Collector Diaries #3

I was fortunate to be gallery sitting when Tom made his first visit to Fountain Street Fine Art. He looked at each painting in Common Thread by Brenda Cirioni and Leslie Zelamsky with great care and attention. We chatted at length about the process of looking at work, and the qualities that made him and his wife Catherine want to take a painting home.

In Tom's words:

I just wanted to confirm that we LOVE Familiar Terrain and will definitely be keeping it.  For starters it is a beautiful piece, but beyond that it also connects us to many different special places such as Cape Ann, Maine, England, and a few other spots that have a similar vista where we have connections.  And the composition of such varied found objects adds further interest and depth and I’m sure will have us continue to enjoy it as a special piece and finding new ways of seeing it over time.

Familiar Terrain by Brenda Cirioni

Familiar Terrain by Brenda Cirioni

After he left that day, I found myself visiting each painting and enjoying the great difference between viewing a painting across the room and up very close to the surface, shifting from image to material and back to image, again. Here's a tiny detail from Familiar Terrain, something you might normally see with your face only inches from the painting.

Detail from Familiar Terrain by Brenda Cirioni

Detail from Familiar Terrain by Brenda Cirioni

Collector Diaries #2

What is it about collecting art that is so intrinsically satisfying? Why do people buy art? We thought we’d talk with collectors to find out.

We asked Shawn about two recent purchases, “The Children in the Square” and “Three Pots in a Doorway”,  by Nan Hass Feldman.

Here's what she told us...

“The Children in the Square” by Nan Hass Feldman.

“The Children in the Square” by Nan Hass Feldman.

Three Pots in a Doorway, by Nan Hass Feldman.

Three Pots in a Doorway, by Nan Hass Feldman.

I recently purchased (through lay-away, thank you very much! ) two mixed media paintings by Nan Hess Feldman.  My first purchase was “The Children in the Square” .  At that time I was having a difficult time choosing between “The Children in the Square” and “Three Pots in a Doorway”, but ultimately chose the first one.  When I took receipt of it after final payment, and the second one was still available, I decided it was an omen and I was meant to own Nan’s other painting. They complement each other really well! 

 

So, why do I love them and where did I hang them?

Selfishly, they’re in my bedroom.  They make me smile each morning when I awake and they bring sunlight into my room regardless of the weather outside. As you can imagine, after this long winter these paintings were a fabulous mood altering tool. 

 

Additionally, I’ve met Nan a few times and her cheerful, sunny disposition is infectious.  When I look at her paintings I also feel the warmth of her personality.

 

I’m very happy with my purchases!

Five things to remember when starting to collect art.

So many beautiful things! Choosing just the right artwork can sometimes seem daunting, especially when beginning your collection. Here are five things to keep in mind to help you feel confident, have fun and enjoy the treasure hunt!

 Scout Austin and Kellie Weeks' collaborative drawing "Untitled 27". See more...

 Scout Austin and Kellie Weeks' collaborative drawing "Untitled 27". See more...

 1. Trust your instincts.

How do you know if a work of art should be yours? You know because it touches your soul, speaks to you in a deep and special place, a bit like falling in love. Good art is never boring, you see more in it every time you look at it.

2.  Keep looking.

Nothing comes close to the experience of seeing art for real. Visit as many art galleries and museums as you can. Get on their mailing lists so you'll be invited to openings and special events. Many museums and art centers have special members’ only discounts and events.

3.  Find out more.

Subscribe to a few art magazines. Artscope and Art New England are excellent regional publications. ArtsBoston and Flux.Boston are two great local online resources. Read critics’ reviews in The Boston Globe and New York Times to give an overview of the current arts scene and help you decide which exhibits you’d like to see for yourself.

4.  Buy the real thing.

Good original art doesn’t have to be expensive. Support local artists by buying art from galleries and studios in your area. You will surround yourself with one-of a kind treasures that have meaning, which is so much more satisfying than purchasing mass-produced home-store decorations. 

5.  Fall in love.

Art that moves you will enhance your life every day. When you find a work of art that you love, buy it. Take it home, enjoy, repeat!

 

far and near - a conversation

During their artist talk, Lisa Barthelson and Kay Hartung spent a lovely saturday afternoon in conversation.

Here are some of their thoughts and inspirations,

In their own words...

Lisa Barthelson and Kay Hartung in front of Lisa's work.

Lisa Barthelson and Kay Hartung in front of Lisa's work.

On playa...

I started to walk towards the sun and behind me there was this ultramarine sky and a rock rim that was apricot color and I was walking and walking, and all I could think was JOY JOY JOY. As the sun rose the moon started to set, and I walked into the day. It was SO beautiful.
— Lisa Barthelson

On place as inspiration…

I wanted to do a tribute to the landscape and to the playa. And so I started to pick up stones and I put them around 2 stones that were leaning against each other, they looked like they were embracing. I made a circle around this little cluster of rocks. It was like a walking meditation but a productive meditation. The next day I also got up before sunrise and started a ring around that, picking up rocks and placing them around what I called the ‘altar rock’. And I did a meditation every morning, before sunrise, for 25 days, in the most beautiful place I’ve ever been. It was improvisational, spontaneous, site-specific, ephemeral, a product of a joyful experience.
— Lisa Barthelson

On taking risks…

I knew that everybody expected family debris-I wondered how would people respond to this new work. I thought a lot about how I could put it up there; colleagues and friends supported me to move forward with it and that’s something every artist really needs. At the end of the day, you have to be brave; you have to put it out there, and you have to see what happens, and then go forward.

I know the playa changed my life. It gave me a respite that I really needed. Because I was so weighed down with the chaos and the debris I my studio in my life, to have a clean open slate with minimal materials and a landscape that was so mind-blowingly beautiful was something that was incredibly important to me, a joyful experiment.
— Lisa Barthelson

On materials…

I always am interested in using different kinds of materials. After children, I began working in collage. From there I moved on to pastel, and that was the beginning of this work, about 11 years ago. When I saw the work of two artists that work with encaustic- Lynette Haggard and Nancy Natale- I was taken by the similarity of encaustic to pastel in the terms of the brilliant color, the vibrance of color really attracted me, but what attracted me even more was the translucency that you could get with using wax. In this new work, I use encaustic with powdered graphite.
— Kay Hartung
Kay Hartung discusses encaustic technique.

Kay Hartung discusses encaustic technique.

On cells as inspiration…

I saw a picture in the Globe of colon cancer cells. My mom died of colon cancer when I was nineteen, so I felt compelled to draw the image. And it was beautiful, colorful, just a beautiful beautiful image. I did quite a log of work, large sized drawings, very very colorful. I looked at a lot of books, and had I gone to see a real electron microscope, and to manipulate it a little bit. That day I saw a lot of black and white, and it really keyed in to my using graphite, a material I was starting to work with. The reason I’m so fascinated by microspic things is because they have such an impact on our lives. These tiny miniscule things control everything- all the scientific research, changing cells and stem cells, its just amazing what’s being done. And, of course, I find them incredibly beautiful.
— Kay Hartung

On the importance of play…

I tried encaustic, and at first was extremely frustrated with the medium; it was learning an entirely new thing. I had ideas in my head that I wanted to execute but it wasn’t happening. I put it aside. When I decided to try again, I had a completely different attitude; I just wanted to play. And that’s what really helped.
— Kay Hartung

Collector Diaries #1

'She Killed Him with Huevos Rancheros" in its new home.

'She Killed Him with Huevos Rancheros" in its new home.

What is it about collecting art that is so intrinsically satisfying? Why do people buy art? We thought we’d talk with collectors to find out.

Today we asked Carrie about "She Killed Him with Huevos Rancheros", by  Rolando Reyna, a piece that she bought here a few months ago.

Here's what she told us...

 

 I love this piece because...

    It has a lot of emotion. It's gritty and calming at the same time.

    It reminds me of living in the desert, which I miss.

 

I decided I couldn't live without it because...

    It feels like it was made just for me. I felt like I just had to have it 

    and I would regret letting it slip away.

 

The moment I decided to take the plunge was...

    When I decided I would be more rich having the painting for the rest of my life, 

    than if I chose to keep the money instead. I knew the money would just 

    go toward phone bills or something. This felt so much more permanent and 

    valuable.

 

I love having it in my home because...

    It reminds me of my own story and because it represents my values, 

    that human expression is a miracle which shines brighter than money.

 

Where I display it is...

    In my living room. I see it every day and reminds me I'm a courageous person.

 

Art that really excites me is...

    I love art that feels like the artist is sharing something deep and raw.

 

The next piece I buy might be...

    I don't know. I'll know when it grabs me.

The Ugliest Building in Framingham

Bob Hesse, Fountain Street, photograph

Bob Hesse, Fountain Street, photograph

We've heard people refer to the Bancroft Building, where the gallery is located, as 'the ugliest building in town'. We've even heard that some people think it's abandoned! Quite the opposite is true, there's actually a waiting list for space.

It's like a geode- ugly lumpy gray on the outside, but open the door and you're surprised to find a building humming with activity and an art gallery unlike any in Metrowest!

Roy Perkinson, Studio Window at Night, oil.

Roy Perkinson, Studio Window at Night, oil.

We love the way people find  beauty in our building. The 'ugliest building in Framingham' has become a landmark and a destination for art lovers in the know!


Once visitors find their way here, they're amazed to find so much creativity and innovation under one roof. Our neighbors include the 70 or so artists who have studios in the building, along with many small independent businesses- woodworkingfurniture restoration and saleslight industrial and manufacturing, even a boxing gym!

Marie Craig, Itsy Bitsy Spider, photograph.

Marie Craig, Itsy Bitsy Spider, photograph.

 

We've been told that the gallery is a (not-so) hidden gem, 'the real thing' as one transplanted NYC art lover told us. It's a real source of inspiration, as you can see in the works of art included in this post, all of which have been shown in the gallery.

 

 

 

 

VISUAL ALCHEMY Group Show

Peter Wise, Shock, Digital Photomontage, 8 x 11 in.

Peter Wise, Shock, Digital Photomontage, 8 x 11 in.

 

 

juried by Elizabeth Devlin, founder of Flux-Boston

January 2 –25, 2015

Reception Saturday, January 3, 2014, 5 –7pm

 

 

 

 

 

Artists were asked to explore “Visual Alchemy: tangible evidence of experimentation, discovery and transformation” and submit artwork in any media that they felt interpreted the theme. Nearly 200 artists from across the country submitted about three hundred works of art. Forty-two pieces by thirty-four artists were selected for inclusion into the show.

Clare Asch, Pompeian Butterfly, watercolor on paper, 8 x 20 inches

Clare Asch, Pompeian Butterfly, watercolor on paper, 8 x 20 inches

Juror Elizabeth Devlin is an independent curator, art consultant, and founder of FLUX. Boston, an online resource for artists and art enthusiasts in the Boston area and beyond. Devlin commented  that “this was definitely the most difficult "blind" judging I have ever done, which speaks to the quality of applicants. I combed through the entries SO many times, and had to make tough decisions since so many were aesthetically beautiful.”

 


MULTIPLICITY- collaboration

 

Who best to describe the experience of working collaboratively for 'MULTIPLICITY'
than the artists themselves? 

 

Here are just a few of their thoughts on the process.

More artist insights into the process are included in the 
CATALOG 

 

Kay Hartung, Carrie Childs Antonini and Cheryl Clinton work together to complete 'Cut/Fold/Tear' installation.
In my whole career as an artist the best moments are when I am dialoguing and working intensely with other artists. It’s when I know art is a natural and essential part of humanity. I feel the isolation and misunderstanding that we are prone to just drop away as we work things out and create together.
— Carrie Childs Antonini
Setting the simple goal of creating artwork together that would be different from what any of us could do alone turns out to be pretty complicated…
— Stacey Piwinski
The collaborative process isinspiring, challenging, frustrating...
and always worthwhile.
— Tracy Spadafora

What does it take to be a collector?

One word answer-LOVE (x3)

We know a guy- let’s call him Mike- He’s a collector. Big time. He’s not rich. He’s not fancy. Or Harvard educated (as far as we know). But he’s an art patron, he’s our hero.

We asked him; How does he decide to buy art?

”I’m very picky, he says." if I see something I really love, 

LOVE-LOVE-LOVE,

I have to really love it, I buy it.” 

It’s as simple as that. He lives paycheck to 

paycheck, like a lot of us. He finds a way. He’s passionate about buying art the way those of us who make the art are passionate. 

He pays a little, every paycheck, till it’s his.

Good art is never boring. The painting that calls out to you the first time you set eyes on it will catch your eye every time you pass by it in your home or workplace;  it will continue to surprise and entrance as time passes.

The Small Works Showcase

our annual exhibit of work that is small in size and price, (but not impact) is getting underway, from 

October 16th through January 11.

Each piece is under 16 in. and under $500. 

A great opportunity to start, or grow, a collection of your own!

Above: A few examples from the Small Work Showcase

by Sarah Alexander, Scout Austin, Brenda Cirioni and Dottie Laughlin.

Mary Spencer and Sara Fine-Wilson Gaze and Extension

October 2 – November 2

Reception October 18,

5 – 7 PM 

Spencer’s drawings investigate gaze as an extension of the heart and a porthole to the past; Fine-Wilson’s sculptures explore visual history and expand a sense of reach.

Sara Fine-Wilson,

From the Core,

mixed media Sculpture

Sara Fine-Wilson’s current body of work explores the idea and process of breaking things down and rebuilding them multiple times, as way to create history in visual form. Evidence of where things may have been connected through smudges, smears and stains indicate the passing of time. Material like wax, plaster, epoxy and construction adhesive are raw, oozy, chalky and refer to what lies under the surface of constructed forms. Part of the process of making this work was to crack, drop, and deconstruct various elements and use the resulting detritus as raw material which the artist then reassembled, combining materials in a visual and directional flow.

In this work she is particularly interested in sculpturally mapping time and creating a sense of reach.

Mary Spencer,

Jack Singing in the Wind,

charcoal on paper

Mary Spencer’s drawings provide what the glance of an eye cannot….a porthole into the past, a means of more fully understanding the present, and an inspiration for meditations, fantasies. Drawing conveys an emotional quality, a feel beyond the capture of a camera lens; the hand charges an image with energy, beauty or ugliness. The human gaze is the extension of the heart and mind. The face can gape, glare, and gloat. Emotions filter through a face. For this series Spencer has chosen to limit her subject to eye-engaging men from various occupations, as a way to have a conversation with them. What are they silently saying?

About the Artists

Sara Fine-Wilson

is an artist and teacher who works primarily in sculpture and also in photography and painting. She earned a

BFA fromThe Maryland Institute college of Art with a Major in Ceramics, a Master of Science in Art Education from Massachusetts College of Art and a MFA in Ceramics at The University of the Arts in Philadelphia.PA.

She was a resident artist at The Worcester Center for Crafts. She Her work has been shown at The Concord Art Association, Fitchburg Art Museum, Danforth Museum of Art, Gallery 540 at Urban Outfitters World Headquarters. She is an associate member of the Fountain Street Fine Art Gallery in Framingham Ma where her work is represented regularly. She currently teaches Ceramics and painting. She works from her studio in Millbury, Massachusetts, where she lives with her husband Bruce and her dog Arlo.

A Natick, Massachusetts resident, Mary Spencer received her BS from Nazareth College of Rochester, New York and her MFA from Cranbrook Academy of Art, Bloomfield Hills, Michigan. She taught at Sheridan College of Applied Arts and Technology in Oakville, Ontario, Canada. Spencer has received an ART Grant, a Natick Cultural Council Grant, and a Massachusetts Artists Fellowship in Drawing, the Blanche E. Coleman Award and Fellowships to Yaddo, The Millay Colony for the Arts and the Virginia Center for the Creative Arts.

Her work has been shown throughout New England, New York, the Mid-West, Cuba and South Africa. Her work is in the collections of the Boston Athenaeum, the Decordova Museum, the Boston Public Library, and numerous corporate and private collections.

Grignaffini Rhythms: Music, Strokes & Steel

A Family of artists- 

Bob, Lou, Louie & AJ Grignaffini- show their work together in 

Grignaffini Rhythms: Music, Strokes & Steel

September 4 – 28, 2014

Reception September 6, 5 – 7 PM

Dance of the Three Sisters

oil on canvas, By Bob Grignaffini

”Grignaffini Rhythms: Music, Strokes And Steel”, an exhibit of oil paintings by Bob Grignaffini accompanied by the metal sculpture of his cousins Louie, AJ and Lou Grignaffini, is a playful celebration of music in motion.

Guitar Man,

by Louie Grignaffini

The four family members are part of a large multi-generational, multi-talented Wellesley, MA clan.  Bob Grignaffini’s 

paintings celebrate form and color. “I share how an image rests in my memory”, he states.” What 

inspires me to share this experience is that it provides the opportunity to be honest. When someone is honest in whatever he or she is doing, it is beautiful.” 

Bob’s work has been shown in various galleries throughout the MetroWest area over the past two decades. Along with engaging in his passion for painting, Bob is involved in natural building and in running his permaculture based landscape design and construction company Grignaffini Earthscape, in Wellesley and Shelburne Falls, MA.

Scrap Crab

, by AJ Grignaffini

Movement is the one thing that made sense to Wellesley High School senior A.J Grignaffini. He believes that life is mostly about motion. Whether physical or visual – physical in the fact that piece actually moves, and visual in the fact that the piece has no stopping point – it all flows together. It is also about movement in the way that some of his pieces come alive. In life, movement is the one thing that can connect all living things, so A.J. feels it is important to express this in his art.

Lou Grignaffini's

Sunflower

, beside

Bob Grignaffini's

Dancing Trees

Since before he could walk, Lou Grignaffini of Wellesley was fascinated by rust and decaying metal. From the orange-like tinge his bike gets when left out in the rain to the dirty black color of steel after it had been held over an open flame. “What’s so intriguing about this decay”, Lou explains, “is that each piece tells a story, every scratch and patina. All of the rust tells a story.” Lou’s father taught him how to weld at a very young age. By the time he was in Wellesley Middle School, Lou was creating work for a juried art show and selling to the highest bidder. This came as a pleasant surprise and continues to help fuel his desire to create more work inspired by patination found in metal. 

T

he boys' persuaded Lou, their dad, to join them in exhibiting his

large-scale metal sculpture alongside theirs.

August in the Gallery- busy creating new work!

Every year, when we close our doors for the month of August, it might seem that we're putting our feet up on a beach somewhere. But this summer, especially, nothing could be further from the truth!

 

The gallery has been the scene of intense creativity and collaboration, as member artists work together to  prepare work for our annual members' show. 

 

Gallery artists bring a new twist to the concept of a Members Show by incorporating collaborative projects in photo, fiber, painting, drawing and sculpture alongside individual works. The project, curated by Denise Driscoll and Carrie Childs Antonini, got underway this month.

 

 

 Work in Progress- SYNCHRONIC DRAWINGS

 

 

 In this project, artists work in unison on large drawings in teams of two to five people. The challenge for each team is to communicate and experiment as materials and methods are tried, rejected, and selected while the drawing takes form.

 

Other projects currently in the works include

SERIAL PAINTINGS: Twenty-five 8×8 inch panels are each worked upon by multiple artists, one at a time, in their choice of mixed media.

 

 

SITE-SPECIFIC INSTALLATIONS: In 3D (working title) a site-specific sculpture will grow in the gallery using chicken wire, paper, fabric and glue. In Cut Fold Tear, artists may only cut, fold or tear quantities of paper for assembly into an ephemeral installation of paper and shadow.

 

CELL PHONE PHOTOGRAPHY: In 24 Hours, artists agree to take a spontaneous photo every hour on the hour from midnight to midnight. In Telephone, artists play a game of tag with messaged photos, creating a chain of linked images.

 

Take a look at more work-in-progress at: http://denisedriscoll.com/multiplicity/

 

 

The completed work, along with work by individual artists, will be unveiled during 

MULTIPLICITY2014 Members Show, NOVEMBER 13 – DECEMBER 14, 2014.

 

The Exhibit includes collaborations and individual work by Carrie Childs Antonini, Scout Austin, Lisa Barthelson, Brenda Cirioni, Cheryl Clinton, Marie Craig, Denise Driscoll, Sara Fine-Wilson, Bob Grignaffini, Kay Hartung, Nan Hass Feldman, Joel Moskowitz, Pat Paxson, Roy Perkinson, Stacey Piwinski, Tracy Spadafora, Mary Spencer, Kellie Weeks, and Jeanne Williamson.  

 

Meet our New Emerging Artist Fellow

Fountain Street Fine Art announces its first

Emerging Artist Fellow

Stacey Piwinski,

2014 FSFA Emerging Artist Fellow

Fountain Street Fine Art is pleased to announce its new Emerging Artist Fellowship. Funded by an anonymous donor, the program is designed to provide assistance and mentorship to a recent MFA graduate. “Our experience in starting this gallery was eye-opening, a real education into the nuts and bolts of navigating the business of art and building a sustainable art career”, said co-director Marie Craig. “We want to share what we’ve learned with artists who are just starting out, and to give them an exhibition opportunity that will help launch their careers.“

The one year program provides experience in the business side of the professional art world, and culminates in a one-person show.

Stacey Piwinski,

Introductions 1

Stacey Piwinski,

Fountain Street Fine Art’s first Emerging Artist Fellow, received her BFA in painting in 1999, her MFA in studio teaching in 2000 from Boston University, and her MFA in visual arts from Lesley University in January 2014. Stacey participated in the Japan Fulbright Memorial Teaching Program in 2005 and was inspired by Japanese textiles, specifically Saori Weaving. As an arts educator in the Wellesley Public Schools, she has facilitated community weaving projects as a way of connecting individuals. Weaving as a metaphor for bringing people together is a thread that runs through all of her work. Most recently, her portrait series is a non-literary way of communicating an individual’s personal narrative.

Piwinski’s mixed media portraits use discarded objects that are collected by those depicted in the works. These items are shredded, cut, twisted and torn and are recontextualized into a handwoven fabric that represents the essence of that person. The items embedded within the fabric spark conversations that guide the painting process. Every choice is crucial and the work is a visual representation of the social exchange between the subject and the artist.

“Stacey’s body of work is very strong, has already attracted the notice of galleries in New York City”, remarked co-director Cheryl Clinton. “ She’s enthusiastic and a perfect fit for the gallery. We’re thrilled to have her working with us as our inaugural Emerging Artist Fellow.” Piwinski will exhibit her work at Fountain Street Fine Art in August 2015.

We Are You Poetry Reading

This Sunday, June 22, we were thrilled to have five very accomplished poets, from in and outside the U.S., share their work with us.

Alan Britt teaches at Towson University, Maryland.

Mike Foldes is the editor of ragazine.cc.

Flavia Cosma, a Romanian-born Canadian, has published twenty-four books of poetry.

Gloria Mindock, who lives in Somerville, is the founding editor of Cervena Barba Press.

In the video above, poet Alan Britt reads 'Caribbean Gypsy, Nilda Cepero's Poem about her ties to Boston.

The reading was held in conjunction with  “WE ARE YOU INTERNATIONAL: NEW ENGLAND EDITION,” a traveling exhibit organized by the We Are You Project, that presents the work of 36 major contemporary Latino artists, reflecting ancestral heritages from over a dozen Latin American nations. This is the first time this project will be displayed in New EnglandNew artworks have been created especially for the Framingham show. 

More about We Are You Project International

Since its Inaugural Exhibition in 2012 at the Wilmer Jennings Gallery in New York City, this exhibition has traveled throughout the country, and is scheduled for exhibition in Europe later this year. Several new pieces have been added specifically for the Framingham exhibit. We Are You Project is the first comprehensive 21st Century coast-to-coast exhibition depicting current Latino socio-cultural, political, and economic conditions, reflecting triumphs, achievements, risks and vulnerabilities, affecting all Latinos “within,” as well as “outside” the USA. The project is multi-disciplinary, including artists, poets, and film-makers.

WE ARE YOU: NEW ENGLAND EDiTION

We are incredibly proud to present our first ever international traveling exhibition-

WE ARE YOU: NEW ENGLAND EDITION

June 19 -Aug 3,  2014

Reception

Saturday June 21, 5 – 7 PM 

Poetry Reading

Sunday June 22, 1-4 PM

Film Screening

Wed. June 25th at 7pm
at AMAZING THINGS, 160 Hollis St,  Framingham  MA  01702

“WE ARE YOU INTERNATIONAL: NEW ENGLAND EDITION,” is a traveling art show organized by the

We Are You Project

,

as a spotlight on the contributions of US-Latinos within America's history in the context of socio-political struggles for civil rights, tolerance, and freedom.

We Are You International

is a landmark artistic initiative; selecting and presenting key Latino artists and art-works for a group exhibition of the work of 36 major contemporary Latino artists, reflecting ancestral heritages from over a dozen Latin American nations, among them artists such as

Roberto Marquez

and

Mel Ramos

.

Jose Acosta,

Strength in Numbers

The exhibit at Fountain Street Fine Art and related venues within Framingham will mark the first time this project will be displayed in New England.

Since its Inaugural Exhibition in 2012 at the

Wilmer Jennings Gallery

in New York City,

this exhibition has traveled throughout the country, and is scheduled for exhibition in Europe later this year. Several new pieces have been added specifically for the Framingham exhibit.

We Are You Project

 is the first comprehensive 21st Century coast-to-coast exhibition depicting current Latino socio-cultural, political, and economic conditions, reflecting triumphs, achievements, risks and vulnerabilities, affecting all Latinos “within,” as well as “outside” the USA.

Duda Penteado,

All Faces, All Colors

We Are You Project artists

include: José Acosta, Efren Alvárez, Nelson Alvárez, Hugo X. Bastidas, Josephine Barreiro, Monica S. Camin, Jacqui Casale, Carlos Chavez, Pablo Caviedes, Laura L. Cuevas, Maritza Davíla, Ricardo Fonseca, Elizabeth Jimenez Montelongo, Roberto Marquez, Hugo Morales, Lisette Morel, Patricio Moreno-Toro, Gabriel Navar, Isabel Nazario Julio Nazario, Raphael Montañez Ortíz, Joe Peňa, Duda Penteado, Mel Ramos, Rolando Reyna, Ana Rivera, José Rodeiro, Marta Sanchez, Sergio Villamizar and Raúl Villarreal.

Cheryl Clinton a.k.a. Cherie Intuitive Navigation

MAY 8 – JUNE 8, 2014

Reception

May 10, 5 – 7PM

Cheryl Clinton, Woodland Water Flood, acrylic.

Cheryl Clinton’s paintings capture the moods, colors, and patterns of the landscape. While taking direct cues from the natural world, all of her paintings convey her interpretation of the idea of space and light, and are as much about the nature of paint and painting as they are reflections of nature.

Clinton first became passionate about art growing up in Framingham, Massachusetts.

After earning a bachelor’s degree from the Massachusetts College of Art, she traveled to Europe, where the waterways of Venice and the surf of Skopelos Island inspired her sense of the natural world. She then went on to complete her master’s degree from the University of Massachusetts Dartmouth. Her family’s move to Boylston, Massachusetts, renewed her childhood memories of the unspoiled beauty of rural New England. Clinton’s paintings have been exhibited at galleries and museums throughout New England; her paintings are included in numerous private and corporate collections in the United States and abroad.

The artist now lives with her family in Holliston, MA.

Artist Statement

My work has always been inspired by nature and my place in it.

As my situation in life has changed – from student to teacher, single to married, child to parent – so has my view of the landscape. As the landscape of my life has changed, so has the nature of my artwork.

Always grounded in observations of the natural world – sky, water and earth, the work also reflects my emotions and intuitive response to the painting.

While initially many of my paintings take direct cues from the natural world, all of the paintings are created in the studio, and are as much about the nature of paint and painting as they are reflections of the natural world. My goal is to create a contemplative visual space – a space that embodies a spirit, a space that acts as a passage between our world and one that may exist within and beyond ours.