On Saturday, October 13th, a group of artists will open six solo shows (sculpture and painting). The works will be on display through November 4th with a reception for the artists on Saturday, October 13th from 6:00 until 8:00 p.m.
Main Galleries & Sculpture Garden
Open Pumpkin and Lantern, 2017, oil on board, 23.5 x 29.5 inches
"The paintings hanging here are still life, painted over the last several years, mostly from
observation. Sometimes the things I paint give themselves up quickly, but more often they
do not, and I have to settle down to a long pursuit during which looking, memory, and
desire all play a role. I’ve been involved with still life from my time in art school up to the
present. It is the three-way relationship that interests me: the motif, the canvas, and
myself. I return to the same objects and similar arrangements over and over, and this
opens up the question: just really what is the subject? Is it the pumpkin, the cabbage, the
melons, the jugs, the skull, or is it mass, location, presence, space, color? I hope it is all of
the above. I am interested in the identity and presence of my subject as well as the formal
concept of composition. I hope that if I do justice to the subject, the geometry and form will
be revealed, and if I’m successful, the painting will look back at me with all the force of a
Ruth Miller, 2018
Making It Up
May, 2014, bronze, 69 x 19 x 16 inches
"I can say I am inside a figure made of clay when I am outside,
realistically it isn’t true
does it help to make things up, to push oneself along
should I be real about it
if too realistic - might it not become ordinary
I think the impulses that initiate forms rearrange the timing of their appearance during the evolution of the work
this is true
The persona of the sculpture gravitates to the image of specific people or types but it is not me.
that seems right
it is not a self portrait
we are different
I am on the outside
the sculpture did not make itself
perhaps there is no spirit inside-only clay all the way through
then it is not as important as I made it out to be
this is disappointing
I say I am a modeler;
in practice I am not much of a modeler at all
I do not act in a very kind or respectful way to the clay
I have said I have light in my hands?
a clever thing to say in a circumstance-but realistically
I form the clay in different planes that take the light
you can put a hundred pounds of cay on and still no volume
This would seem to imply the Sculpture is an illusion made of light rather than material
pushed forward by hope and desire and never solved by the temptations of the various realisms.
The first part about the push is necessary to the practice the second is not altogether true.
realisms do tempt
the impression of a detail in a drawing is carried over in my memory to the work
does it get there?
put one shape in another goes out
a motto from Mao applies - how about two old out one new in
those shapes never come back
what is the recipe for a figure in clay
ask chef light in hands"
Bruce Gagnier, 2018
Ground Floor Carriage House
Than Again, 447
Towards Malta, 2018, oil & emulsion on paper & canvas, 72 x 56 inches
“The Galleys at Lepanto,
On October 7 of 1571, the Holly League fought the Ottoman Empire in the Bay of Lepanto. This battle, in which more than 30,000 men lost their lives, decided the most momentous question of the sixteenth century: whether the Mediterranean would be an Islamic sea and most of Europe an Islamic province. The victory of the Holly League reverberated joyfully throughout Europe."
Carriage House, Second Floor
Untitled I, 2018, acrylic on wood panel, 20 x 16 inches
“I’ve been looking closely at plants on my windowsill, and in my garden: leaves, petals, stems—the spaces between and around. The patterns and shapes inspire endless hours of drawing and painting. Sometimes I try to invent plant forms—but the natural world is more wondrous than anything I could ever think up.”
Pamela Salisbury, 2018
Carriage House, Third Floor
The Wind Comes Through, 2017, 24 x 24 inches, oil on canvas
“To describe how the air comes down between,
and the shadowed corner expands
down the hall;
see how the window
makes the books
I try to remember,
and then I try again,
in the studio…
the distance making a—
where the here sweeps in.”
Maud Bryt, 2018
Carriage House, Fourth Floor
Tree at Branford #6, 2018, watercolor/egg tempera, 10.5 X 7 inches
"I have always found refuge in my work, since I was a kid.
It is not about confronting or solving anything,
but formally they do need to be very together.
It is about making something that is meaningful and heartfelt. I think of it like soul music, or blues, even raga.
And I hope my painting is a rewarding experience for other people.
I paint another world, and I try to make this real enough that it’s believable, and so becomes possible.
Eric Holzman, 2018