(Carriage House closed for the season)
On Saturday, November 10th, there will be an exhibition of paintings by Pamela Cardwell in the Main Galleries. The work will be on display through December 2nd with a reception for the artist on Saturday, November 10th from 6:00 until 8:00 p.m. The Carriage House will be closed for the season.
Untitled, 2018, oil on canvas, 50 x 36 inches
“I build my oil paintings with line and color over a long period of time. A number of these paintings were started while I was an artist in residence at the Maritime Museum in Camden, New Jersey. Some began on the coast of North Carolina and all were finished in my studio in Brooklyn. While in Camden I painted in the gardens of the Center for Environmental Transformation. Through talking to the farmer who works there I learned about the minutiae of form and how to look closely to see the specifics of light, color, and rhythm. The opportunity to meet and talk with long-term residents of Camden made me acutely aware of inequity and the necessity of not judging other people or my own work. Other influences include the paintings of Constable and Gainsborough in the Philadelphia Museum and the capacious spirit of Walt Whitman’s poetry. Thanks to Cassie Macdonald and Cuz Keith in Camden.”
On Saturday, October 13th, a group of artists will open six solo shows (sculpture and painting). The works will be on display through November 4th with a reception for the artists on Saturday, October 13th from 6:00 until 8:00 p.m.
Open Pumpkin and Lantern, 2017, oil on board, 23.5 x 29.5 inches
“The paintings hanging here are still life, painted over the last several years, mostly from observation. Sometimes the things I paint give themselves up quickly, but more often they do not, and I have to settle down to a long pursuit during which looking, memory, and desire all play a role. I’ve been involved with still life from my time in art school up to the present. It is the three-way relationship that interests me: the motif, the canvas, and myself. I return to the same objects and similar arrangements over and over, and this opens up the question: just really what is the subject? Is it the pumpkin, the cabbage, the melons, the jugs, the skull, or is it mass, location, presence, space, color? I hope it is all of the above. I am interested in the identity and presence of my subject as well as the formal concept of composition. I hope that if I do justice to the subject, the geometry and form will be revealed, and if I’m successful, the painting will look back at me with all the force of a portrait.”
Ruth Miller, 2018
Making It Up
May, 2014, bronze, 69 x 19 x 16 inches
“I remember eight sides to a form
And one should have a purpose
Something like “make a good figure”
Remembering the term good and the word figure
Don’t coincide to the eight sides of a form
in a body bilateral but opposed
there is a gap between the saying and the actions
which are not mute
the words seem to sustain in off moments”
Bruce Gagnier, 2018
First Floor Carriage House
Than Again, 447
Towards Malta, 2018, oil & emulsion on paper & canvas, 72 x 56 inches
“The Galleys at Lepanto,
On October 7 of 1571, the Holly League fought the Ottoman Empire in the Bay of Lepanto. This battle, in which more than 30,000 men lost their lives, decided the most momentous question of the sixteenth century: whether the Mediterranean would be an Islamic sea and most of Europe an Islamic province. The victory of the Holly League reverberated joyfully throughout Europe.”
Second Floor Carriage House
Untitled I, 2018, acrylic on wood panel, 20 x 16 inches
“I’ve been looking closely at plants on my windowsill, and in my garden: leaves, petals, stems—the spaces between and around. The patterns and shapes inspire endless hours of drawing and painting. Sometimes I try to invent plant forms—but the natural world is more wondrous than anything I could ever think up.”
Pamela Salisbury, 2018
Third Floor Carriage House
The Wind Comes Through, 2017, 24 x 24 inches, oil on canvas
“To describe how the air comes down between,
and the shadowed corner expands
down the hall;
see how the window
makes the books
I try to remember,
and then I try again,
in the studio…
the distance making a—
where the here sweeps in.”
Maud Bryt, 2018
Fourth Floor Carriage House
Tree at Branford #6, 2018, watercolor/egg tempera, 10.5 X 7 inches
“I have always found refuge in my work since I was a kid.
It is not about confronting or solving anything,
but formally they do need to be very together.
It is about making something that is meaningful and heartfelt. I think of it like soul music, or blues, even raga.
And I hope my painting is a rewarding experience for other people.
I paint another world, and I try to make this real enough that it’s believable, and so becomes possible.
Eric Holzman, 2018
On Saturday, September 15th, a group of artists will open in the Main Galleries, Sculpture Garden and Carriage House. The gallery will have five solo shows (sculpture and painting). The work will be on display through October 7th with a reception for the artists on Saturday, September 15th from 6:00 until 8:00 p.m.
Main Galleries & Sculpture Garden
Teresa, 1993, oil on masonite, 60 x 40 inches
“I don’t like writing artist’s statements. I really don’t know what to say. I’m not even sure at this point what I’ll be showing.
Some heads—maybe. I guess I try to get some “form” into my heads—at least I’m less suspicious of form than I am of formlessness. Maybe “character” too—but whose character? I don’t think I have any special insight into the “characters” whose heads I’m sculpting. To what extent does my character get into these heads? Who am I? I sure don’t know.
Am I a realist? Or a copyist? A copyist trying to be a stylist? It is kind of fun asking these questions. I’m OK thinking of myself as an art student, but then I think some more.
I have a friend, Sally, who was a professional dancer for most of her life and also taught dance — but her knees now don’t work the way they used to. She takes ballroom dance classes at the Fred Astaire Dance Studio West Side [sic] in NYC. In 2011 she was given a gift of introductory lessons there, a place she’d walked past almost without noticing for years. I get to see her dance for 2 or 3 minutes at the annual recitals Fred Astaire puts on. She’s amazing—and gets more amazing every year. She also writes about her experience at Fred Astaire—about who she is, what she thinks. Her teachers tell her she thinks too much, but she won’t stop thinking. Two recent essays are “Taking the backward step,” and “‘You can only follow my body.’” Suggestive/mysterious titles. In many ways I follow—or try to follow—Sally’s lead.
I can’t thank John Davis enough for showing my work..”
Jock Ireland, 2018
Carriage House, Ground Floor
upnatm, 2015-17, oil on canvas, 64 x 51 inches