November 8 - December 20, 2016
Opening Reception: Sunday, November 8, 3:00 - 5:00
The McCoy Gallery at Merrimack College will present Sam Cady: Structures opening on Sunday, November 8 and continuing through December 20. The exhibition includes both recent and early work tracing Cady’s development as an artist whose work is realistic in its descriptive agility and rigorous in its emphatic concern with the structure of visual selectivity. Nationally recognized for his shaped canvases representing objects that appear sliced from the fabric of the visible world, Cady’s paintings turn images into objects that are both familiar and analytically abstract. Cady describes how an image of something lifted out of its visual environment might be experienced: “I want to represent it in a way where the average person can recognize it but be mystified and surprised by it at the same time.” The sense of “surprise” is an important feature of the paintings whose identities unfold in layers of comprehension.
Cady’s solo exhibitions include the Mary Ryan Gallery in NYC, Howard Yezerski Gallery in Boston, Fujii Gallery in Tokyo, Japan, Castelli/Goodman/Solomon Gallery in East Hampton, NY and the Caldbeck Gallery in Rockland, ME. His work is included in the collections of the Addison Gallery of American Art, Chase Manhattan Bank, Chemical Bank, the DeCordova Museum, the Farnsworth Art Museum, Fidelity Bank, IBM, Peabody-Essex Museum and Prudential Insurance, to name just a few.
Nancy Grace Horton
Ms. Behavior… and then some
October 4 - November 3, 2015
Nancy Grace Horton’s photographic series Ms. Behavior… and then some is featured at Merrimack College’s McCoy Gallery in the Rogers Center for the Arts beginning October 4 and continuing through November 3. A 1988 graduate of Merrimack Horton also holds an MFA in Visual Arts from the Art Institute of Boston at Lesley University. Horton has exhibited has worked as a freelance photographer and educator for more than twenty years and has exhibited widely.
Her series Ms. Behavior is a provocative collection of images of women seen in domestic settings that suggest an unsettling and sometimes humorous anthropology of place and the ‘place’ of women. The phrase “pregnant and barefoot in the kitchen” is recalled by an image that shows a woman walking barefoot on a stove, stepping uncomfortably close to a glowing red electric burner. Horton’s images, made in collaboration with her models and inspired by films, television, media and her own experiences, form fragmented stories around the theme of women’s identity. Her photographs are characteristic of images that go well beyond delivering what we may already think we know to images that expose what their subjects know and what they feel. Horton explores the familiar by disrupting its safe borders.
Paintings from 2012-2014
August 30 - September 30, 2015
The level of abstraction of my work is something I’m always considering. The difference in abstraction between some of my paintings is largely due to process. I consider myself a process painter. When I decided I would like to work larger (5 x 4 feet), the process I chose to create the paintings influenced the level of abstraction in a sort of natural way. When painting the smaller paintings in the landscape, I move through the paintings very quickly and produce the paintings rapidly as well in hopes to make a very gestural and organic painting. So when I decided to paint larger the question was how do I hold onto this spontaneous feeling in the work. My answer was to use larger brushes (4 inches) and to thin the paint down to washes so that I could move through the larger surfaces at the same rate as the smaller surfaces. This also required that I paint on the floor, which was new to me. Because of my goal to have the larger paintings have a spontaneous feel my process changed with respect to materials and approach. With the larger brushes, painting in washes and working on the floor I had less control and I think this was a contributor to the higher level of abstraction. Also, if abstraction is the essence of something, my smaller en plein air [outdoor] work had a major influence on the larger more abstract work.
Knowing my subject matter, the seascape, in a more specific manner at first allowed for a more abstract interpretation. The larger abstract work was also created from memory and imagination and I feel the more abstract product was heavily influenced by not directly observing something.
Also showing in the Rogers Center:
Kevin Salemme: 3/Three
September 1- October 31, 2015
Various works by current students
Continual showings throughout the year