Christopher Abrams is a sculptor and multimedia artist whose work strives to provoke reflection and speculation on the true and imagined life of objects. His work is broad-ranging,  focusing on varied concepts like perception and agency, and draws on his background as an architectural model maker, carpenter, educator and pop-culture fanatic.  More of his work can be viewed at www.christopherabrams.com.

Using feltmaking and other traditional craft processes, Fafnir Adamites creates sculptural works that act as monuments and reminders of trauma, intuition and the legacy of emotional turmoil inherited from past generations. Embedding meaning in both the materials and the repetitious processes plays a key role in building the conceptual backing of each piece.

www.fafniradamites.com

John Christian Anderson (Roslindale, MA) makes objects and creates installations that embrace impermanence, imperfection, and incompleteness as a way to express personal narratives while also reflecting a world that is becoming more ephemeral and out of balance.

Anderson grew up in Los Angeles and credits Simon Rodia’s Watts Towers as an early inspiration to make personal objects out of found material. He studied sculpture and ceramics at the San Francisco Art Institute and received and MFA from the Boston Museum School. He was recently awarded an individual grant from the Artist Resource Trust Fund. His work is included in both public and private collections.

https://sculpturebyjohnanderson.wordpress.com/

Andrews (Glocester, RI) is known for his site-specific sculptures, which range from permanent public work to temporary installations. His sculptures are responsive and usually incorporate light and movement. Andrews has exhibited nationally and his work is in public and private collections. His awards include fellowships from the National Endowment for the Arts, the Ford Foundation, and from regional and state Arts Commissions. In recent work, Andrews has created sculptures that are illuminated internally by LEDs and are programmed to respond to wind, temperature and movement. Andrews teaches sculpture at Northeastern University in Boston.

www.ed-andrews.com

Invasive Species by Ed Andrews (2017)

Amy Archambault received her MFA from the University of Pennsylvania. Recipient of the Massachusetts Cultural Council Artist Fellowship, she exhibits her work nationally. Her work featured in “Imaginate” called upon her material / procedural obsessions as a home renovator in search of play. Archambault was named Boston Center for the Arts Artist in Residence in 2015. Her bicycle-centered interactive installation, “inMotion: Memories of Invented Play”, earned her recognition in the Boston Globe. She additionally participated in the “Isles Arts Initiative” in 2015 on the Boston Harbor Islands. She is Creative Director at Georgia Zikas Design in West Hartford, CT. She lives and works in Simsbury, CT.

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"My sculptures / installations uncover activations of objects that incorporate the material and visual languages of athletic culture, childhood play and the constructive domain. As children, we devise contraptions from our imaginations. We build structures from improper materials and with improper methods for lack of better options or understanding. I am interested in the re-creation of these remembered “play things”, but through the lens of a practiced maker. I aim to construct with the possibility that something won’t work, devoid of the illusion of its actual functionality. The process of recreating oddly pushes me from artist to user / performer."

www.amyarchambault.com

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Caroline Bagenal was born in Scotland. She received an MFA in Painting and a Masters in Modern Art History, Theory and Criticism from the School of the Art Institute of Chicago. She is a sculptor, installation artist and freelance writer. Currently she is an Associate Professor at Montserrat College of Art where she teaches the Senior Fine Arts Seminar and is Director of the African Study Abroad Program.

Bagenal’s work draws from a multiplicity of artistic traditions from land art, assemblage and installation to drawing and painting. She has exhibited in New York, London, Boston and Cusco, Peru and has been reviewed in The Boston Globe and Sculpture magazine. She has received numerous awards including the New England Foundation for the Arts and the Artist’s Resource Trust. She has been a member of Boston Sculptor’s Gallery since 2008.

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“I explore themes of freedom and enclosure in sculptures, drawings and installations fabricated from everyday objects such as books, newspapers and tape as well as marsh reeds found in the saltmarsh near my home and studio. The reeds appeal to me because they do not grow dead straight suggesting hand-drawn lines.

Several of my sculptures and installations function as large three-dimensional drawings in space. Others celebrate the written word and the connection between weaving, textiles, music and language."

carolinebagenal.com

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Balancing tradition and innovation Jodi uses needlework to infuse renewed power to craft traditions often dismissed as feminine pastimes. Found objects – the everyday and invisible – are reworked and repurposed, and placed on a pedestal for scrutiny where the psychological is made physical in the way that one form materializes from another.

Influenced by international travel, she draws from historical and cultural experiences that extend from my neighborhood to time spent in the Far East and many places in between.

Recent work investigates the complex, often entangled qualities of power, emergence and fear – particularly the forces that have historically shaped women’s identities and place in society.

Jodi has exhibited at Danforth Art Museum; Fruitlands Museum; Wheaton College; Helen Day Art Center; World of Threads Toronto and Textile Museum Washington D.C., among others.

She has received numerous awards including the 2016 Fay Chandler Emerging Artist, 2016 Fellowship ComPeung Thailand, 2015 Fellowship Da Wang China, Pollack-Krasner Fellowship Vermont Studio Center, and Somerville Arts Council Fellowships 2018, 2015, 2012.

Jodi teaches internationally at the Island Arts Center in Skopelos Greece, Society for Craft in Pittsburgh PA, SDA’s Confluence in Minneapolis MN plus many local venues. She lives and works in Somerville, Massachusetts and spends most days lost in her studio.

jodicolella.com

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www.johnathanderry.com

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Donna Dodson is an American sculptor who has been honored with solo shows nationwide for her artwork. In addition her monumental works have been exhibited internationally in sculpture parks and art museums. In 2011 Dodson participated in the Verbier 3D Foundation’s Artist Residency and Sculpture Park in the Swiss Alps. In 2012-2014, she was featured at the Fountain Art Fair NYC in the historic 69th Regiment Armory Building. In 2015, Donna participated in a residency in Cusco Peru at the Escuela de Bellas Artes that culminated in an exhibition at Museo Convento de Santo Domingo Qorikancha with the Boston Sculptors Gallery. In 2016 she had her first solo museum show of “Mermaids” in 2016 at the New Bedford Art Museum. In 2017 Dodson's solo show Zodiac began a national tour.

Dodson has won grants from the Massachusetts Cultural Council, the New Hampshire Guild of Woodworkers and the George Sugarman Foundation. Her work is in the permanent collection of the Provincetown Art Museum and the Fuller Craft Museum in Massachusetts and the Davistown Museum in Maine. Donna's work has been reviewed in the Boston Globe, Sculpture Magazine and Artnet.

Dodson is a graduate of Wellesley College. Dodson enjoys public speaking, and has been a guest speaker at conferences and panels in museums and universities throughout North America. Donna regularly contributes articles to newspapers, magazines and blogs that demonstrate the economic impact and global reach of the arts sector. She recently contributed an Introduction to the monograph “The Contemporary Art of Nature: Mammals” by Ashley Rooney.

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"My artwork celebrates the mystical relationship between human beings and the animal kingdom. Because there were no icons of women in the church that I grew up in, my vision is to create them. Through hybrid female-animal forms that I sculpt in wood, I flesh out sensuality, sexuality and soul with a well-proportioned figurative vocabulary. The natural grain of the wood interacts with the form and shape of my sculptures in a descriptive way, suggesting nostrils, and nipples or garments and fabric textures. I often stylize each piece to enhance the girl, woman, princess, queen or goddess within. The mouths, or in some cases beaks, are closed symbolizing the mysteries they embody. These figures are sculpted in sizes ranging from one to four feet tall. I use color in both subtle and bold ways to activate each piece. My inspiration comes from ancient iconography and mythological imagery."

https://www.donnadodsonartist.com/

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Laura Evans is an artist living and working in Boston, MA. Coming from a Quaker family in Philadelphia, the principles of integrity, simplicity and truth are evidenced in her work. Her family, her Quaker education and her experience at Hampshire College nurtured her curiosity and a sense of her own agency. Evans has four children, two grandchildren and lives with her husband in Dorchester, MA. Her sculpture and installation work has been shown nationally and internationally in cities including New York, Chicago, Miami, Berlin and Cusco, Peru. Evans has been a member of The Boston Sculptors Gallery since 2006.

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"I trained as a painter, but transitioned to sculpting when my children were young. Because a sculpture’s presence must be understood in relation to the viewer’s physical self and the space of the environment, I find this a more complex and compelling challenge. My sculptures hover between mundane recognizable objects and mysterious abstracted forms that reference the body. I use simple, recyclable materials and hand-built processes, creating new vocabularies. My aesthetic is minimal, with no tricks. I expose my process and the idiosyncratic effects of 'the artist’s hand'."

www.lauraevansart.com

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Sculpture Magazine Review (Sept 2016)

Sally S. Fine received an MFA from Boston University and a BFA from Ohio University.  She has worked as a graphic designer, sculptor and educator throughout her career. Her work is represented in public and private collections locally, regionally and internationally.  

Her recent work has focused on the ocean environment from a social, political and historic perspective.  Ocean acidification and global warming are primary concerns. Her cast glass creatures are real and imagined.  She works in a wide range of materials (metal, wood, stone, ceramic and glass) and a wide range of processes (additive, subtractive, cast and constructed).

Sally Fine's work is narrative in nature. Fine uses symbols and figures to build the narrative. She recalls old stories repurposed for today's realities.

www.sallyfine.com

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Although Peter Haines was a life-long painter, the path to thinking of himself as more than an amateur was circuitous. At the University of Colorado, he studied Psychology and Anthropology, areas that later informed his art. He served in the Marines during the Viet Nam era. He earned an MBA from Harvard. The realization that he was an artist came in an epiphany on his 29th birthday. He returned to school and received a Diploma (sculpture concentration) from the Museum School in Boston in 1974.

Haines has had one-person exhibitions in Boston, New York, St. Louis, and Ohio. In addition, he has participated in more than 70 group shows. Some of his highlights include public sculptures at symposiums: China (2005, 2013), South Korea (2008). In 2008, he was a speaker at the International Sculpture Conference in Changchun, China.

Haines is a co-founder of the Vermont Gentlemen’s Foundry, built in the woods by four friends to cast their own work. He is a founding member of the Boston Sculptors Gallery, a cooperative.

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"I am an object-maker, and I begin with the object itself as the first idea in my sculpture. In other words, the conceptual aspects of my work follow, rather than precede, the shapes. I am interested in form- favoring geometry, the compound curve, negative space, and clean silhouette. My work includes elemental shapes and complex compositions utilizing those pure forms. The often-archetypal images in my sculptures range from pure abstraction to tools, to stylized figures, animals, and architecture."

hainessculpture.com

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Water has run as major theme throughout Mags Harries’ art: its optical play, its sounds, the human need for it, its power to shape environments, as well as its familiarity.  Her materials are familiar with minimal alteration, many reflect light or allow light to pass through.  The art has a delicate footprint, but fills the space using light and suggestion.

Harries was born in Wales.  She graduated from the Leicester College of Art & Design then received her MFA at the Southern Illinois University.  She is a graduate adviser and teacher at the School of the Museum of Fine Arts.

www.magsharries.com

www.harriesheder.com

Waldo Jespersen works out of his studio in northeastern Massachusetts. His work has been exhibited in museums internationally. He received his masters degree at Arizona State University in 2015. Jespersen is the recipient of the Outstanding student Achievement in Contemporary Sculpture Award - (Honorable Mention) and the Jonathan Allen Award for Leadership. In conjunction with creating, Jespersen teaches part at the Governor’s Academy. He has held past teaching positions at Alfred University, Pilchuck Glass School, and Arizona State University.

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"My sculptures are investigations into form with a ridged set of guidelines. Whether driven by process, material, or vision, my goal is to make complicated and challenging situations that resolve themselves into simple and elegant forms, moments or movement. In working this way, I find my self allied not with a material or style, but instead an internal standard. The result is an ever shifting and engaging body of work that is as educational as it is surprising."

http://waldojespersen.com/home.html

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Woomin Kim is a South Korean artist currently based in the USA. Kim
works with sculpture and installation to reveal the gap between how
she knows objects linguistically or conceptually and what they really
are, between a subjective understanding of the individual and the
unknown truth of the materials.



Kim’s works have been shown in the USA and South Korea, including her
solo shows at Roy G Biv Gallery (Columbus, OH) and Maud Morgan Arts
Center (Cambridge, MA).  She has participated in several residency
programs including, The Studio at MASS MoCA and Kimmel Harding Nelson
Center for the Arts. Kim has received fellowships and awards from Joan
Mitchell Foundation, Cambridge Art Association and Korean Cultural
Center among others. Kim holds a B.F.A from Seoul National University
and received an M.F.A. from the School of the Art Institute of
Chicago.

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Through making sculptures, I reveal the gap between how I perceive objects linguistically or conceptually and what they really are, between my subjective understanding and the truth of the material.

In the two consecutive works “Unknown Species” and “Atrophy”, I revealed my superficial connection to Animal. Animals are everywhere from a zoo to a dog park and hundreds of Disney movies, but all of them are somehow romanticized or modified into human versions and what they really are is unknown and hidden. I collected used animal fur coats (mink, fox, raccoon, rabbit, etc.) from various sources and shaved all of them. The harvested fur was woven into a large textile or spun into threads and crocheted into various forms that resemble animal body parts. This was a way to reveal how animals exist in my urban condition: homogenized, flattened, and abstracted.

In the work “Uninvited”, I continued my focus on how modern human romanticize/humanize/commoditize the idea of nature. I collected organic residues or materials that are produced to mimics wilderness such as pet fur, resin antlers, kitty litter, mother-of-pearl kitchen tiles, goose down, plastic beads, dead bugs, moth repellent cedar woods. Then I took them apart, reassembled them or cluster them together. In the installation I borrowed the structure of interior design such as rack, chandelier, carpet, wood floor, shelf. to emphasize how nature, as products, awkwardly exists in the human habitat.

www.woominkim.com
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Michelle Lougee works in her favored materials: clay and crocheted plastic bags, exploring the intersection of art and science, and the interconnections and pattern in nature. Lougee’s work confronts and questions environmental impact through material and subject.

Michelle Lougee is an environmental artist, sculptor and ceramicist. In spring 2014, her work will be exhibited in Ovid’s Girls Overlaps & Undercurrents-Boston/Berlin. Her artwork has also been shown in exhibits at many New England museums, including Chesterwood, Peabody Essex Museum, Fitchburg Art Museum, Danforth Museum and the Art Complex Museum. She holds a M.F.A. and a B.F.A. from Boston University and lives in Cambridge.

www.mlougee.com

Susan Lyman, sculptor and painter, has lived in Provincetown, MA since 1981, when she was awarded a Visual Arts Fellowship at the Fine Arts Work Center. She has exhibited her work for over 35 years in exhibitions in Japan, New Zealand, and the U.S. Corporate and museum collections include Champion International Paper, Saks Fifth Avenue, Nelson Fine Art Museum in Tempe AZ, Arkansas Art Center and Museum, and Provincetown Art Association and Museum. Lyman’s work was recently included in “Branching Out: Trees as Art” at Peabody Essex Museum, and “Working Women: 36 Contemporary Women Artists” at Colby-Sawyer College. Her botanical illustrations are featured in the 2016 W.W. Norton & Co. publication, Holistic Health for Adolescents by Dr. Nada Milosavljevic. Lyman joined the Gallery in 2012.

www.susanlyman.com
www.womr.org/podcast/artist-susan-lyman/

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“ In 2008 I stumbled upon a stand of 500-year-old English oak pollards in Cranbourne Chase, a wild wood in Windsor Castle’s Great Park. The venerable trees appeared to hold contorted and convoluted bodies trapped within. This encounter with the body in nature fueled my longtime fascination with the woodland landscape.

Back home, on the tip of Cape Cod, I scavenge materials from the woods and beach, choosing fragments and shapes that I carve, assemble, deconstruct, and paint into figural “drawings” in space. I work from this chaotic pile of shapes in the studio, intuitively juxtaposing the fragments into sensuous hybrid relationships, often punctuated with color. Trunks and sections of saplings massed together assume the roles of heads or torsos; while branches, saplings, and roots posture as arms or legs. Even older sculptures are fair game – with a saw, grinder, mallet and gouge, these too are swiftly dissected, reconsidered, and animated into new forms. ”

Geology by Andy Moerlein

September 7- October 9, 2016

VIP & Press Reception: Wed. Sept. 7, 5-6pm

First Friday Receptions: Sept. 9 & Oct. 7, 5-8pm

Gallery Hours: Wed. – Sun. 12 – 6pm

The Art of Collecting: A Forum & Luncheon: Sept.10, 12-2pm

Sponsored by Boston Art Dealers Association &

Hosted by Boston Sculptors Gallery

United South End Artists Open Studios: Sept. 24 & 25, 12-6pm

Global Mashup: A Roundtable Conversation About Aesthetics: Oct. 2, 2-4pm

Sponsored by Artscope Magazine

Geology, featuring new sculptural works by Andy Moerlein, will be on view at Boston Sculptors Gallery September 7 to October 9, 2016. Informed by the artist’s enthusiasm for scholars’ rocks, the exhibition will include found rocks, ceramic pieces, wood carvings, and sculptures in other media reinterpreting this ancient Chinese art form.

The Chinese tradition of collecting scholars’ rocks involves the elegant presentation of precious and adored stones for contemplation and enjoyment. Often the result of artisanal intervention, the intricate structure of the stones may be deeply carved and drilled, or surfaced with smoothed facets to achieve an authentic “natural” look.

Moerlein’s investigation of authenticity and artifice embraces many different materials and surfaces. Geology includes beautifully crafted wood and ceramics with surfaces that have been flame textured, wire brushed, carved, painted, or distressed. While many are intimate palm-sized objects, the show also features monumental sculptures.

Chinese scholars’ rocks stand on a foundation of the interpreted natural. Traditionally, the creators of scholars’ rocks were modest, anonymously producing these unique spectacular objects. Slipping snugly into a crack between anonymous crafted object and insistent conceptualism, Geology presents a contemporary western artist’s view of this ancient tradition. Moerlein notes: “I am captivated by the unnamed scholars rock artists. I am intrigued by the intersection of natural form and created shape. I am conflicted by the complicit collector who elevates a stone for its chance perfection, willingly oblivious to the evident manipulation.”

Moerlein’s handmade stones have been exhibited nationally. Recently the artist mounted them in trees on the Christian Science plaza in Boston, as well as at the Fruitlands Museum in Harvard, MA. Currently Moerlein’s work is featured in Muskegon, MI. The sculptures in Geology bring the ideas evident in the artist’s outdoor work into the gallery setting.

Geology will be shown concurrently with Zodiac by Donna Dodson.

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For Further Information Contact:

Almitra Stanley Andy Moerlein

Director, Boston Sculptors Gallery andymoerlein@gmail.com

bostonsculptors@yahoo.com 603.496.8525

617.482.7781

Reynolds explores the potential of irresolution within architecture, language and the body.  Her large-scale installations appear poised in a moment between perpetual creation and imminent collapse: standing evidence of an absurd, inaccessible plan and peculiar labor.  Illusory tactics of painting complicate their physical presence, as if the architectural remnants emerged from a cartoonish, parallel world.

http://kirstenreynolds.com/

Ellen Schön is Adjunct Professor in Fine Arts and Ceramics Studio Supervisor Lesley University College of Art and Design in Cambridge, Massachusetts, where she has taught ceramics and 3-D courses since 2002. Schön received a BA from Marlboro College (Ceramics and Perceptual Psychology) and an MFA in Ceramics from Boston University’s Program in Artisanry. She has exhibited in numerous shows in the United States and is a past recipient of The Artist Foundation Fellowship from the Massachusetts Council on the Arts and Humanities. Schön is an Artist Fellow at the St. Botolph Club, a Boston institution that supports the arts and humanities, and has recently become a member of the Boston Sculptors Gallery.

Schön has organized and co-curated interdisciplinary, thematic group exhibitions in non-profit venues in the Boston area and abroad.Her interest in international artist collaboration and exchange has led her to travel extensively, participating in international artist symposia/residencies in Finland, Croatia, Hungary, Turkey, Israel, Germany, and Malaysia. Schön has been a member of the European Artists Association since 2011. Her work is in the permanent collections of the Museum of fine Arts, Boston and the Fuller Craft Museum in Brockton, MA.

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“I have always been interested in the ability of a ceramic vessel to point to something beyond itself—to function as metaphor. Ceramic vessels, physically structured with necks, shoulders, bellies, and feet, can evoke the gesture and anthropomorphized stance of the human body. They reveal deep aspects of human experience and of the natural world.

By working in the ceramic vessel tradition, I am able to draw on traditional forming techniques, while expressing contemporary feminine/feminist sensibilities. The vessels in my Wellspring Series explore ceramic vessel as a wellspring or womb, with possibilities of both fecundity and barrenness. These pieces are meant to evoke sources of life—whirlpools, fonts, pods, seeds of hope, as well as the landscape of the female body.

I am also interested in the vessel as Bottle or Totem. These forms are inspired by the elongated posture of Cycladic idols and scarified texture of Yoruba terracotta heads. Bottles and Totems explore diverse characters and relationships--smoky, abstracted bodies, rising upwards--both male and female.

Through spontaneous handling of inanimate clay, I attempt to find and breathe life into form. My creative process is grounded in reflective practice--imposing ideas on and listening to the material in cycles of learning. The material directs me as I direct it in a process of discovery. We are in a reciprocal relationship.”

www.ellenschon.com

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Sealine's current show at Boston Sculptors, "Seven Studios: a Memoir" will be up until Sunday, November 13, and will close with the launch of Boston Sculptors' 2nd Sunday music series, name to be determined, from 4:00 to 6:00 p.m.

Seven of the workspaces (out of twenty) Sealine has used over his lifetime are the subjects of this body of work, and almost all of them are paired with an artwork from that specific time and place.

The materials used in these forced-perspective dioramas are archival rag Bristol and museum board, archival glue, ink and watercolor, along with occasional uses of more modern materials like rhinestones, blue velvet, and LED lights. They are protected by Plexiglas vitrines.

www.ericsealine.com

Nancy Selvage is exploring the intersection of dematerialized space and visceral substance. This juxtaposition has an existential and visual complexity that resonates with her impetus to capture fleeting insights from the flux of life. By altering and concentrating the experience of space and substance, she strives for visual intensity, moments of clarity, and the creation of environments and objects that engage herself and others in a discovery process. Her sculptures have been recognized and supported by numerous exhibitions, public art commissions, reviews, residencies, and awards (including two Artist Fellowships and New Works Commissions from the Massachusetts Cultural Council). Selvage’s artwork can be seen at http://www.nancyselvage.com.

Liz Shepherd produces large-scale sculptural installations, which bring to mind ideas of Earthly and the Divine. She also uses printmaking to enhance objects made of wood or paper as well as prints that she produces in small editions.

She has exhibited both in the United States and Internationally. Solo shows include: Hudson Gallery, Artpace, San Antonio, TX, SG Gallery, Scuola, Internazionale di Graphifica, Venice, Italy, Boston Sculptors Gallery, Trustman Gallery at Simmons College, Sarah Doyle Gallery at Brown University, the Essex Art Center in Lawrence Massachusetts and the Locco Ritoro Gallery in Boston. In 2014, she participated in exhibitions at the Hanoi (Vietnam) Contemporary Arts Center, the Q’orikancha Museum in Cusco, Peru and the Icelandic Printmakers Gallery in Reykjavik. She has also been included in exhibitions at Bankside Gallery in London, and the Par Avion project in Strasbourg, France.

Her prints are in the permanent collections of the Museum of Fine Arts (Boston), Edinburgh (Scotland) College of Art, Syracuse University, Boston Children’s Hospital, Boston Public Library, Bernard A. Zuckerman Museum of Art in Kennesaw, Georgia, and numerous corporate and private collections.

http://lizshepherd.com/

Julia Shepley's recent mobile sculpture and woodblock print series explore the theme of relocation and resettlement as a universal, physical, and personal part of human history and experience. Inspired by personal experiences, She layers imagery created with fabric, paper, wire and wood to convey a multi-layered sense of place, belonging and time.

Upcoming exhibitions currently include:

Boston Sculptors Gallery, Boston MA, Breath and Matter, Poetry and Sculpture exhibition (July-August 2018)

Trustman Gallery, Simmons College, Boston MA, solo exhibition (September-October 2018)

Boston Sculptors Gallery. Boston, MA, solo exhibition (May/June 2019)

www.juliashepley.com

Jessica Straus is a sculptor from the Boston area. Working primarily in wood and mixed media, Straus explores the poetry of unexpected juxtapositions between familiar and invented forms. Her studio is in the Brickbottom Artists Building in Somerville, MA.

Her artwork is represented by the Boston Sculptors Gallery and the Schoolhouse Gallery in Provincetown, MA. She has shown her work at numerous galleries and museums including the Addison Gallery of American Art, the Fuller Craft Museum, the Danforth Art Museum, the Duxbury Art Complex Museum, the DeCordova Sculpture Park and Museum, the Berkshire Art Museum, the Sculpture Center in Cleveland, Ohio, and the Brattleboro Museum in Vermont.

A recipient of a Massachusetts Cultural Council grant and a Berkshire Taconic Foundation grant, Straus was also a nominee for the recently established Brother Thomas awards and finalist for the 2011 National Association of Women Artists 10K Hammerschlag Award.

www.Jessica-Straus.com

Margaret Swan’s new painted aluminum sculpture, explores the affinity of structures in nature to those found in architecture and the built world around us. Inspired by skeletal and skin-like forms that evoke the structure of sailboat rigging, Swan’s sculptures emphasize the tension between lines and planes in space.

Armatures built from lengths of square tubing and other aluminum components, support layers of thin aluminum sheets, creating a dynamic taut interplay, and activating the space around the sculptures. The frontal orientation of the pieces highlights the negative space created by their placement on or next to the wall. Subtle changes in color, achieved through the layering of acrylic stains, add to the illusion of depth and enrich the surfaces.

Awarded two Massachusetts Artist Fellowships in Sculpture and other grants during her career, Swan is a graduate of Bennington College and Syracuse University. Her sculpture has been featured in museum exhibitions throughout New England, including the Aldrich Museum, the deCordova Sculpture Park and Museum, and the Institute of Contemporary Art, Boston.

www.margaretswan.com

Marilu Swett lives and works in Jamaica Plain, MA. She has exhibited throughout the US, and has work in several corporate collections, including Bank of America, Fidelity Investments, Meditech Corporation, and New England Biolabs. She is the recipient of a residency for iron casting at the Maryhill Art Museum (WA), a New England Foundation for the Arts Fellowship in Sculpture, a Somerville (MA) Arts Council grant, and a Massachusetts Artists Foundation Studio Exchange grant. She has degrees from UMass Amherst (BFA) and Mass College of Art (MFA). Swett teaches at Montserrat College of Art where she coordinates the Sculpture Department.

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"My sculptures and drawings allude to natural systems and subsystems, microscopic, telluric and oceanic form, the human body, and industrial artifacts. I have lately been looking at the ocean and its littoral variety with pleasure and concern, with a strong interest in our history with and debt to it. My recent work reflects my musings. I cast, draw, scrub, carve, cut, tool, dye and paint materials to produce complex drawings and forms in plastic, resin, lead, bronze, rubber and mixed media. I sometimes include found objects. The work is serious and fanciful, abstracting, inventing, and drawing relationships among forms."

http://mariluswett.com/

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From the beginning, Valdez has utilized sculpture and installations to create images that reflect on the nature of change, the life of the individual and the natural or societal forces that buffet our souls. Most recently her focus has been on the nature of home, the immigrant experience and roots/rootlessness. Her thematic concerns are also reflected in her involvement with the community: Art becomes not just a way to explore issues of human rights but to have a direct effect on them as well.

Valdez is the recipient of many awards and she has appeared in numerous publications, including “Who is Who in the World” since 2001, the Art History book “ La Pintura y Escultura en San Luis” 2007 Argentina, “International Sculpture Magazine” 2001 and 2006 for her work “the Journey” and “Stone Garden”,” Carving out a Dream” 2008 Vermont, USA, L’informatore del Marmista 2011 Verona, Italy.

Her work has been funded nationally and internationally.

Please visit me at www.noravaldez.com to see more

Originally from the Midwest, Kathleen Volp credits the yearly cross-country trips in a trailer she took as a child with her large family as one of her major influences. The wonder of road side attractions, historical sites, campsite communities and Catholic shrines fueled her lifelong obsession with souvenirs, oddities and cultural artifacts. In this, Volp found affinity with the work of the the Chicago Imagists.

As a student at the Minneapolis College of Art and Design Volp studied with conceptual artist Siah Armajani and kinetic artist Cork Marcheschi further shaping her aesthetics. She later received her BA in Art and Behavioral Sciences from SUNY in New York City. Volp has exhibited nationally and her work is in the New Britain Museum of American Art, New Britain, CT and the Minneapolis Institute of Art (or was, until the experimental materials disintegrated). Volp lives and works in Waltham, MA.

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“Objects are the physical products of our collective psyche— they often speak more loudly and truthfully than history books. Volp deliberately uses materials that are familiar and comfortable to the viewer, most often mass-produced, thrift store finds and throwaways. When deconstructed and combined, these cast offs become sculptures that reflect her deep social, political and cultural concerns. Volp works do not demand reverence and awe; they resist classicism forcing the viewer into confronting the ironies and follies of the past as it converges with the presence.”

www.kathleenvolp.com

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Jeffu Warmouth is a contemporary media artist based in Massachusetts, USA. He was born in California, received his BA from University of Michigan in 1992 and MFA from Tufts University in 1997. He lives and works near Fitchburg, MA, where he is Professor of Communications Media at Fitchburg State University.

Warmouth has shown internationally, including the Boston Cyberarts Gallery, Boston, MA; DeCordova Museum, Lincoln, MA; Kohler Arts Center, Sheboygan, WI; Digital Arts & Entertainment Lab, Atlanta, GA; Experimenta Media Arts, Melbourne, Australia; Kaunas Photo Festival, Kaunas, Lithuania; National University of Rosario, Argentina; and Cabaret Voltaire, Zürich, Switzerland.

Warmouth’s work has been featured in publications including Art New England, Boston Globe, Boston Herald, Worcester Magazine, WGBH-TV, WBUR-FM, WICN-FM, Boston Phoenix, Boston’s Weekly Dig, and on PBS TV stations around the country. In 2014, the Fitchburg Art Museum in Fitchburg, MA featured Warmouth's mid-career retrospective Jeffu Warmouth: NO MORE FUNNY STUFF.

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The human condition is an endless source of fascination. How can we search for meaning while negotiating the promises and demands of consumer society? What can mundane actions tell us about an individual’s relationship to the self, to others, or the Universe? Might awkward pauses, glottal stops, wordplay, or shrieks open new avenues to the inner recesses of the mind? Is the quickest way to the human soul through the eye, the brain, or the stomach? Which will redeem us: conceptual art or slapstick comedy?

I am driven by language, humor, gesture, and composition. I perform for the camera in the tradition of DADA, physical comedians, or minimalist dancers, finding comedy, poetry, and pathos in everyday gesture. I structure these repetitive movements into compositions that I project onto physical structures, or play on stacked TVs. The various projected bodies or heads are instances of myself: crawling, chanting, or simply being.

I am home in the spaces and practices of consumer culture, and in the minimalist world of the 20th century avant-garde. I work both intuitively and conceptually, posing serious questions about identity, culture, and language. I hope to manifest personal and collective ideas of time, determinism, humanity, work, and freedom. And I always strive to create open works that leave room for the viewer’s associations and experiences.

http://jeffu.tv/index.html

CV

Boston-based Wilcox studied at the School of the Museum of Fine Arts on scholarship after graduating from Kent State University, OH.  Her recent work can be seen regularly at Boston Sculptors Gallery, MA, and has been shown at Chesterwood, Stockbridge, MA, Kunstverein Tiergarden, Berlin, Germany, McMullen Museum of Art, Boston University, Brandeis University, Waltham, MA, UMASS Lowell, MA and Fuller Museum, Brockton, MA.  She has completed many public and private commissions for both indoor and outdoor venues and has work included in major collections such as Fidelity Investments, Decordova Museum, Lincoln, MA, Boston Public Library, Boston’s Museum of Fine Arts, and Brandeis, Simmons and Harvard Universities, MA.  Reviews of her work appear often in regional and national periodicals.

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"My recent trilogy of shows FEARSOME, LOATHABLES, and LEEPS all feature animated interpretations of the concepts fear, loathing, and ‘leap of faith’ through the manipulation of deadwood combined with metal, plastic and fiberglass screening.

With this new series of work my goal is to reach beyond the fearful, the despicable and the obvious.  The results personify that gut feeling emanating from one’s minds’ eye, giving the work an other-worldly nature and enhanced intent, along with a healthy dose of ‘in your face’ presence."

http://www.lesliewilcox.com/

CV

Andy Zimmermann grew up in West Virginia. He graduated from Harvard College in 1975, where he majored in psychology. He studied painting there with Paul Rotterdam, Rudolph Arnheim, Albert Alcalay, and Will Reimann. He exhibits paintings, welded steel sculptures, and digital multimedia works at major venues including the Rose Art Museum at Brandeis University, the DeCordova Museum Sculpture Park in Lincoln, MA, and the Cedarhurst Sculpture Park in Mt. Vernon, IL. He has had solo gallery exhibits in Boston and New York City, and has participated in group shows internationally. He earned an MFA from the Massachusetts College of Art in 2003. His installation “Cars and Stars” pictured here was exhibited at the MIT Museum in Cambridge, MA. Zimmermann is also a musician and has collaborated on theater projects as a video and sound artist.

Website: http://www.andyzimmermann.com/

Christina Zwart (Wayland, MA) creates work that challenges people's perceptions of reality. What often appears to be one thing from afar is, upon closer inspection, something else entirely. She takes items that have been constructed for specific purposes and transforms them into something that has nothing to do with their intended use. She works with materials as simple and easily-recognizable as flour and snow, or harder-to-find items like horseshoe crabs and plaster teeth models, giving solitary objects new life as she multiplies them to yield an overall piece. Some of her work is simply abstract, but much of it serves as social commentary, blurring the lines between organic and manufactured, humorous and disturbing. Zwart will exhibit at Boston Sculptors Gallery from April 5 - May 7, 2017.

zwARTinstallations.com

B. Amore is an artist, educator and writer who has spent her life between Italy and America. She studied at Boston University, University of Rome, Accademia di Belle di Carrara, and is the recipient of Massachusetts Cultural grants, a Fullbright Grant, Mellon Fellowship as well as a Citation of Merit Award presented by the Vermont Arts Council. She is the founder of the Carving Studio and Sculpture Center in Vermont, an international program for sculptors.

Amore taught for many years at the Boston Museum School, and as an Artist Teacher and Visiting Critic with the Vermont College MFA and ADP programs. Major sculpture commissions are installed in the US and Japan. Among them, The Council Ring at the AnnMarieGarden, a Smithsonian Institution, Solomons Maryland; Potamac Garden for the Environmental Protection Agency, Arlington, VA and the Chelsea Creek Clipper, which included sculpture and text for the city of Boston. Recent commissions include the Centennial Collage for Dorothea’s House in Princeton, New Jersey and Gateways for the Neighborhood of Affordable Housing in East Boston. Her exhibit, Rondini di Passaggio – Birds of Passage, is on view at the Museo di Emigrazione in Sant’Angelo dei Lombardi, Avellino, Italy.

Her multi-media Ellis Island exhibit was published by Fordham Press as An Italian American Odyssey: Through Ellis Island and Beyond. Other publications include Art by Mexican Farmworkers in Vermont, and Carving Out a Dream. Her art and literary reviews appear in International Sculpture Magazine, Art New England, the Rutland Herald/Times Argus, and VIA. Creative writing and art have been published in VIA, Italian Americana, Brownstone Poets Anthology, Biancheria, Speaking Memory, Delirious Naples, among others. Amore is currently editing Living the Dream, a collected history of the Carving Studio and Sculpture Center, which she founded thirty years ago, as well as completing her first book of poetry. She is represented by SOHO 20 Chelsea Gallery in New York City and Boston Sculptors Gallery.

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My work has evolved from its origins in carved forms and public sculpture, to complex installations involving text, ancestral artifacts, alternative photo processes, stone, fabric, and the found object transformed. The installations and assemblages often appear to be meditations on the layered nature of existence. They are sculptural ruminations, which bridge the past and the present.

Diminutive portraits printed on silk are interwoven with ravaged ceiling tin, stone and text to create the wall installation, Stepping Stones, which speaks to the ancient tradition of leaving home in search of a new world, a journey we now call immigration. The random photographs were taken on street corners in cities around the world and graphically demonstrate the increasingly heterogeneous nature of our evolving societies.

Experimentation and innovation are in constant interplay. The work is literally the “stuff” of life. Rather than being highly finished in a traditional fashion, the stone is incorporated as puzzle-pieces, which have been reconfigured. Faces of strangers become anonymous transient characters in the pieces, and yet each visage has the potential power to arrest the viewer’s gaze. In my newest series, Street Calligraphies, found gloves that have been cold cast in bronze, still evoke the mysterious presence of the lost owner. Although the gloves always retain their original gesture, they are combined with other enigmatic elements from city streets and transformed through the artistic process into works of art.

www.bamore.com

CV

Gillian Christy is inspired to create artwork based on the familiar objects that one may view through their daily travels. She discovers these elements found in existing architecture, industry or among everyday items found within the home. In her work she sets out to express a meaningful story about events in her life or those found within the communities she works.

www.GillianChristy.com

Hannah Verlin’s artwork all shares an aesthetic of belied simplicity. Shapes are limited to basic geometries of squares, circles, and triangles. The color palette is restrained to black and white with only the occasional burst of color in contrast. The materials are familiar—paper, cloth, and string—with minimal manipulation. However, the residue of an intense process puts the lie to the simplicity and gives the art a scintillating and restless quality. Time and the artist’s hand are ever present in the work—hand-written text, repetition of form, torn paper, and dripping ink. The act of creation can be felt with immediacy in the final form of the art.

Verlin received her BFA from the School of the Museum of Fine Arts in 2005. In addition to gallery based art, she has created many site-specific and temporary public works throughout New England. In 2011 the Massachusetts Cultural Council awarded her a Fellowship in Sculpture/Installation and she received a Fellowship in Visual Art from Somerville Arts Council. She lives and works in Somerville, MA. 

 www.hannahverlin.com

Nancy Winship Milliken is a sculptor creating site-specific work in urban and rural landscapes. Her archetypal structures pair ephemeral, organic materials such as wool, wax and honey with industrial components such as steel. Whether shown indoors or in the landscape, Milliken reveals the actions of wind, rain and sun as they transform her shapes and materials, sometimes inviting animal and human interaction.

Milliken’s use of natural and industrial materials, stems from her interest in rural art, agriculture, and sustainable living. These were brought together through the lens of a Masters in Fine Arts degree in 2008 from Massachusetts College of Art and Design, with residencies at the Fine Arts Work Center in Provincetown, Massachusetts.

Along with installing her work in New England and New Zealand farmland, Milliken has shown in solo and select group shows, including Burlington City Arts, Artstrand Gallery, Qorikancha Museum, Peru, Provincetown Art Association Museum, University Museum of Contemporary Art, and Brattleboro Museum. She incorporates her sculptures into set design for Double Edge Theatre in Ashfield, Massachusetts. Milliken is currently working on a project called Contemporary Pastoralism, where she collaborates with small farms, working within the landscape, reflecting on the people and animals of the farm. 

Nancy Winship Milliken Joined Boston Sculptors Gallery in 2012

www.nancymilliken.com

Kinetic Sculpture

Entering a gallery with David Lang’s sculptures, one is immediately transported to a land of wonder. His pieces are a treat for all the senses ~ moving wings, flashing lights, the subtle tapping of billiard balls.  You are pulled into the magic of his alchemy – following the intricate copper structures, discovering magical treasures, which have been given new life in David’s hands. To watch people look at his sculptures you just smile at the pure amazement that is being experienced. And through this wonder one can weave a story.  Along with the magical aspect of David’s pieces there is a subtle commentary. David Lang has a cunning wit which dances within all his pieces. He pulls together materials that have spoken to his senses and in his studio he blends the elements to set a stage for your exploration. He sees beyond the obvious appearance of an item to its deeper potential that he uses to comment on the current state of the world. But it is with such an understated touch ~ he does not hit you over the head with these ideas. His pieces offer you the clues for you to piece ideas together if you so desire.  Much of his work over the past several years incorporates sound, and often when you least expect it. - Virginia Fitzgerald      

http://www.davidlangstudios.com/     

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REMEMBERING BOSTON SCULPTOR, DAVID A. LANG ( 1941 - 2017 )

The Boston Sculptors Gallery remembers the life of David A. Lang, an incredible sculptor, a very dear friend, and a special mentor to so many. We will miss his presence tremendously, and we would like to share our deepest condolences to those close to David. As we mourn the loss of this dedicated dreamer, a man of never-ending curiosity, energy and joy, we continue to remember the life of David and the journey that he continues to embark on amongst the stars. We are truly grateful to have been a part of David's family.

David A. Lang Obituary
Wayland artist with ‘intense energy’ dies after a deer crashes into his windshield, The Boston Globe
Sculptor killed in freak accident recalled as a generous mentor, The Boston Herald
David A. Lang Eulogy, Written by Boston Sculptor Christina Zwart

We encourage you to visit the following links to learn more about the career of David A. Lang and his incredible works that will stay with us forever.

David A. Lang - Boston Sculptors Gallery Artist Page
David A. Lang - Artist Website