We are very excited to have 6 shows associated with the Conference! @ shows will take place at Castle Hill, and 4 shows will take place in Provincetown!
Anything but Flat:
The Conference Juried Show, juried by Joanne Mattera
The challenge for this year’s juried show is to create a work that has a tangible, physical presence. Something with depth or dimension in your paintings, whether the surface is built up, carved into, embellished, or assembled in some way. Sculpture by its very nature is dimensional come check out this show with 42 artists selected.
Susanne Arnold, Pamela Blum, Debra Claffey, Dorothy Cochran, Cat Crotchett, Helen Dannelly, Pamela DeJong, Dora Ficher, Alicia Forestall-Boehm, Milisa Galazzi, Lorraine Glessner, Carol Hamilton, Kay Hartung, Deborah Kapoor, Barry Katz, Melissa Lackman, Susan Lasch Krevitt, Andree-Anne Leaberge, Cindy Lesperance, Patricia Malarcher, OttyMerrill, Nancy Natale, Louise Noel, Susan Paladino, Deborah Peeples, Lynda Ray, Jodi Reeb, Stephanie Roberts-Camello, Lia Rothstein, Erica Rubel, Ruth Sack, Pat Spainhour, Nancy Spears Whitcome, Sarah Springer, Kelly Steinke, Susan Stover, Marina Thompson, Michele Thrane, Mitchell Visoky, Anna Wagner-Ott, Pamela Wallace, Ellyn Weiss
Pattern + Concept
at Gallery X at Castle Hill
Curated by Kay Hartung
10 Meetinghouse Road
Opening Reception May 30, 4 - 6
May 30 - June 7
This show will include the work of Kay Hartung, Marina Thompson and Kim Bernard, who use pattern in their work for purposes related to the conceptual ideas they are communicating.
A fascination with the beauty and complexity of the microscopic world fuels Kay Hartung’s paintings. She contemplates the potential impact of cellular activity on the visible universe and the human species. The growth, multiplication, and movement of these biological forms is essential to her creative process, as they travel freely or are
captured and tangled in sinuous webs. Kay approaches her paintings with a textile sensibility, creating landscapes for the biomorphic forms to exist. By placing one pattern upon the next through the layering of color upon color complex interactions between color and form are produced. She sees these patterns as the intricate and crowded
atmospheres in which biological forms interact and develop. The network like quality of some of the backgrounds relates to the communications that must occur between the mind and the body to produce action and thought.
Marina Thompson’s paintings record an abstracted, introspective expression of communication and human interaction. Communication requires kinetic creativity: layers of light, color, texture, balance, nuance, and surprise. Pattern and repetition, rhythm and interruption shape our lives. Geometry bridges the inner and outer worlds adding structure and sense – both ancient and contemporary. The pulse of color and the play of light and texture are constant sources of stimulation. Color creates light, light creates form. Marina’s paintings explore depth, energy and movement with illusions of volume, space, light, and time. The work is colorful, rhythmic, layered. It speaks of sounds, both local and cosmic, while her visual elements are both macroscopic and microscopic.
Kim Bernard finds it fascinating that there are predictable patterns in matter and motion
and she creates art work that demonstrates these phenomena simply, with an aesthetic
that allows the viewer easy access, and provides a tangible way of seeing physics.
Fascinated with movement, kinesthetics and the basic laws of motion she works from
The premise that the understanding of movement can be revealed through repetition.
Beginning with the body, combining materials with movement, her work synthesizes a
personal history and deep connection to body movement.
INSIDE THE RECTANGLE
at Kobalt Gallery, Provincetown
curated by Deborah Peeples & Martha Chason-Sokol
Inside the Rectangle presents six painters who choose beeswax as their medium. They are first
and foremost painters- addressing the formal concerns of pictorial space - the rectangle- through line, color, spacial relationships, edge, volume, surface, and dimensional reality. Encaustic serves their vision in its its malleability and immediacy. Layers can be added as swiftly as a thought, then scraped back to reveal prior gestures; light bounces through layers to create rich optical effects. These artists mold encaustic to their language, resulting in works with muted or saturated color, juicy or smooth surfaces, rectangular or shaped panels, and images that reference the natural, internal, and built world.
Lisa Pressman’s work embodies a visual synthesis of stored memory. Each painting, with its complex layered surface, elicits a visceral response, shaping its own new history.
Julie Snidle’s layered paintings address her internal world. Contemplation, calculation, and exploration are recurring themes in her paintings,
Jeff Hirst pushes the shape of the rectangle. His work investigates relations between man-made architectural structure and the natural landscape.
Mitchell Visoky’s use of color and shape reflects his concern with various states of nature. His work evolves through layering and the transparent qualities of the paint.
Deborah Peeples’ work is both method and metaphor for her internal world. Her lush saturated surfaces and layered depths reflect orchestrated restraint.
Martha Chason-Sokol’s work addresses the intersection between drawing and painting. Her paintings are personal journeys; sometimes lyrical and sometimes intense but always concerned with the expressive quality of the paint.
at the Provincetown Commons
Curated by Kelly Austin-Rolo
46 Bradford Street, Provincetown
May 31 - June 7, Opening reception Friday May 31, 6 - 9pm
a sticky yellowish moldable substance secreted by honeybees as the material of honeycomb; beeswax. o a white translucent material obtained by bleaching and purifying beeswax and used for such purposes as making candles, modeling, and as a basis of polishes.
material manufactured in thin sheets from the pulp of wood or other fibrous substances,
used for writing, drawing, or printing on, or as wrapping material. "a sheet of paper"
Wax and paper are considered by many to be inherently delicate, fragile and ephemeral. Wax, in the form of encaustic or cold wax, united with paper can create an artwork that is long-lasting. The results of combining them can be sturdy or fragile depending on how they are combined. In this show I would like to showcase the contemporary combination of wax and paper in both 2-d and 3-d. From traditional Japanese papers to new synthetic papers to repurposed coffee filters and much in between; this show would testify to the versatility of the wax medium when combining it with paper. This would be well represented by the artists’ works included as examples in this proposal.
The works selected show a contemporary side of this ancient medium. Many of them will pull the viewer in and invite the question of process and how this piece came to be. I would like to include a brief description of process written by each artist to be available to viewers. This show would include works in both encaustic and cold wax with paper as an element. It would include printmaking, painting, sculpture and drawing.