Like them, shapeshifting and camouflaging
“Phantom Limbs Can Still Play Hide and Seek’’ (clear and fluorescent acrylic, Stonehenge Aqua, ultraviolet ink), by Kenson Truong, in his show “Bespoke,’’ at Boston Sculptors Gallery.
The gallery says that Truong taps into the psyche of cephalopods, such as cuttlefish and octopuses, while tying in his identity as a gay Asian-American man. He notes their “aptitude to shapeshift and camouflage in plain sight through its cognitive ability to learn systems of deception using spatial memory, personalities and motor play” and how experiments on them “have developed into metaphor for psychological phenomena represented by cognitive dissonance and social cognitive theory.”
Octopus opening a container by unscrewing its cap.
'Biological batteries'
Work from the show “Justin Kedl: ATOMIC GERMINATION,’’ at Boston Sculptors Gallery, through May 30.
The gallery says:
“Kedl’s installation features a colorful collection of biomorphic ceramic forms fanning out across the wall, flowering like an alien cartoon garden. Behind the humor and visual delight of this strange colony of organisms, the artist has conjured a hopeful narrative rooted in science fiction. Kedl imagines these creatures as biological batteries from the near future, genetically engineered to feed on the most toxic byproducts of human industry—micro plastics, oil spills, radioactive waste—and convert them into clean energy that can be harnessed to power our everyday lives. Kedl notes that the work offers ‘an alternative to the normal doom-and-gloom of environmental discourse and uses science fiction as a means of imagining a more hopeful future where human progress can heal the earth rather than harm it.’’’
Have a seat, or maybe not
“Comfort Taken,’’ by Leslie Lyman, at Boston Sculptors Gallery, Jan. 27-Feb. 21. This was installed in the White-Ellery House, built 1710, in Gloucester
“Comfort Taken’’ presents the chair as a symbol of home and family—imperfect, used, repaired, held together with effort, work and continued perseverance.
White-Ellery House. It’s so old that its design looks late medieval English.
Using waste to warn of waste
In Danielle O’Malley’s show “Sink or Swim,’’ at Boston Sculptors Gallery through Jan. 10.
The gallery says (here in slightly edited form) that the show “addresses the role of humans in the environmental crisis through a installation composed of hand-built earthenware and up-cycled waste materials collected throughout New England. Nautical buoys, traditionally used as warning beacons or navigational tools, become anthropomorphized industrial objects, warning the viewer about the perils of abuse of the natural world, as well as forcing awareness of their movements as they navigate through the installation. The marriage of these materials is a metaphor for the complexity of humanity’s role in the climate emergency, as well as the potential for society and nature to successfully collaborate and cohabitate. While acknowledging the gravity of the current situation, ‘Sink or Swim’ also offers hope. It is not too late for us to turn to sustainable lifestyles and let the earth to regain its health.’’
Bound for the next show
“Talismans for Travelers II ‘‘ (installation) at Boston Sculptors Gallery, by Andrea Thompson, Nov. 4- Dec. 6.
The gallery says:
“‘The Travelers’ are a group of four elongated boat forms suspended overhead. The irregular, semi-transparent forms resemble a castaway’s improvised construction, as well as organic forms such as seedpods or cocoons. Ranging from four to twelve feet in length, each is unique, yet they form a family that is clearly traveling together, bound for some unseen destination.’’
See:
https://www.bostonsculptors.com/
'(Re)Generation' sounds good these days
Work by Ellen Schön in her current solo exhibition “(Re)Generation” at Boston Sculptors Gallery, by appointment only because of the COVID-19 emergency. The show features a new series of ceramic totems.
The gallery explains:
“Originally inspired by her daughter's pregnancy, the series evolved during the artist's residency at the Guldagergaard International Ceramics Research Center, in Skaelskor, Denmark.
“Schön's practice has embraced the capacity of ceramic vessels to evoke the gesture and stance of the human figure. Now departing from the vessel tradition (though indebted to it), these totems simultaneously explore the limits of abstraction, express contemporary feminist sensibilities, and reference archaic fertility figures such as Cycladic idols and the Venus of Willendorf. ‘The idea of regeneration affirms our connection to the past, while discovering what we carry forward,’ Schön explains.
”Harbingers of an unknown future, the totems simultaneously sing out and quietly listen, beseeching each other and us. Only the next generation will know whether their message is hopeful or dystopian.’’
But at least they can't get COVID-19
“Too Close” ( wall installation sails, welded steel), by Andy Zimmermann, in his show “Sailing to the Edge,’’ at Boston Sculptors Gallery, through March 29.
Mr. Zimmermann uses translucent materials to filter light. He also works with recycled materials, which has led him to use old weathered sails as his preferred materials. The installation in this show includes 12 sections of sails and metal sculpture, creating a maze-like space that can be reconfigured with every installation.
Pig pretty in pink
“Evolution of Form (This Little Piggy Went to Market)” (paper-mache clay, mediums), by Kathleen Volp, in Boston Sculptors Gallery’s “RING: Boston Sculptors Annual Member Show,’’ Jan. 29-Feb. 23.
e pluribus unum
“One Legged Table,’’ by Mags Harries, at Boston Sculptors Gallery, Nov. 6-Dec. 8. The gallery reports: “Tackling themes ranging from global warming to the survival of humankind, Mags Harries's new solo exhibition will feature a reprise of her 2008 piece the “One Legged Table’’. The table, a symbol of community gathering and a place to plan action, is composed of parts from 13 different kitchen and dining tables. Each section is supported by just one leg, which when joined together create one large unified structure.’’
Tackling themes ranging from global warming to the survival of humankind, Mags Harries' new solo exhibition will feature a reprise of her 2008 piece the One Legged Table. The table, a symbol of community gathering and a place to plan action, is comprised of parts from thirteen different kitchen and dining tables. Each section is supported by just one leg, which when joined together create one large unified structure.
Harries' One Legged Table will serve as a site for discussion and action. During the run of the show, a series of brunches will be held addressing topics relevant to climate change. The invitees, each specializing in diverse disciplines, will come together in the gallery to create an action generated from their discussion. A series of thirteen iceberg sculptures, cast in metal and resin, will be shown alongside the One Legged
Table.
Gift from the sea
Work by Susan Lyman in her Boston Sculptors Gallery show “Washashore,’’ Oct. 2 to Nov. 3. She creates art from driftwood.
In Boston, MFA grads' marvels
From left, detail of works by Dennis Svoronos, Corinne Planche and Jeffery Nowlin in the July 17-Aug. 11 show at Boston Sculptors Gallery titled “MassArt Masters 2019’’
From Boston Sculptors Gallery: “Each summer Boston Sculptors Gallery hosts a special guest group exhibition, and this year we’re showcasing the work of 12 newly minted MFA {master of fine arts} grads from the Massachusetts College of Art & Design. It’s composed of individuals from three generations and four countries, and from across our nation and in our own backyard.’’
Image caption
From left to right:
Details of works by Dennis Svoronos, Corinne Planche, and Jeffery Nowlin
Bumpy night
From Claudia Olds Goldie’s show “Staccato,’’ at Boston Sculptors Gallery through May 5.
Mysterious stuff in Boston
From Woomin Kim’s show “Mulgeon,’’ at Boston Sculptors Gallery, Feb. 27-March 31. The gallery says:
‘‘Mulgeon’’ is a Korean word “that refers to specific objects but also often implies an element of mystery or secrecy, provoking our curiosity. A line commonly used in Korean movie dialogue is, ‘Did you bring the mulgeon (the stuff)?’
“‘Mulgeon’’ is filled with the stuff of everyday life, such as toilet paper, packing tape, soap, kitchen tiles, cosmetic products, and kitty litter. Now barely recognizable, these objects have been transformed to mimic rocks and minerals, revealing their materiality and resembling their original states. Inspired by a visit to Harvard Museum of Natural and History's mineral collection, ‘Mulgeon’ seeks to reveal the gap between the artist's experience of materials as products and their natural origins before they were extracted and neatly manufactured.’’
Our psyches in the weather
‘‘Out of the Blue,’’ by Nancy Selvage, in her show “Intemperate Zone,’’ an installation created in collaboration with poet Ros Zimmerman to be shown at the Boston Sculptors Gallery, Feb. 27- March 31.
The gallery says: “Selvage’s sculptures vibrate with visual energy, evoke atmospheric conditions, and respond to the impact of weather on our psyche. Layers of perforated metal animate illusive surfaces, fracture light, and ephemeral spaces. Featured in this exhibition are suspended sculptural lights, ‘cloud’ formations….’’
“Real and imagined atmospheric conditions and states of mind unfold as do the perceptions of our role in the process.’’
“Words, punctuation marks, and international meteorology symbols burn, freeze, bleed, and blow within a collection of sculptural objects.’’
'Accidentally profound'
From “Flights of Fancy,’’ by the late David A. Lang, at the Boston Sculptors Gallery.
The gallery says:
“The show, curated by Katherine French, includes Lang's signature kinetic pieces, which, when set off by motion detectors, come to life when closely inspected by viewers. ‘Flights of Fancy’’ explores the whimsical - yet serious - nature of an artist who preferred to describe his efforts as ‘accidentally profound.’
“Join us at Boston Sculptors Gallery (486 Harrison Ave.) at 3 p.m. Saturday, Jan. 12 for a curator talk by Katherine French, director of Catamount Arts, in St. Johnsbury, Vt. French will offer thoughts on her relationship with Lang, an extraordinary sculptor she remembers as teacher, artist and friend. This event is offered in cooperation with the Boston Art Dealers Association, and is free and open to the public.’’
Vertigo in wood
Roller Coaster, (mulbury and plywood), by Andy Moerlein, at Boston Sculptors Gallery.
Hands across the seas
From “TransAtlantic,’’ a show by Jessica Straus at the Boston Sculptors Gallery, Dec. 12-Jan. 27.
The gallery explains:
“Jessica Straus's exhibition, ‘TransAtlantic,’ travels to Boston Sculptors Gallery after its 2017 premier in Athis de L'Orne, France. Originally commissioned as a site-specific installation for Le Temple Protestant, in a region of Normandy that suffered heavy bombardment during World War II, TransAtlantic commemorates the long and strong alliance between France and the United States. The installation is both political and personal. Straus's parents met as a result of her American father's participation as a soldier in the Normandy invasion and subsequent march into Paris, where he met the artist's mother, a French student.
‘‘For the installation at Boston Sculptors Gallery, the walls and floor will be clad in a room-sized World War II era map. A fleet of airplanes and an ocean liner criss-cross the Atlantic Ocean carrying correspondence between the artist's American and French families. Straus conceived of this work just as the current {Trump} administration was coming into power, reacting with alarm to the disturbing new era of xenophobia and nationalistic supremacy.
’’TransAtlantic serves as a reminder of the importance of alliances between nations and the possibilities that surface with openness to strangers.’’
Calligraphy in the Hub
On Sunday Nov. 18 at noon, Quanzhou (aka Jack) Zhao will give a calligraphy demonstration at Boston Sculptors Gallery.
Calligraphy Demonstration
with Quanzhou (Jack) Zhao
Matriarchal in Mass. gallery
“March of the Matriarchs’’ (wood sculptures), by Donna Dodson, in her current show, until Nov. 4, at Boston Sculptors Gallery.
This is Ms. Dodson’s latest series of mysterious animal-human hybrid wood sculptures, this one featuring a sculpture group configured as a chess set.
Dodson cites the genesis of her chess set in five ‘‘mermaids’’ she created in 2016, inspired by ship-prow carvings. She told the gallery: “I wanted to do more with the series, so I set myself the challenge of making an entire chess set.” This idea, the gallery says, let her to build on the “concept of sculptures that interact directly with each other, while reflecting on the interactions among species that have nothing to do with us humans.’’
She read books about chess, noting, “The original chess set was composed of king, general, and male military figures….The queen arrived at a time when powerful queens reigned in England, Russia and Spain.” “{M}y set is maternal—I am thinking about family matriarchies, the realm of power in women's lives, how women wield power and the bonds between women in families.”