September 2016: Focus on Laura Evans

Take a peek inside the studio practice of long time member as her studio practice evolves:

"Having a review in the recent issue of Sculpture magazine has been very gratifying! I was proud of my exhibition 'The Aching Web' at Boston Sculptors in Feb/March 2016. However, since then, I have been in a fallow period….

Untitled #23, 2016, Apoxie Sculpt and chisel, 2” x 8” x 3"

Untitled #23, 2016, Apoxie Sculpt and chisel, 2” x 8” x 3"

The show came down. I returned to my studio with that work knowing I had a decades’ worth of built-up “stuff” to clear out. That process was a slog, but a necessary one. I was at a crossroads. Which materials and ideas did I want to retain? Which ones could I let go of?

Untitled #1, 2013, Apoxie Sculpt and palette knife, 2” x 7” x 3"

Untitled #1, 2013, Apoxie Sculpt and palette knife, 2” x 7” x 3"

I took an intentional break from trying to “make things” and spent time seeing other artists’ work, experiencing nature, looking more closely and more broadly, reading, listening to music and poetry, enjoying family and friends, slowing down.  If I went to my studio I would sit with my work, rearrange, draw or just wander around. From time to time, I added pieces to an ongoing series of mixed media work that has gradually been expanding over the years. It’s work that I would return to whenever I felt stuck. This series, entitled, Get a Grip, describes the act of holding on tightly and ultimately letting go."

-Laura Evans

Untitled #20, 2016, Apoxie Sculpt and basket handle, 7” x 8” x 3"

Untitled #20, 2016, Apoxie Sculpt and basket handle, 7” x 8” x 3"

Don't miss the spectacular Montserrat Sculpture Show!

Montserrat Sculpture Show at Boston Sculptors Gallery

Exhibit Dates: July 20 - August 14, 2016

Gallery Hours: Wed. – Sun. 12 - 6 pm

486 Harrison Ave, Boston, MA

Exhibiting artists include: Conner White, Alyssa Coffin, Dan DeRosato, Robert Donlan, Kevin Duffy, Omer Gagnon, Roisin Gilligan, Sarah Graziano, Andrew Kish, Lillian P.H.Kology, Linda Kenfack, Tom Maio, Binney Meigs, Aubrey Mueller, Kalimah Muhammad, Andrew Podziewski, Valerie Rafferty, Max Reinhard, Kristine Roan, Katrina Saragosa, Maegan Shilkey, Jaime Smith, Chris Stepler, Dan Stone & Haiden Terrill. 

Montserrat College of Art alumni and students are showcasing three-dimensional works at Boston Sculptors Gallery this summer! Spanning diverse media, the work featured in the exhibition makes use of traditional and alternative materials, ranging from granite to egg cartons, wood to found letters and also includes performance elements. Whatever the the medium, each artist's personal voice shapes the form, creating a diverse and delightfully unpredictable selection of sculpture.

Click here to watch the video by Dino Rowan '16!

Click here to see photos from the Opening Reception on July 20

August 2016: Focus on Rosalyn Driscoll

The Greek myth of Narcissus has been a rich source for a recent series of sculptures by Roz Driscoll. The basic story is that Narcissus, a handsome youth, caught sight of his reflection in a pool of water and became so enthralled by his image that he died.

In the first of the series, made in 2014, a spidery, abstract rawhide Narcissus is reflected by equally spidery black photographic foil, an actual cutout of the shadow cast by the rawhide. 

The next three sculptures in the series deepen the tale of Narcissus by placing elements below the reflective surfaces of steel and copper. What Narcissus sees in the mirror is not the whole story. The dark outcome of his obsession lurks below the surface, under the water. For the viewer, moving around the sculptures reveals different reflections and relationships. 

In the fourth piece, the hanging rawhide itself swivels, throwing continuously distorted reflections onto the mirrored steel disc. Under the surface lies a pile of bones.

Peter Haines and "Dragons"

"Over the years, I have made a number of 'Dragons'.  While there are conventions for dragons, the appellation is a convenient title for an unknown critter, because a dragon can essentially be whatever one says it is.

Sculpturally, Doggie Dragon is a composition of opposing curves which create a harmonious silhouette.  The shapes of the sculpture dialog around the central negative space.

-Peter Haines

Jessica Straus: Uh Oh!

Two bodies of work comprise Jessica Straus’s current exhibition, “Uh Oh!” Utilizing non-

potable water signage sliced to near illegibility, Straus has constructed water storage

containers that suggest an absurd, last ditch effort to hang onto humanity’s most precious

resource. Likewise her constructed blimp-like earths with geographic maps of alarming

proportions appear to be setting out on impossible quests.


With characteristic black humor, Straus launches headlong into the apocalyptic world of

water scarcity and rising seas. She makes us wonder out loud if we have to arrive at the

“End Times” to get ourselves to focus on this most critical of human issues.

April 2016: Focus on Caroline Bagenal

This month, we are featuring Boston Sculptors Gallery member: Caroline Bagenal ! We recently caught up with her to find out what she has going on in her studio:

"Currently I am working on three upcoming exhibitions.  The first is the Kennard Park Sculpture Trail 2016, which runs from September 1st through Oct 31st at Kennard Park in Newton.  I am building a site-specific sculpture, Strata for Kennard Park.  My piece is comprised of layers of materials such as wooden pallets, firewood, fence posts, hay bales, stones, books, newspapers and textiles. Various histories of the park are embodied in the physical layering of materials.  

On visiting the park, the old stonewalls, apple trees and an old well that I found spoke to the agricultural history of this land. Reading about the park I discovered that a section of the land in Brookline had been used as a town landfill.  This led to the idea that the layers would be composed of both “ natural” and man made materials and also materials collected on the site.

Studio photo1.jpg

Also in September is Sculpture at Maudslay, in Newburyport where I live. This year’s theme is Blue.  I was one of the original founders of Sculpture at Maudslay and will be giving a walkthrough for site selection on April 23rd. This is a community run exhibition. I am painting over 200 books blue which will hang from the branches of a tree.  The exhibition is up from Sept 20 – Oct 2nd. 

Finally I am working on my show for next year at Boston Sculptor’s Gallery. I am planning a large installation that viewers are encouraged to enter. As you can see from photos of my studio I am working on all these projects and more!"

-Caroline Bagenal

For more information on the outdoor exhibitions see:

March 2016: Focus on Amy Archambault

Brilliant Basics (2015) (functional), hardwood, latex enamel paint, carpet materials, hardware, 9 x 9 x 18 inches

Brilliant Basics (2015) (functional), hardwood, latex enamel paint, carpet materials, hardware, 9 x 9 x 18 inches

Imaginate, Amy Archambault's rookie show at Boston Sculptors Gallery opens May 4th and is on view through June 5th. Since her active practice in the public art realm this past summer of 2015, Archambault has been developing an exciting new body of work. Imaginate will feature small interactive objects and large-scale works exploring the creation of play, the evolution of form, and the investigation of functionality.

Carmel (2016), various hardwood, latex enamel paint, mosaic backsplash, grout, 16 x 9 x 3 inches

Carmel (2016), various hardwood, latex enamel paint, mosaic backsplash, grout, 16 x 9 x 3 inches

In her most recent work, the objects, tools and gadgets we acquire as homeowners and "home-improvers' populate Archambault's visual lexicon. She has discovered a striking connection between her process of morphing and amalgamating objects, and the way children engage in "pretend".

Match (2016) (detail), birch plywood, carpet tiles, white-wash pickling stain, 13 x 13 x 13 inches (each)

Match (2016) (detail), birch plywood, carpet tiles, white-wash pickling stain, 13 x 13 x 13 inches (each)

"Imaginatemeans to be in the process of imagining and / or to form a mental picture of. In my current body of work, one which continuously dismantles the boundaries between studio practice and home-improvement, the term 'imaginate' becomes a stand-in for some state of in-between-- a place between thought and making, art and craft, the cross-pollination of constructing for one's home and creating objects as an artist, and the necessity to address perceived functionality, process and aesthetics."

- Amy Archambault

Laura Evans: The Artist's Process

"The Aching Web," Laura Evans' current solo show at the Boston Sculptors Gallery is up through March 27th. Don't miss your chance to see this exciting new body of work before it closes in one week. The installation is not to be missed. Below, Laura offers us a glimpse into the process of making new work for this show...

“Achieving Balance” started as an idea to translate the sculptural forms I was building with wood branches into bronze. I tend to work directly with my materials, using my hands, or hand tools, so I knew that the bronze casting process would challenge how much control I was able to wield. I choose seven sticks and had a rough composition in mind, before they were sandcast. Next I watched and directed as a colleague carefully welded them together. Once I was satisfied with the way it looked, it was given a patina and a title. This process unbalanced my usual working methods in a good way."

-Laura Evans

February 2016: Focus on Elizabeth Alexander

 “Elizabeth Alexander makes sculptures, drawings, and installations through an ongoing process of deconstruction and reconstruction of objects, images, or spaces through cycles of concealment and reveal. Referencing architecture and landscape, D.I.Y. culture and decorative arts, her material exploration confronts a piecemeal narrative of an inflated American Dream by questioning perceptions of status, beauty, femininity, and class.  Using domestic materials such as decorative wallpaper, images from coffee table books, and porcelain teacups, Alexander carves out environments that give equal tribute to domestic decoration and its deterioration.”  

-Flanders Gallery          

Spit Cake (Detail)

Spit Cake (Detail)

Boston Sculptors Gallery member Elizabeth Alexander has her work in four museum shows this month- two of which are in New England. Don't miss out on the chance to see her work locally this winter and keep an eye out for her work that is touring nationally:

1. Idle Trades, New Bedford Art Museum/ArtWorks!, Jan 19th-March 20th 2016. Idle Trades   features the work of Elizabeth Alexander, Tim Bearse, Sam Duket, Brad Fesmire, Matt Murphy, and Neal Walsh. According to curator Elizabeth Murphy, “this exhibition explores what it means to create—that is, to work—by presenting a range of pieces that emphasize process. Each piece hints at the ideas from which the work proceeded, embracing at the same time notions of vision and revision.” Alexander's work "Queen's Garden II " in Idle Trades is hand cut found porcelain from a series called 'Heirloom.'

Queen's Garden II

Queen's Garden II

2. State of the art: Discovering American Art Now, Minneapolis Institute of Art, Feb 18th-May 29th 2016. Liz is exhibiting a few pieces from her series called 'Heirloom,' in this travelling exhibition which was organized by the Crystal Bridges Museum of American Art in Bentonville, Arkansas.

Spit Cake

Spit Cake

3. State of the Art: Discovering American Art Now, Telfair Museums, Feb 19th-Sept 4th 2016. Liz is exhibiting a few pieces from her series called 'Heirloom,' in this travelling 'State of the Art: Discovering American Art Now' exhibition which was organized by the Crystal Bridges Museum of American Art in Bentonville, Arkansas.



4. Paper and Blade: Modern Paper Cutting, Fuller Craft Museum, Feb 20th-July 24th 2016.

"The work Gunpowder, created for Paper and Blade, is assembled out of 3 separate dissected rolls of vintage floral and toile wallpaper.  The wallpaper, broken down by extracting the pattern by hand, is reduced to piles of color and shapes to be reordered into separate collages of its positive and negative components.  Through this process the body of the paper is filled with wayward voids and the pattern becomes oversaturated through the loss of its ground, both losing some of their domestic qualities. When arranging the material into new fields of color and pattern I am struck by the direct metamorphic effects my own hand can have. I am literally causing the material to disintegrate and regenerate as I work. Because my methods are so laborious and visible, time becomes both a subject and a medium, present in the identity of the material, my process, and the result."

-Elizabeth Alexander

"Twice as Good" teaser by Christopher Abrams

The Boston Sculptors Gallery is pleased to present ‘Twice as Good’, an ambitious group showcase of work by member sculptors and their selected partners/guests. 

In turn, I am pleased to present work made in collaboration with my invitee, Kat Ely.  As a sculptor and designer several years my junior, Kat represents what I think of as a new generation of Boston-area sculptors, who are driven, inspired, and fearless.

‘Millie’s Revenge’, 2015. 3.5”H X 2”diam. by Christopher Abrams

‘Millie’s Revenge’, 2015. 3.5”H X 2”diam. by Christopher Abrams

In spite of the differences between us—Kat is Co-founder and Principal Designer at CLEAR design labs, and is one of the few women proprietors in the field of product design and innovation, while I’m a college instructor and father of two—we share many interests and concerns.  We’re both keenly interested in the methods used to create objects, and we both navigate professional terrain where working closely with others is imperative.

Our conversations revealed deeper commonalities: we’re both deeply concerned with the meanings that objects carry, and with the effects that our individual works have on our physical and cultural environments.  Working together encouraged deeper reflection on how we, as sole practitioner-sculptors, affect and are affected by our greater community.

Remelt, Aluminum, beer cans, 11"X11"x10" 2015 by Kat Ely

Remelt, Aluminum, beer cans, 11"X11"x10" 2015 by Kat Ely

For me, the experience has been far more than ‘Twice as Good’.  Working with another talented and thoughtful artist is refreshing, provocative, and essential.  We invite you to experience—and support—that insight.

-Christopher Abrams

Nancy Winship Milliken, Postcards from the Field

The earth print series presented at Boston Sculptors Gallery Postcards from the Field: Contemporary Pastoralism exhibition was made in collaboration with the livestock and farmers of the small farms surrounding my studio in Western Massachusetts. I call the process a controlled happenstance. While collecting the pasture to create an earth paint, I watch the habits and movements of the farm animals; the oxen’s slow and phlegmatic swagger in contrast with the sheep’s frenetic and scittery, flock as one, movement as they are let out to pasture in the morning. This observation helps me imagine what might be captured on the print and how best to arrange the placement and situation of the canvas that will be inked and imprinted by the animals. At this moment, this series of prints of the pasture are an authentic landscape painting for me. I am brought to the action and movement happening in the fields around me, truer than any snapshot on my phone.

-Nancy Winship Milliken

Oxen Print Morning Routine, earth, canvas, sealant, 5x5’, 2015

Oxen Print Morning Routine, earth, canvas, sealant, 5x5’, 2015

To see more of this and other work please visit a website dedicated to the Contemporary Pastoralism project in which Milliken has traded studio for farm to collaborate with the animals and people of small New England farms.

Sheep Print, Out To Pasture, earth, canvas, sealant, 27x56”, 2015

Sheep Print, Out To Pasture, earth, canvas, sealant, 27x56”, 2015

The Nancy Winship Milliken studio has also printed a fifty page book about the different farms and collaborative projects from 2008 through 2015. Get your copy here.