My paintings are based on themes of color, surface, and space. They are tactile, visceral paintings. You can almost smell the paint and you will want to touch them to feel the buttery surface. The subject matter is a twist on the urban landscape - a minimal approach to architecture using subtle combinations of color and form to create spatial ambiguities and unpredictable shifts of foreground and background.
The paintings are built up in layers with a mixture of oil paint and cold wax medium. The wax provides a matte finish that retains a translucency allowing light to pass through the multiple layers. The mixture is applied with a palette knife and is often scratched back into to reveal variations in color from below. These subtle transitions in color and texture serve to transport the structural elements from the mundane and physical to a symbolic or psychological realm. Themes such as home, solitude and reflection are recurring elements.
About the Artist
Lisa Greenfield lives in Fort Point in the Artist's Building at 300 Summer Street and creates her work in her studio in Dorchester's Humphrey Street Studios. She is an accomplished artist having participated in many exhibitions, has received numerous awards, and has her work in many private collections.
You may have seen her paintings during Fort Point Open Studios in The Artist’s Building, as well as close to home on A Street under the Summer Street Bridge, as "Starry Night".
To purchase work by Lisa Greenfield please contact her at:
Scratching the Surface
Fade Into You
Balance of Power
Lisa Greenfield Working in Her Studio
Katherine Downey Miller
LIQUID & LUMINOSITY
May 8 - August 16, 2019
Opening Reception May 8 6 - 8 PM
I like to pare down the beauty of nature …..
For me, the intimate process of condensing, eliminating and illuminating is both a creative and intellectual action. My work relies on a strong foundation in drawing and painting, the power of my brushstroke and the peace residing within me while I paint.
In this new body of work Katherine Downey Miller worked from inspiration she found not only on a recent visit to the New England Aquarium, but from her time spent in and near the sea throughout her life.
For as long as I can remember, I’ve been fascinated by water. The way it moves, the energy it emits, it’s metaphorical meanings as well as it’s symbolism. I think of the ocean as a life source. Water and the ocean are at once profound and mystical. The many meanings and feelings that flow through water urged me to create this work.
With this new series of paintings, I’ve endeavored to take the viewer on a journey though the ocean and into our liquid environment. I have used cool and warm colors to draw the viewer into the deep and then warm to push them up for air. There is dangerous surf and calmness, sometimes anger and serene beauty, peace and other elements of the seas portrayed in these underwater landscapes.
My intention is to present the phenomenon of bioluminescence in my paintings. I’ve attempted to engender that shimmer the sun shining through the water creates and when some deep-sea fish and certain bacteria create a natural glow, sparkling on or below the surface of the waters. Bioluminescence is used for protection, attraction, warning, communication, defense, and even camouflage by many undersea creatures.
Growing up, my father would take me out in the waves and teach me about the power of the waves and how to swim through them, later turning to long ocean swims. Whether my eyes were open only for a moment or I saw the horizon of the ocean as I was swimming, I don’t know. But, I’ve always been intrigued by the color blue, the idea of an underwater world and as an artist, the power of my brushstroke to show liquid movement.
Much about being an artist is about remembrance, taking memories with you. Visiting Halibut Point, The Rocks in Rockport, MA as a child, I remember jumping into the water in Deer Isle, Maine and having millions of lights like moon beams light up the water around me, and fireflies lighting my way through the path at dusk on my way home, evoking the thought and vision of stars falling to the ground. It was magical!
The rhythm of my brush communicates nature’s liveliness, freedom and sensuality. For example, when painting a landscape, I initially transport shapes to either an abstraction or loose rendering. Then working in layers, incorporating transparencies and the honesty of color, I build up, rework, and may even reorganize forms. Sometimes, to further satisfy an eye aesthetic, I decide to turn the painting a different direction to refresh the visual language. My goal is to share an emotional moment that excites the attention of the viewer; and to maintain the relationship between human/man and nature.
Katherine Downey Miller - Artist Introduction
Listen to Katherine Downey Miller discuss her inspiration and process in this brief video. Her work has been exhibited in NYC, New York State, New England and Europe.
Dorothea Van Camp
IN THE HEARTS OF MEN (STILL) _______________________________________
January 24 through April 27, 2019
Opening Reception: Wednesday, February 13, 2019 6:00–8:00pm
In The Hearts of Men “I’m terrified by the moral apathy, the death of the heart, which is happening in my country.”
Waking up to our new reality in November of 2016, I couldn’t shake the thought that I had vastly underestimated the darkness in the hearts of my fellow citizens. Whatever I had been working on in the studio quickly lost significance in my mind and I found myself just wanting to make “portraits” of hearts. Black hearts, pure hearts, complicated hearts, vacuous hearts… all set against a backdrop of the swirling baroque vortex of our increasingly detached experience of reality.
In a context of ostentatious, opulent displays of wealth, domesticity, vulgar tweets, or roiling emotional turmoil, the disembodied hearts vie for their own alt-realities. Mainly screen printed in oil, these works deviate from my usual abstract imagery in their insistent connection to living and dying, co-opting reference images from medical illustration for political ends.
Bio Dorothea Van Camp lives and works in the Fort Point neighborhood of Boston. Recent exhibitions include: HallSpace Drawing Project 2018, HallSpace Gallery, Dorchester, MA, 13 Women, 13 Forest Gallery, Arlington, MA, and Variations on a Screen at the Carol Schlosberg Alumni Gallery, Montserrat College of Art, Beverly, MA. She was a prizewinner at the PrintMATTERS NEXT2014 juried show at Nicole Longnecker Gallery in June 2014.
Her work has also been included in many print-related exhibits such as: 35th Bradley International Print and Drawing Exhibit, Peoria, IL; On the Edge, Fitchburg Art Museum, Fitchburg, MA; Imprint, Manifest Gallery, Cincinnati, OH; and Boston Printmakers North American Print Biennial, 808 Gallery, Boston University, Boston, MA.
Van Camp attended Rhode Island School of Design, Providence, RI where she received a BFA in illustration.
Many Things Unknown With Gold
September 15 – December 15, 2018
Opening Reception: Wednesday, September 26, 2018, 6 to 8pm
About the Work
In the “With Gold” works I wanted to make objects that are weird and incomprehensible, unknown forms with a lot of energy, arrangements which evoke a big disturbance.
I created the five works over three months at the Bridge Guard Residency in Štúrovo, Slovakia. Each is 48 inches long and 5 inches high with irregular profiles. Two are curved and three have faces at different depths. They are hung well above eye level, forcing the viewer to look up at them, and making the bottom edge an integral aspect. They are not static - they appear very different from different angles, and in different lights.
The works are light greenish-grey painted wood panels with gold leaf, zinc paint, and black and white paint. Gold leaf reflects light above and below them.
The Station and Installation prints are a continuation of my interest in “something unknown with a lot of energy, something which evokes a big disturbance.” I worked on them at the Kaleidoszkóp Ház in Esztergom, Hungary - one kilometer across the Danube river from the Bridge Guard Residency in Štúrovo.
About the Artist
Lara Loutrel holds a BFA in Printmaking from the Massachusetts College of Art. Her solo shows include exhibitions at Dom strážcu mosta (Štúrovo, Slovakia); gallery@ArtBlock (Boston); South End Branch Library (Boston) and the Sheetz Gallery (Penn State Altoona). Her works have appeared in numerous group shows, among them The Boston Printmakers Selects: A Distillation from the 2013 North American Print Biennial (California), New Art Center (Newton), Khaki Gallery (Boston), Carroll and Sons (Boston), MPG Contemporary (Boston), La Galería at Villa Victoria Center for the Arts (Boston), Mills Gallery (Boston), Printmaking Biennial of Douro (Portugal), Nachtundnebel 08 (Berlin), Gallery Aferro (New Jersey), Foundry Art Centre (Missouri), Hunterdon Museum of Art (New Jersey), Axis Gallery (California), and many others across the United States.
Loutrel was awarded an artist residency at the Bridge Guard (Slovakia), an Artist's Resource Trust Grant (Berkshire Taconic Community Foundation), a Johnson & Johnson Purchase Prize (Hunterdon Museum of Art, New Jersey), a Gallery Award at MPG Contemporary (Boston), a Group 4 Award (Foundry Art Centre, Missouri), and a Juror’s Selection Honorable Mention in Printmaking (30th Bradley International Print and Drawing Exhibition, Illinois). Her work is included in the Boston Public Library’s print collection.
Sterling Mulbry: Subtropical
May 9 through August 9, 2018
Opening Reception: Wednesday, June 6, 2018 6:00–8:00pm
Paintings executed over the past few years. They cover subjects Mulbry returns to again and again: piles of books balanced on the edge of a shelf, swimming pools with the swoosh of a floating noodle, and landscapes viewed through shutters.
Susy Pilgrim Waters
January 22 – April 22, 2018
Opening: February 15, 2018, 6 to 8pm
Susy Pilgrim Waters is often restless and ready for adventures in paint. Working in large bold shapes she enjoys creating tension on edges, both figuratively and literally. Her inspiration is the boldness of nature with a nod to urban architecture interpreted into the abstract shape and diverse color.
She creates multi surfaced panels of color and texture, as she layers in tones and line completely intuitively. Exploration is the goal within a personal pallet of intentional marks.The result is a ‘bank' of panels. Single or grouped, the works stand alone or in groupings, which constantly evolve.
This installation consists of wooden canvases ranging in size from 4 inches square to 4 feet square. A large printed linen placement print, 185 x 52”, illustrates how her painting influences the everyday functional products the PilgrimWaters company makes for daily life.
Mustard Olive moss boulder Happy. Scratchy Seasoned buckwheat Parchment Lemons. Smoked salmon Arches. Horseshoes. Air Black tissue. Tea. Doubtful yellow Petal. River Ephemeral. Undecided. Generous Little left. Payne’s grey. Evolving. Chaos Happy. Random
Nick Zaremba: A Lizard On A Rock In The sun
October 9, 2017 – January 9, 2018
A collection of paintings; calm, comfortable and motionlessly basking in self contemplation, energizing, waiting warmly for the curious view to approach out of wonderment. www.nick-zaremba.com
Josh Falk | Small Worlds: Looking Glass
April 13, 2017 through July 13, 2017
Opening Reception: Thursday, April 13, 6:00-8:00pm
Growing up in and around a small industrial city that was surrounded by rural landscapes, mixed media artists Josh Falk has always been influenced by the juxtaposition of these two worlds and the often subtle ways in which they overlap. As if the city itself was a living terrarium, Falk would learn and respect the ways in which two opposites could naturally coexist and complement one another throughout his life.
Highlighting the intricate beauty of plants and nature, “Small Worlds” is an ongoing macro-photo series shot with the intent of not only showcasing the subtleties of what we often take for granted in nature, but to also create new abstract landscapes through manipulation of depth of focus and segmentation of the larger picture.
As if the photos themselves and their glass-like finish are windows into a brief moment of time, Josh Falk invites the viewer to look out, or perhaps in, to a new and reimagined world of nature and its complex beauty.
John Crowley: Moving Forward
December 21, 2016 through March 21, 2017
Opening Reception: Wednesday, December 21, 7:00-9:00pm
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.
Amy Baxter MacDonald: People & Places
October 3, 2016 – December 15, 2016 Opening Reception: 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.
Wendy Shapiro: Sustainable
May 10, 2016 – August 28, 2016 Opening Reception: Thursday, June 16, 7:00–9:00pm Closing Reception: 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.
Matthew Murphy: Ascension/Suspension
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.
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.
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.
Lisa Knox: Making Waves
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.
Adam O'Day: Worlds Collide
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 AdamO'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!
Nick Ward: Distorted Memories
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 NickWard. 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.