Louise Arnold is a landscape painter with a design background in Landscape Architecture. She works both en plein air and from her sketches and photographs. Louise has been fortunate enough to visit and inhabit the landscapes of both Northern Vermont and Prince Edward Island, Canada. Each provides unique experiences: the region of Vermont that she works in tends to be more enclosed and PEI - surrounded by water - more open and expansive. The paintings on display in the Gallery at Villageworks explore the character of these two distinct landscapes and the reciprocal experience of Louise’s own personality interacting with them.
"The natural forms found in the landscape have always uplifted me, even in uneasy times. The beauty of nature is generous and and humbling. There is an irresistible urge to capture and paint particles of its endless combinations and wonder. I have enjoyed mixing abstract designs with flowers. It creates a different sensibility. My aim is to give a bit of joy to the viewer."
The artwork shown in this exhibition is divided into two groups. CITYSCAPES features panoramas of New York and other cities. AERIAL VIEWS is a series impressionistic landscapes based on locations real and imagined. Although two groups of works may appear to differ stylistically, all of the pieces emphasize lines, colors, and patterns that coalesce into images that are recognizable to varying degrees. My approach to making art is not about choosing realism or abstraction. Both sensibilities operate in tandem and inform all my works. I rely on solid observation of actual places to depict light and space. Delineating the abstract qualities of an image frees me to create new techniques and designs. Please join Anna for a reception celebrating her exhibit on Sunday July 8th, 4:30pm-6:00pm. The event is FREE and open to the public. Contact Anna Herrick via email firstname.lastname@example.org. For more information, please visit annaherrick.com.
Nancy Tobey's exhibit Grounded in Dreaming, is on display in The Gallery at Villageworks through April. Nancy works in encaustic medium -a combination of beeswax, damar, resin, and pigment - to create abstract works that are reminiscent of landscapes, cityscapes and geology. 'Grounded in Dreaming' represents Nancy's exploration of lightness, color, transparency and space. Join us for a reception celebrating the show on Sunday, April 22 from 4:30pm-630pm.
My fiber art explores traditional textile techniques with a contemporary twist. As a native of Finland, my work reflects the Scandinavian sense of simplicity in design. I enjoy the process of weaving and the unique textures that it creates. My motifs vary from abstract to representational images and are often merely suggestive, hinting at shapes and forms. I strive to expand the boundaries of traditional weaving by achieving a more painterly sensibility that weaving alone does not offer. To fully express my artistic intention, I incorporate several different techniques such as dyes, paint, appliqué and stitching, to create a layered, dimensional effect.
2017 marks one hundred years since America entered Word War I, 'the war to end all wars.' This November, come to The Gallery at Villageworks to view Dr. Elliott Lilien's remarkable collection of WWI propaganda posters. Join Dr. Lilien on November 12th for a special presentation and discussion of their historical context, artistic merit, and value.
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.
"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.
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.
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.
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.