December 21, 2016 through
March 21, 2016
Wednesday, December 21,
Crowley's paintings depict a future with catastrophic possibilities but at the same time convey a sense of hope that the human race will address environmental, social, political, and economic challenges on a world wide scale and start to work on turning things around.
October 3, 2016 – December 15, 2016
Thursday, October 13, 7:00–9:00pm
People and Places reflects artist and animator Amy Baxter MacDonald’s interest in motion, and her respect for the immediacy and honesty of the gesture or first impression. She uses a wide variety of materials, but traces of the piece’s beginnings usually remain regardless of whether her subjects are drawn or painted. Also evident is MacDonald’s love for the materiality of traditional media, which are generally not part of her digital animation work.
Most work is done from either direct observation or from sketches that were done on location. Apple Cottage, Graveyard, and Gold Creek are most recent, from this summer’s working vacation in Plymouth, VT. The chairs are from the artist’s former studios in Fort Point and Provincetown. Fighters were sketched at The Club in Fort Point, Eli in Robe was painted at the artist’s residence at 249 A Street, and Neighbors are from Boston Magazine’s photo of a Fort Point event. The artist does paint portraits, but the figurative work shown here celebrates gesture, line and surface more than the likeness of the sitter.
May 10, 2016 – August 28, 2016
Thursday, June 16, 7:00–9:00pm
Thursday, August 25, 6:00–8:00pm
These eco-friendly works are layers of horizons, clouds and soft sea storms. Being environmentally conscious has always been incorporated in Wendy’s art. By using Greenguard gold certified (for low chemical emissions UL 2818) acrylic paint in this series she continues this practice. Wendy hopes the viewer takes a moment to imagine taking a step into each piece and visualize what the infinite horizon is today and will imminently be.
Worn driftwood found in the Boston harbor area is intended to enhance the vision with a sculptured piece from the natural world, which she feels is continually taken for granted.
January 21st – April 21st, 2016
Opening Reception: Thursday, January 21st, 6–8pm
“With these paintings I am interested in liminal states, waking states, fictions, hallucinations or outlands. The shapes in these paintings are under influence of each other, they change the nature of the space between them. If one shape changes, the whole gesture changes. These relationships are mathematical or musical. The sum of the parts, I hope, are transportative. metaphoric or poetic.
“Working in the studio, drawings, paintings, and wooden constructions inform each other. Paintings happen alongside drawings, alongside collages and constructions. Their development is non-linear but integrated.
“When jumping off a swing as a child there is a moment where one seems to hang in the air. When one is between moving up and falling down. The experience is as close to flight as I could imagine being. Movement and time seemed suspended, as if a second in time could last hours. Neither completely here nor there. I think about this when trying to clarify my ideas in these paintings.” — Matthew Murphy
Matthew Murphy is a Boston-based painter who teaches painting and drawing at Montserrat College of Art in Beverly, MA. He studied painting and received his MFA from University of Washington in Seattle and a BFA from Massachusetts College of Art and he has shown work at Massachusetts College of Art, Laconia Gallery in Boston, University of Arkansas, U Mass Boston, Emanuel College, and in Richmond, VA. In January his work will feature in a group show, “Idle Trades,” at the New Bedford Art Museum in New Bedford, MA, and a solo show at FP3 Gallery in South Boston. He once hit two back-to-back inside-the-park home runs in D-league Softball.
View more of Matt’s work at Matt-Murphy.com.
October 7th, 2015 – January 1st, 2016
Opening Reception: Friday, October 16th, 6-8pm
"This latest body of work focuses on the line, and how it interacts with color and space. Creating patterns on top of color fades, other patterns, and flat color, I explore the relationship between composition, structure, and color. Much of my past work has revolved around flat color and the use of negative space, The line work is an homage to my love of Op-Art, architecture, and graffiti.
"The result is series of throwback imagery, invoking the 80's and the early digital age of computers. My intent was to recreate these looks by hand, while adding an organic feel through fades and atmospheric backgrounds." — Mike Hammecker
Mike Hammecker is a painter who currently lives and works in Boston. He grew up in the Northwest suburbs of Chicago with a family that liked to travel often. At a young age, he developed an appreciation for architecture (through frequent vists to homes and buidlings designed by Frank Lloyd Wright), Japanese woodblock prints, graffiti, Art Noveau and more. After years of experimenting with graffiti art, zine production and more, he decided to focus his attention on fine art, and in his first ever show was included in an exhibit at the New Museum of Contemporary Art in NYC. He has since shown his work in spots like Brooklyn's Galapagos, Boston's Bernard Toale Gallery, New England School of Art and Design, and Boston's newest gallery, Lot F.
View more of Mike's work at www.mikehammecker.com.
July 10 – September 10, 2015 at FP3 Gallery
Gallery opening: Wednesday, August 5, 6:00–8:00pm
Lisa Lindman has been taking photographs for more than twenty years. For her, the act of photography is a means to access an internal stillness and, through it, a connection to the natural world. She connects most strongly to water in all its forms – still, flowing, mist, and ice – and many of her images focus on the interplay of water and light.
Photography is deeply personal to her, and it is only in recent years that she has brought her images into the public view. In the past two years, several of her images have been selected for inclusion in juried exhibitions. To the extent her images evoke in viewers an echo of the numinous experience that produced them, she is extremely pleased.
February 27 – May 27, 2015
Thursday, March 5, 6:00–8:00pm
Fish & Chicks at FP3 is from two series of work.
The Sardine Can images came out of a month-long residency at StudioWorks at the Tides Institute & Museum of Art in Eastport, ME this past September. Eastport and the surrounding coastal towns were once known for the abundant sardine fishing and canning industry. The Tides have hundreds of labels from the local canneries in their collection. The prints for this show Joanne made on aluminum, an homage of sorts to the can.
The CoverGirl series come from Joanne’s ongoing interest in classic, stylized female advertising images. These 1930’s–40’s covers are from French Marie Claire and a film magazine called “V.” These pieces are layering experiments about form and composition—and have no grand statement about women or femininity attached. Joanne finds that the viewer often brings their own story or meaning to this work.
FP3 Gallery is pleased to present Making Waves, an exhibition of recent works by Lisa Knox. Making Waves is a series of paintings inspired by the mesmeric quality of wave-forms. Gestural line, pattern and broad planes of color emerge and dissolve, mirroring the ever-changing beauty of wave-forms as they perform their timeless and dangerous dance upon the sea. Opening Reception Wednesday, November 5, 2014, 6:00-8:00pm.
FP3 Gallery is pleased to present Abridged Cognition, an exhibition of recent works by PT Sullivan. His images are created through careful preparation and consideration, then combined with the freedom of mark-making and performative actions. He reveals residual traces of movement through an unraveling of time in a space. The restraint and erasure of form in his work is more about the confusion of the figure, and media allowing them to be ambiguous to the audience. This way of revealing actual moments in a space brings about curiosity and questions as a way to interact with the viewer. PT's works are often seen as drawings or paintings when they are not. The images show a variety of everyday movements to adaptations and new interpretations of other artists who've used motion in their work. Opening Reception Thursday, June 26, 2014, 6:00-8:00pm.
March 8th - June 7th, 2014
Opening Reception: Thursday March 13th, 6:00-8:00pm
FP3 Gallery is pleased to present Worlds Collide, an exhibition of recent paintings by Adam O'Day. In this exhibit, Adam explores how two worlds come together as a body of work: one world is as we see it, the other is how it feels in our souls. Recently, Adam started to focus on painting what a scene feels like, not necessarily what it literally looks like. There are elements of reality, mixed with elements of other worlds, dreams and nightmares. When painting a landscape, he sketches from life, uses pictures and then works from memory. Things look familiar, but they seem like a memory, because he puts the finishing touches on a piece without focusing on what it looks like. Come see the worlds that Adam has created!
November 14th, 2013 - February 20th, 2014
Opening Reception: Thursday November 14th, 6:00-8:00pm
FP3 Gallery is pleased to present Distorted Memories, an exhibition of recent paintings by Nick Ward. Nick’s paintings are often described as realism. However, these paintings stop quite short of – and in some areas just past – photo realism. Instead of capturing visual reality, his portraits attempt to describe his memories – real or imagined – of these subjects. Equal attention is given to long relationships and fleeting glances; actual experiences are treated the same as invented encounters. The portraits combine exaggerated characteristics with occasional use of text or vivid color as a counterpoint to the familiar forms of the human face and body.
July 25 - October 25, 2013
Opening Reception: July 25, 6:00-8:00pm
FP3 Gallery is pleased to present To the Heart of It, a solo exhibition of new works on paper by Elisa H. Hamilton. In this autobiographical exhibition Elisa Hamilton explores the challenges and discoveries that come with beginning again. This new collection of artwork takes viewers through the ordinary moments of Hamilton’s domestic experience and the metaphors that unfold. The pieces are personal, but the concepts are universal: recovering from loss, finding the balance between independence and vulnerability, and the continual quest for that proverbial silver lining. Hamilton considers every piece in this show to be a form of self-portrait. She literally depicts the sharp edges that we are sometimes forced to contend with, but she also gives us a vision of the beautiful softness of possibility—and all of it with a sense of humor, in vibrant palette that exudes hope.
Elisa H. Hamilton is a Boston-based multi-media artist whose work explores the inherent beauty of our everyday places, objects and experiences. Recent projects include Dance Spot, an interactive public art project that transformed the sidewalks of Fort Point into dance floors, An Apple A Day, a one-day installation of 365 apple drawings, and Everyday Thanks, a project in which Hamilton created and distributed 150 blank Thank You cards for participants to use to give thanks to somebody else.
Hamilton is a member of the Fort Point Arts Community and a proud graduate of Massachusetts College of Art and Design where she is just finishing her term as Chair of The Alumni Leadership Council.
April 9 – July 9, 2013
Thursday, April 18, 6–8 PM
The current pace of today’s viewer is tied to their daily rush and fleeting glances, never really slowing down to observe the elements around them or the discarded objects underfoot. As a mediator, Ian Kennelly stops or slows down the pace and approach of the subjects that are typically ignored and seldom seen as beautiful. Through lush oil paint application, color and tonal relationships are explored in otherwise mundane vignettes of daily urban life. Within these paintings, the grace in the brut is exposed.
In this exhibit, Jerry maximizes three-dimensional illusion in the context of a painterly background. We see through the object floating in space juxtaposing foreground and background. Push-pull becomes heightened and exited. Polymer Resin is the vehicle driving the construction and the illusion of deep space allowing images to be impregnated, floating between layers of resin and acrylic painterly ground.