Terrains of the Imagination
March 25 - April 24, 2014
Reception: Sun., March 30, 1:00 - 3:00pm
A landscape painter assumes a willingness on the part of the viewer to travel by constructing a space of elsewhere, a space that is not the space the viewer occupies. The visual conditions that characterize a landscape are at once of the landscape itself and of the painter and, finally, of the viewer. Christopher Lovely’s landscapes have the feel of familiar spaces tinged with a soft oddness. His descriptions, based on observations of the real, gather together patterns—stone walls, clouds, ripples in a stream—that evoke a cohesive territory that blends of exterior and interior experience.
Lovely describes aptly his paintings as “dreamscapes.” Indeed they have the feel of a world remembered, while also suggesting one newly encountered—a world slightly beyond the one we know.
Tom Glover: Recent Paintings
February 12 - March 24, 2014
Reception: Sun., Feb, 23, 1:00 - 3:00pm
An immediately noticeable element in Tom Glover’s paintings is neon red. In small amounts seen against the dark rigging of fishing boats or the blue of sky and sea, this exaggerated red color signals a kind of visual alarm, and that is the point exactly of this red. It appears on buoys, gloves, cover-alls, anything that must for the sake of survival be found, especially in the difficult conditions of storm and darkness.
Glover’s paintings clearly present the beauty and apparent serenity of the sea in his images of safely harbored boats, but these images are also intensely structured investigations of the architecture and rigging of these small boats. They are about places and tools of work. In none of these paintings do the men on these boats look out to us. They are presented in their particular labors, perhaps aware on some level that they may be a part of our scenic pleasures, but indifferent to us.
Chiasm: New Work by Meg Brown Payson
December 4 - February 8, 2014
Reception: January 23, 5:00 - 7:00pm
Gallery talk: January 29, 3:00pm
The multimedia project entitled Chiasm addresses the landscape as an exchange between the encultured mind and the wild world. The exhibition will feature six new pieces including tapestry and video, both new mediums for the artist, alongside Payson’s multi-panel paintings and large-scale drawing on silk.
Chiasm is a term used in genetics and optical anatomy to refer to an exchange of information, and in literature to refer to a repeating poetic structure. In philosophic terms, chiasm describes the interactive nature of perception. Payson’s work addresses this specifically by exploring how our perception of the wild is both deepened and blinded by its familiarity. For Chiasm, she has created architecturally specific pieces for the McCoy gallery that fill the viewer’s field of vision. Evoking a sense of fluid aliveness in whirls of line and color, Payson’s work shimmers across long horizontals, vertical tapestry, and sixty-five square feet of floor space. As the artist describes, visitors can expect to enter a “rich and textured world of ambiguous form and odd color”.
To Mend: New Work by George Mason
October 15 - November 26, 2013
Reception and Artist Talk: Thursday, October 17, 3:30-5:00
Maine artist George Mason’s work employs mysteriously complex fields of text and patterns that drape like monumental mythologies along the gallery walls. Part relief sculpture, part painting, Mason’s images suggest codes that become visual environments, inviting the viewer into absorbing surfaces within which one discovers a soulful antiquity.
His ‘To Mend’ series are works with irregularities — gaps that have been filled in, patch-worked to wholeness. Predominantly made in green tonalities, the mixed media works are achievements of visual poise and serenity.
Mason will be on hand Thursday, October 17 to discuss his work.
Previous exhibitions, 2013-2014
Arthur DiMambro: Paintings & Sculpture
September 1 - October 10, 2013
Reception for the artist: Sunday, September 15, 2-4pm
Arthur DiMambro’s paintings embody the idea of painting as reflection. In the first sense of reflection his images can be experienced as his personal vision of the world seen and moved through. His landscape paintings and his still life paintings convey a sense of time - the time to see, to move within and to render in paint. Often thick and shining, his paint marks record the traveling hand acting the part of the eye. A fisherman as well as a painter, DiMambro spends a lot of time in or at the edge of rivers and streams, their mirror surfaces disrupted by river stones or a hooked fish breaking the surface. Reflectivity is altered by the artist/fisherman’s interaction within the physical world. His paintings collect these interactions as satisfying arrangements of marks, gestures, spaces and colors emerging as fully realized image events. DiMambro’s sculpture, although essentially figurative, present the figure in spatial contexts. They do not simply exist in an unnamed Utopia. They are in time and in place.