Celine Browning: Skinned


Celine Browning works with the intricate intimacies of the quotidian. Using the remains of everyday objects, her sculptures and photographs speak to fragility and vulnerability,. Her current show, Skinned, at the Kingston Gallery, reconsiders and reframes these objects.  In the images of apples which have been cut and then reassembled she alludes to our hubris, thinking we could repair something that is, in fact, already decaying.

In works like Something of Ours (II) she literally strips away articles of clothing from their support – challenging the viewer to imagine them whole and repaired as well.  Her work reminds me of some of Zoe Leonard’s early projects – especially those where the artist reassembles fruits and vegetables with sutures and zippers.  Celine’s work offers us a window into our own vulnerability, our own humanity, and ourselves.

Gail Erwin’s terrific video explaining Van Dyke Brown printing

Gail Erwin’s exhibit at the Kingston Gallery features Van Dyke Brown prints, a 19th century photographic process.  There were many questions about the process during the opening, so this video demonstration was produced to answer them.  The chemicals that are mentioned in the video are Ferric Ammonium Citrate, Tartaric Acid and Silver Nitrate.

Gail will be in the Gallery on Saturday, November 16 from 3-5, Tuesday, November 26 from 2-4 during the Public Relations hours, and Sunday, Dec 1, from 12-5 if you would like to ask more questions.

The exhibit runs until December 1 – we look forward to seeing you there.



Artscope covers Gail Erwin’s upcoming exhibit


Arcadian Concert, Van Dyke Brown Prints at Kingston Gallery

in Boston, Massachusetts October 30th through December 1st


kingston                      Wine Deep Song by Gail Erwin, Van Dyke Brown.

At first glance, Gail Erwin‘s printmaking, painting and hand papermaking are simply graceful. They are full of inviting forms and textures that instantly capture the eye. Revealed in a deeper look are the intricate perplexities of her works: light, tension, duality and exposure. Erwin combines 21st century digital technology and 19th century photographic techniques, creating new, unpredictable images with an added, haunting dimension. Cyanotype and Van Dyke Brown printing are nineteenth century non-silver alternative photo processes in which an emulsion is painted on a paper or fabric surface, exposed to light and then developed in water. The results are blue-toned and brown-toned, respectfully, and the end product is allure. Erwin explores nature and landscape with the intention of examining the mystery that envelopes them, resulting in Arcadian images of an idealized landscape that captivate the viewer. Of her fascination with nature, Erwin says, “Energy and dissipation, growth and regeneration are the forces that shape the natural world, creating tension and duality. Time, age and memory are reflected in image and process.” Arcadian Concert, Van Dyke Brown Prints will be on view Wednesday, October 30th through Sunday, December 1st at Kingston Gallery, where Erwin has been a member for 14 years. Gail also teaches at Massachusetts College of Art and Design in Boston and has taught at the DeCordova Museum School as well as other community arts centers. She continues to teach classes in her studio at ArtSpace Maynard. A First Friday Opening Reception for Arcadian Concert, Van Dyke Brown Prints will be held Friday, November 1st from 5-8pm.


Artscope – thanks for the coverage!

Artifact and Underlying Harmony at Kingston Gallery

Tuesday, October 15th, 2013, 4:21 pm

Elif Soyer<br /><br /><br />
Three<br /><br /><br />
metal, concrete, porcelain<br /><br /><br />
18 x 18 x 5 inches<br /><br /><br />

Elif Soyer Three metal, concrete, porcelain 18 x 18 x 5 inches 2013

 Elif Soyer: Artifact

Paul Andrade: Underlying Harmony

At the Kingston Gallery

By Cole Tracy

Boston, MA- The current exhibitions at the Kingston Gallery are certain to catch some intrigued glances. Both artists have a strange, and fitting harmony between them.

Elif Soyer’s body of work, “Artifact,” is an intensely personal exploration of how the artist navigates through the everyday. By using cement, she calls to mind all sorts of commonplace objects, through her use of texture and items exploding out of masses of grey. A fist is the only recurrent image throughout the work, reminding us of the artist’s hand, and our relationship to a material that surrounds us through much of our life.

The viewer also questions preconceived notions about art; it’s not everyday that one sees hanging blocks of cement in a gallery space. They stand on their own successfully, and reward those who give the objects more time.

The pieces fascinate and astound, each one is a world of it’s own, reminiscent of a topographical map from another planet. The objects coming through bring to mind artifacts, of whom or what is impossible to say but the collision of textures, colors and fabrics creates odd juxtapositions.

Not many of these items are identifiable, a ceramic bulge, red shiny fabrics wrapped in oblong shapes covered by mesh. The confusion and uncertainty of what these things actually are, is an affirmation to Soyer’s underlying theme: anything can be anything. If this is a representation of her perception of the everyday world, we can only imagine the fascinating things we might glimpse taking a walk in her shoes.

Paul Andrande’s “Underlying Harmony” paintings similarly push the viewer towards unfamiliar territory in his abstract and formal line paintings. Andrande’s influence for these works comes primarily from music, dubbing the series ‘color chords’ after the notes of harmony he is creating through color selection and interrelation.

The colors are bold, and tend to be within a similar palette, to show his ‘scale’ in a given color zone. The dynamic paintings are easy to stare at, comparing the thickness of each drip of paint. The artist’s hand is still visible, and he walks a fine line between abstract formalism and expression by letting the lines go towards imperfection and letting the lines remain uneven it reminds us of the humanity behind the paintings.

In “Red Strings,” a square 12” x 12” image dominated by several tones of reds, pinks and oranges, is also interspersed with touches of black and blue. These darker colors serve the plane well, breaking it up at intervals and making sure the viewer doesn’t get lost within all the warm tones. Andrande has a keen sense of the spatial relationship of his canvas.

The show is nontraditional and invites the viewer to question preconceived notions about what is and is not art. Elif Soyer shows us the capability of all objects to be elevated to the high status of art. Paul Andrande also transforms his thoughts, musical and otherwise, into geometric abstract expressionist paintings. Both series draw on the mystifying beauty of a world many can only find banality within.

(“Elif Soyer: Artifact” and “Paul Andrade: Underlying Harmony” continue through October 27 at the Kingston Gallery, 450 Harrison Ave., Boston. For more information, call (617) 423-4113.)





The gallery this month is a study in comparisons. Our two October exhibits, Elif Soyer: Artifact and Paul Andrade: Underlying Harmonies co-exist and complement each other, sharing a concern with objects – finding or making them.

Each of Elif Soyer’s works evokes an archeological site, each embedded object implies some kind of narrative, each object is seemingly left behind.  We look to objects to tell us their own stories and we put them together hoping to understand a larger history. Her work brings to my mind the work of the American visual artist Leonard Drew and the Turkish author Orhan Pamuk and his Museum of Innocence, an actual museum filled with objects used by characters from the novel of the same name. In this show, Elif creates her own archeology whose implied excavation is both literal and metaphoric.

Paul Andrade’s small elegant paintings also bring to mind other artists, in particular two Boston artists, David Moore and Bill Thompson, He shares with them a visceral handling of the paint and a clear love of and exuberance for color. The paintings become a pure experience both for the artist and the viewer. The paintings are the objects that hold us in their intensity and the physicality of the materials themselves.  The colors wrap around the support; they vibrate and hold our attention in a purely formal way.  These paintings are rewarding and visually demanding at the same time.

Image: Elif Soyer, 8 in 1, Clay and Concrete on Metal and Wood,18 x18 x 5 inches, 2013

Image: Paul Andrade, Value Scale #4, 24 x 24 inches, Enamel on aluminum, 2012-2013

We have invited visitors to contribute their notion of what a gift is. Here are some of them:


A gift delights the giver as much as the receiver.

To me a gift means lots of love and thoughtfulness.

I love giving more than getting.

 My favorite gift is the gift of time.

 The response to a prayer

 A gift is poetry exchanged as an object that represents our hopes, dreams and desires.

 Love is what a gift means to me, lots of it put in with the gift, and friendship and happiness.

 A gift means that I am Thought of and loved.

An experience

Every breath

A gift is the 924 Porsche I just found!

Gifts make me happy and thankful.

A gift to me is something that is totally personalized. Anything you receive from an individual can’t be given by anyone else.

 The right gift is one that reflects how much someone knows and loves you

A gift means someone has made a connection with my inner being, and has courageously and generously been willing to symbolize that connection with a physical object.


Contemplating All The Members: Gifted


Image: Lynda Schlosberg, In Transition, Acrylic on panel, 30 x 30 inches,2013

Being able to consider the results of my own thinking and response to the book The Gift by Lewis Hyde, by seeing the work currently on exhibit at the Kingston Gallery, is like looking in a mirror.  Although not everyone took the idea to heart and several took the idea literally (there were actual “gifts” for the visitors), the exhibit had a coherence based on this underlying idea of the gift.

As I am reading the book certain passages stay with me; in fact, the author’s words themselves feel like a gift. It has profoundly influenced me, as it has many other artists and writers, since it was first published in 1983.

For me, there is always a thread, an elegance and a synergy that presents itself when curating an exhibit.  For All The Members: Gifted that experience was energized by my own thinking – not only in regards to the art object and its maker, but more broadly about how we as a culture rely on the generosity and grace of others, about the need for the giving and receiving of gifts.

Please join us for the upcoming Curator’s Talk on Sunday, September 22 at noon. It should also be a fascinating to hear from the artists as well, whose work is represented in the exhibit.  Be part of the conversation!


Greetings From Kingston Gallery!


Image:  Jamie Bowman, “Stacey”, Oil on canvas, 3×3 inches, 2013

Free Association 2013, Kingston Gallery Associates’ fourth annual exhibition is up for another week, until August 29, and ends our summer season.  The viewer is greeted (that was me this afternoon) with an enticing breadth of variations – medium, size, scale, and especially process.  This free association, where one thought leads to the next, is the thread that holds the show together so well.

Here is my snapshot of just a few of the artists, which demonstrate this wide and Interesting variety, followed by a full description of all the artists:

The tiny black frames of Jamie Bowman’s tiny oil portraits both unify the group and set them apart from each other. David Kinsey’s work on paper is a frenetic assemblage of white lines, describing an imagined space. Peggy McClure’s abstract digital images of deteriorating surfaces of walls pull us in, reminiscent of Aaron Siskind’s photographs of similar subject matter. The vibrant encaustic paintings of Jeanne Griffin are both pattern and landscape simultaneously. In Erica Licea-Kane’s mixed media work, the surface is like a variegated skin undulating across the multiple layers of the support.

The Kingston Gallery Associates:

Rebecca Arnoldi creates ecological mixed media art that explores the visual language, essence, and life energy of natural forms and the relationship between body and earth. Her materials include second-hand cloth, plant pigments, beachcombed rope, algae, and burnt wood from the beach. Her work has been published in The Boston Globe, Brookline Magazine, and Provincetown Banner. Arnoldi has shown work in galleries and museums in Boston, Provincetown, New York City and Israel.

Jamie Bowman’s current work centers on small-scale portraits and still lifes in oil.  She earned her BFA from SUNY Plattsburgh and her MFA in painting from UNH.  Most recently, her work has been exhibited at St. John’s College, Annapolis, MD and Bowery Gallery, NY. Bowman was recently awarded a residency by the Heliker-LaHotan Foundation.

Erika Carpenter has a deep interest in exploring the landscape of outer space and its celestial objects.  She favors oil painting as her medium for its richness and luster of texture, and brilliance of color.  She also enjoys working in graphic arts and sculpture.  She earned her BFA from Tufts University and her MFA from the School of the Museum of Fine Arts, Boston.

Jeanne Griffin says that her travels always inspire her. In her newest encaustic paintings, she draws from a recent trip to Nepal and Bhutan. In some of the resulting paintings, these visual images are transformed into abstract landscapes. In others, the artist has expanded on imagery of flowers and plants native to these countries.  Griffin earned her BFA from Tufts University and a diploma from the School of the Museum of Fine Arts, Boston. Her work has been exhibited widely, including the Worcester Art Museum, MA, Art Complex Museum, MA, Longmont Museum, CO, and Mesa Museum of Contemporary Art, AZ.

Chantal Hardy is a 2-D visual artist working in oil, pen and ink, and gouache.   She enjoys the physicality of painting and drawing and is often seduced by color.  Her work builds organically from the act of mark making. Her nascent series, Transmission, explores communication (both literal and figurative) within a twilight netherworld. Applying velvety gouaches to handmade Japanese paper, she punctuates earth-toned passages with fluorescent, figural line work. Chantal received her BA from Oberlin College and is currently pursuing an MAT in Art Education at Tufts University.

David Kinsey‘s current work has been focused on a series of drawings, which use an abstract language and notions of aesthetics, dichotomies, the physical versus the ethereal, internal versus external. Embedded in abstract forms, using archival ink pens and paper, he finds a level of sensitivity and fluidity in mark and expression. David received his BFA from Ringling College of Art and Design and his MFA from Yale University. He currently is an Assistant Professor at Stonehill College. He has received various awards including a George and Helen Segal Grant, Hermitage Artist Residency Fellowship, and Artist of Distinction Award in the Still Point Arts Quarterly Publication.

Erica Licea-Kane has been a working artist for the past 33 years. Her work celebrates decoration, and also represents the meditative qualities of working in layers and the numerous hours of repetitive actions, akin to her textile training.  Emotionally, and most importantly, the work addresses the juxtaposition of her personal challenges in dealing with order/non-order and balance, co-existing in a shared space or time. Currently she is an Assistant Professor and the Director of the Towne Art Gallery at Wheelock College. Licea-Kane received her BFA at the Parsons School of Design and her MFA at the Massachusetts College of Art and Design.  Both degrees were based in the area of textiles as a fine art medium.

Robert Maloney’s work straddles the line between structures being torn down and those being erected, as well as the elements of modern life that go unnoticed. He is fascinated by the many layers and elements in the urban landscape which are inevitable and out of our control. Everything from our physical surroundings to our human relationships evolve and expand, then decline and deteriorate, only to leave a trace of these memories, scars of their previous existence. Maloney earned a BFA in Illustration from Massachusetts College of Art and Design and is currently enrolled in a Summer Low-Residency MFA program there. He has shown in numerous galleries in the Boston area including the Mercury Gallery, C. Duell Arts, 13 Forrest Gallery, Sunne Savage Gallery and the Copley Society of Art. Robert’s work is in the collection of Wellington Management, Liberty Mutual and other private collections. Since 2007 he has been an Adjunct Instructor/Assistant Professor in Illustration at MassArt.

Peggy McClure is a photographer who examines concepts of permanence and impermanence.  In her latest work, she photographs walls of crumbling plaster, sometimes punctuated with tiny, randomly placed bits of plastic in the crevices.  A mark-maker, she was first attracted by the beauty in the deterioration, seeing the walls as canvases drawn with graphic lines, loops, and patches of color. McClure studied at Massachusetts College of Art and Design, School of the Museum of Fine Arts, Boston and New England School of Photography.  She has taught photography at the Danforth Art Museum and School. Her work has been exhibited throughout Massachusetts and Pennsylvania.

Rachel Thern focuses on curved lines. The paintings are a visual exploration of these forms through their repetition and interaction. The artist is drawn to them, as they feel like intuitive gestures. She also incorporates mathematical curves, as reflected in natural phenomena and living organisms. Using ink applied to wet paper with brushes and eyedroppers, she creates a large grid making up a pattern reminiscent of the movement of water or a cosmic event. Thern studied at the Maryland Institute College of Art and completed a BFA at SUNY Buffalo, where she also received a BA in Psychology and an MA in Library and Information Science.

August in the City

What a delight to see the new work from the Kingston Gallery Associates, a group of ten artists, juried by the membership to expand the Gallery’s contact with artists and to encourage new art. This is their fourth annual summer exhibit Free Association 2013 at the Kingston Gallery.

The title is apt, as the group embodies a wide range of ideas, processes and materials.  The work, elegantly hung in the space, ranges from figurative and figuration to abstraction, and constructed/ assemblage.

This Sunday, August 11, there will be Artist Talk in the gallery, from 1 – 3 p.m.; the artists will discuss their individual work and the exhibit as a whole. Please join us for the upcoming event!

ImageSome of the artists at the opening, left to right: Rachel Thern, Jeanne Griffin, Bob Maloney, Peggy McClure, in front of work by Rachel Thern, Friday August 2