all that sparkles, shimmers, or flickers. I am a magpie, covering surfaces with glitter, paillettes, jewels, sterling silver leaf, and found objects that clash, crash, and finally cohere, creating a glamorous order out of chaos. This process embodies layers of meaning: the magnificence of a powerful feminine; cascading, dream-like impulses of shame, desire, ecstasy; defiant optimism in dark times.The ever-changing light in my ornamental assemblages creates a vibrant dialogue with the viewer. I capture moments in time wherein beauty stands unabashed, throwing light and love into our hearts."

Christopher Tanner is a gay artist and performer. He is best known for his assemblages made from glitter, paillettes, jewels, sterling silver leaf and found objects. Tanner was born in Duarte, California and studied art at the San Francisco Academy of Art and the California Institute for the arts. He is an accomplished performer and playwright in addition to his work as an artist. He has been exhibited in numerous solo exhibitions including; Howl! Happening Gallery, La MaMa La Galleria, Pavel Zoubok Gallery, Bridgewater/ Lustberg Gallery and The Kitchen in New York, NY. Atrium Gallery in St. Louis, MO, Boulder Museum of Contemporary Art in Boulder, CO, Flatland Gallery in Utrecht, Holland and Gallery Oz in Paris, France. Tanner's work has also been included in numerous group exhibitions all over the world including; CHANEL, The National Arts Club and Young Robertson Gallery in New York, NY. Rupert Ravens Contemporary in Newark, NJ, Mulry Fine Art in West Palm Beach FL, AMP Gallery in Provincetown, and Galerie Hof&Huyser in Amsterdam, Holland. He was a resident of the Yaddo Artist Residency Program and the New York Public Library in 2009.

Tanner is a recipient of the Pollock-Krasner Foundation Grant, the Joan Mitchell Foundation Grant and the 2018 Acker Award. His works are held in numerous collections including those of; Michael Bloomberg, Willie Brown, Cyndi Lauper, David Lynch, Karen Finley, Jamie Drake, Richard Sinnott, Randy Tate, Judy Peabody, Joan Rivers and the estate of Holly Solomon. He has been featured in ‘The New York Times,' ‘Art in America' 3 times, ‘Harpers Bazzarr', the cover and center-fold of ‘Women's Wear Daily', ‘Elle Decor‘, ‘Arts and Antiques and ‘The New York Observer.' Tanner currently lives and works in New York.

Forrest Williams | Selected Works

"My work is about relationships—and about separateness—but fundamentally the paintings are about the self. I'm interested in that place of tension between the containment and the expression of feeling, and in how to portray that visually.

The paintings depict individual men, but they aren't portraits. The men inhabit a particular place, but it isn't real. It's an ambiguous, interior territory, where things are and are not what they seem. The paintings are like stages upon which dramas play out--theatrical moments--and the men who inhabit them are the actors. The reality lies in the emotional core of this world, intensely felt but highly contained. My model Lorenzo called it "emotional purgatory." Perhaps these are worlds of their own making—worlds with edges and outsides and unknown terrains beyond, just out of reach. For me the paintings are often as much about what isn't seen as what is.

Although they're a group of anonymous men, they're at the same time in some way self-portraits. This is the region where desire and doubt, longing and reticence, intimacy and uncertainty coexist. It speaks of absence as much as presence."

Forrest Williams has shown his work in numerous solo and group exhibitions in the US and Canada. Current solo exhibitions include: 2021 "A Retrospective", 2017 “Ghosts”, 2016 “Lowlands” and 2014 “Arrival” AMP, Provincetown, MA; 2010 “Crossways” Marx & Zavattero, San Francisco, CA; 2007 “Porches” Heather Marx Gallery, San Francisco, CA; 2005 “Passage” Heather Marx Gallery, San Francisco, CA. Recent group exhibitions include: 2013-14 “Hello, Goodbye” Dolby Chadwick Gallery, San Francisco, CA; 2012 “Two Loves – Sex, Art, and the Love That Dare Not Speak Its Name” Kymara Gallery, Biddeford, ME; 2012 “SEEN” Visual Aid Gallery, San Francisco, CA; 2012 “New York Academy of Art Sixth Annual Summer Exhibition” Flowers, New York, NY; 2011 “Sea Change” Marx & Zavattero, San Francisco, CA; 2011 “The Elegance of Refusal” Gensler, San Francisco, CA; 2009 “Seldom Seen” Leslie/Lohman Foundation; New York, NY; 2009 “Figuratively Speaking” Lyons Wier Gallery, New York, NY; 2008 “Color Key” The Painting Center, New York, NY.

Rick Wrigley | Selected Sculpture

"After 25 years as an art-furniture-maker, and over 10 years designing and building houses, I am finding new inspiration as a sculptor. Prior to this career change, my creative process involved working within the tight constraints set by the function of the object or building I was designing. For instance, a successful design for a chair, a table, or especially a house, must meet a very particular set of functional criteria. In the case of a commission, the needs and desires of the client as well as the budget add further constraints.

For many years I enjoyed the challenge of solving aesthetic problems within these types of strict parameters. The work required a discipline I was comfortable with — a discipline that, with time, became automatic for me. But I now feel drawn to move beyond the functional limits inherent in architectural and furniture design. Exploring new aesthetic challenges as a sculptor has become my current focus.

Authenticity is far more important to me than the concerns of formal development. While I would not discourage intellectual reflection as part of the viewer’s experience with my work, I hope “thinking” is secondary to “feeling” and “sensing.” Toward the aim of evoking an emotional and sensory response in the viewer, I make intuitive choices regarding materials, the use of texture, color, and asymmetry. The archetypal spiral form often appears in my work, as does an irregular hand-drawn line.

I bring decades of experience as an art-furniture maker and designer to my practice as a sculptor. My work is informed by a concern for craftsmanship and an intimate knowledge of how to shape and manipulate my materials. As the craft of what I do is now second nature, I am free to watch for the visual surprises that often occur as a sculpture evolves from sketch to mock-up, to the actual making of the final work. It is in these discoveries that I find opportunities for an authentic artistic expression to emerge."

Rick Wrigley's work has evolved across disciplines: First as an Art Furniture-Maker, then as a designer and builder of houses, and currently as a sculptor. His career began with an apprenticeship to a classically trained British cabinetmaker. He then received a B.F.A. from the School for American Craftsmen, R.I.T., Rochester, NY.

Recognized as an important figure in the Studio Furniture movement, Rick received a New England Foundation for the Arts Fellowship and participated in invitational exhibitions at the Smithsonian’s Renwick Gallery, The Boston Museum of Fine Arts, The Musee des Arts Decoratifs, Montreal, and The Silvermine Gallery in New Canaan. Rick's work is in the permanent collection of the Renwick Gallery. He won a Connecticut Commission on the Arts competition to design and make 44 large hearing room doors for the Legislative Office Building, Hartford. A pair of these doors was subsequently exhibited at the American Craft Museum, NYC.

In addition to his studio practice, Rick has worked as an architectural designer/builder completing six houses in Provincetown MA.

His most current work is as a sculptor. His sculpture has been exhibited at the Provincetown Art Association and Museum. He is represented by AMP Gallery in Provincetown.