Archive for York

Curator’s Selection at George Marshall Store Gallery

Necklace by Lauren Pollaro, Ceramic by David Ernster

By tradition the final exhibition for the year at Old York’s George Marshall Store Gallery is called Curator’s Selection. The show includes work by 20 regional artists, many exhibiting for the first time at the gallery.
Jewelry by Lauren Pollaro and ceramics by David Ernster are also featured. Pollaro is well known for her one-of-a-kind pieces that have a harmonious interplay of dynamic color, texture, materials and technique. Ernster’s ceramics finished with red and yellow glazes pair perfectly with Pollaro’s display. The exhibits continue through December 16. Hours are 10-4 Thursday – Saturday, 1-4 on Sunday. 140 Lindsay Road, York.

Current Exhibitions at Old York’s George Marshall Store Gallery

Nathaniel Meyer, “Great Pyramid (Schoodic clouds II)” oil on canvas, 41” x 49”

 

 

 

 

 

 

 

 

 

 

The current exhibitions at Old York’s George Marshall Store Gallery are well suited to the season as the local trees turn from from summer greens to autumnal yellows and reds.  “Taproot” is an exhibition inspired by the book “The Hidden Life of Trees, What they Feel and How they Communicate,” by Peter Wohlleben. Whereas a common theme connects the work in “Taproot,” it is the coincident of national origin that inspired the show “Maine Dutch Masters,” featuring painters Jaap Eduard Helder and Jan ter Weele and ceramic artist Simon van der Ven. Both exhibitions continue through November 11th.

In “Taproot” curator Mary Harding has combined the work of 30 regional artists, representing a wide variety of medium, into a thoughtful and visually rich installation. “I thoroughly enjoyed Wohlleben’s book about trees and heard several interviews with the writer on the radio. I could immediately think of a number of artists who regularly paint or are inspired by trees and thought it would make an interesting theme-based exhibition.”

The image chosen for the invitation announcing the show is an etching by Kittery artist Victoria Elbroch. Titled “Layered Understanding,” the image of her tree has an equal number of roots spread underground as upper branches reaching towards the sky.  The title of the piece is also fitting with Wohlleben’s descriptions on how trees communicate with one another and their environment.

Some artists created work specifically in response to the theme. Portsmouth artist Michael Stasiuk, known for his found object sculptures, made five pieces for the show.  A six- foot tall tree, made from tool handles, clothes hangers, and assorted fragments, supports nine small birds with spring loaded wings and golf tee beaks. A Bunny figure swings happily from one of the lower branches.

 

Frank Gregory “Green Screens” oil on canvas, 16” x 16”

 

 

 

 

 

 

 

 

 

 

 

 

Portland artist Judith Allen-Efstathiou exhibits several of her wall pieces fabricated from copper sheets removed from the dome of the Maine Capital Building in Augusta. The State offered the copper to several artists who were commissioned to create new work from the material.  Her “Prouts Neck Pine” measures 48 inches high, 15” wide and because of its depth, multiple shadows are projected onto the wall.

Portsmouth photographer Carl Austin Hyatt exhibits three of his black and white prints. A layer of snow covers the trees in “Winter Woods” like a lace veil and in tones that are a reminder of the cold yet to come.  “Entangled 4” by Bangor artist Nina Jerome is a large painting of Virginia wild grape vine enveloping a tree. Its strong color, movement and placement pull the viewer into the room. Once there, one can not help to notice a tree line boarder near the ceiling that wraps completely around the room and then cascades to the floor in one corner. Portsmouth artist, Lucinda Clark hand-cut, 70 feet of landscaping tree-wrap paper to create this tree line. Her choice of material, designed to protect trees from insects and abrasions, in an interesting metaphor.

Portland ceramic artist Sharon Townshend’s small ceramic “Walking Houses,” are in response to the plight of refugees who literally have to “pull up their roots” and move away. “Firestorm One and Firestorm Two” by New York artist Charles Ramsburg are 14” x 12” panels that look like charred bark and represent the artist’s comment on the increasing number of destructive wildfires in the west.

There are numerous fine paintings by local artists depicting trees and their environments including Tom Glover, Michael Walek, Todd Bezold. From further down east are Sam Cady, K. Min and MaJo Keleshian. Exhibiting for the first time in the Gallery are William Gotha (Andover MA), Frank Gregory (Greenfield MA), Mathew and Nathanial Meyer (Portland ME), Roy Perkinson (Wellesley, MA) and Margery Thomas-Mueller (Alton, NH). From furthest away are artists Charles Ramsburg (New York City) Julia Zanes, Donald Saaf and Kate Emlen from Vermont, and Susan Lyman from Provincetown, MA. Most visitors have been intrigued by the theme and spend considerable time viewing the work.

There is plenty of color in “Taproot” but almost pale in comparison to the brilliant color found in Maine Dutch Master’s paintings.  The three artists share a Dutch heritage and are Maine based artists. Perhaps it is in their genes that color plays such a significant role– the long dark winters give a craving for color. Jan ter Weele paints a stylized version of the landscape. Trees are not green and the sky is not blue. He disassembles the landscape into unexpected colorful shapes, paring pinks with orange, and yellows with blues resulting in a view of the landscape which is both beautiful and surprising.

Jaap Helder’s painting at first seem like pure abstraction however through his use of color, line and texture they hover between abstraction and representation. He explains that that his work has always been influence by the land and the ocean. “The boats of the shipping and fishing industries find their way into my paintings with their industrial colors and weather-beaten hulls.”

Paired with the two painters are ceramics by Simon van der Ven from Lincolnville, Maine, where he works as a full-time studio artist and part-time educator. He continuously explores different clays and techniques. The show includes both wood and gas fired pieces, and several of his signature pierced forms. A pattern of holes are drilled into the forms during the bisque stage and then glazed and fired.  Three pieces are collaborations with ceramic artist Mark Bell.

Simon van der Ven “Pierced Dimpled Egg Vase” 9” x 7”

The exhibitions continue through November 11th. Gallery hours are 10-4 Wednesday through Saturday, 1-4 on Sunday. 140 Lindsay Road, York, Maine. The gallery is a program and property of the Old York Historical Society.  www.gerorgemarshallstoregallery.com  phone: 207-351-1083

Late-summer exhibitions | George Marshall Store Gallery

Lisa Noonis, Abstract #8, mixed media on panel, 36” x 12”

Lisa Noonis, Abstract #8, mixed media on panel, 36” x 12”

Walking into the George Marshall Store Gallery from the heat and glare of the late summer sun one is struck by the calm monochromatic tones and simple shapes of Ernest Montanegro’s, Lisa Noonis’ and Dan Dowd’s work. The first glance belies the complexity of these three artist’s sculptures, collage-paintings, and found object instillations. Most of the pieces are untitled, ambiguous in name and form, leaving room for the viewer to discover their own interpretation and connection.

The late summer light in the river view gallery draws you into Carter Wentworth’s world of colorful garden inspired paintings. The vibrant water color and gouache images emulate the ease and flow of leaves, trailing vines, flowers budding, and exploding seed heads with layers of color that spread effortlessly throughout his paintings.

“Driveway, 71 Ranch, Deeth, Nevada,” archival pigment print, 36” x 45”

“Driveway, 71 Ranch, Deeth, Nevada,” archival pigment print, 36” x 45”

The dock level gallery features the work of international photographer Lucas Foglia. His show “Frontcountry” is an unbiased look at the contradictions of the American West, a region mythically famous for being wild, which is being radically transformed by the new boom in mining. Lucas’ photographic narrative has captured these vast wild territories and the people who live on the boundaries between small towns and wild road-less areas caught in the middle of two seemingly opposite lifestyles: ranching and mining.

The combination of the three exhibitions have much to offer. Curator Mary Harding had done studio visits with Montenegro, Noonis, and Dowd over the past winter. She chose to combine the their work in one exhibition as she sensed a visual connection although the medium couldn’t be more diverse: Dowd’s found fragments of clothing and rubber inner tubes, Montenegro’s cast bronze and steel and Noonis’ mixed media collage. In reading the individual statements about their current work, a common theme of impermanence, fragments of forms and figures, and a way of questioning how we view and value art runs through their work.

Harding has done numerous studio visits with Wentworth over the years, seeing work in progress as well as touring the artist’s garden. Wentworth’s earliest memories of the garden are the catalyst for his recent series Plant Life Dialogue. Observing nature and noticing its ability to create groupings and patterns over time in a garden, the artist strives to allow the layers of color and form to spread effortlessly in his paintings. Quoting one admirer of the work “Carter’s work is emotive – connected and vibrates – the colors and forms talk – engage and satisfy – new things emerge, old feelings reappear – Carter puts the solace of nature on my walls.”

Carter Wentworth “World Frame of Space” watercolor and gouache on Arches hot press paper, 52” x 32”

Carter Wentworth “World Frame of Space” watercolor and gouache on Arches hot press paper, 52” x 32”

Between 2006 and 2013, photographer Lucas Foglia traveled throughout rural Idaho, Montana, Nevada, New Mexico, Texas, and Wyoming, some of the least populated regions in the United States. Frontcountry is a photographic account of the mining and cattle industries in the American West, and how people use land that is famous for being wild. Besides the photographs on exhibit, visitors are encouraged to spend time looking through Foglia’s three books of photographs related to some of his other projects.

The exhibitions continue through September 30. Gallery hours are 10-5 Tuesday through Saturday, 1-5 on Sunday. 140 Lindsay Road, York, Maine. The gallery is a program and property of the Old York Historical Society. www.gerorgemarshallstoregallery.com phone: 207-351-1083

A Trio of exhibitions for mid-summer at George Marshall Store Gallery

Domingue Growing Up acrylic on canvas 24x24

Domingue Growing Up acrylic on canvas 24×24

Stepping into the George Marshall Store Gallery one is immediately “at ease” amongst Barbara Sullivan’s shaped fresco chairs and select works by nine other regional artists. The tile and theme of the current exhibition, “At Ease” is inspired by Sullivan’s creations. She learned the fresco technique while she was the head cook at The Skowhegan School of Painting and Sculpture in 1989, She embraced the medium and is well known for her shaped frescoes of ordinary household objects and animals. Her nine “chairs” hang like paintings throughout the gallery and are complemented by Grant Drumheller’s oil on linen interiors that capture the light and mood of a Maine summer cottage and Boston based artist, Carole Rabe’s interiors using collaged colored paper.

The bold greens and cool blues of Amy Brnger’s large-scale paintings, “Birthday Picnic” and “Dog Day Afternoon” visually tie in with the decorative patterns on Sullivan’s Chairs, and one cannot help but be charmed by the humor in Gordon Carlisle’s collages that use vintage magazine clippings. Always popular, are the wall and stand-alone sculptures by Portsmouth artist Michael Stasiuk, who is the master of “the found object assemblage”. Also included is a series by Tom Glover, Michael Walek’s reclining figures in gouache, and Stuart Ober’s illuminated interiors.

“Time and Again, Paintings and Drawings” by Maine artist George Lloyd, is on display in the river view Gallery. Spanning from the early 1970’s through his career in New England and Maine, these are energetic works that combine bold mark-making strokes with large washes of color. Several paintings are being exhibited for the first time. Others have been included in past exhibitions, however they have endured the test of time and seem as fresh and relevant as the day they were made.

The dock level gallery features the work of New Hampshire artist Ann Trainor Domingue. She intentionally works in an un­expected manner to develop her colorful, graphic and narrative paintings. These qualities indeed come “Shining Through” in this new body of work inspired by her long­standing curiosity and attraction of waterfront life. A life­long resident of New England, she appreciates and cares for the visual and spiritual beauty of the place she calls home.

The exhibitions continue through August 19. Gallery hours are 10-5 Tuesday through Saturday, 1-5 on Sunday. 140 Lindsay Road, York, Maine. The gallery is a program and property of the Old York Historical Society. www.gerorgemarshallstoregallery.com phone: 207-351-1083

Fiber Artist Sarah Haskell’s project, “Well Used, Well Loved,” currently on view

York fiber artist Sarah Haskell project, “Well Used, Well Loved,” is currently on view at  George Marshall Store Gallery.

Sarah will explained how this community based art project came about in a talk last week. It involved forty-six households across the country over a two year period. Participants “adopted” a hand-woven towel and made the commitment to write in a journal in response to prompts given by the artist. Some participants wrote elaborate and insightful entries in the journals, while others wrote their responses on kozo paper, which was then spun into Shifu thread and woven into the large four panel piece measuring six feet high and twelve feet long. “Well Used, Well Loved,” explores age, beauty, impermanence and attachment through the culmination of journal entries and fiber work.

Sarah Haskell is an award-winning artist/educator who has been weaving and teaching for over forty years. Since her graduation from Rhode Island School of Design in 1976, she has traveled as far away as Japan to learn and teach about her love of weaving.

George Marshall Store Gallery
207-351-1083 cell: 207-752-0205
mhardinart@gmail.com

Paintings, Embroidery and Folklore at York Gallery

Grant Drumheller “Long Sands” Oil on linen 30” x 30”

Grant Drumheller “Long Sands” Oil on linen 30” x 30”

The fall exhibitions on view at Old York’s George Marshall Store Gallery present the work of four New England artists, each who have a personal point of view and perspective. Grant Drumheller, a professor of art at the University of New Hampshire, is exhibiting two dozen paintings, most of which have been completed in the last year. He has titled his show “New Perspectives,” a title that can also apply to the work by the other artists currently showing. Courtney Sanborn completed a masters in painting at the University, however she is exhibiting ten small embroideries, a medium where she can apply her knowledge of composition, color, and gesture, using cotton threads instead of paint. Vermont artists Donald Saaf and Julia Zanes share the dock level gallery space for their exhibition titled “Folklore.” The exhibitions continue through November 12th.

Drumheller has been a frequent exhibitor at the river front gallery. He continues his interest in overhead compositions in these recent paintings. “There is a new looseness in these paintings,” comments curator Mary Harding. “With less detail, there is even more information.” He is attracted to landscape views that are ‘peopled’ by folks going about their business, whether working, strolling, walking their dogs, digging for clams, sledding in a city park or enjoying a day at the beach.

His “Piazza, End of Day”, a 60” x 48” acrylic on canvas, shows a crowd of people making their way across a stone paved piazza. With just a few quick brush strokes one can make out the gesture of an adult pulling a reluctant child through the late afternoon raking light. One can make out a figure looking at a cell phone, another two figures holding hands. These distinctive bird-eye views, are about the balancing of elements, i.e., spaces to figures, color to tone and warm areas to cool. Whether real or imagined places, they are always lively and inviting.

Courtney Sanborn “ He Doesn’t Care” Cotton embroidery, 9.75” x 8.5”

Courtney Sanborn “ He Doesn’t Care” Cotton embroidery, 9.75” x 8.5”

Courtney Sandborn’s embroideries are about personal moments, conversations and somewhat humorous events. The settings and characters are metaphorical in nature, and exist in a space born from direct observation and memory. The small nude figures are often surrounded with colorful exotic plants and small animals: dogs, cats, and strange little monsters that are all rendered in both traditional embroidery and free form stiches.

Bright color, bold composition and pattern are the founders of her process. For these narrative scenes she uses imagery from a wide variety of sources ranging from medieval illuminated manuscripts, to the rug designs of Marguerite Zorach. Her compositions are influenced by a rich history of Americana and folk art including hooked rugs, early American needlepoint samplers and vernacular paintings.

Donald Saaf “Every Human a Flower” 24” x 48”

Donald Saaf “Every Human a Flower” 24” x 48”

The word “Folklore” applies equally well to the work of Donald Saaf and Julia Zanes, who are married to one another and share an artistic life in rural Vermont. Their work explores the intersection of fine art and folk art. The subject matter of their colorful paintings – often using mix media and collage – reference their local community, family and immediate surroundings but with a sprinkling of fairy dust. They embrace the idea that folktales are a microcosmic mirror of our lives and our bigger stories, which might otherwise by impossible to sum up.

Saaf’s uses walnut ink to draw simple improvisations of organic forms . He slowly adds various elements: old Italian papers, maps, ephemera, inks, gouache and Japanese watercolors. His studio overlooks Brattleboro’s main street where there is a steady flow of people walking by. Although at first a distraction, he soon became fascinated and started to think of the parade of people as something like a moving garden. As the paintings evolved the figures became more and more plantlike and eventually bloomed with flowers.

Julia Zanes “House at Night” mixed media, 20” x 18”

Julia Zanes “House at Night” mixed media, 20” x 18”

Zanes often works in large series based on books or stories that have captured her imagination. Several small paintings from these series are included however the show features her newest abstract panel paintings. Layers of transparent circles and undulating ribbons of color suggest meditation and abstract dream like sequences. Saaf’s and Zane’s work are interspersed in the space and collectively create a magical environment.

The exhibitions continue through November 12. Gallery hours are 10-5 Wednesday through Saturday, 1-5 on Sunday. 140 Lindsay Road, York, Maine. The gallery is a program and property of the Old York Historical Society. For more information please visit www.gerorgemarshallstoregallery.com or call 207-351-1083.

Connecting form, color and line at York’s George Marshall Store Gallery

Pairing of David Ernster’s ceramics with Wendy Prellwitz work.  Photo credit Alicia Bergeron

Pairing of David Ernster’s ceramics with Wendy Prellwitz work. Photo credit Alicia Bergeron

The mid-summer exhibitions at York’s George Marshall Store Gallery make inspiring visual connections between painting, prints and sculptural ceramics.  Work by Wendy Prellwitz and Phyllis Ewen, two Boston based artists, are paired with ceramics by New Hampshire ceramist David Ernster. Still life paintings of flowers, interiors and local landscapes by Portsmouth artist Amy Brnger fill the back gallery and the dock level gallery space is reserved for a solo show by Brett X. Gamache. The exhibitions continue through August 20th.

David Ernster ‘Black Rain Jar” Stoneware / 13 x 10 x 10” Photo credit Alicia Bergeron.

David Ernster ‘Black Rain Jar”
Stoneware / 13 x 10 x 10”
Photo credit Alicia Bergeron.

In the front room is a group exhibition entitled Imprint, bringing together works by David Ernster, Phyllis Ewen, and Wendy Prellwitz. The unified theme throughout these three artists is a common interest in water and the sea. Ernster’s fascination with water and nature began as a child growing up near the Mississippi River. This early interest in the fossil formations he observed along the river is evident in the work he creates today.

The exhibit includes very large wood fired jars and platters that are decorated with heavy glazes and incised lines. The forms, colors, and textures of Ernster’s ceramics connect visually with the other work on exhibit. In several instances, it is almost uncanny how well they relate to one another.

Phyllis Ewen “Northern Waters 4” Sculptural digital print, paint, and puzzle pieces 25 x 18.5”

Phyllis Ewen “Northern Waters 4”
Sculptural digital print, paint, and puzzle pieces
25 x 18.5”

The mixed-media artwork of Phyllis Ewen is equally influenced by the natural world with a fusion of art and science. The Somerville, Massachusetts. based artist aims to suggest a subtle commentary on politics, society, and nature throughout her work, no matter the medium. Her “Restless Sands” series is made up of collaged digital prints of the beaches on Cape Cod. Her collaged prints often include puzzle shaped pieces, a reference to the concern for the fragility of the environment.

Wendy Prellwitz “From Here to There” Acrylic on paper / 40 x 30”

Wendy Prellwitz “From Here to There”
Acrylic on paper / 40 x 30”

Similarly, the combination of graphic and organic imagery in Wendy Prellwitz‘s monotypes and paintings are a result of the dualities that she observes in the fluidity of water – the known and unknown, the tangible and intangible. We could be looking into the depth of a pool of water or we could be underwater looking towards the sky. Either way, the effect is cooling, calming and meditative. Her mono prints combine layers of watery blues, overlaid with the grain of wood cut prints. She employs many of the same imagery and colors into her paintings.  In Imprint, the works of these three, varied artists are thoughtfully presented in a cohesive dialogue with one another. 

Amy Brnger “Backyard, Noon” Oil on panel /  17 x 13”

Amy Brnger “Backyard, Noon”
Oil on panel / 17 x 13”

Surroundings presents two dozen oil paintings by Portsmouth, New Hampshire based artist Amy Brnger. Known for her still life, landscapes, interiors, and flower paintings, Brnger uses nature as a vehicle for expression and inspiration throughout her work. Her landscapes are often drawn from her surroundings on the seacoast, serving as a means to enjoy and record the region where she lives. Her painting Backyard, Noon recalls a quintessential summer afternoon in seacoast New Hampshire, no doubt a result of Brnger’s deep admiration for the area she calls home.

Brett X. Gamache “Lowtide Lobsterboat”
Oil on linen / 17 x 20”

Brett X. Gamache “Lowtide Lobsterboat”
Oil on linen / 17 x 20”

In the dock-level gallery space is Fresh & Ripe, an exhibition of paintings by Brett X. Gamache. Gamache’s vividly painted New England scenes illuminate the gallery space with their bright colors and fresh atmosphere. Fresh & Ripe includes a variety of subjects from lobster boats and surfing scenes, to still life and rocky shores. In Lowtide Lobsterboat, a snapshot of life on the water, Gamache captures the essence of the working waterfront. He paints mostly from observation, typically outdoors, and strives to capture the light, energy, and life that he sees before him. Gamache lives in Massachusetts and teaches at colleges and universities throughout New England.

The exhibitions continue through August 20th. Gallery hours are 10 to 5 Tuesday through Saturday, 1 to 5 on Sunday and by appointment. The gallery is a property and program of the Museums of Old York and is located at 140 Lindsay Road, York. 207-351-1083  www.georgemarhshallstoregallery.com

York’s George Marshall Store Gallery 2017 Exhibition Season Underway

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A beautiful warm evening, jazz and swing music by the Seasmoke trio, work by four talented New England artists and a capacity crowd marked the 2017 opening of York’s George Marshall Store Gallery. Work by Vermont painter Kate Emlen and ceramics by Paul Heroux are nicely paired in the entryway and front room. Paintings by Anna Dibble are exhibited in the smaller gallery space that looks out to the York River, and the lower “dock level” gallery is filled with paintings by University of New Hampshire professor Brian Chu. The four, complementing exhibitions continue through July 9.

Kate Emlen “Dog Island” Oil on linen, 40” x 50”

Kate Emlen “Dog Island” Oil on linen, 40” x 50”

Kate Emlen’s command of composition and luminous color are the foundation of her paintings. Tilted horizons, tree trunks in conversation with one another, and skies laden with weather conspire to draw in the viewer. These paintings are a response to the artist’s view of the natural world and her intimacy and passion for her northern New England surroundings.

Paul Heroux ceramics

Paul Heroux ceramics

Paul Heroux is a ceramic artist and a maker of vessels. His surface decoration references plant life, erotics, landscape, and a number of other changing influences. The painterly quality of the surfaces is achieved by combining various reduction glazing techniques and transfer printing on the clay body. Gold and silver luster give added reflective qualities to several of the pieces.

Anna Dibble, Brief Shining Moment, 2016, Acrylic on baltic birch, 16″ x 20″

Anna Dibble, Brief Shining Moment, 2016, Acrylic on baltic birch, 16″ x 20″

Anna Dibble’s show, Confluence,  is reflective of her recovery from a series of deaths, and her interest in the losses and changes in ecological biodiversity due to human activity. Dibble uses symbolic images of evolution, ancient marine life, birds, boats, and humans to explore a personal mythology that’s based on her love of the natural world, and concern for its future. Despite this concern for the fragility of the environment, the paintings have a sense of hope.

Brian Chu, On Route to Berwick, 2013, Oil on canvas, 24″ x 24″

Brian Chu, On Route to Berwick, 2013, Oil on canvas, 24″ x 24″

Brian Chu has titled his current exhibition “Curious Vision.” Rooted in observation, Chu’s work maintains a dialogue between objectivity and subjectivity in all subjects: landscape, figure and still life. His intense perceptual engagement with the world is evident in textured layers of vibrant colors. He chooses to paint extremely ordinary in an extraordinary way. These are paintings about painting that are both beautiful and thought provoking.

The exhibitions continue through July 9. Gallery hours are 10 to 5 Tuesday through Saturday, 1 to 5 on Sunday and by appointment. The gallery is a property and program of the Old York Historical Society and is located at 140 Lindsay Road, York. For more information call 207-351-1083 or visit www.georgemarshallstoregallery.com

George Marshall Store Gallery’s “Various Shades of Grey”

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Michael Olszewski “Surge” crochet, applique, embroidery silk, linen, leather, 16.5” x 16”

Contrasts in color and forms

The blaze of autumn colors outside are in stark contrast to the “Various Shades of Grey” exhibition currently on view in York’s George Marshall Store Gallery. The show brings together a wide range of media including painting, prints, drawings, sculpture, jewelry and ceramics by two dozen regional artists. Color and form is also on view in the dock level gallery, which features the work of Boston painter Robert Baart and ceramics by New Hampshire artist Boyan Moskov. The shows continue through November 13th.

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Leon Anderson, “When I Close my eyes at Night” painted wood, 27” x 42”

An absence of color does not mean a lack of light, texture, form and imagery. The arrangement of works on the left hand gallery wall exemplifies the variety of media found throughout the show. Cabot Lyford’s black walnut “Raven” is positioned as if about to fly into “Surge” and “The Sea Inside,” by Chicago based artist Michael Olszewski. The artist uses applique, embroidery silk, paper, plastic, linen and leather in these crochet pieces. Next is a 16 panel, slate and white gold leaf piece called “Way Back” by Gary Haven Smith, followed by “When I close my Eyes at Night” by Leon Anderson who installs his wooden constructions several inches off the wall, so that the casted shadows become a part of the piece. Peter Dellert’s “Music Nest #2” is a collage of cut and reassembled wasp nest and vintage sheet music.

 

There is nothing blacker than graphite and charcoal, a medium that is well used in the bold drawings by George Lloyd and Rick Fox. Amparo Carvajal Hufschmid, combines bees wax with graphite in her suite of six drawings. Curator Mary Harding, looked high and low to round out the variety of approaches within the confines of black, white and grey. Her findings include jewelry by Blair LaBella, ceramics by Don Williams, prints by Chris Beneman, Kate Emlen, Bob Parker, Elizabeth Meyer and Francis Ashforth, walking sticks and drawings by Charles Ramsburg, figurative and objective paintings by Don Lent, Christopher Cook and Grant Drumheller, wall mounted constructions and paintings by Jeff Kellar, collages of sewing patterns by Lesia Sochor and enamels and metals by Peter Bennett and Michele Caron.

 

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Robert Baart “Into the Woods” Oil on canvas, 20” x 24”

Color abounds in the dock level gallery. Robert Baart has titled the selection of his paintings “A green thought in a green shade,” a line from the poem “The Garden”, by Andrew Marvell. This famous seventeenth century English poem expresses the poet’s personal emotions and feelings about nature. Baart’s colorful and impressionistic paintings are also about his personal connection with nature. His paintings hover between realism and abstraction using robust colors and strong gestural marks. Although his work is not specific to any one place, it is a personal expression of the artist’s relationship to the landscape and his concerns for the environment. Baart retired in 2009 after 35 years of teaching painting at the School of the Museum of Fine Arts, Boston. Since then he has been painting full time in his space at the Fenway Studios.

Boyan Moskov’s ceramics complement Baart’s paintings in both color and texture. The artist brings all the elements of fine art to his work: sculpture, drawing and painting. He was born in Ruse, Bulgaria and studied at the Troyan Art School and the Sofia Art Academy. He moved to the United States in 2007 and settled in his wife’s home state of New Hampshire. His pieces often begin on the wheel and then are further altered by hand and carving techniques. The surfaces may be enlivened with colorful glazes or decorated with incised lines and carvings. He is inspired by his medium and is constantly exploring new ideas and forms.

The exhibitions continue through November 13th. Gallery hours are 10 to 4 Wednesday through Saturday, 1 to 4 on Sunday and by appointment. The gallery is a property and program of the Museums of Old York and is located at 140 Lindsay Road, York. 207-351-1083 www.georgemarhshallstoregallery.com

 

“Back to School Special” and “Things Remembered” at George Marshall Store Gallery

Jennifer Moses “Bandlier Phantasmagoria” Oil on panel, 22” x 20”

Jennifer Moses “Bandlier Phantasmagoria” Oil on panel, 22” x 20”

The George Marshall Store Gallery recently opened two new exhibitions for the month of September. Aptly named for the season is “Back to School Special” which features work by the faculty of the University of New Hampshire Department of Art. Also on view is “Things Remembered” by Portsmouth artist Michael Stasiuk, who combines fragments of found objects to create standing figures and scenes that are full of gestures and personality.

B. Chu “Mount Washington” Oil on canvas, 24” x 30”

B. Chu “Mount Washington” Oil on canvas, 24” x 30”

Many of the artists in “Back to School Special” have exhibited their work in the York gallery in either solo or group shows. Although they exhibited together at the University, they don’t often have the opportunity to show collectively elsewhere. Between them they cover the disciplines of painting, drawing, ceramics, photography, printmaking, sculpture and woodworking. As teachers, they are in the habit of giving assignments to their students. Perhaps, unconsciously they also give themselves assignments. The result is work that is always exploring new ideas and techniques.

Don Williams “Black, White and Inbetween” Stoneware, wood and Steel, 14” x 10.5” x 4.5”

Don Williams “Black, White and Inbetween” Stoneware, wood and Steel, 14” x 10.5” x 4.5”

This is very true of the work by painter Craig Hood who is the current chair of the department. His most recent paintings have a mysterious layered haze, nearly obliterating the figures and objects that were much more evident in his previous work. These paintings draw you in, and invite you to draw the mystical curtain aside. The titles of the paintings give clues, such as “Dusty Road (Man Left Behind)” and “Starting Out”, where a small dark shadow gives the suggestion of a figure walking down a path.

Grant Drumheller “Orchard in October, Eliot, Maine” Oil on linen, 48” x 60”

Grant Drumheller “Orchard in October, Eliot, Maine” Oil on linen, 48” x 60”

Grant Drumheller’s newer paintings have a much looser, open brushwork. His most recent paintings are landscape views with the perspective of being seen from above. One has a bird’s eye view looking down on “Beryl Beach” where dozens of figures are enjoying the water and sunning on the shore. Rick Fox spreads his paint with wide brushes and a pallet knife for his views of Chauncey Creek and Kittery Point. Painter Brian Chu uses short, multicolor strokes reminiscent of impressionism for his still life of onions in a basket and a larger painting of Mount Washington. Abstract paintings and collages are contributed by Jennifer Moses, thus rounding out the variety of styles and approaches within the department.

Julee Holcombe “Metropolis”  archival pigment print, 48.5” x 42”

Julee Holcombe “Metropolis” archival pigment print, 48.5” x 42”

Julee Holcombe and Michael Cardinali teach photography. Holcombe seamlessly combines multiple images on the computer. Visitors are spellbound by her 48” x 42” photograph “Metropolis” which combines iconic architecture from around the world. Cardinali uses more traditional techniques for his black and white photographs of woodlands, ponds and portraits of his wife.

Sculptor Sachiko Akiyama just completed her first year at the University and is exhibiting two large carved and painted wooden pieces. “Four Corners of the Floating World” combines figures and cranes that stands over five feet tall. Leah Woods also works in wood. Her “Spaces In Between” is a large floor pieces that has numerous parts which radiate from a center point. One has the feeling that the parts could all fit together but in reality they can’t.
Placed throughout the gallery are ceramics by Don Williams. Two of his “Cistern” vessels flank the photograph “Metropolis.” Architecture has been an important reference for the artist for a long time. His wood fired, sculptural pieces make visual connections with the work by his colleagues throughout the gallery.

M. Stasiuk “Gentleman with a Suitcase”
63” x 19” x 13”

M. Stasiuk “Gentleman with a Suitcase”
63” x 19” x 13”

Artist Michael Stasiuk has filled the dock level gallery with his found object sculptures that are a combination of free standing figures and bas reliefs.  The “skirts” and “torsos” of many of these figures are made from antique lobster buoys which is an appropriate material since the view from the gallery is of a working waterfront, complete with bait shake covered in buoys. Charm and whimsy are found in almost all of the pieces. Some pieces are quite elegant in their simplicity such as the “Gentleman with a Suitcase.” His ability to animate ordinary objects and infuse them with personality and gesture is remarkable. Visitors to the gallery, without exception, respond with smiles and delight.

M. Stasiuk “The Alphabet Teacher” 45” x 26” x 13”

M. Stasiuk “The Alphabet Teacher” 45” x 26” x 13”

The exhibitions continue through October 2nd. Gallery hours are 10 to 5 Tuesday through Saturday, 1 to 5 on Sunday and by appointment. The gallery is a property and program of the Museums of Old York and is located at 140 Lindsay Road, York. 207-351-1083 www.georgemarhshallstoregallery.com