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artscope magazine: November/December 2009
Welcome Statement: Brian Goslow, managing editor
Letters to the Editor
roundtable - Three Professionals. One Question.
cornered: a conversation with an art exhibition attendee
FEATURED ARTIST CHARLIE HUNTER - The Humor of Decline, Memory, and Time
FEATURE: DAMIÁN ORTEGA DOES IT AT THE ICA
ADRIA ARCH: GLYPHOLOGY
NO MAN'S LAND: BONNELL ROBINSON AND DANA MUELLER
SKIPPING, SPLASHING, AND PLAINTIVE - THE WEIGHTY WORKS OF CASEY ROBERTS
SACRED MONSTERS: EVERYDAY ANIMISM IN CONTEMPORARY JAPANESE ART AND ANIMATION
DEEP SPACE: KATHLEEN CAMMARATA
FEATURE: MRS. DELANEY AND HER CIRCLE
Connecting the Dots... The Warhol Legacy
INNER CITY at RISD
EXPANDING THE POSSIBILITIES: New England Watercolor Society Regional Show
THE ART OF DEVOTION: Panel Painting in Early Renaissance Italy
FABRICATING TIME: ALICE SPENCER
MIGRATIONS: New Directions in Native American Art
wanderlust - Historic and Contemporary: Portland, Maine's Art Scene
Industry focus: A Moldmaker's Mecca - Reynolds Advanced Materials
BOSTON THEATER: A 2009-2010 SEASON PREVIEW
PECHA WHAT? PECHA KUCHA, WORCESTER
Capsule Previews
ADRIA ARCH: GLYPHOLOGY
Brian Goslow

Bromfield Gallery

450 Harrison Avenue
Boston

November 4 through 28


“As parents are tempted to do, I wanted to know more about my kid,” said Arch, a painting teacher and education director of the Arlington Center for the Arts. “I thought maybe there was a clue in there about his turbulent teenage years. I didn’t find any writing, only pages and pages of these doodles.”



Ah, but what doodles.



She took pages of her son’s doodles and copied them onto transparencies, and projected them onto a wall to see the shapes in different scales. “The originals were done in pencil in tiny eighth and quarter-inch doodles,” Arch said. “Blown up, they’re of such fine quality. I wanted to see what they would look like at 1000 percent. They are beautiful, geometric and algebraic.”



Arch traces and paints the “glyphs” over what are mainly acrylic silk-screened backgrounds on wood and paper. “The shapes are faithful to the original, albeit in much greater form,” she said. “I just place them where I place them and change the color.” One of the works has been transcribed into a 10-foot high scroll and more recently, she’s been turning them into sculpture.



“The shapes seemed to represent a secret, indecipherable language,” Arch wrote in the show’s introduction. “I realized


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