AVA Exhibit from Carla on Vimeo.
Carla Kimball, Photographer
AVA Gallery, March 13 – April 10
I have been guided by two themes for this exhibit: The theme of Movement and Stillness reflects the process of creating this art installation, and the theme of Solitude reflects the subject matter. And as in the Yin/Yang symbol, each theme contains an element of the other.
Movement and Stillness
Photography, by its very nature, captures moments of stillness. This exhibit reflects the journey I’ve made moving from still photographic prints to still prints moving to movement captured through video.
My initial inspiration came in 2016 when I was invited to participate in that year’s SculptureFest at King Farm in Woodstock, Vermont (now called LandArt Lab). The challenge for me was how to create an installation in which still photos became sculptural. My response to that was to print still images on fabric and cut them into strips so that they moved and danced in the wind.
I’ve been a life-long dancer, and am most interested in post-modern dance in which simple pedestrian movements can be visually interesting and evoke emotional responses. For the last 10 years I’ve studied with Upper Valley movement teacher and choreographer, Marie Fourcaut.
When Marie first encountered my installation at the 2016 SculptureFest, she was inspired to create multiple movement pieces which ultimately resulted in two public performances, three videos and a several journeys into the woods with other movers/dancers.
This exhibit reflects that process.
Recently, I revisited a journal entry from 15 years ago when I first became intrigued by the image of the empty chair. As I reflected on what I had written, I realized that empty chairs have appeared frequently in my images over many years. In this early journal entry, I described the chair as capturing a sense of solitude.
My interest in the empty chair was re-ignited as I was searching for a visual focus for the 2016 SculptureFest. As I explored King Farm, I came across a red chair leaning against the side of a barn. The next time I visited the farm I found the same red chair at the entry of a barn. I began to move the chair around the property, discovering how it could convey that quality of solitude in so many different environments. With that, the Red Chair became the focal point for my first SculptureFest installation.
Since that time, the Red Chair has moved around, becoming the center piece for performances as well as vacation trips, journeys into the woods and top of mountain adventures. Dancers/movers have followed it. In the end, we left the chair behind, and found solitude as a group moving through and responding to an ancient forest.
My deepest gratitude to Marie Fourcaut and the other movers/dancers who have accompanied me on this journey: Eric Gordon, Katherine Moore, David Peart, Anita Rogerson, and Bill Keegan.
Visit my website here.
E.N. Wennberg Gallery January 10 – February 7, 2020
My paintings with drawing, in oil, wax, and mixed media, of plants and their foliage, interspersed with objects of “still life”, celebrate the complexity of the natural world and our place in it. These works are both painting and drawing, abstract and representational, with line and shape. Some are monotypes mounted to panel; others are painted directly to paper or panel. All have drawn and incised elements. Pattern and repetition leave hints of still life’s narrative, patches of daylight, and memories of movement.
My experience in horticulture and organic land care has led me to focus in on the plant world and the assaults on the soil, biodiversity of plant species, and the protection of native flora. I feel that all these assaults arise from age-old and widely-held beliefs. One is that all the earth and its resources are ours as humans at the top of a hierarchy to use as we will. Another is that the other forms of life on this planet are lesser than we are, thus less deserving of respect or care.
I celebrate plants: their great age and history on the planet, their intelligence and successful adaptions, their beauty of form, shape, and infinite color. I marvel in our new knowledge of their ways of communication, of making themselves attractive to us and other species, and the trading of “goods and services” that goes on between plants, fungi, bacteria, insects, birds, and even us mammals.
My aim is to help my viewers appreciate plant life a bit more when they enjoy my work and in a hopeful and positive way.
Clifford B. West Gallery – January 10 – February 7, 2020
Liminal space… the world in between – between a world I live in and a world I listen to, that has always been what has driven my imagery. For 56 years since I read Edna St Vincent Millay’s poem Renascence, the place in between life’s state of being and how we treat the other, has been an internal focus.
In recent years, finally being able to work in my studio full time, the connection has become deeper and stronger. Investing time in understanding the travails of the other, has consumed my emotions and driven my imagery. Watching the world move from continent to continent, seeing humanity being uprooted as they seek a solid resting place makes my landscapes evolve. The branches, the thickets, the thorns reveal the human tales. As I work on Yupo paper, an unstable ground in itself, the moving ink and moving graphite speak to those emotions. Knowing that I can erase the entire picture plane with strokes of water and ammonia relates to what is happening in the human landscape as it transforms.
Liminal space is the space in between. In between, knowing, owning, being connected and permanent into a space that is in flux. Where life is unknown. A landscape where only the ground is stable. My work starts with a basic composition, a layout and then the medium leads me through the fluid reaction. I listen to the ink, as we listen to the land.
Rebecca Lawrence Gallery: January 10 – February 7, 2020
Athena Petra Tasiopoulos is a mixed media collage artist and fine art photographer. Originally from Pennsylvania, Athena studied photography at the Art Institute of Philadelphia where she graduated at the top of her class in 2008. She currently resides in Barre, Vermont. Her work is collected internationally.
“I work with recycled and found vintage papers encased beneath a layer of beeswax. I gravitate toward soft, muted colors — warmed and stained by time. Repetitive patterns and primitive marks carved and scraped into the surface of the wax speak to the imperfections of the human hand and the vulnerability of materiality. “
“I see my practice as a meditation on transience, transformation, and the beauty of imperfection. An embrace of what is — as it is.”