Driven to Abstraction is inspired by artist Gifford Pierce’s (1937-1999) geometric studies in color and form. Pierce's work is displayed alongside juried abstract artwork from around the region curated by The Umbrella. Pierce’s artwork, from the collection of Nancy and Elliot Lilien, is on sale to benefit The Umbrella Community Arts Center, a non-profit whose mission is to build a vibrant community through the arts.
"Sometimes, we have no idea of where we’re going but we take the first step anyway, we throw caution to the wind, and we trust in the journey. The prints and paintings in this exhibit were created with the intention of not knowing what their final images would be, of taking chances, of creating tension and resolution by breaking down and using the materials in their purest forms. And to remind us of the organic nature of the world and that we all have a place in it."
Rozsi Adean Moser
Local artist and art teacher Sue Funk's exhibit showcases her pen and ink drawings (with a few colorful pieces mixed in...)
"In my art I create the kind of world I wish to witness.
I create a world of order, peace & sanity as I revisit old memories & create calmer scenarios.
My ability to realistically capture an image has always been
a form of cleansing therapy.....
If a viewer gains insight & a moment of peace
& can feel that they have escaped our shared image of this world,
then my creation is that much more complete."
Kathryn Costello is a portrait artist specializing in head shots, magazine-style portraiture and dance photography. This exhibit of her night photography—stars and dancers (most of whom were photographed outside after dark) uses time to illustrate what cannot be seen with the naked eye. Whether it is freezing motion at 1/5000 of a second or a three-hour exposure to burn onto film the motion of the night sky, Kathryn captures the fleeting and the eternal.
"In Suspension" premiers over 20 new works - many of which were created specifically for The Gallery at Villageworks - by artist Janet Shapero. For almost two decades, Janet has been applying thin layers of pigment, both directly and indirectly to open-weave backings in order to create images of varying translucencies, held afloat in a diaphanous grid. Rete-Chrome (pronounced rět-ě-krōm - derived from rete, Latin for net; and chrome, Greek for color) is the term she coined for the process and the resulting two-dimensional artwork. Similarly, the term Rete-Form relates to a like use of pigments applied to metal screen which is then modulated into sculptural forms. Ranging in size from miniature to monumental, Rete-Chromes and Rete-Forms have been widely exhibited; as individual pieces and as elements in larger installations.
Land and Sea: Capturing Extraordinary Views of Farms and Coastline
Local photographer Annelie Connolly loves to capture simple and “ordinary” images that evoke warm and pleasant memories or emotions, like sheep grazing on a foggy quiet morning, or late afternoon sun hitting a wooden boat tied up by the dock. Her “Land and Sea” exhibit displays a sampling of her passion for countryside charm and coastal beauty. Annelie hopes that these “ordinary” images will call to mind “extraordinary” evening walks along the harbor or family rides to the country.
Born and raised in Sweden, Annelie has long had a passion for capturing nature’s beauty in photographs. Now a US citizen and resident of Stow, and a married, mother of two boys and a Boston Terrier, she has found a passion in capturing the beauty around New England.
See more of her work at:
In 2001 Linda Hoffman, a sculptor, moved to a small farm in Harvard with an old apple orchard. For this exhibit she combined her love for the orchard with her passion for art by (re)using apple prunings, the branches she lops and saws from the trees each winter. Hidden Fruit, Snowy Branches, and A Grafted Life, are just a few of the new sculptures by Hoffman and friends, a collaborative exhibition with apple branches, agricultural artifacts, natural fibers, and Hoffman’s sculpted figures.
My subject matter varies, but my enthusiasm for color is boundless. The endless variety and surprise of color is how I incorporate emotion in my artwork. My main influence is Fauvism, with its wild exuberance of color. I revel in natural beauty. When the weather permits, I am out painting landscapes en plein air. The beauty of nature buoys my inherent optimism. While I derive great joy in painting traditional subjects, I love exploring free expression through abstraction. As I utilize different techniques, I try to let my intuition be my guide. The composition tell me where it needs to go. By letting go of preconceived ideas, I find my own style and iconography.
Element: An Exploration of Process, Dimension, Texture + Tonality.
Element is a collection of fine art photographs and paintings that explore the relationship between light, texture, dimension and tonality. Shot entirely on medium format film, the collection is tactile and emotive. The process of film photography is unique in its ability to preserve a moment through beautifully rendered light, shadow and color. By pairing the photos with abstract paintings, the line becomes blurred between documented reality and artist expression.
Gwen Murphy works out of ArtScape in Maynard. Her works ranges from surrealistic paintings, to hand painted paper dolls, to sculptures using vintage shoes and bathroom scales. See more of her work at gwenmurphy.blogspot.com or on Facebook.
Willy Garver has studied art all over the world, from her native Netherlands to Australia to the United States. In this exhibit she displays her series of oil paintings of the Buddha. Proceeds from her Buddha paintings go to the Open Meadow Zen Center in Lexington MA. See more of her work at http://www.willygarver.com.
Janet Wolahan works out of Western Avenue Studios in Lowell, MA. Her fifth floor studio looks over Kazanjian Used Auto Parts, the inspiration and subject for her series, Salvage. According to Janet: “I enjoy working with the vast array of compositional possibilities within the heaps of aged and damaged vehicles, stacks of stripped and crushed auto bodies, and the rusted and nearly unrecognizable debris of automobile salvage.