Andrew Carnegie Gallery
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Rochester Public Library
65 South Main Street | Rochester, NH | 03867 Click here for more information and hours of operation The Andrew Carnegie Gallery features temporary art exhibits by emerging and seasoned artists. Located at the top of the library’s beautiful double staircase, the gallery is flooded with natural light and features birch flooring and cypress panel and finishing. Designed by Randlett and Griffin of Concord, NH, the gallery is named after philanthropist, Andrew Carnegie (1835-1919), for generously donating funds for the library’s construction in 1903.
Previous exhibitions featured works by Benjamin Cook, Bob Gruen, Daniel Fleming, Eric Carle, Jeannie Motherwell, Marcus Greene, Marsi Van De Heuvel, Rebecca Klementovich, Shiao-Ping Wang, Susan Kare, The Picasso Estate Collection, and Wayne White. |
Kimberly Meuse March 6 - April 30, 2021
Reception: Thursday, April 8, 2021 (6-8pm)
Kimberly is self-taught in her style of watercolor painting, after an introductory course in college where she studied Graphic Design opened the door to the wonders and challenges of the medium. The graphic design world focuses on simplifying messages, while Kimberly's eye consistently sought the finer points and sumptuous detail. After a decade of working in corporate design, she followed her heart to fine art and watercolor.
Kimberly is self-taught in her style of watercolor painting, after an introductory course in college where she studied Graphic Design opened the door to the wonders and challenges of the medium. The graphic design world focuses on simplifying messages, while Kimberly's eye consistently sought the finer points and sumptuous detail. After a decade of working in corporate design, she followed her heart to fine art and watercolor.
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"Realism is becoming a lost art. Translating beautiful objects into fine strokes of color and light is time-consuming and challenging. But it is also something I feel I was born to do. Satisfaction comes from knowing how difficult and exacting the process is—and how the end result captures a vision that is usually gone in a moment as shadows change and light takes on different qualities."
Taking watercolor painting from a generally loose methodology to create works that defy the confines of representational painting, she has surmounted the challenges inherent in water-based media to create exquisitely deep, rich paintings that have become a career-long passion.
Taking watercolor painting from a generally loose methodology to create works that defy the confines of representational painting, she has surmounted the challenges inherent in water-based media to create exquisitely deep, rich paintings that have become a career-long passion.
Douglas Breault October 3 - December 31, 2020
Reception: Thursday, December 10, 2020 (6-8pm)
Douglas Breault splits his time between Boston and Providence, with a studio in Rockland, MA. He works as an interdisciplinary artist- frequently overlapping elements from photography, painting, sculpture, installation, and video. He received his MFA from the School of the Museum of Fine Arts at Tufts University in 2017, and has been included in exhibitions and screenings at various institutions including the Museum of Fine Arts Boston, the Bristol Art Museum, the Stone Gallery at Boston University, and the Rochester Museum of Fine Arts. He currently teaches art at Bridgewater State University.
Douglas Breault splits his time between Boston and Providence, with a studio in Rockland, MA. He works as an interdisciplinary artist- frequently overlapping elements from photography, painting, sculpture, installation, and video. He received his MFA from the School of the Museum of Fine Arts at Tufts University in 2017, and has been included in exhibitions and screenings at various institutions including the Museum of Fine Arts Boston, the Bristol Art Museum, the Stone Gallery at Boston University, and the Rochester Museum of Fine Arts. He currently teaches art at Bridgewater State University.
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"I improvise with mundane materials and images, searching for signifying and self reflective sources to layer upon. Materiality is essential to my ideas, subordinating form to process. I freely misapply traditional artistic methods of painting, photography, and sculpture by incorporating banal materials, obliterated or overexposed images culled from the internet, and deconstructed forms to merge and support one another. The process of mimicry and abstraction bring into question truth and transformation by making apparent the phenomenological traces of tape, images, and imposed gesture. These accumulations coalesce object, image, and narrative into physical space."
Steven Cabral July 4 - September 30, 2020
Reception: Thursday, September 10, 2020 (6-8pm)
Steven Cabral is a Boston-based painter and has shown his work in several group exhibitions in the greater Boston area. He is a member of the Vernon Street artists’ community in Somerville, as well as an Associate member at Kingston Gallery. Steven holds a BFA in painting from the Massachusetts College of Art and Design and currently working on his MFA in painting at Lesley University of Art and Design. He currently lives and works in Somerville.
Steven Cabral is a Boston-based painter and has shown his work in several group exhibitions in the greater Boston area. He is a member of the Vernon Street artists’ community in Somerville, as well as an Associate member at Kingston Gallery. Steven holds a BFA in painting from the Massachusetts College of Art and Design and currently working on his MFA in painting at Lesley University of Art and Design. He currently lives and works in Somerville.
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"I feel free in open expanses in which I can orient myself and connect to what’s going on around me. With a clear line of sight, I can let my guard down and develop a kind of sixth sense in which I feel part of something greater than myself. The phenomena of branches silhouetted by light, a passing storm, clear water at the beach, the golden hour as the sun drops are all fleeting moments that speak to me as something more eternal. When I find a moment of solitude in any setting, my sight is heightened, I see colors and the play of light and shadow more intensely. I observe the shifts of atmospheric light, allowing me to experience being part of the wider world even in my studio. Abstracting these ephemeral experiences into geometric shapes, plotting lines, and color relationships allows the viewer to share in my search for the transpersonal.
Rather than simply cast my eye at distances, my senses mediate what lies between here and there — both spatially and temporally. This may be why I have begun to work with encaustic. I work in layers, which both hold individual marks and colors while also building effects. Importantly, the media is transparent, receiving and conveying light as an actual presence. In letting past actions be visible, I want the viewer to see the history of the painting, and for me the layers of encaustic embody the human quality of lived time. Immersing myself in the act of painting, I accept and celebrate imperfection along with transience. Whether encaustic or oil, I work with the properties of the paint and not against them, creating edges that are never perfectly straight and surfaces not completely flat. I go with the sensuousness of my materials, and the flaws are part of an organic language of human touch. I find myself between my need to create order and my desire to just lose it. "
Rather than simply cast my eye at distances, my senses mediate what lies between here and there — both spatially and temporally. This may be why I have begun to work with encaustic. I work in layers, which both hold individual marks and colors while also building effects. Importantly, the media is transparent, receiving and conveying light as an actual presence. In letting past actions be visible, I want the viewer to see the history of the painting, and for me the layers of encaustic embody the human quality of lived time. Immersing myself in the act of painting, I accept and celebrate imperfection along with transience. Whether encaustic or oil, I work with the properties of the paint and not against them, creating edges that are never perfectly straight and surfaces not completely flat. I go with the sensuousness of my materials, and the flaws are part of an organic language of human touch. I find myself between my need to create order and my desire to just lose it. "
James Mullen April 4 - June 27, 2020
Reception: Thursday, June 11, 2020 (6-8pm)
Born and raised in the rural environment of western New Jersey, James Mullen received a Bachelor of Fine Arts with an emphasis in Sculpture and Printmaking from the University of New Hampshire in 1985. In 1986 he participated in the LaNapoule Summer Art Program, then completed his Master of Fine Arts in Painting at Indiana University in 1991. He has taught at the Savannah College of Art and Design in Georgia, the University of Evansville in Indiana, and since 1999 has taught at Bowdoin College in Brunswick, ME, where he is an Associate Professor in the Department of Art. Mullen has received numerous awards and scholarships including an Individual Artist Grant from the state of Georgia as well as Research Grants from both the University of Evansville and Bowdoin College.
Born and raised in the rural environment of western New Jersey, James Mullen received a Bachelor of Fine Arts with an emphasis in Sculpture and Printmaking from the University of New Hampshire in 1985. In 1986 he participated in the LaNapoule Summer Art Program, then completed his Master of Fine Arts in Painting at Indiana University in 1991. He has taught at the Savannah College of Art and Design in Georgia, the University of Evansville in Indiana, and since 1999 has taught at Bowdoin College in Brunswick, ME, where he is an Associate Professor in the Department of Art. Mullen has received numerous awards and scholarships including an Individual Artist Grant from the state of Georgia as well as Research Grants from both the University of Evansville and Bowdoin College.
Ravens Nest, Oil on Canvas
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Blue Hill Bay, Oil on Canvas
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He has had over twenty solo exhibitions at venues including the Gertrude Herbert Institute of Art in Augusta, GA, The Chattahoochie Valley Art Museum in LaGrange, GA, Artemisia Gallery in Chicago, IL , The Maine Center for Contemporary Art in Rockport, ME, and at Providence College in Rhode Island. He has also had several solo exhibitions at the Ruschman Art Gallery in Indianapolis, IN and at Sherry French Gallery in New York City. He has also been awarded residencies at the Spring Island Artist in Residence program in South Carolina, Virginia Center for the Creative Arts, and at the Ragdale Foundation in Lake Forest, IL. In 2010 he was selected for an Artist Residency at the Petrified Forest National Park in Arizona, and in 2015 was awarded a residency at Hewnoaks Artsist Colony. In 2015 he was awarded a Puffin Foundation Grant for the Pilgrimage Project. Recent solo exhibitions have included Phoenix Gallery in New York City, New England College in Henniker, NH, University of Southern New Hampshire, and the College of the Atlantic in Bar Harbor, ME.
Rowley, Oil on Canvas
Sapphire Pool, Oil on Canvas
"My work is centered on painting the landscape, often based on photographs I have made on site. This is a continuation of a body of work that I have been building over the last two decades dealing with the depictions of the environment.
Recently I have refined the focus of that investigation to examine iconic sites belonging to the lexicon of the 19th century American landscape. These sites include locations like Kaaterskill Falls, Mount Desert Island, and the White Mountains. During this investigation I have expanded my focus to also include other destination landscapes, most notably works of the late 20th century Land Art movement. All of these sites have been understood primarily through reliance upon mechanical reproduction, whether through the dissemination of engravings in portfolios and publications in the 19th century, or in the 20th century through photography. This new body of work seeks to visit a number of these sites, and treat them as primary documents to research and develop. I see many of these sites as iconic condensers of memory, and I am interested in redefining them through works created from primary observation at those locations. This project pushes back against the proliferation of digital images that bombard us every day, converting “place” into a veneer.
I spend extended time at these sites in an effort to engage them in a more mindful manner. In doing this, I hope to create work that can help remind the viewer of the value of a more thoughtful engagement with the environment, and the importance of that connection."
Recently I have refined the focus of that investigation to examine iconic sites belonging to the lexicon of the 19th century American landscape. These sites include locations like Kaaterskill Falls, Mount Desert Island, and the White Mountains. During this investigation I have expanded my focus to also include other destination landscapes, most notably works of the late 20th century Land Art movement. All of these sites have been understood primarily through reliance upon mechanical reproduction, whether through the dissemination of engravings in portfolios and publications in the 19th century, or in the 20th century through photography. This new body of work seeks to visit a number of these sites, and treat them as primary documents to research and develop. I see many of these sites as iconic condensers of memory, and I am interested in redefining them through works created from primary observation at those locations. This project pushes back against the proliferation of digital images that bombard us every day, converting “place” into a veneer.
I spend extended time at these sites in an effort to engage them in a more mindful manner. In doing this, I hope to create work that can help remind the viewer of the value of a more thoughtful engagement with the environment, and the importance of that connection."
Chloe Feldman Emison January 4 - March 28, 2020
Reception: Thursday, March 12, 2020 (6-8pm)
Chloe Feldman Emison has exhibited her drawings and animations widely in the United States and Europe, while working also as an illustrator. She studied fine art at Williams College and at the Ruskin School of Drawing and Fine Art, Oxford University, and animation at Forkbeard Fantasy in Devon. She was a visiting artist at Wasps Studios in Glasgow, and completed residencies at the Contemporary Artists Center in Woodside, N.Y., at The Old School Art House in Iceland, at the Vermont Studio Center, and at Can Serrat, near Barcelona.
Chloe Feldman Emison has exhibited her drawings and animations widely in the United States and Europe, while working also as an illustrator. She studied fine art at Williams College and at the Ruskin School of Drawing and Fine Art, Oxford University, and animation at Forkbeard Fantasy in Devon. She was a visiting artist at Wasps Studios in Glasgow, and completed residencies at the Contemporary Artists Center in Woodside, N.Y., at The Old School Art House in Iceland, at the Vermont Studio Center, and at Can Serrat, near Barcelona.
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In 2013 she taught animation at the Eagle Hill School in Hardwick, Massachusetts. She was named the Mixed Media Artist of the Year for 2009 at the Cambridge Art Association, won a Spotlight on the Arts Award for Outstanding Emerging Artist in 2010, a Board of Trustees Award from the Silvermine Art Center in New Canaan, Connecticut in 2014, and received first prize in the Editorial category at the Phillustration exhibition at the Philadelphia Sketch Club in 2015 and an Honorable Mention in the Absolutely Abstract show there in 2016. She was named an IEAA laureate in the 4th International Emerging Artist Award, the exhibition for which was held in Brussels in 2016. She is collaborating with the Elements Contemporary Ballet company in Chicago on the design of a new ballet about Atlantis. Her illustrations have appeared in various literary magazines including Graze, Kansas City Voices, Salt Hill Journal, and Palaver. She has worked with writers in both prose and poetry, and has independently published three illustrated books.
Shiao-Ping Wang October 1 - December 28, 2019
Reception: Thursday, December 12, 2019 (6-8pm)
Shiao-Ping Wang was born in Taiwan and immigrated to the United States in 1981. She studied both Western art and Chinese art in New York and earned a MFA degree from Queens College, City University of New York. She works both abstractly and from observation in various painting media. Her work has been exhibited throughout the US and China. She has taught painting and drawing in various colleges including the University of New Hampshire. In 2007 Shiao-Ping won a Fellowship at Vermont Studio Center. In 2008 she won the Spotlight Award for Best Painter in the Seacoast.
Shiao-Ping Wang was born in Taiwan and immigrated to the United States in 1981. She studied both Western art and Chinese art in New York and earned a MFA degree from Queens College, City University of New York. She works both abstractly and from observation in various painting media. Her work has been exhibited throughout the US and China. She has taught painting and drawing in various colleges including the University of New Hampshire. In 2007 Shiao-Ping won a Fellowship at Vermont Studio Center. In 2008 she won the Spotlight Award for Best Painter in the Seacoast.
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"In patterns, I look for meanings outside of their conventional function as ornaments on an object or surface; for many patterns also served a dual purpose not only as decoration but also as symbols. But those interpretations have been lost through the ages.
Patterns of a constructive nature—architectural graphs, weaving patterns, and city maps—are sources for my composition. Once I have integrated them into my work, I then add more shapes and elements to each painting layer, using acrylic paint and medium, to gradually “build” a cohesive picture that features different degrees of translucency."
Patterns of a constructive nature—architectural graphs, weaving patterns, and city maps—are sources for my composition. Once I have integrated them into my work, I then add more shapes and elements to each painting layer, using acrylic paint and medium, to gradually “build” a cohesive picture that features different degrees of translucency."
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"In the physical process of painting, I follow more intuition than knowledge. I want to be in a place in my paintings where patterns are urgently needed on the emotional level so that narratives can be translated into repetitions and rhythms. In other words, I search for forms that have the power to replace anecdotes.
The expression of the work often comes from imagining something that has no physical presence, such as a sound, that resonates the theme in my mind. I follow the “something else” element until the urgency is eased. That's when I know that the forms have satisfied my emotions and the ultimate meaning has emerged."
The expression of the work often comes from imagining something that has no physical presence, such as a sound, that resonates the theme in my mind. I follow the “something else” element until the urgency is eased. That's when I know that the forms have satisfied my emotions and the ultimate meaning has emerged."
CHRISTA BLACKWOOD JUNE 1 - SEPTEMBER 28, 2019
Christa Blackwood is a photo, text and installation artist working with themes related to identity, gender, history, and popular culture. Her visual voice was developed while a student at New York University, when she began producing street art such as the poster, Butcher knives (1991), a work that addressed issues of sexual violence.
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A chilling juxtaposition of billboard-like close-ups and text from poet Michelle Kotler, Butcher knives, was plastered all over the streets of New York City on the evening the William Kennedy Smith verdict was announced. The posters timely and provocative appearance resulted in heightened critical attention for Blackwood, including an invitation to join the Women's Action Coalition (WAC) from renowned artists and scholars, Kiki Smith and Lucy Lippard.
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Her works employ multiple techniques and methods, fusing traditional, historical and alternative photographic processes with contemporary practices, street art and clandestine installations at cultural institutions. Blackwood received her Masters in Studio Art from New York University and Bachelors in Classics from The University of Oklahoma. She has exhibited in galleries and museums throughout the U.S. and abroad her work has been featured in several publications including The New York Times, ArtDesk Magazine, The Austin American Statesman, The Austin Chronicle, New York News day, The Village Voice, and The Chicago Sun Times.
Brian Chu April 6 - May 31, 2019
Brian Chu teaches painting, drawing, and printmaking at the University of New Hampshire. He also taught the UNH study abroad program in Ascoli Piceno, Italy, and in Chengdu University, China.
Brian went to Artist Residencies at France, Spain, Canada, New York, Vermont, Maine, and New Hampshire, some with honors such as Clowes Fellowship at the Vermont Studio Center and the Milton & Sally Avery Residency Award at Byrdcliffe, New York. He has exhibited in New York, California, Pennsylvania, Georgia, and throughout New England. Reviews of his work have appeared in Art New England and the Philadelphia Enquirer.
Brian went to Artist Residencies at France, Spain, Canada, New York, Vermont, Maine, and New Hampshire, some with honors such as Clowes Fellowship at the Vermont Studio Center and the Milton & Sally Avery Residency Award at Byrdcliffe, New York. He has exhibited in New York, California, Pennsylvania, Georgia, and throughout New England. Reviews of his work have appeared in Art New England and the Philadelphia Enquirer.
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"All of my paintings start from observation, be it a piece of fruit, a person, or a cityscape. Most of the time, however, the painting continues in the studio for many more sessions. What can only be developed in the studio is a sense of understanding that the appearance hints at but refuses to tell. The color, space, and texture I recorded in the intense engagement of observational painting are only the beginning of an evolving continuum while I embrace the unknowingness that fuels my curiosity. Fresh colors and light that I painted earlier provide the visual sensations that must be transformed to forms that talk to the mind and emotions as well."
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"The pursuit of (finding) the inner life of a paintings depends much on the paint as material and the image it creates. I aspire to find the place where paint and image both exist independently and in interesting relationships. To me, the joy and mystery of seeing live in this place. The act of painting has the power of bringing my eye, mind, and imagination together to form new visions in each painting."
jason bombaci February 2 - April 5, 2019
"I usually end up painting the places I can’t talk myself out of painting. There are certain places that just have an unexplainable draw for me, an attraction. The Piscataqua River is one of these places. Everything in this area is ruled by the sea. The weather is constantly shifting and the light reflecting off and through the water is very elusive. The salt air hangs over the surrounding towns and permeates the landscape. There is an ancient feeling to this place that lies just below the veneer of a modernity that clings tenuously to the cliffs and islands that dot the mouth of the river."
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"The work in this show explores this shimmering landscape and the tensions that lie therein. I work directly on site and from memory in my studio. I go back and forth from the site to the studio for months. Of course the weather and light conditions are never the same so the resulting images tend to be a distillation of how the place feels. This distilled quality of the finished work transcends the place itself and ultimately becomes more real to me."
Tracy Hayes December 1 - February 1, 2019
"My current work explores connections and the emergence of patterns in the intersections of lines, textures and values in my attempt to comprehend the contradictions and stressors of daily life. In an increasingly complicated, varied and noisy environment, I am concerned with role of individual voice. Individual efforts struggling to reach out and chart a path, buffeted and twisted by external forces; these are the catalyst. Striving outward, pushing forward, digging out, uncovering, all these are essential impulses to counteract being acted upon, usurped and held back."
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"Each piece starts with a version of the same mark, which is expanded with various mixed media (acrylic, ink, pastel, charcoal, graphite etc). I see lines, patterns, spaces and more lines, and I just want to push and pull, blur and sharpen those until I find the unique rhythm of the piece.
That the discoveries uncovered in my works also weave and connect with other artists' works is a real joy and adds layers of meaning which I hope is also experienced by viewer. I appreciate the opportunity to create, observe, and participate."
That the discoveries uncovered in my works also weave and connect with other artists' works is a real joy and adds layers of meaning which I hope is also experienced by viewer. I appreciate the opportunity to create, observe, and participate."
Scotty Arsenault October 6 - November 30, 2018
The Rochester Museum of Fine Arts will exhibit a selection of works by Scotty Arsenault. Scotty is a native of New Hampshire, living and working in Dover as a multimedia illustrator and freelance 2D animator.
“It was all cartoons for me, growing up in Salem, New Hampshire. Drawing on paper plates with crayons, scribbling on the walls in my bedroom, or doodling in my notebooks at school when I should have been studying. When I set out on my own, I found myself learning how to make cartoons the way the professionals do. To this day, I’m still trying to figure it all out. My sketches and watercolors reflect the colorful worlds I imagined myself in as a kid."
“It was all cartoons for me, growing up in Salem, New Hampshire. Drawing on paper plates with crayons, scribbling on the walls in my bedroom, or doodling in my notebooks at school when I should have been studying. When I set out on my own, I found myself learning how to make cartoons the way the professionals do. To this day, I’m still trying to figure it all out. My sketches and watercolors reflect the colorful worlds I imagined myself in as a kid."
"I carry pocket-sized Leuchtturm1917 books and a TWSBI Mini fountain pen with De Atramentis Archive Black ink. I paint with Schmincke Horadam watercolors. It was a very good day when I discovered this combination of materials.
I sketch in restaurants, waiting rooms, anywhere and anytime I have a few moments to kill. The books have the wear and tear of resting in my back pocket until needed. Some drawings like the bottles and fish have graduated to more detailed studies but there are still lots of hidden gems in these pages. Also hidden in my sketchbooks are assorted business cards, receipts, toothpicks, emergency cash and whatever miscellaneous mementoes and keepsakes that will fit in the back pouch.”
I sketch in restaurants, waiting rooms, anywhere and anytime I have a few moments to kill. The books have the wear and tear of resting in my back pocket until needed. Some drawings like the bottles and fish have graduated to more detailed studies but there are still lots of hidden gems in these pages. Also hidden in my sketchbooks are assorted business cards, receipts, toothpicks, emergency cash and whatever miscellaneous mementoes and keepsakes that will fit in the back pouch.”
Hallie Jay Pope June 2 - September 29, 2018
Hallie Jay Pope is a cartoonist and lawyer living in Brooklyn, New York. She is the founder and president of the Graphic Advocacy Project, a nonprofit that uses visual communication tools - like comics, animations, and infographics - to explain legal issues. Pope's work is motivated by the belief that legal knowledge belongs to everyone, not just lawyers. She strives to create visual expressions of law that inform, engage, and mobilize viewers.
Hallie has been incorporating cartoons into her legal advocacy since law school. As a fellow at the ACLU of Massachusetts, she created comics and animations about student privacy, reproductive rights, and police accountability. Her Supreme Court cartoons are featured in Notorious RBG: The Life and Times of Ruth Bader Ginsburg. Hallie is a graduate of Brown University and Harvard Law School. She has completed courses at the School of Visual Arts, the Rhode Island School of Design, and the Harvard Department of Visual and Environmental Studies.
Jeannie Motherwell April 7 - June 2, 2018
Limitless
The Rochester Museum of Fine Arts is delighted to announce an exhibition featuring works by Boston-based painter Jeannie Motherwell in the Carnegie Gallery at the Rochester Public Library from April 7th - June 2nd, 2018. Motherwell’s immense, abstract work draws inspiration from the sea and celestial bodies, bringing earth and space together.
For Motherwell, who has been working since the early 1970’s, painting is a physical process that brings her in directions she would have not thought possible. She paints large, right on the floor of her Somerville studio, on clay boards with lots of water and acrylic paint. She first pours and splashes the paint, then moves the board to make puddles and pushes the watery paint around. The paint glides on the clay boards and she then uses large brushes and rags to claim back white space and guide the paint into forms. Once they are dry, she fine tunes and looks for the moment when she knows they are done, when they describe the direction she wants to go in, and she sees something that totally surprises her.
For Motherwell, who has been working since the early 1970’s, painting is a physical process that brings her in directions she would have not thought possible. She paints large, right on the floor of her Somerville studio, on clay boards with lots of water and acrylic paint. She first pours and splashes the paint, then moves the board to make puddles and pushes the watery paint around. The paint glides on the clay boards and she then uses large brushes and rags to claim back white space and guide the paint into forms. Once they are dry, she fine tunes and looks for the moment when she knows they are done, when they describe the direction she wants to go in, and she sees something that totally surprises her.
Moment
Motherwell was interested in working with the RMFA because of a shared love for community. She first felt the impact of community when she spent two winters in Provincetown after she graduated from college. She spent time in her studio by the bay to try and figure out what her painting style was. Just when she was beginning to feel a connection with the locals, the tragic sinking of the fishing boat Patricia Marie showed her what it meant to be a part of a community. “As the town began its mourning, I was driven to make a stack of abstract paintings about this community tragedy. They were my 'elegies' to the Patricia Marie and the town of Provincetown. I had become so close to the locals during this first winter that I wanted to share my compassion for what had happened. I realized, as I painted furiously, that I had made my first ‘body of work’ that had my own signature.”
Speak It
Born and raised in New York City, Jeannie Motherwell inherited a love of painting from her father, Robert Motherwell, and stepmother, Helen Frankenthaler, two pillars of mid-century abstraction. 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 from 2002 to 2015. Her work has been featured in public and private collections throughout the US and abroad.
More information on Jeannie Motherwell can be found on her website, jeanniemotherwell.com, as well as a beautiful video that shows her creative process. The exhibition will include an Artist’s Reception on April 7th from 1-4pm. The public is encouraged to attend. Light refreshments and hors d’oeuvres will be served. The Rochester Public Library is located at 65 South Main Street and ample parking is available.
More information on Jeannie Motherwell can be found on her website, jeanniemotherwell.com, as well as a beautiful video that shows her creative process. The exhibition will include an Artist’s Reception on April 7th from 1-4pm. The public is encouraged to attend. Light refreshments and hors d’oeuvres will be served. The Rochester Public Library is located at 65 South Main Street and ample parking is available.
ASHLEY Busby February 2 - April 6, 2018
The Rochester Museum of Fine Arts presents an exhibition featuring works by painter Ashley Busby in the Carnegie Gallery at the Rochester Public Library from February 2nd - April 6th, 2018. This body of work explores the potential of images and experiences from nature to grow beyond and rewrite themselves. Rather than the immediate experience with the landscape, these paintings take shape from the moments after.
"My process is a search through the indefinite spaces that are born from removal and distance. Layers and marks are deposited on each surface, to create intricate natural structures. Each painting evolves over time, expanding and seeping past the boundaries of what I remember."
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Ashley Busby is an artist residing in Albany, NY. Originally from Houston, TX, Busby graduated from Houston Baptist University in 2012 with a degree in Fine Arts. She completed her Masters of Fine Arts in Lubbock, TX from Texas Tech University in 2016 with a certification in Art History. After finishing her degree Busby worked with the SHUMLA Archaeological Research Foundation in Comstock, TX studying native American Pictographs in the Lower Pecos region. She continues her research with image making and landscape in the North East, documenting surfaces and studying indigenous art.
Sam trioli December 2 - January 31, 2018
Sam Trioli is a contemporary artist, curator, and musician currently living and working in New York City and New Hampshire. Trioli’s work plays with the concepts of abstraction, pop and traditional painting methods. His work explores the simplicity of social abstraction and cognitive association within minimal form, color and structure. The hand of the artist remains hidden behind the concept and foreground of each piece, making process secondary to structured form.
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Trioli has participated in numerous group exhibitions including “SUNDAYMONDAYTUESDAYWEDNESDAY,” Farm Project Space + Gallery, Wellfleet, Massachusetts (2012); “Some Girls,” Launch F18, New York, New York (2011); “Can’t Hear The Revolution,” Kunsthalle Galapagos, Brooklyn, New York (2011); “Team Work,” Allan Nederpelt, New York (2010) and “Duck and Recover,” The F.U.E.L. Collection, Philadelphia (2009). Solo exhibitions include “Sagebrush Gulch,” Site95, Miami, FL (2012) and “Brumaire,” Howard Yezerski Gallery, Boston, MA (2012).
Trioli's work is included as part of the Rochester Museum of Fine Arts' permanent collection at the Rochester Community Center. Sawdust is his first solo exhibition with the museum in the Andrew Carnegie Gallery. More information on Sam Trioli's work can be found at www.samtrioli.com
Trioli's work is included as part of the Rochester Museum of Fine Arts' permanent collection at the Rochester Community Center. Sawdust is his first solo exhibition with the museum in the Andrew Carnegie Gallery. More information on Sam Trioli's work can be found at www.samtrioli.com
WAYNE WHITE & Elizabeth LeBlanc October 7 - November 30, 2017
The Rochester Museum of Fine Arts is proud to present a duo art show featuring a selection of works by internationally recognized artist Wayne White and local artist Elizabeth LeBlanc in the Carnegie Gallery at the Rochester Public Library.
Wayne White is an American artist, art director, illustrator, and puppeteer. Born and raised in Chattanooga, Wayne has used his memories of the South to create inspired works for film, television, and the fine art world. After graduating from Middle Tennessee State University, Wayne traveled to New York City where he worked as an illustrator for the East Village Eye, New York Times, Raw Magazine, and the Village Voice.
Wayne White is an American artist, art director, illustrator, and puppeteer. Born and raised in Chattanooga, Wayne has used his memories of the South to create inspired works for film, television, and the fine art world. After graduating from Middle Tennessee State University, Wayne traveled to New York City where he worked as an illustrator for the East Village Eye, New York Times, Raw Magazine, and the Village Voice.
In 1986, Wayne became a designer for the hit television show Pee-wee’s Playhouse, and his work was awarded with three Emmys. After traveling to Los Angeles with his wife, Mimi Pond, Wayne continued to work in television and designed sets and characters for shows such as Shining Time Station, Beakman’s World, Riders In The Sky, and Bill & Willis. He also worked in the music video industry, winning Billboard and MTV Music Video Awards as an art director for seminal music videos including The Smashing Pumpkins' 'Tonight, Tonight' and Peter Gabriel's 'Big Time.’
White’s works are on loan from a private art collector that has elected to donate two of the pieces to the museum’s special collections. The entire selection will be unveiled to the public at 2pm during an opening reception on Saturday, October 7th from 1-3pm.
White’s works are on loan from a private art collector that has elected to donate two of the pieces to the museum’s special collections. The entire selection will be unveiled to the public at 2pm during an opening reception on Saturday, October 7th from 1-3pm.
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Elizabeth LeBlanc is a New England based artist. Elizabeth studied at the Maryland Institute College of Art and received her BFA from Tufts University and the School of the Museum of Fine Arts. LeBlanc’s love of mixing and blending media begun in her earliest years, and continues to be an integral part of her art making process. “Process and layering" is how she works through each piece, in a problem solving manner. LeBlanc draws inspiration from fine art, interior design and nature.
The show runs from October 7th to November 30th, 2017. An opening reception will be held on Saturday, October 7, 2017 from 1-3pm. The Carnegie Gallery is located on the second floor of the Rochester Public Library at 65 South main Street, Rochester NH, 03867. The reception will include light refreshments and the public is encouraged to attend. Visit www.rochestermfa.org for more information.
The show runs from October 7th to November 30th, 2017. An opening reception will be held on Saturday, October 7, 2017 from 1-3pm. The Carnegie Gallery is located on the second floor of the Rochester Public Library at 65 South main Street, Rochester NH, 03867. The reception will include light refreshments and the public is encouraged to attend. Visit www.rochestermfa.org for more information.
BIENNIAL JUNe 3 - SEPTember 29, 2017
To conclude our programming based on Local Masters (contemporary masters currently working in New Hampshire) our third Biennial features works by Peter Dixon and Deborah Persson.
Peter Dixon has been painting for over forty years in the fine arts since his graduation from the Pratt Institute in Brooklyn, NY. Now from Hollis, NH his mystical and spiritual oil paintings are for him personally about the edges of seeing and they way the image appears or reappears on the periphery of and edge. Working with the square allows the elimination of any vertical or horizontal elements or narrative suggestions. The subject is deceptively simple. One shape diffuses onto its background allowing another to move to the foreground in a soft shift of color and value.
Peter Dixon has been painting for over forty years in the fine arts since his graduation from the Pratt Institute in Brooklyn, NY. Now from Hollis, NH his mystical and spiritual oil paintings are for him personally about the edges of seeing and they way the image appears or reappears on the periphery of and edge. Working with the square allows the elimination of any vertical or horizontal elements or narrative suggestions. The subject is deceptively simple. One shape diffuses onto its background allowing another to move to the foreground in a soft shift of color and value.
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Peter Dixon
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Deborah Persson is fascinated with the modern quilt movement and the shift away from traditional colors, patterns, and quilting techniques. She made her first quilt in 2012 and since then quilting has provided an opportunity to create with color, math, shapes, and textures, pushing the boundaries of what has been down before. It is a great contrast to her day job and a huge creative outlet. Each new project is an opportunity for her to learn new techniques, and she hopes to dye and design her own organic fabrics next.
Seeing the contrast of works between these two artists shows the diversity of contemporary art today in New Hampshire. Under their vision, the future looks bright.
Seeing the contrast of works between these two artists shows the diversity of contemporary art today in New Hampshire. Under their vision, the future looks bright.
Daniel anselmi APRil 1 - June 2, 2017
Daniel Anselmi was a Monhegan Artists Residency Fellow in 2013. He has shown in juried exhibitions including the University of Maine Triennial, University of New England, Portland Public Library, Cambridge Art Association’s Northeast Prize Show, and CMCA. His work has also been in 5 solo exhibitions and included in 24 group exhibitions.
"My works on paper and canvas explore the use of paper as an ongoing dialogue between painting and collage. I use painted paper as one would handle a brush to elicit brushstrokes on canvas. Never using the new, I enjoy the felt quality of the discarded: blueprints, old ledgers, chart papers, and used canvas dropcloths are materials that offer an aesthetic conversation with my work. The paint I apply to these various materials, whether in large cut pieces or intimate fragments, and affix to already created surfaces, offers countless opportunities to express color, line, and form. Though sourced materials are not intended to be recognizable in these abstractions, sometimes surface traces remain that become a moment of discovery for the discriminating viewer. "
There will be a small opening reception held on Saturday, April 8th from 1:30 to 3:30pm at the Rochester Public Library. Light refreshments will be served. The public is encouraged to attend.
"My works on paper and canvas explore the use of paper as an ongoing dialogue between painting and collage. I use painted paper as one would handle a brush to elicit brushstrokes on canvas. Never using the new, I enjoy the felt quality of the discarded: blueprints, old ledgers, chart papers, and used canvas dropcloths are materials that offer an aesthetic conversation with my work. The paint I apply to these various materials, whether in large cut pieces or intimate fragments, and affix to already created surfaces, offers countless opportunities to express color, line, and form. Though sourced materials are not intended to be recognizable in these abstractions, sometimes surface traces remain that become a moment of discovery for the discriminating viewer. "
There will be a small opening reception held on Saturday, April 8th from 1:30 to 3:30pm at the Rochester Public Library. Light refreshments will be served. The public is encouraged to attend.
Simon Sarris FEBRUARY 4 - march 31, 2017
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"When I find a good photograph in the wild and take it, it is like finding treasure. Usually when I take a photograph I feel like I am capturing or taking something (stealing) from the world. A small moment of time that I have bottled up. It almost makes me feel guilty. But I love the natural and the humanistic world and all its moments, and I love them so much I want to show them to you. These are moments in Portugal that I have found for you."
This series of beautifully presented photographs are from a recent trip to Lisbon. The works detail small moments in time that make up everyday life in Portugal's largest city.
This series of beautifully presented photographs are from a recent trip to Lisbon. The works detail small moments in time that make up everyday life in Portugal's largest city.
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Diane Bowie Zaitlin December 3 - FEBRUARY 3, 2017
Diane Bowie Zaitlin's mixed media and encaustic paintings reveal her fascination with the power of color, sensuality of surface, and use of a veiled narrative. Her imagery often refers to memory, choices, searching, and relationships, with a hint of landscape. She is especially attracted to the luminosity, depth, and fluidity of encaustic that allows a natural combination of painting and collage.
Diane has exhibited extensively including group shows at Cheryl Pelavin Fine Arts, New York City; The Art Complex Museum, Duxbury, Mass.; Saco Museum, Saco, Maine; ArtSpace Gallery, Maynard, Mass.; Carver Hill Gallery, Rockland, Maine; Flat Iron Gallery, Portland, Maine; Leighton Gallery, Blue Hill, Maine; Elan Fine Arts, Rockland, Maine; Greenhut Galleries, Portland, Maine; George Marshall Store Gallery, York, Maine; Brian Marki Gallery, Portland, Oregon; Redhouse Gallery, Dubuque, Iowa; Silvermine Guild Arts Center, New Canaan, Conn.; Charter Oak Temple Gallery, Hartford, Conn.; and Slater Museum, Norwich, Conn.
She received a B.F.A. from the University of Connecticut and also studied at Skidmore College in Saratoga Springs, New York. She has studied at Haystack Mountain School of Crafts and Maine College of Art. Diane has been an artist-in-residence at schools and museums with the Maine Touring Artist Program of the Maine Arts Commission for over twenty years. She currently teaches small independent encaustic workshops at her studio in Saco, Maine.
Diane has exhibited extensively including group shows at Cheryl Pelavin Fine Arts, New York City; The Art Complex Museum, Duxbury, Mass.; Saco Museum, Saco, Maine; ArtSpace Gallery, Maynard, Mass.; Carver Hill Gallery, Rockland, Maine; Flat Iron Gallery, Portland, Maine; Leighton Gallery, Blue Hill, Maine; Elan Fine Arts, Rockland, Maine; Greenhut Galleries, Portland, Maine; George Marshall Store Gallery, York, Maine; Brian Marki Gallery, Portland, Oregon; Redhouse Gallery, Dubuque, Iowa; Silvermine Guild Arts Center, New Canaan, Conn.; Charter Oak Temple Gallery, Hartford, Conn.; and Slater Museum, Norwich, Conn.
She received a B.F.A. from the University of Connecticut and also studied at Skidmore College in Saratoga Springs, New York. She has studied at Haystack Mountain School of Crafts and Maine College of Art. Diane has been an artist-in-residence at schools and museums with the Maine Touring Artist Program of the Maine Arts Commission for over twenty years. She currently teaches small independent encaustic workshops at her studio in Saco, Maine.
Toby Gordon October 1 - December 2, 2016
Toby Gordon lives and paints in Kittery Point, Maine. She studied with Stuart Shils, Wendy Turner, Tom Glover, and many other painters throughout New England.
"Painting, for me, lies between the abstract and the representational, the intention and the mistake. It lies between color and composition, what’s said and what’s not. It lies between what I see, what I imagine, and what happens when the paint and the canvas come into conversation with each other and take on a life of their own."
"Painting, for me, lies between the abstract and the representational, the intention and the mistake. It lies between color and composition, what’s said and what’s not. It lies between what I see, what I imagine, and what happens when the paint and the canvas come into conversation with each other and take on a life of their own."
Recovering the Classics June 4 - August 31, 2016
Recovering the Classics is a crowdsourced collection of original covers for great literary works in the public domain. Many of the greatest classics in the public domain are left with poorly designed or auto-generated covers that fail to capture what makes these books exciting and inspiring to us. Through this initiative, invited illustrators, typographers, and designers of all stripes crafted new covers for 100 of the greatest works in the public domain.
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Recovering the Classics is sponsored by the New York Public Library, the White House, and the Digital Public Library of America in order to bring the covers to libraries and schools nationwide through special edition ebooks. All designs are available for sale as prints, apparel, and other products to support the artists.
The book covers will be exhibited by the Rochester Museum of Fine Arts in the historic Carnegie Gallery at the Rochester Public Library as well as a pop-up show in the old Carnie Medical Supply store windows. The museum will also host a one-night-only pop-up exhibition at 56 North Main Street in the former Artstream Gallery from 5-8pm on June 4th. The public is encouraged to attend. Complimentary wine and refreshments will be served.
These exhibits are supported in part by Rochester Main Street, NH State Council On The Arts, and the National Endowment for the Arts. Visit 50x50.us for more information. Visit 50x50.us for more information.
The book covers will be exhibited by the Rochester Museum of Fine Arts in the historic Carnegie Gallery at the Rochester Public Library as well as a pop-up show in the old Carnie Medical Supply store windows. The museum will also host a one-night-only pop-up exhibition at 56 North Main Street in the former Artstream Gallery from 5-8pm on June 4th. The public is encouraged to attend. Complimentary wine and refreshments will be served.
These exhibits are supported in part by Rochester Main Street, NH State Council On The Arts, and the National Endowment for the Arts. Visit 50x50.us for more information. Visit 50x50.us for more information.
Rebecca Klementovich April 2 - June 3, 2016
The Rochester Museum of Fine Arts will feature Rebecca Klementovich in the Carnegie Gallery, at the Rochester Public Library, with a series of abstract oil paintings and photographs highlighting the life and process of abstract painters in the White Mountains.
“Living in the White Mountains gives us an arena of uncharted areas for modern work in an amazing landscape… the photos are often just as abstract as the paintings.” says Klementovich.
Klementovich is already a member of the museum’s permanent collection. In 2015, she generously donated a large abstract oil landscape which has quickly become a local favorite. As a result, she was nominated for Best Visual Artist by the Commission for Arts and Culture for the City of Rochester in August, 2015.
The duo strives to amplify the presence of contemporary art in rural New Hampshire by exhibiting works throughout the region and presenting “art not typically seen in the area.” Femme Fatales of the North, in Abstract will be on view April 2nd to June 3rd, 2016. The Carnegie Gallery, at the Rochester Public Library, is located at 65 South Main Street in Rochester, NH.
“Living in the White Mountains gives us an arena of uncharted areas for modern work in an amazing landscape… the photos are often just as abstract as the paintings.” says Klementovich.
Klementovich is already a member of the museum’s permanent collection. In 2015, she generously donated a large abstract oil landscape which has quickly become a local favorite. As a result, she was nominated for Best Visual Artist by the Commission for Arts and Culture for the City of Rochester in August, 2015.
The duo strives to amplify the presence of contemporary art in rural New Hampshire by exhibiting works throughout the region and presenting “art not typically seen in the area.” Femme Fatales of the North, in Abstract will be on view April 2nd to June 3rd, 2016. The Carnegie Gallery, at the Rochester Public Library, is located at 65 South Main Street in Rochester, NH.
Marcus Greene February 6 - March 26, 2016
Greene is a painter living in Concord, New Hampshire. He is currently the Bachelor of Fine Arts Chair at the New Hampshire Institute of Art, in Manchester, NH.
"These paintings reflect my on-going interest in the formal construction of imaginary spaces- sometimes suggesting nature or science, sometimes mythical or archetypal environments, and sometimes suggesting passages to other dimensions." "They always seem to be in motion and transition. I'm exploring, often blundering, impatient for the next scene. Colors, geometries, and individual marks are like characters set in motion; their interactions are spontaneous attempts to orchestrate accident and mother chaos for my own amusement, hoping for an edifying moment of clarity."
On view are two, ten foot paintings that line each wall of the gallery. Striking both in size and content, they are both part of a series Greene has been working on for many years, inspired by the natural elements; air, fire, earth, and water.
"These paintings reflect my on-going interest in the formal construction of imaginary spaces- sometimes suggesting nature or science, sometimes mythical or archetypal environments, and sometimes suggesting passages to other dimensions." "They always seem to be in motion and transition. I'm exploring, often blundering, impatient for the next scene. Colors, geometries, and individual marks are like characters set in motion; their interactions are spontaneous attempts to orchestrate accident and mother chaos for my own amusement, hoping for an edifying moment of clarity."
On view are two, ten foot paintings that line each wall of the gallery. Striking both in size and content, they are both part of a series Greene has been working on for many years, inspired by the natural elements; air, fire, earth, and water.
Shiao-Ping Wang October 3 - November 28, 2015
Shiao-Ping Wang was born in Taiwan and immigrated to the United States in 1981. She studied both Western and Chinese art in New York and earned a MFA degree from Queens College, City University of New York. She works both abstractly and from observation in various painting media.
"Patterns of a constructive nature—architectural graphs, weaving patterns, and city maps—are sources for my composition. Once I have integrated them into my work, I then add more shapes and elements to each painting layer, using acrylic paint and medium, to gradually “build” a cohesive picture that features different degrees of translucency.
In the physical process of painting, I follow more intuition than knowledge. I want to be in a place in my paintings where patterns are urgently needed on the emotional level so that narratives can be translated into repetitions and rhythms. In other words, I search for forms that have the power to replace anecdotes. "
Wang's work has been exhibited throughout the US and China. She has taught painting and drawing in various colleges including the University of New Hampshire. In 2007 Shiao-Ping won a Fellowship at Vermont Studio Center. In 2008 she won the Spotlight Award for Best Painter in the Seacoast.
"Patterns of a constructive nature—architectural graphs, weaving patterns, and city maps—are sources for my composition. Once I have integrated them into my work, I then add more shapes and elements to each painting layer, using acrylic paint and medium, to gradually “build” a cohesive picture that features different degrees of translucency.
In the physical process of painting, I follow more intuition than knowledge. I want to be in a place in my paintings where patterns are urgently needed on the emotional level so that narratives can be translated into repetitions and rhythms. In other words, I search for forms that have the power to replace anecdotes. "
Wang's work has been exhibited throughout the US and China. She has taught painting and drawing in various colleges including the University of New Hampshire. In 2007 Shiao-Ping won a Fellowship at Vermont Studio Center. In 2008 she won the Spotlight Award for Best Painter in the Seacoast.
Biennial June 6 - September 26, 2015
BEST IN SHOW - Ashley Normal “Game”
The Rochester Museum of Fine Arts 2015 Biennial will be on view from June 6th to September 26th in Rochester, NH. The museum reviewed over 300 entries submitted by artists from around the world. Only 18 works were selected.
The 2015 Biennial exhibition will feature works by: Daniel Fleming (Milwaukee, WI) Tomas Castano (Santander, Spain) Zedekiah Schild, Agnieszka Pilat (San Francisco, California) Sharon McCullough (Cashtown, Pennsylvania) Michael A. McCullough (Biglerville, Pennsylvania) Lidija Matulin (Zagreb, Croatia) Karl Lorenzen (Rockaway Park, NY) Karena Ness (Lempster, NH) Dena Nord (Elgin, IL) Douglas Breault (Providence, RI) Uchenna Odukwe (London, England) Aripta Chandra (Gurgaon, India) Ashley Normal (York, ME) Marcos Inacio (Sao Paulo, Brazil) Agent X (Vancouver, Canada) Thomas Howard (Babylon, NY)
The 2015 Biennial exhibition will feature works by: Daniel Fleming (Milwaukee, WI) Tomas Castano (Santander, Spain) Zedekiah Schild, Agnieszka Pilat (San Francisco, California) Sharon McCullough (Cashtown, Pennsylvania) Michael A. McCullough (Biglerville, Pennsylvania) Lidija Matulin (Zagreb, Croatia) Karl Lorenzen (Rockaway Park, NY) Karena Ness (Lempster, NH) Dena Nord (Elgin, IL) Douglas Breault (Providence, RI) Uchenna Odukwe (London, England) Aripta Chandra (Gurgaon, India) Ashley Normal (York, ME) Marcos Inacio (Sao Paulo, Brazil) Agent X (Vancouver, Canada) Thomas Howard (Babylon, NY)
Danielle Krysa, of TheJealousCurator.com, selected Ashley Normal's "Game" with the ‘best in show’ award. Danielle earned her BFA in Visual Arts (painting, printmaking, and art history) and a post-grad in Design. She's worked as a designer and Creative Director for more than 10 years, but has never stopped loving and creating art.
Krysa writes daily posts showcasing artwork from around the world, and recently completed two books published by Chronicle Books in 2014. She has curated shows in Washington DC, Vancouver Canada, Chattanooga TN, and in Los Angeles. She is a contributor to sfgirlbybay and Style by Emily Henderson, and has written posts for West Elm, Etsy, Design Crush, Yellowtrace, Move Lifestyle, eBay, Escape Into Life, EcoFabulous, and several others. Krysa also serves as an honorary board member for the Rochester Museum of Fine Arts.
Benjamin Cook April 4 - May 30, 2015
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Benjamin Cook is an artist from Northern Kentucky currently living in Champaign, Illinois. He received his BFA from the University of Louisville in 2012 and is a current MFA candidate at the University of Illinois Urbana-Champaign. His work has been exhibited nationally in Louisville KY, Cincinnati OH, Ann Arbor MI, Wichita KS, Palo Alto CA. His work is in the collections of the University of Louisville and 21c Museum.
“My paintings are created from a desire to make the intangibles in the world into a physical object. I metabolize images, media and processes from the digital world around me and appropriate them as paintings.
From gradients and layering in Photoshop, to the anonymous image consumption in Instagram and Tumblr, my paintings are disparate moments forced into conversation. Each painting in the series titled Paintings for the Internet was created specifically to be photographed and shared online.”
“My paintings are created from a desire to make the intangibles in the world into a physical object. I metabolize images, media and processes from the digital world around me and appropriate them as paintings.
From gradients and layering in Photoshop, to the anonymous image consumption in Instagram and Tumblr, my paintings are disparate moments forced into conversation. Each painting in the series titled Paintings for the Internet was created specifically to be photographed and shared online.”
Marsi Van De Heuvel February 7 - April 4, 2015
“I’ve had an interest in Space for as long as I can remember. I started collecting books on the theme, and made my first drawings of The Northern Sky and The Southern Sky about two years ago. Before I knew it, I was drawing every constellation, and the Earth, Sun, and Moon. Space consumed me.
Each pen stroke in my work is deliberately used to map out a representation of something infinitely bigger. It takes about two hours to draw a ten centimeter square, at a rate of about seven strokes per second. The largest drawing I’ve done to date in this technique, is Omega Centauri, the brightest star cluster in our galaxy. It took two months to complete.
The vastness of space helps me to put some perspective to our significance. Creating this work also showed me how extraordinary our home planet is – it is an oasis in a beautiful but hostile never-ending desert. The idea of Space perpetually engages me as there is always more to explore – it’s intangible and romantic, and reveals my unrequited love for a remarkable unemotional expanse of darkness.”
Marsi is an artist living and working in Cape Town, South Africa. She is currently represented by Smith Studio.
Each pen stroke in my work is deliberately used to map out a representation of something infinitely bigger. It takes about two hours to draw a ten centimeter square, at a rate of about seven strokes per second. The largest drawing I’ve done to date in this technique, is Omega Centauri, the brightest star cluster in our galaxy. It took two months to complete.
The vastness of space helps me to put some perspective to our significance. Creating this work also showed me how extraordinary our home planet is – it is an oasis in a beautiful but hostile never-ending desert. The idea of Space perpetually engages me as there is always more to explore – it’s intangible and romantic, and reveals my unrequited love for a remarkable unemotional expanse of darkness.”
Marsi is an artist living and working in Cape Town, South Africa. She is currently represented by Smith Studio.
Jeannie Griffin-Peterka October 4 - November 29, 2014
Jeannie Griffin-Peterka, a Dallas native, began her formal training at Southern Methodist University (Dallas, TX) while studying abstract expressionists in Art History. She later worked with several accomplished artists but it wasn't until she met her mentor, Zanne Hochberg, that she was able to go into what she refers to as “pure abstraction.”
“I asked [Zanne Hochberg] if she would take me on as a student… She became my mentor, and teacher, my friend, and always an inspiration. She believed in me as an artist and I will be forever grateful to her.”
Griffin-Peterka now holds a studio in the Button Factory and has exhibited her work in a variety of venues throughout the Northeast. This is her first exhibition with the Museum of Fine Arts in Rochester.
“I don’t have anything in mind when I start to work except for perhaps some colors I might like to use that day. Even that is subject to change, though, as the painting continues to progress. I start by putting color on the canvas, drawing with charcoal or paint, adding layers of paint and soon something will begin to emerge. I turn the canvas constantly so that it’s worked from all directions. I only decide at the end which way it should hang. I’m currently working with multiple panels and joining them together in the back. I like seeing the energy between the panels and the sharp line made from joining the panels. There is nothing more exciting to me than seeing one or more freshly stretched canvases hanging on my studio wall and wondering what the final painting will look like.”
“I asked [Zanne Hochberg] if she would take me on as a student… She became my mentor, and teacher, my friend, and always an inspiration. She believed in me as an artist and I will be forever grateful to her.”
Griffin-Peterka now holds a studio in the Button Factory and has exhibited her work in a variety of venues throughout the Northeast. This is her first exhibition with the Museum of Fine Arts in Rochester.
“I don’t have anything in mind when I start to work except for perhaps some colors I might like to use that day. Even that is subject to change, though, as the painting continues to progress. I start by putting color on the canvas, drawing with charcoal or paint, adding layers of paint and soon something will begin to emerge. I turn the canvas constantly so that it’s worked from all directions. I only decide at the end which way it should hang. I’m currently working with multiple panels and joining them together in the back. I like seeing the energy between the panels and the sharp line made from joining the panels. There is nothing more exciting to me than seeing one or more freshly stretched canvases hanging on my studio wall and wondering what the final painting will look like.”
Ruth Dudley-Carr June 7 - August 1, 2014
Ruth Dudley-Carr is a visual artist based in Boston, MA. She employs photography, video, sculpture, and installation as a way to communicate about illness, human form, and the aging process. Her work has been exhibited across the United States and is held in private and public collections. Ruth is currently an MFA candidate at the Vermont College of Fine Arts.
Ex Nihilo comes from the Latin phrase “out of nothing”. The images from this show were created by placing food and household items in water and watching the process of these items blending and diluting. Items used in this body of work include hair gel, personal lubricant, food coloring, corn syrup, sugar, and mayonnaise. This body of work considers how items decompose or dilute over time in natural environments, much like our bodies.
Ex Nihilo comes from the Latin phrase “out of nothing”. The images from this show were created by placing food and household items in water and watching the process of these items blending and diluting. Items used in this body of work include hair gel, personal lubricant, food coloring, corn syrup, sugar, and mayonnaise. This body of work considers how items decompose or dilute over time in natural environments, much like our bodies.
Daniel Fleming April 5 - May 24, 2014
Daniel Fleming currently works full-time as an illustrator and designer for The Shepherd Express and has been their main go-to designer and illustrator for a variety of outside clients, both for the paper and their internal design company, Express Creative, for over three years. He's taken on a variety of tasks and projects throughout the years, getting hands-on experience designing everything from romance novels to trade-show booths.
Although his current full-time employment is design-based, he has simultaneously been building a career as an emerging fine artist and saw his best year yet in 2013 with multiple solo and group shows, increasing sales, and also became a finalist in the "Tournavation Pitch" alongside such big local names as Reginald Baylor and John Rippenoff. Despite continuing to work full-time, he's steadily inching closer to his goal of becoming a "full-time artist" and hopes to progress even more in the coming year with new mural projects, show proposals, and new art/business ventures.
In the past year he's worked to advance his career as an artist through a variety of projects, collaborations, and exhibitions. Daniel was a member of Reginald Baylor's "Plaid Tuba Studio" in the Third Ward until recently opening a personal studio on the East Side of Milwaukee, WI.
In the summer of 2012, Fleming helped introduced the idea, and worked with a number of local activists and artists on the FIRE!FIRE! benefit. From this, they raised over $10,000 for the artists and businesses affected by the Center Street fire, including the Green Gallery East. Daniel's also been featured in various solo shows, including a collection of large-scale abstract work at Blutstein-Brondino Fine Art and a recent showing at Gallerie M featuring his first MKE mural.
He's sold work to various public and private collections internationally, including the new Northwestern Mutual Building in downtown Milwaukee and the Rochester Museum of Fine Arts. In addition, He operates an art blog which receives over 10,000 views per month, has had pieces featured on the blog Hyperallergic and OnMilwaukee, and is a vocal member of the local art community. Visit his blog marionart23.blogspot.com for more details and daily updates on work and future projects.
“I explore a variety of social and political issues, creating insight into perspectives and ideas that many would not otherwise encounter. I take pride in creating work that spans various religious, political and cultural boundaries, creating a discussion and narrative that informs the viewer of the vast world around them. With a combination of symbol, representation, mark-making and a unique approach to titling, I provide various aspects of a topic and ask the viewer, using their own experiences and perspectives, to discover their own narrative in the work. This leads to an ever-changing and ever-growing artwork that develops alongside the people who view it. Though I call myself a painter, I use a wide variety of media and am always exploring new tools and techniques. While I almost always include painting in my work, drawing and mark-making has become an equally important aspect of my recent collections, as exemplified in this series of ink-drawings and paintings.”
Although his current full-time employment is design-based, he has simultaneously been building a career as an emerging fine artist and saw his best year yet in 2013 with multiple solo and group shows, increasing sales, and also became a finalist in the "Tournavation Pitch" alongside such big local names as Reginald Baylor and John Rippenoff. Despite continuing to work full-time, he's steadily inching closer to his goal of becoming a "full-time artist" and hopes to progress even more in the coming year with new mural projects, show proposals, and new art/business ventures.
In the past year he's worked to advance his career as an artist through a variety of projects, collaborations, and exhibitions. Daniel was a member of Reginald Baylor's "Plaid Tuba Studio" in the Third Ward until recently opening a personal studio on the East Side of Milwaukee, WI.
In the summer of 2012, Fleming helped introduced the idea, and worked with a number of local activists and artists on the FIRE!FIRE! benefit. From this, they raised over $10,000 for the artists and businesses affected by the Center Street fire, including the Green Gallery East. Daniel's also been featured in various solo shows, including a collection of large-scale abstract work at Blutstein-Brondino Fine Art and a recent showing at Gallerie M featuring his first MKE mural.
He's sold work to various public and private collections internationally, including the new Northwestern Mutual Building in downtown Milwaukee and the Rochester Museum of Fine Arts. In addition, He operates an art blog which receives over 10,000 views per month, has had pieces featured on the blog Hyperallergic and OnMilwaukee, and is a vocal member of the local art community. Visit his blog marionart23.blogspot.com for more details and daily updates on work and future projects.
“I explore a variety of social and political issues, creating insight into perspectives and ideas that many would not otherwise encounter. I take pride in creating work that spans various religious, political and cultural boundaries, creating a discussion and narrative that informs the viewer of the vast world around them. With a combination of symbol, representation, mark-making and a unique approach to titling, I provide various aspects of a topic and ask the viewer, using their own experiences and perspectives, to discover their own narrative in the work. This leads to an ever-changing and ever-growing artwork that develops alongside the people who view it. Though I call myself a painter, I use a wide variety of media and am always exploring new tools and techniques. While I almost always include painting in my work, drawing and mark-making has become an equally important aspect of my recent collections, as exemplified in this series of ink-drawings and paintings.”