IN THE HEARTS OF MEN (STILL)
January 24 through April 27, 2019
Wednesday, February 13, 2019
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.
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.
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.
May 9 through August 9, 2018
Wednesday, June 6, 2018
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.
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.
Olive moss boulder
Lemons. Smoked salmon
Arches. Horseshoes. Air
Black tissue. Tea. Doubtful yellow
Ephemeral. Undecided. Generous
Little left. Payne’s grey.
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
April 13, 2017 through
July 13, 2017
Thursday, April 13,
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.
December 21, 2016 through
March 21, 2017
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.
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.
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.
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.