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artscope magazine: March/April 2014
WELCOME STATEMENT: Brian Goslow, managing editor
Capsule Previews




artscope 51, July/August 2014







Your work could be artscope magazine's next centerfold.

Work by established and emerging artists welcome.

For the July/August issue, we will be accepting submissions of ABSTRACT ART. Please send up to three digital still images (if chosen, minimum for the images must be reproduced at 300dpi). Also include your statement.

Send sumbissions to:, no later than MAY 15, 2014.

Though smaller files may be submitted, images must be available to be reproduced up to 9" x 12" at 300 dpi dependent on your work selected by the jurors. 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 50, May/June 2014







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 the theme of SUMMER. Please send up to three digital still images (if chosen, minimum for the images must be reproduced at 300dpi). Also include your statement.

Send sumbissions to:, no later than MARCH 15, 2014.

Though smaller files may be submitted, images must be available to be reproduced up to 9" x 12" at 300 dpi dependent on your work selected by the jurors. 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 49, March/April 2014
8th Anniversary Issue






art: War & Peace,

artist: Paul Roustan

medium: Mehron Liquid makeup

Most known body-paintings objectify the model, like models on a runway, simply moving coathangers for the artworks on display. This is also true with regular canvas, an object that simply serves no other purpose but to be painted on. The viewer learns very little, if anything, of the person beneath the paint or fashion, or the canvas on which paint was applied. What separates me from other body painters is that I tackle the relevance of the produced artwork to the model it’s being applied on.

For me, this nude being, complete with unique experiences and personality, is someone to celebrate, not ignore. After all, it is a collaborative effort between my work and a model that exclaims, "Here I am, in my purest form. Look at me!"

Read the entire article in our magazine pages...

More of Roustan's work:

Grant Drumheller, Professor of Art at the University of New Hampshire
Jerry LoFaro,
Illustrator and Illustration Instructor at the New Hampshire Institute of Art
Natan Alexander,
Producer Boston Tattoo Convention and tattoo artist



artscope 48, January/February 2014






art: Animalia
artist: C. Ryder Cooley

artist statement:

Animalia is an inter-species fairytale about a girl who must learn to fly in order to escape from social distress, environmental destruction and the threat of impending war. She connects with secret bee societies and then joins the circus only to discover it is a secret military operation. She then runs away to the woods and falls under the spell of a mystercal deer. When she becomes an antlered deer-creature, she finally achieves flying powers and enters an ethereal world of hybrid creatures.

Animalia the video has a multi-media performance piece that goes with this called Xmalia. We'd love to perform this around New England and elsewhere.

artscope's media development assistant Vanessa Boucher



artscope 47, November/December 2013







art: We all wear goggles to see the world

artist: Val Akula


artist statement:

In Big cities like Boston, people watching it a popular pastime. This print is having fun with the idea of how we perceive the world and each other. Each individual in this intriguing cast of characters has a uique complex prism of their own experiences to color the world they see. While carving this linoleum block I came ro appreciate and respect them all.

Email Val at to see more of her work.

Robert Tomolillo, Boston Printmaker
Vicky Tomayko,
Provincetown printmaker and professor



artscope 46, September/October 2013







art: Forced Pano Error No. 1

artist: Joshua Brennan

artist statement:

The smartphone camera is an extension of my eye. It allows me to turn the act of looking into the act of making. In the past, I struggled to document what inspired my mind's eye on the fly; without a device for documentation, the moment would pass and slip from my grasp and only a ghost of that fleeting happening haunted my memory. That's changed now. I always have a camera on hand. It's fast and deceptively simple, yet will perform and capture stunning images. I also experiment and purposefully misuse the software/technology. The Panorama function allows for seamless large format pictures, but I employ it in a different way. I'm looking for the serendipitous, happy accidents and profound anomalies that can occur when incorrectly used. This series of photographs, titled Forced Pano Errors, have been fueling my creative endeavors and are always a surreal, quasi-cubist surprise.

More of Joshua's work may be seen at

Mike Russo, Professor of Communications at Bridgewater State University
Dave Gordon,
In-house Media and Tech Artist at the Charles River Museum of Industry and Innovation
artscope contributor Andre van der Wende



artscope 45, July/August 2013







art: Flying Coyotes Over the El Cortez Hotel, Reno, 2010

artist: Ann Tracy


artist statement:

This digital collage was created for NadaDada Motel, a zany artist-powered arts festival held the second weekend in June in various downtown motels in Reno, Nevada, as part of my Motel Variation series. I worked from a basis of chance and intuition in making this piece , which contains two manipulated self-portraits. In calling myself a digital alchemist, I'm trying to reference both a classical past and a forward-reaching future in which images with one meaning are combined with others to create new and poetic meanings. I'm a native New Englander who left in 1968 and returned from the West with a different point of view in 2011 to settle in Portland, Maine, and I show at Constellation Gallery in Portland's Arts District.

More of Tracy's work may be seen at

Lisa Dorin, Deputy Director of Curatorial Affairs and the Curator of Contemporary Art At Williams College Museum of Fine Art
Alexa Adelson,
Assistant Director of Adelson Galleries Boston
artscope email blast! editor, Lacey Daley



artscope 44, May/June 2013


Pastoral Landscape



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


STICK IT- Love and Junk



art: Profile and Sillhouette

artist: Jessica Brown




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



artscope 42, January/February 2013


STICK IT- Love and Junk



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


artscope 41, November/December 2012


Toast Embroidery #1 Egg On Toast


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

artscope 40, September/October 2012


Sleeping Moon


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

artscope 39, July/August 2012


Dog's Head Falls


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


artscope 38, May/June 2012





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

artscope 36, January/February 2012


Guo-Perpetuity boston width=


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

artscope 35, November/December 2011


Ron Caplain's street art boston width=


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


artscope 34, September/October 2011


Milisa Galazzi's Alone and Free width=



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



artscope 33, July/August 2011


Brigette Desautels' Turbulence width=




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



artscope 32, May/June 2011


Brigette Desautels' Turbulence width=



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

artscope 31, March/April 2011


Brigette Desautels' Turbulence width=



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


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

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



artscope 28, September/October 2010

Flock, Cathy Moynihan

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


artscope 27, July/August 2010

Tonare John Rais

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


artscope 26, May/June 2010


Lauri Robertson Millbrook Road, Nantucket, Thanksgiving 2009


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


artscope 25, March/April 2010

Leah Giberson Desert Island

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

artscope 23, November/December 2009


Laurie Alpert Silent Sounds

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

artscope 22, September/October 2009

Untitled (Open), charcoal on paper, 60" x 60"

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

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

Untitled (Open), charcoal on paper, 60" x 60"

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" ( This new medium is a natural evolution of my work as a fiber artist.

More of Sky's work may be seen at

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


Untitled (Open), charcoal on paper, 60" x 60"Untitled (Open), charcoal on paper, 60" x 60"

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

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.

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.

Minying Tang, artscope writer
Paula Tognarelli,
Deputy Director of the Griffin Museum of Photography
Christy Woods,
artscope Associate Publisher



artscope 16, September/October 2008


installation art


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.

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


installation art

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.

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.

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.

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.

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.

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.

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.

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."

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


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