Work by Sara Egan interpreted by Merrimack College Art Students
December 4, 2014 through January 21, 2015
Reception: Thursday, Dec. 4, 2014, 5 - 7pm
Working with students in Basic Design and Basic Painting, Sara Egan produced an installation of large abstract paintings that merged into an environment of color, pattern and gesture.
Inspired by artists like Cy Twombly and Bridget Riley
and encouraged to use such imagery in their own way, students worked as a team of artists forming new relationships with one another and with art itself.
Egan teaches Design, Drawing, Painting and Foundations of Visual Art in the Visual and Performing Arts Department at Merrimack College. More of her work can be seen at www.saraegan.com
Private Lives // Public Facades
October 10 - November 12, 2014
Reception: Sun., Oct. 26, 3 - 5pm
Gallery Talk: Wed. Oct. 29, 2 - 3pm
Pennie Brantley’s paintings are encounters with place and time. What may seem at first to be fond celebrations of old Europe, Brantley’s images slowly reveal themselves as more spirited and, indeed, spiritual evocations of human presence as witnessed in the built environment.
The compositions contain no human beings, but their depicted architectural artifacts feel quietly populated by the humanity from which they originated. In a sense they are haunted images—not by ghosts so much as by a sense of preoccupation with emotional memory—as both distant and recent pasts continue to linger in the worn edges of steps and walls and shadowed doorways.
In effect Brantley paints a sensory recognition of how human beings impart their existence to things even though that existence is not directly witnessed. Consciously cultures have tried to secure the preservation of memories in marked graves and tombs and monuments as well as in documents, stories and tales, even in the naming of those who follow after. It is these less memorially deliberate structures that Brantley finds her connections with the “lineage of humans we can no longer see physically.” The humanity discovered there is understood in terms of a bond for making and using spaces—spaces that direct the eyes, the feet, the hands. We ‘see’, ‘reach’ and ‘touch’ that which for so long and so often has been known by other persons.
September 1 - October 7, 2014
Reception: Thursday, September 4, 3:00 - 5:00pm
Working on the coast of New England and recently the Pacific Northwest, Alan Rushing brings a painterly vision to the life, light and color of seacoast towns, harbors and boats. His painting language is raw and spontaneous and always revealing of layerings of visual thinking and material handling.
Painting outdoors in the environments that he portrays, Rushing’s paintings blend thick and thin surfaces and convey an experimental methodology that is open to accident and not bound to a restrictive requirement for a ‘fine’ finish.