Alice Spencer: For many years I have used handwoven textiles-their patterns, structures and stories-as a reference in my work. In this body of work, I draw on 19th century Uzbek ikat textiles. These glorious tie-dyed weavings were used primarily for women’s coats and featured repeated symmetrical motifs.
The patterns in my work are made, literally, from the ground up. I sun print the shadows of sticks, grass and weeds then choose parts of the prints to mirror-reflect and add to the first parts. The resulting bilateral forms are made into stencils. Each pattern in the work is built using multiple stencils.
I began making this work almost 4 years ago when I returned to my studio after several years of absence. We had a new president and the world around me felt precarious. Each day in the studio offered a kind of counternarrative, confirming the continued presence of balance, beauty and order.
The work in this show honors the Jewish artisans in 19th century Bukhara who were the master dyers of ikat textiles and the unsung collaborators in one of the world’s most vibrant textile traditions. Each painting in this exhibit uses indigo blue, the color for which they were best known.
Hungarian-born Maine resident, Miklos Pogany, is a prolific artist with an impressive exhibition history and work in the permanent collections of many major museums. A master of multiple media, Pogany creates vivid works based on nature and the built environment, exploring and pushing the parameters of each medium. The artist describes his motivation as follows: “I react to wonder, desires, conflicts, meanings, memories, revenge, sexuality, love and death. I gather all these fragments and make some personal sense of it all. Pogany views his role as an artist to be that of both record keeper and conjurer, both to document history and to evoke wonder.
Pogany’s work is in the collections of museums throughout the country and internationally, including the Metropolitan Museum of Art, the Phillips Collection, the National Museum of American Art, the Smithsonian Institution, the Fogg Museum, the Philadelphia Museum of Art, the Victoria and Albert Museum (London), and the Bibliotheque Nationale (Paris).
In “What We Look At” Jane Sutherland and Alex Sax, mother and daughter, present a dialogue in art. Included in the exhibit are oil, gouache and pastel paintings of everyday objects, hand-made dolls, and portraits of woman artists by Sutherland. Works included by Sax are mixed media sculptures,drawings and paintings of everyday objects, flora and fauna, and animals from her historical fiction stories. The details of their observations reveal the complexity and often unnoticed richness of the world. This is the second collaboration between Alex Sax and Jane Sutherland. In 2002 they presented The Crane Project at Vassos Gallery, Silvermine, CT dedicated to saving these endangered birds world-wide. “What We Look At” is dedicated to women’s activism to recognize the 100th anniversary of the 19th amendment securing equal voting rights for women.
Jane Sutherland is Professor Emerita at Fairfield University. From 1998 – 2014, she was the author of “Technical Q&A” in American Artist Magazine, and Artist in Residence at the Summer Seminars of the Marie Walsh Sharpe Art Foundation in Colorado Springs. Sutherland received her BA from Sarah Lawrence College and MFA from Universidad de las Americas, Puebla, Mexico, and is an alumna of the Skowhegan School of Painting and Sculpture. Her art has been exhibited in the U.S. and in Mexico and is in many private and public collections. She resides in Southport, Connecticut.
Alex Sax teaches privately and part-time at the University of Southern Maine and Southern Maine Community College. She has been awarded residencies at the MacDowell Colony, Virginia Center for the Creative Arts, and Weir Farm.Sax received a BA from Hamilton College and MFA from the Pennsylvania Academy of the Fine Arts. Her temporary and permanent installations have been exhibited in New York, Connecticut and Maine. She resides in Yarmouth, ME.
“Pieces of You,” is a collection of work that draws on Meghan Nathanson’s impulse to piece together new life from what might otherwise have beendiscarded. Her work explores themes such as inner and outer freedom, body language and social justice, expressing her interpretations in the colorsthrough which she experiences the world.
Meghan’s journey as a visual artist began in NYC where she received training in figure drawing through the Art Students League of New York as well as painting at The New School. She currently works primarily in mixed media, transforming large, figurative pencil drawings into sculptural collage,applying the torn papers from repurposed wall-calendars onto the drawings in a painterly fashion. Some of her largest creations are composed of hundreds of pieces, each carefully selected, gently torn and massaged together with a polymer medium.
Meghan Nathanson’s Show will also include works by Special Guest Sculptor, Clara Cohan.
“This project started as an exercise in letting go of control. There was no planning. I went into my studio, picked out a piece of wood, and started carving long sweeping ridges. I saw a ﬁgure emerging. I picked up another piece of wood, and the same thing happened. As each ﬁgure emerge, it became clear that these entities had a collective purpose. They were representatives of diverse cultures, ethnic groups, animal-spirits, young and old…all coming together.>
Victoria Elbroch’s latest work is derived from comparing a human life to nature’s cycles. She draws trees encountered in world travels and is irresistibly drawn to the resilience and symbolism they represent. Rooted in the earth but reaching for the sky. She incorporates pods and seeds into her work as she continues to explore the aging process, the sharing of family stories and the embracing of time left. She feels fortunate to be in the autumnal, dispersal stage of her life span, rich in nature’s abundance with time to wander, appreciate, share and celebrate it’s bounty.
A noted Maine photographer… Since age 13 Robinov had been fascinated by photography and had as a long-term goal to grow from a “picture taker” to a photographer. His photographs tell stories which capture ”Moments.” During his lifetime he created projects and developed fund raising that have supported causes:The Maine Cancer Foundation. Cancer Community Center, Spring Harbor Health, Jewish Family Services and many more. We miss Jerry but share many “Moments” during this exhibition.
Harold Garde, Maine Master painter and printmaker, showing in Portland for the first time in 20 years. Addendum is a good title for this exhibit, says Garde, who jokes about searching for his birth certificate to find the expiration date. His body of work, spanning 60 years, is in permanent museum collections throughout the country, highlighted by a comprehensive retrospective and a permanent installation at the Museum of Florida Art.
Featured in the gallery of the Maine Jewish Museum is a group of never before shown large non-figurative canvases completed this summer in Garde’s Belfast, Maine studio.
Complementing the canvases will be a selection of Strappo monotypes. Smaller in scale and more intimate, these pieces will be presented in a manner that allows the viewer to appreciate the slick plastic surface that is the hallmark of prints made with the Strappo technique which Garde developed, named, and teaches.
More than 1,000 Portland ‘weavers’, 75 spinners, and 20 organizations worked together to create an Abraham’s tent for the Welcoming the Stranger multimedia installation opening at the Maine Jewish Museum, September 3, 2015, 5pm – 7pm.
The exhibit highlights the treatment of immigrants in Portland during the 1920’s with their treatment today. Artist Jo Israelson, a Portland native, has spent 2 years researching the history of the House Island Quarantine and Immigration station and how the city “welcomed” those who arrived there.
Jo Israelson is nationally known sculptor, filmmaker and site specific installation artist. She grew up on Munjoy Hill in Portland, Maine. Her art often focuses on a little known moment in history that reflects a larger issue within a contemporary context. Her exhibit will highlight two distinct but parallel immigrations: the Jews arriving in Portland a century ago and the Somali immigrants arriving today. Members of Maine Fiberarts will provide expertise and assistance in the creation of the community based weaving that will become part of the installation. www.joisraelson.com www.thestonepath.wordpress.com