Gallery Artists’ News

The second half of 2014 was as busy as the first for Kingston Gallery’s artists! We are happy to share what our artists have been up to:

Ilona Anderson currently has work in Imaginal/Imagining The World (organized by Deborah Davidson, Suffolk University Gallery Director) at the Adams Gallery, Suffolk Law School. The exhibition runs through January 25.

Kathleen Gerdon Archer was a finalist for the Photolucida Critical Mass awards. Photolucida is an arts nonprofit based in Portland, Oregon whose mission is to provide platforms that expand, inspire, educate and connect the regional, national, and international photography community.

Linda Leslie Brown Co-Host Ceramic, metal, plastic, paper clay 13 x 9 x 9 inches 2013

Linda Leslie Brown — Co-Host, ceramic, metal, plastic, paper clay, 13 x 9 x 9″, 2013

Linda Leslie Brown has been awarded a 2015 Traveling Fellowship from the School of the Museum of Fine Arts, Boston. She had a new environmental work in copper wire and crystal, Indra’s Drala Net, installed as part of the Kingstown RI Land Trust Sculpture Trail, and she currently has work in Imaginal/Imagining the World Imaginal/Imagining The World at the Adams Gallery, Suffolk Law School. (See Ilona Anderson, above, for full details).

Judith Brassard Brown’s painting, Frontline, was purchased by NYU’s School of Professional Studies in New York, NY. She had work in the group exhibit Faculty and Students of Montserrat College of Art and Endicott College at the Rocky Neck Cultural Center, Gloucester, MA during the month of October, and also during October she exhibited work at New England BioLabs in Ipswich, MA.

Mary Bucci McCoy is now represented by Gray Contemporary in Houston, TX and CG2 Gallery in Nashville, TN. Her work was included in an exhibition of work by gallery artists, Aloe Vera, at Gray Contemporary in August and also was featured in a two-person show with the British painter Erin Lawlor, Long Loud Silence, in September and October at the gallery. Reconfiguring Abstraction: Lisa Russell and Mary Bucci McCoy was on view at the FPAC Gallery in South Boston in August and September. Mary was the Visiting Critic for the fall semester at Montserrat College of Art’s Senior Fine Arts Seminar. She has work in a group exhibition of work by gallery artists at Gray Contemporary, Houston, TX through January 17.

Conny Goelz-Schmitt had work in Bibliophilia at Nave Gallery Annex, Somerville, MA during the month of October. Also during October Conny also had work in Time Travelers at Cambridge Arts Association, Kathryn Schultz Gallery, Cambridge.

Julie S Graham had work in the Salon Show at the Clark Gallery, Lincoln, MA in November–December.

 the space between, hand embroidery on re-appropriated linen, 50 x 72", 2012

Joetta Maue — the space between, hand embroidery on re-appropriated linen, 50 x 72″, 2012

New member Joetta Maue spoke at the event With Thread in Hand, a program celebrating the historic and vital art of embroidery, at The Atwood House Museum in Chatham, MA in November. Also in November Joetta had work in Narcissism and The Self-Portrait at the Ann Street Gallery in Newburgh, NY. She had work in The Personal is Political, at the Slater Concourse Gallery, Aidekman Arts Center, Tufts University, Medford, MA in November and December. Joetta gave an informal talk within the context of the exhibition Vessels at the Nave Gallery Annex in Davis Square in December.

Jennifer Moses was an artist in residence at Yaddo, Saratoga Springs, NY for the month of July. She had work in the summer-long exhibition Surface, Strokes and Light, a group exhibition of of contemporary painters and sculptors at Kelly Roy Gallery. Broadsided Press displayed a collaboration between Moses and poet Annie Finch on the Cape Cod Public Bus Transit in the summer through September.

Rose Olson had work in Postscript: A Selection of Work from the Gallery Artists and the Director’s Collection at Hutson Gallery, Provincetown, MA in September and October . She had a group of small works on display in October at Susan Maasch Fine Art, Portland, ME, and currently has work on display there in Gallery Artists: Group Exhibition at Susan Maasch Fine Art, through February.

Christina Pitsch — Flora of Fauna Porcelain 21” x 21” x 5” 2013 [photo: Millyard Studios]

Christina Pitsch — Flora of Fauna, porcelain, 21” x 21” x 5”, 2013
[photo: Millyard Studios]

New member Christina Pitsch has work in Beasticon II at Mark MIller Gallery, 92 Orchard Street, New York, NY. The exhibition runs through January 15.

Lynda Schlosberg is guest juror for Chroma, a national juried exhibition of work on hue, saturation and value at Gallery 263 in Cambridge, MA. The exhibition will run January 15 – February 14, 2015. She has work in Gallery Artists: Group Exhibition at Susan Maasch Fine Art, Portland, ME through February.

Elif Soyer had work in the annual exhibition Ekim Gecidi (The Passage of October) at the Canakkale Museum of Ceramics in Canakkale, Turkey in October and November.

Ann Wessmann had work in the group show Earth to Heaven at Spoke Gallery @ Medicine Wheel Productions, South Boston from September to November.

Luanne E Witkowski’s works on paper and selected paintings were featured at Hutson Gallery, Provincetown, MA during the summer and she had work on display there in Postscript: A Selection of Work from the Gallery Artists and the Director’s Collection in September and October. She also had work in Trans-Alternate: artists, social practitioners, and voices seldom heard from Nepal: Art and Social Practice – Call and Response at Godine Family Gallery, Mass. College of Art and Design, Boston, MA in October.

 

Re/Sounding Text

1

Joining Susan Alport is 2014 MFA/ Emerging Artist, Eugene LaRochelle, with his exhibit I Love You in the Center Gallery. As you follow the suite of silkscreen prints around the room, a crescendo builds with the repetition of the phrase “There are no gay people in Korea”. The text not only becomes image but also sound, a litany, a chorus, both inviting and implicating the viewer as she works her way around the gallery space. As it builds in density, the text becomes less clear but more implicit. The artist wants to have a dialogue with the viewer and for the work to engender that conversation.

LaRochelle invites the audience to see and hear his concerns about pain as a universal theme. He aims to create work that frames and provides a window into conversations on pain and conflict, allowing the observer to eavesdrop and gain an intimate, even invasive view of the private lives, quarrels and suffering of others.

This is the last week for the three October exhibits – work by Eugene LaRochelle, Susan Alport and Elif Soyer, which run through November 2.

Don’t miss these shows!

Image: Eugene LaRochelle, Denial #1, Silkscreen Print, 22 x 14.75 inches, 2014.

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 />
2013

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.)

 

Channeling

Image

Image

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