artscope magazine: May/June 2013 WELCOME STATEMENT: Brian Goslow, managing editor Cornered The Ceramic Spectrum: A Survey of Contemporary Ceramics Swept Away: Translucence, Transparence, Transcendence in Contemporary Encaustic Exhale_Draw Sophia Narrett: I Was Dreaming This Nasser Ovissi: Modern Day Iranian Art Gregory Wright: Forces Barney Levitt: As I See It Lasse Antonsen: Nocturama Carol Pelletier: Local Ground Colo Colo Gallery Four Fiery Females: Allison Bamcat, Veronica Fish, Jennifer Lewis, and Elizabeth Siegel Connecticut's Crusade Burst of Light: Caravagio and His Legacy Hot Pot: A Taste of Contemporary Chinese Art Word and Image: If a Picture is Worth a Thousand Words, What Happens When You Add Words to Pictures? Richard Erdman, A Life in Stone Just Chairs: A Survey of Side Chairs Art Nights Ken Gross: Lost Maps of Norumbega CreateHereNow: A New Creative Placemaking Project Builds Up Bridgeport

artscope 46, September/October 2013   SMARTPHONE PHOTOGRAPHY       CENTERFOLD CONTEST Your work could be artscope magazine's next centerfold. Work by established and emerging artists welcome. For the May/June issue, we will be accepting submissions of SMARTPHONE PHOTOGRAPHY. Please send up to three digital images, minimum 300dpi, and your statement to: centerfold@artscopemagazine.com, no later than JULY 15, 2013. Though smaller files should be submitted, images must be available to be reproduced up to 12" x 18," dependant on dimensions of work. Entries not following these specifications will not be considered. No resumes please; the cover piece will be selected based on visual and/or conceptual quality, by a jury of one artscope staff member, and two New England art professionals.     artscope 45, July/August 2013   POP ART       CENTERFOLD CONTEST Your work could be artscope magazine's next centerfold. Work by established and emerging artists welcome. For the May/June issue, we will be accepting submissions of POP ART. Please send up to three digital images, minimum 300dpi, and your statement to: centerfold@artscopemagazine.com, no later than May 15, 2013. Though smaller files should be submitted, images must be available to be reproduced up to 12" x 18," dependant on dimensions of work. Entries not following these specifications will not be considered. No resumes please; the cover piece will be selected based on visual and/or conceptual quality, by a jury of one artscope staff member, and two New England art professionals.     artscope 44, May/June 2013       art: Pastoral Landscape artist: Peter Kramer   Oil on Canvas   12" x 16"   artist statement: For me impressionism is a love of color and paint, a love of decorative design, and a healthy respect for the appearance and experience of things; a story well told but with enough details withheld to engage the viewer's imagination. More of Kramer's work may be seen on Youtube     artscope 43, March/April 2013       art: Profile and Sillhouette artist: Jessica Brown   Cardboard   Profile chair: 20.25"d x 15.25"w x 34.5"h Sillouette chair: 19"d x 15.5"w x 33"h   artist statement: We examined a variety of classic chairs and were most inspired by the simplicity of the Shakers, the elegant proportions of Walter Knoll's Andoo Chair and, of course, the playful curves of Frank Gehry's Wiggle Chair. Thus, our concept is dictated by a variety of designs and the challenge was to bring together these classic designs we love and add a modern twist. Sustainability and innovation need not be separate issues. The modern twist is reclaimed cardboard and laser-cutting technology. For this reason, we asked ourselves: how can we take a waste material and make something better from it? Utilizing an everyday material like cardboard in an entirely different way is the synthesis of two separate ideas. . More of Brown's work may be seen at www.jessicabrowndesign.com     artscope 42, January/February 2013       art: STICK IT- Love and Junk artist: Janet Lage   oil,oilbar, graphite, ink on canvas   60" x48"   artist statement: I combine a disciplined formal painting process with the raw spontaneity of chance outcome and intuition. I approach each piece with an understanding of a physical image and allow internal forces of perception and chance to collide. Each painting experience is an adventure woven by experiment and intent. The objective is to emphasize the possibility of paint medium with gritty, tactile quality. I leave traces of the application and text in each piece to energize the painted form. My goal is to momentarily harness logic, instinct and guesswork. More of Lage's work may be seen at www.janetlage.com   artscope 41, November/December 2012     art: Toast Embroidery #1 Egg On Toast artist: Judith Klausner medium: toast, thread, paper (structural) artist statement: As we come to feel that something has been lost in the mechanization of everything around us, there is a growing sentiment that making something oneself has great value. Amid this resurgence of handmade, the temptation to romanticize the past is strong. This nostalgia fails to take into account that this was a time when women were a mandated class of creators. Pre-made products aren't always ideal, but the availability of packaged foods and like goods have helped lead us to the point where we can pursue careers, develop new technologies, and create as we choose. My work is about choice; as a woman in the twenty-first century, I can choose to spend my day baking a loaf of bread, or to grab a package off a grocery store shelf after a long day at work. I can choose to spend my evenings embroidering. I can choose to combine these things into art. More of Klausner's work may be seen at jgklausner.com artscope 40, September/October 2012     art: Sleeping Moon artist: Joseph Wheelwright medium: Bronze artist statement: Floating in tranquility atop a mirrored post, with light-green patina surface and black and gold details, Joseph Wheelwright's nine-foot bronze sculpture "Sleeping Moon" is alive with craters, mountains, and rivers. An enlarged version of one of 28 different avocado-sized moons that Wheelwright has created since 1980, "Sleeping Moon" was installed in Peabody Square, Boston in the fall of 2010, in the plaza at the Ashmont MBTA station. It is now part of the city's permanent public art collection. Wheelwright has lived in the Peabody Square area for three decades. "Ever since I was a child, I've been fascinated by the moon," says Wheelwright. "The moon is also the original timepiece--so it's a good companion for the much-loved iron clock in Peabody Square." Along with bronze moons, Wheelwright is known for giant carved stone heads and monumental tree figures. "Sleeping Moon" was selected by a collaboration of local arts, community, and business groups. More of Wheelwright's work may be seen at www.joewheelwright.com artscope 39, July/August 2012     art: Dog's Head Falls artist: Ginny Zanger medium: watercolor on Yupo (polypropylene) artist statement: My work is about flow: the currents of the deep sea, where I love to scuba dive; the glaciers, mountains, and where I painted while living in a historic Provincetown dune shack last summer. To evoke flow in my work, I often choose to paint on polypropylene (Yupo), a surface that resists rather than the paint. I pour, spray, eye-drop, and brush washes of watercolor paints onto the smooth plastic sheet, then to selectively remove paint, something that rag papers do not allow. I let the essence of the materials that recreating the lyrical patterns, shapes, and shadings of the natural world that mean so much to me. More of Zanger's work may be seen at ginnyzanger.com artscope 38, May/June 2012     ARTISTS IN ACTION Have a look at some of our local artists at work, in their studios or in their gallery. 1. The Commission, photograph of professional portrait painter Tom Oueellette. 2. Laura Aronoff in her studio environment. 3. An Impression of Charles, photograph of Charles Tersolo painting in Fenway studio. 4. Lorna Ritz standing with her paintings. 5. Percy 14e Wright, representational painter and graffiti artist, in action in front of his work Flying Horns. 6. Paul Pedulla at his studio in Inman Square, Cambridge, Massachusetts. 7. Magazine collage by Ben Bailey, Sarah Adams and Spenccer Adams. Many artscope cut-outs are a feature in the collage. 8. Studio of Lorna Ritz (featured above), with her cat, Ruby. 9. Rick Fleury touching up a painting at his studio in New Bedford, Massachusetts. 10. Melody Phaneuf at her Fenway studio with visitors during Fenway Open Studios.   artscope 37, March/April 2012     art: Nahmakanta artist: Janice Anthony medium: acrylic on linen artist statement: For me the magic of the landscape is that it is actually a parallel world to that of humankind. I am delighted when I find a place that is perfect in its wholeness, clearly a world apart, that requires nothing of me, and that offers me nothing but a vision of its self-sufficiency. More of Anthony's work may be seen at janiceanthony.com artscope 36, January/February 2012     art: Perpetuity artist: Liang Guo medium: oil on canvas artist statement: Painting is a way to express my opinions, is a carrier for my spirits, and is a tool to show my thinking and philosophy. Realism painting is much better to express the abstract thinking and profound philosophy. In my paintings, I turn the space of human life into the space of think, into the space of soul, into the expression of inner spirit. More of Guo's work may be seen at liang-guo.com artscope 35, November/December 2011     art: street art boston artist: Ron Caplain medium: digital photograph artist statement: This picture was done in the South End of Boston-- at the time I was very interested in street art and street murals-- the colors and the design of the basketball court juxtaposed again this mural was what had caught my eye.   More of Caplain's work may be seen at www.ron-caplain-photography.com   artscope 34, September/October 2011       art: Alone and Free artist: Milisa Galazzi medium: lace, encaustic, oi, on birch artist statement: Much of my work is built on the simple square format reminiscent of the basic quilting block. I explore color, layering and texture in my art as well as scale and repetition. My work is reminsicent of conventional women's work (quilting, mending, sewing) and speaks to my connections with past generations of women as well as my present place within my own family. Simply put, my work reflects conversations about relationships-- literal and visual. More of Galazzi's work may be seen at www.milisagalazzi.com     artscope 33, July/August 2011       art: CITYGO artist: Sean Flood medium: oil on canvas artist statement: The inspiration for my work comes from music, urban settings, the energy of my surroundings and viewing other artists’ work. When it comes to architectural and urban scene paintings, I get a lot of ideas from exploring and working in the city. After doing sketches on site and taking photos, I stretch my own canvas or cut panels to the scale I want my painting. I work out my ideas in the studio and I particularly enjoy the beginning phase of a new piece. The initial drawing is very exciting when I react and draw quickly and lay down the structure and foundation for a finished piece. This is yet another reason why I am so attracted to painting urban scenes. As I introduce color to a developing piece, I continue to treat it like drawing, as in drawing with paint. I paint in three hour sessions and typically work on one or two paintings simultaneously. I usually work on a piece for one to three months until I feel it is complete. As I sense the painting is closer to completion, the final marks and gestures are applied with more specificity and assurance. This process allows me to develop a rich, textured painting and also capture the raw, spontaneous energy of what I see and experience. More of Flood's work may be seen at www.seanfloodart.com     artscope 32, May/June 2011       art: Souvenirs & Barricades artist: Geoffrey Detrani medium: pencil, ink, acrylic on paper mounted to panel artist statement: My work is rooted in a sense of the natural world as construed by experience, imagination and ideology. The imagery I use explores a hypothetical intersection between the natural world and the physical world of our creating. I am interested in the tenuous and temporary fit with which the things we have built have accomodated themselves to the fecund and resurgent force of the natural world within which they are sited. My picures suggest landscapes captured in a state of flux, landscapes on the cusp or in the throes of explosive generation or devolution, they are geographies of entropy and zero-sum gain. More of Detrani's work may be seen at www.geoffreydetrani.com artscope 31, March/April 2011       art: Turbulence artist: Brigitte Desautels medium: collage, ink and mixed media artist statement: I was born in France and the views and images of my life there are continually in my mind. This piece was created simply by instinct during a time of turbulence and depicts vague memories and melancholy. As you look at this collage imagine Saint Saturnin, the village in France where I spent my summers as a child. This most incredible little village with narrow winding streets and alleys, and a massive castle on its highest point is my source. More of Desautels' work may be seen at www.brigittecards.com   artscope 30, January/February 2011   art: Precarious Living 1 artist: Carolyn Rordam medium: Glass works artist statement: Modern man seems to be in a constant struggle to live separately from the natural world. However, he is completely dependent on it. We are in an uncertain and ever changing relationship with our environment. How do we come to terms with this dangerous, glorious and absolutely essential lover? In this glass works series titled Precarious Living, I create a reflection of the incessant and irrepressible impact of nature despite mankind's intrusions. They reflect the fascination I have with the details of natural phenomena and the cycles of growth and rebirth within those cycles. Precarious Living is a metaphor for something that is happening all around us, natural forces that continue to move regardless of what we humans do. Glass, a super-cooled liquid, represents the intermediate space where opposites meet, the linear ideals of human constructs and the entropic reality of nature. My work is about the ever-changing relationship between man and his environment. More of Rordam's work may be seen at www.carolynrordam.com artscope 29, November/December 2010 art: Loser Buys Dinner artist: Barney Levitt medium: Oil on Canvas artist statement: I've always been drawn to detail and it's been the realist painters who have been the source of my inspiration.  I try to create a narrative from the chosen objects that will elevate and give new meaning to their ordinariness. I strive to create a sense of mystery or humor from seemingly disparate objects.  Often there¹s an implicit smirk or wink I'm trying to convey to my audience. I was raised in the Adirondacks of Upstate New York where my family helped nurture a keen appreciation for nature.  As a child, drawing seemed as natural and necessary as breathing.  Hopefully I will continue to do both for a long time to come. More of Levitt's work may be seen at www.barneylevitt.com     artscope 28, September/October 2010 art: Flock artist: Cathy Moynihan medium: ceramic sculpture artist statement: I'm focused on making sculptures that deal with life-tender, whole, and new. My minimalist birds are especially peaceful as I hand build each one using the coil method, and then carefully examine each bird, scraping and shaving off the irregularities. I feel my work has an intimacy and comfort about it, inviting viewers to touch and hold it. Nothing makes me happier than peaceful to me with their elegant silhouettes, clean lines, composed posture, and pleasing proportions. They take hours to make irregularities in surface until the form is flawless. than when someone feels compelled to cradle or caress one of my pieces! More of Moynihan's work may be seen at www.cathymoynihan.com   artscope 27, July/August 2010 art: Tonare artist: John Rais medium: forged and fabricated steel, patina, paint artist statement: My work is about narrating transition. There is an inserted duality that plays somewhere between sensuality and pragmatism. Each piece evokes a curious tactile quality that, by equal measure, amplifies and subverts function. The result is a cross-breed where no dominant trait is recognized with the goal of experiencing something new. Steel has a unique relationship with recycling, where it is found in scrap heaps like factory fossils. My work originates from the re-emitted and reheated raw material, and is forged and fabricated to appear once manufactured, discarded, and now re-appropriated to a new life. Parts are often designed separately and assembled intuitively, while re-sketching with chalk on the studio floor. I feel not so much a designer or a craftsman, but rather a mediator between idea and technique. These mongrels of art are a piecing together of memory piles and thought fragments. As a memory fades, it rewrites itselfwith segments of the original fused back together. In a sense, I make the objects that I wish I could find, but the love of making prevents me from ever finding exactly what I am looking for or even knowing what it is. More of Rais's work may be seen at www.johnraisstudios.com   artscope 26, May/June 2010     art: Millbrook Road, Nantucket, Thanksgiving 2009 artist: Lauri Robertson medium: digital capture photograph artist statement: I am interested in being embodied by a landscape, the dizzying, experiential process of seeing more and more, the more one looks. There's little "composition," in the sense that a perception of immersion is the composition. I'm attracted to a certain flatness, or abstraction, but necessarily in concert with a stark realism. This image was taken on Thanksgiving day on Nantucket, where I live. More of Robertson's work may be seen at www.laurirobertsonphotography.com   artscope 25, March/April 2010 art: Desert Island artist: Leah Giberson medium: oil on photographs ad mixed materials artist statement: My current body of work falls somewhere between the worlds of photography, painting and collage. I begin with photographs of seemingly ordinary and mundane scenes, which I then paint directly upon to distill and reveal the visually poignant moments that exist all around us, but are often overlooked. There is a quiet anxiety and loneliness in these images of isolated houses, empty chairs and abandoned pools. Shadows loom from unknown/unseen sources, horizon lines become uncomfortably close, people are absent and geographic clues are obscured. Despite all this uneasiness, there is also a sense of bravery or at least a blind and determined optimism. More of Giberson's work may be seen at www.leahgiberson.com. artscope 23, November/December 2009   art: Silent Sounds artist: Laurie Alpert medium: polyester plate lithograph, handmade book. (Photo by Clements-Howcroft Photography) artist statement: I recently traveled to Israel. Spirituality and religion never entered into my work until I saw the Dead Sea Scrolls at the Israel Museum in Jerusalem. What intrigues me about the content of the scrolls is the fact that the text is both biblical and cultural. The manuscripts give us insight into behavior,military regulations, customs, political persecution and spiritual life, something that has always fascinated me. I was also struck by the complexity of the political situation there. While visiting the Golan Heights, I photographed a sculpture of a kneeling soldier pointing a gun. This image has become a haunting motif in my work and creates a political edge to the otherwise unbiased nature of the work. Another significant element in my work is my mother’s music. She was a professional violinist whose career had a great impact on my life. This represents my personal history; the scrolls represent my past history. The ancient Hebrew text coexists with the music while the music transcends language. More of Alpert's work may be seen at www.lauriealpert.com. artscope 22, September/October 2009 art: Reading Time with Spot artist: Liza Abelson medium: acrylic on canvas artist statement: My paintings reflect my fascination with the beauty, complexity and spirit in everyday things, situations and people. I am inspired by old buildings, interesting, faces, comical scenarios, expressive gestures and the beauty of the figure. More of Abelson's work may be seen at www.lizaabelson.com. Judges: Ron Crusan, Director of the Ogunquit Museum of American Art Anne B. Zill, Director of the University of New England Art Gallery artscope writer Elena Sarni   artscope 21, July/August 2009 art: Flowering of the Buddha Mind: Transcendence Over Life and Death artist: Beverly Sky medium: fabric collage on canvas artist statement: Fabric collage consists of using innate qualities of fabric - the images, colors, textures and patterns - to create an alternative image. Essentially, the technique is painting with fabric. Fabric is cut, layered and glued onto a sub surface such as cotton, canvas or board. I was introduced to this medium by collaborating with Clara Wainwright, the renowned "free quilter," through her inspiring work as leader of "The Faith Quilts Project" (www.faithquilts.org). This new medium is a natural evolution of my work as a fiber artist. More of Sky's work may be seen at www.beverlysky.com. Judges: Connie Colom, executive director of the New England Quilt Museum Karen Herbaugh, curator at the American Textile Museum artscope writer James Foritano   artscope 20, May/June 2009   art, left: Untitled (Open); art, right: Untitled (Undone) artist: Brian Bishop medium: charcoal on paper artist statement: The principle interest of my studio practice is the exploration of the fine line between the forgotten or over-looked moment and the fetishized memory as seen through the filters of portraiture in the west, snapshot photography and the rhetoric of surveillance. Through this work I mine the landscape of the common, the mundane, the banal and the fragmented as they are resented in the context of notation, documentation and memory. My work navigates the intersection of the overabundant surveilled image and the poignancy of the intimate vignette or home movie. Implied narratives and contexts are generated on the margins, between the images and outside the frame. The resulting images appear disjunctive and out-of-context, alluding to the "lost" images on a roll of film, the in-between moments and the "throwaway" image - the mistake. More of Bishop's work may be seen at www.brianbishop.com. Judges: Candice Smith Corby, Director of the Cushing-Martin Gallery at Stonehill College Lisa Lynch, Director of the arts at Brandeis University's Women's Studies Research Center artscope writer Sarah E. Fagan, and editor of the artscope email blast!       artscope 19, March/April 2009     art: Cycle of Growth artist: Tracy Spadafora medium: mixed media encaustic on braced luan artist statement: Obscuring and burying images within layers of wax and paint helps to extend their meaning into the realms of memory and intuition. In these works, natural structures and man-made structures converge and collide, creating a dialogue between these opposing forces. The natural environment has suffered greatly as a result of commercial, residential, and industrial development. Nature struggles to survive and find new life within the continuous sprawl of these manmade environments. With these paintings I intend to convey a sense of the poetry and endurance of nature as a force — a force that seems to persist in spite of man’s actions. In this work I seek to address larger questions concerning the lineage of our natural and man-made environments. Judges: Joanne Mattera, Author of "The Art of Encaustic Painting" and Director of the Encaustic Conference at Monserrat College of Art Barbara O'Brien, former Director of the Trustman Art Gallery at Simmons College and keynote speaker for the 2009 Encaustic Conference at Montserrat College of Art Hope Stockman, artscope writer   artscope 17, November/December 2008     art: Untitled artist: Daniel Coury medium: Inkjet print artist statement: I deal with banal objects which I find - or do they find me? - in nature, on the streets, at home … anywhere. I take them out of their utilitarian sense and put them into my aesthetic sense: inside my “black and white language,” matching the scene I create in the photographic studio with the image I had behind my eyes. I believe that this action allows one who sees my pieces to taste an unexpected feeling about the quotidian. I do not want to change life nor the world with my art, but intend to make a person look through the trivial and see something else. Judges: Minying Tang, artscope writer Paula Tognarelli, Deputy Director of the Griffin Museum of Photography Christy Woods, artscope Associate Publisher     artscope 16, September/October 2008     art: Johnson, Vermont artist: Erica Harney medium: oil on canvas artist statement: I manipulated and exploit the ideas of contrast, contradiction and dualism on the visual and conceptual levels to create kaleidoscopic paintings that are bursting with dramatic energy and ecstacy. In the spirit of kaleidoscopes and mosaics I use paradoxical combinations of patterns, colors, shapes, images and concepts that I am constantly collecting, editing/layering/fracturing/rearranging/elaborating upon. I then take these gragments of information, and, through the use of a variety of materials and handling, transform them into something entirely unique. In a sense, painting is the way in which I am able to "have it all." In doing so, I strive to create paintings that are simultaneously monumental and ethereal, as opposed to embracing the "everyday," and "prosaic." My focus is emotional, rather than intellectual. If I were painting music, I would paint operas. Judges: Mark Moscone, Director of Exhibitions at the Rhode Island School of Design Kristin Street, Director of the Krause Gallery at Moses Brown School Meredith Cutler, artscope writer   artscope 15, July/August 2008   art: Ocean Life Series artist: Kristin Braun medium: ceramics artist statement: I am fascinated with ocean life such as sea urchins, sea slugs, and sea cucumbers. I am drawn to the curiosities and symmetries that exist with in nature’s peculiar creations. Nature’s systems and compositions are inherently perfect and elegant. They can only be celebrated. That is my calling. I am currently most intrigued by sea urchins. I make spines and put them on forms to create sharp features on soft venues. I employ slip trailing to represent the low-relief patterns. Judges: Catherine Green, the League of New Hampshire Craftsmen Sara Zela, Studio Potter Magazine Elena Sarni, artscope writer   artscope 14, May/June 2008   art: The Cartographers artist: Danielle Sauvé medium: installation art artist statement: The installation “The Cartographers” associates the migratory quest to the virgin page preceding the re-creative process of all new beginnings. The ensemble is about the tension between erasing and renewing, the alterable and the attached, vibrancy and absence. Layers of velum on the skeletal drawing-tables are penetrated by light to create the conditions for the appearance of the snail's journey. I am interested in the speculative aspects of exile, those moments of expectation - when nothing is fixed yet, when all is still maintained between here and else where, before and now, the real and the imaginary. Judges: Katherine Attanasio, director/co-curator at The Firehouse Gallery of Burlington City Arts Janie Cohen, director of the Robert Hull Fleming Museum at the University of Vermont Alexandra Tursi, artscope writer   artscope 12, January/February 2008   art: carmela lily II artist: Marisa diPaola artist statement: I am a nomadic sculptor and installation artist. I create wearable site-specific work from found materials, and wear these pieces, as self-portraits, handmade as if by the characters that I am depicting. The work itself is a collection of psychological self-portraiture through an exploration of fairy tale characters interacting with this world. Not focusing on the "happily ever after" but at the moment of creation, and adaptation to their new journey and to their new habitat. The natural world became my focus as I began searching for the origins of humanity and the natural connections that bind us to the land. The series explored characters creating a home withing their found habitat, focusing on the beginning of the journey where the path originates. These sculptures are divergent, specific to sites in nature, chosen for their isolation and wilderness. The process of gathering and creation allows each character to investigate their habitat and their own domestication. The documentation appears as wildlife photography, capturing these characters in their habitat, living within their life. All explore the dynamic of self, of the journey, of creating a domestic space for oneself, handmade from the raw materials gathered around. Judges: Britt Beedenbender, writer, artscope magazine Craig Bloodgood, Special Projects Curator, The Art Complex Museum George Creamer, Dean of Graduate Admissions, Massachusetts College of Art   artscope 11, November/December 2007   art: Back to the Future artist: Ekua Holmes medium: torn and cut paper artist statement: As a child, I would sit at my grandmother's desk where she had collected junk mail, greeting cards and old magazines for me. I would spend the afternoon cutting shapes out of these discarded items and creating new pictures out of them. Quietly absorbed in my own thoughts, the world of reality would disappear and my hopes, dreams and memories would emerge. It is the same process I encounter as I develop my ideas today. Jurors: Gretchen Keyworth, Director and Chief Curator, Fuller Craft Museum Andrew Mroczek, Director of Exhibitions, The Art Institute of Boston Gallery at University Hall Gary Duehr, artscope writer   artscope 10, September/October 2007   art: Temple Roof, photograph artist: Robert Castagna artist statement: This series of photographs from Kyoto, Japan present abstract views of shadows, detail, mystery and nature in the tradition of the haiku. My goal is to walk the line, capturing the zen spirit through abstraction and simplicity. Jurors: Frederick Osborne, President, Lyme Academy College of Fine Arts Vivian Zoe, Director, Slater Memorial Museum Rick Agran, artscope writer artscope 9, July/August 2007 art: A Romantic Moment artist: Corey Corcoran artist statement: My paintings and drawings have always been tied to my love for stories. I like listening to stories. I like telling stories, and I like discovering when I am suddenly part of one. Many of my paintings and drawings take place at points of irresolution. The figures feel caught unexpectedly, and the moment is full of potential. Things could go sour or they might end up all right. My hope is that viewers take in this moment and decide on their own role in the painting. Jurors: Jan Howard, Curator of Prints, Drawings and Photographs at the RISD Museum Dr. Emil Willers, Executive Director of the Newport Art Museum Sarah E. Fagan, artscope writer   artscope 8, May/June 2007 art: Dance in the Bloom, oil on canvas, 45" x 43" artist: Yuko Adachi artist statement: Art is a universal language of the souls. I do not do any preliminary sketches for any of my art works. I just dive in to the unknown and experience where my energy takes me in the given moment. I wish to share with the viewers the joy of being alive through my works. Jurors: Britta Konau, Center for Maine Contemporary Art Curator Linda Lambertson, Coordinator of the Inst. of Contemporary Art at Maine College of Art     artscope 7, March/April 2007 Anniversary Issue art: Bulbs with Pansy, drawing artist: Helen Meyrowitz artist statement: "Otto Rank in his book - 'Art and Artists' tells us that art is often born out of a fear of loss and change. In late 2002, I became an up-rooted New York artist in the throes of a very real fear of change and loss due to an unexpected move to Massachusetts. A subsequent series of mixed media drawings of bulbs reaching, striving to put down new roots to grow and eventually flower is my chosen metaphor for my personal effort to create a new beginning. Otto Rank understood that creative challenge." Jurors: Karen Burgess Smith, Director of Phillips Exeter Academy's Lamont Gallery Vicki C. Wright,The Art Gallery of the University of New Hampshire James Foritano, artscope writer