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Saturday, February 2

All That You Leave Behind

[caption id="attachment_23052" align="aligncenter" width="575"] Nelson Hancock[/caption]

All That You Leave Behind, a collaboration between textile artist Diana Weymar and photographer Nelson Hancock, explores narrative and artistic interpretations of personal, everyday objects. How many of us have shopped at estate sales, driven past dilapidated houses, or visited historical sites only to find ourselves creating stories about the former owners or occupants? The urge to tell stories about what is left behind satisfies our need and desire to infuse the materiality of objects with personal meaning.

 

[caption id="attachment_23055" align="aligncenter" width="1024"] Diana Weymar[/caption]

Objects are a material evidence of life already lived. We carefully curate our own lives based on the premise that meaning can be implied, that we can control our own narratives after we have passed, and that we will be remembered through these objects. When we photograph an object or use one for artist interpretation, we are both speaking for it and for ourselves. Whether it’s a photo of a worn and decaying kitchen, embroidered text on a doll’s clothing, or an actual object, the space between it and the viewer is filled with intangible forces that have defined our lives.

 

Sculpture by Gyuri Hollosy


At a very young age, Gyuri Hollosy started his career in sculptured art and in the 1960’s, attended the Cleveland Institute of Art. Gaining an interest in sculptures, Gyuri began fusing materials together to create beautiful original sculpture artwork in the 1970’s. Gyuri’s artwork represents a philosophy, an emotion or a portrait of an influential figure or time period of our history.

As a bronze sculpture artist, Gyuri has been able to transform his visions into reality and create one-of-a-kind pieces of artwork. There is a detailed process involved in designing and fabricating his work; the end result is very appealing to the eye. He uses a multitude of materials and techniques to sculpt 3-dimensional figures.

You can find his work in various locations around the country. He has been recognized for his talent and is the recipient of many prestigious awards. Gyuri expanded his artistic talent and created original artwork oil paintings in addition to his sculptures. Much of what Gyuri has to offer is based upon his new language of expression through bodies that were fragmented and partial.

Gyuri hopes that you will be intrigued by the elements of strength and fragility revealed by his figures. For an in-depth insight into Gyuri Hollosy’s artistic background, you may view his biography page and also take a look at his collections page. Gyuri is available by email or telephone number, which are both listed on his contact page. Both of Gyuri’s original sculptor artwork and original artwork oil paintings are viewable on his gallery page.

Taking Pause

Taking Pause is a documentary, collaborative portrait project that asks people to reflect on what in their lives feels most essential. With what do we identify and connect most deeply? What truly matters to us and why?

The goal is to ask the same simple, thought-provoking question — what is irreplaceable to you — of the widest possible range of participants and to document the differences and commonalities of these reflections while engaging the spectrum of American diversity and disconnections, both political and economic.

This is a collaborative project because those who participate are more than passing subjects. In addition to sharing something of deep personal resonance, each participant also tells the story behind what they chose and engages others to take part in the project. Participants are documented in their home or place of their choosing with two distinct portraits. One of themselves, their physical selves, and an accompanying portrait of their reflective selves through what they have chosen to share. Each person is also asked to tell the story behind their selection, both orally, during the making of their portraits, and later, for the context of the long-term manifestation of the project as a book and exhibition, as a brief written text.

To advance and attain diversity in the series, each participant accepts some ownership in the project and, with thought and consideration, lays forward the collaboration by engaging one or two others to take part, helping to organically involve the spectrum of geographical regions and socioeconomic classes of the United States. The goal is to encompass the full range of our society, from the financially secure to the evicted to those who have lost everything in recent natural disasters.

Taking Pause is a collective project that aims to create an intimate glimpse of our country in a troubling and disconnected time. The United States, one of the wealthiest countries on earth, has a disparity in income that is unconscionable. We live in a period of incredible abundance but are we aware of what really matters? Many of us find ourselves struggling to find clarity in a sea of possessions that occupy our physical environment and block our mental space yet whose meaning is long lost or worse, never even existed. How we manage our mounting accumulation of possessions, and the inherent wastefulness of this in terms of material, time and natural resources, has become a huge societal problem — independent of means or situation.

Taking Pause combines photographs and stories in a visual and verbal narrative that explores both the complexities and simplicities of what we value. Participants are grateful to reflect and to share in this way. Thus far what people have shared is about deep memories and identity, not monetary value.

At a time when our country feels so torn and disconnected, Taking Pause aims to reconnect and place trust with those we don’t know. Participants are asked to host me when they are able so that we can spend some time getting to know each other and so that our interaction is about more than the making of the portraits and they are more than passing subjects. As such this project at its essence is about trust. The trust of participants in me to share something that is deeply personal as well as my trust in them to offer hospitality and to welcome me into their homes.

In our current society we are hyper “connected” in our dependency on devices, yet our lives have become increasingly hermetic and disconnected. Our communication and “social” activity has become more virtual than actual. Thus a crucial part of this project is its collaborative nature, which aspires to connect with people, share stories and spend time together. In short, to take pause, to reflect.

 

 

The Concussion Diaries

“I suffered a serious concussion in April 2017. Alice fell down a rabbit hole; I just fell on the floor. The doctors forbade ‘reading, screens of any sort, and complex thinking.’ For the first four months I couldn’t even listen to music. I wondered if I might go bonkers – and then I wondered if that was complex thinking. Without the capacity for the usual distractions, I found myself in a quiet world of color and composition. In some ways my sensory experience was stripped down, but in other ways it was heightened. On the daily walks required for my recovery, I noticed every detail of spring in New Jersey – leaves unfurling, vines encircling, the patterns in moss – with a piercing intensity.

At the suggestion of a friend I started painting. I had spent a lifetime deeply engaged by twentieth-century American artists and poets. My icons were the two Helens of New York, Frankenthaler and Levitt, and the poets Robert Hass and John Ashbery. At various points my artistic energy went into making photography, writing poetry and weaving, but I had always considered painting off limits. The concussion eliminated my silly, self-imposed restraints, and painting turned the disaster into discovery.

My limited faculties when I started painting freed me from spending any time thinking about why I was painting and what I was trying to say with my work. Two of my paintings, Charlottesville and Categoría Cinco (Maria) are direct responses to current events, but the others are explorations of technique, color and form. Asking myself now about the why and the what, I am reminded of a talk I went to by the photographers Laura McPhee and Virginia Beahan. In response to a student who asked about pursuing a career in art, one of them said, ‘If you don’t need to make photographs, you won’t.’ I am still finding my way as a painter, but I can say for certain that I need to make paintings.”

-Terri Riendeau

The Periodic Table of Elements


“My work has always been inspired, to one degree or another, by my interest and attention to the Sciences.


This new body of work, THE PERIODIC TABLE OF ELEMENTS, gets to the essence of life and ecosystems by focusing on the natural “elements” themselves which make everything in the natural and synthetic worlds possible.


Congruent with this are my own principle interests with surface and materiality as each work is an experiment with materials and texture – mixing a variety of gels and other additives to the paints in order to achieve the desired effect.  This is the driving force for me with relation to this project. Each element presents a new set of characteristics that need to be studied and assessed. This pushes me to experiment with textures and material effects that speak directly to the physical properties of each element, as well as, direct the color and compositional aspects of the work.  I consider experimentation and imagination to be the two key components in all creative endeavors and these are intrinsic to the creative process in general.


For me, every work should move forward in some way – never repeating motifs or notions about plasticity in order to attain consistency. Rather, painting is first and foremost about attention and discovery – attention for the sake of understanding and discovery for the sake of expression.”

-Robert DiMatteo

 

Sunday, February 3

All That You Leave Behind

[caption id="attachment_23052" align="aligncenter" width="575"] Nelson Hancock[/caption]

All That You Leave Behind, a collaboration between textile artist Diana Weymar and photographer Nelson Hancock, explores narrative and artistic interpretations of personal, everyday objects. How many of us have shopped at estate sales, driven past dilapidated houses, or visited historical sites only to find ourselves creating stories about the former owners or occupants? The urge to tell stories about what is left behind satisfies our need and desire to infuse the materiality of objects with personal meaning.

 

[caption id="attachment_23055" align="aligncenter" width="1024"] Diana Weymar[/caption]

Objects are a material evidence of life already lived. We carefully curate our own lives based on the premise that meaning can be implied, that we can control our own narratives after we have passed, and that we will be remembered through these objects. When we photograph an object or use one for artist interpretation, we are both speaking for it and for ourselves. Whether it’s a photo of a worn and decaying kitchen, embroidered text on a doll’s clothing, or an actual object, the space between it and the viewer is filled with intangible forces that have defined our lives.

 

Sculpture by Gyuri Hollosy


At a very young age, Gyuri Hollosy started his career in sculptured art and in the 1960’s, attended the Cleveland Institute of Art. Gaining an interest in sculptures, Gyuri began fusing materials together to create beautiful original sculpture artwork in the 1970’s. Gyuri’s artwork represents a philosophy, an emotion or a portrait of an influential figure or time period of our history.

As a bronze sculpture artist, Gyuri has been able to transform his visions into reality and create one-of-a-kind pieces of artwork. There is a detailed process involved in designing and fabricating his work; the end result is very appealing to the eye. He uses a multitude of materials and techniques to sculpt 3-dimensional figures.

You can find his work in various locations around the country. He has been recognized for his talent and is the recipient of many prestigious awards. Gyuri expanded his artistic talent and created original artwork oil paintings in addition to his sculptures. Much of what Gyuri has to offer is based upon his new language of expression through bodies that were fragmented and partial.

Gyuri hopes that you will be intrigued by the elements of strength and fragility revealed by his figures. For an in-depth insight into Gyuri Hollosy’s artistic background, you may view his biography page and also take a look at his collections page. Gyuri is available by email or telephone number, which are both listed on his contact page. Both of Gyuri’s original sculptor artwork and original artwork oil paintings are viewable on his gallery page.

Taking Pause

Taking Pause is a documentary, collaborative portrait project that asks people to reflect on what in their lives feels most essential. With what do we identify and connect most deeply? What truly matters to us and why?

The goal is to ask the same simple, thought-provoking question — what is irreplaceable to you — of the widest possible range of participants and to document the differences and commonalities of these reflections while engaging the spectrum of American diversity and disconnections, both political and economic.

This is a collaborative project because those who participate are more than passing subjects. In addition to sharing something of deep personal resonance, each participant also tells the story behind what they chose and engages others to take part in the project. Participants are documented in their home or place of their choosing with two distinct portraits. One of themselves, their physical selves, and an accompanying portrait of their reflective selves through what they have chosen to share. Each person is also asked to tell the story behind their selection, both orally, during the making of their portraits, and later, for the context of the long-term manifestation of the project as a book and exhibition, as a brief written text.

To advance and attain diversity in the series, each participant accepts some ownership in the project and, with thought and consideration, lays forward the collaboration by engaging one or two others to take part, helping to organically involve the spectrum of geographical regions and socioeconomic classes of the United States. The goal is to encompass the full range of our society, from the financially secure to the evicted to those who have lost everything in recent natural disasters.

Taking Pause is a collective project that aims to create an intimate glimpse of our country in a troubling and disconnected time. The United States, one of the wealthiest countries on earth, has a disparity in income that is unconscionable. We live in a period of incredible abundance but are we aware of what really matters? Many of us find ourselves struggling to find clarity in a sea of possessions that occupy our physical environment and block our mental space yet whose meaning is long lost or worse, never even existed. How we manage our mounting accumulation of possessions, and the inherent wastefulness of this in terms of material, time and natural resources, has become a huge societal problem — independent of means or situation.

Taking Pause combines photographs and stories in a visual and verbal narrative that explores both the complexities and simplicities of what we value. Participants are grateful to reflect and to share in this way. Thus far what people have shared is about deep memories and identity, not monetary value.

At a time when our country feels so torn and disconnected, Taking Pause aims to reconnect and place trust with those we don’t know. Participants are asked to host me when they are able so that we can spend some time getting to know each other and so that our interaction is about more than the making of the portraits and they are more than passing subjects. As such this project at its essence is about trust. The trust of participants in me to share something that is deeply personal as well as my trust in them to offer hospitality and to welcome me into their homes.

In our current society we are hyper “connected” in our dependency on devices, yet our lives have become increasingly hermetic and disconnected. Our communication and “social” activity has become more virtual than actual. Thus a crucial part of this project is its collaborative nature, which aspires to connect with people, share stories and spend time together. In short, to take pause, to reflect.

 

 

The Concussion Diaries

“I suffered a serious concussion in April 2017. Alice fell down a rabbit hole; I just fell on the floor. The doctors forbade ‘reading, screens of any sort, and complex thinking.’ For the first four months I couldn’t even listen to music. I wondered if I might go bonkers – and then I wondered if that was complex thinking. Without the capacity for the usual distractions, I found myself in a quiet world of color and composition. In some ways my sensory experience was stripped down, but in other ways it was heightened. On the daily walks required for my recovery, I noticed every detail of spring in New Jersey – leaves unfurling, vines encircling, the patterns in moss – with a piercing intensity.

At the suggestion of a friend I started painting. I had spent a lifetime deeply engaged by twentieth-century American artists and poets. My icons were the two Helens of New York, Frankenthaler and Levitt, and the poets Robert Hass and John Ashbery. At various points my artistic energy went into making photography, writing poetry and weaving, but I had always considered painting off limits. The concussion eliminated my silly, self-imposed restraints, and painting turned the disaster into discovery.

My limited faculties when I started painting freed me from spending any time thinking about why I was painting and what I was trying to say with my work. Two of my paintings, Charlottesville and Categoría Cinco (Maria) are direct responses to current events, but the others are explorations of technique, color and form. Asking myself now about the why and the what, I am reminded of a talk I went to by the photographers Laura McPhee and Virginia Beahan. In response to a student who asked about pursuing a career in art, one of them said, ‘If you don’t need to make photographs, you won’t.’ I am still finding my way as a painter, but I can say for certain that I need to make paintings.”

-Terri Riendeau

The Periodic Table of Elements


“My work has always been inspired, to one degree or another, by my interest and attention to the Sciences.


This new body of work, THE PERIODIC TABLE OF ELEMENTS, gets to the essence of life and ecosystems by focusing on the natural “elements” themselves which make everything in the natural and synthetic worlds possible.


Congruent with this are my own principle interests with surface and materiality as each work is an experiment with materials and texture – mixing a variety of gels and other additives to the paints in order to achieve the desired effect.  This is the driving force for me with relation to this project. Each element presents a new set of characteristics that need to be studied and assessed. This pushes me to experiment with textures and material effects that speak directly to the physical properties of each element, as well as, direct the color and compositional aspects of the work.  I consider experimentation and imagination to be the two key components in all creative endeavors and these are intrinsic to the creative process in general.


For me, every work should move forward in some way – never repeating motifs or notions about plasticity in order to attain consistency. Rather, painting is first and foremost about attention and discovery – attention for the sake of understanding and discovery for the sake of expression.”

-Robert DiMatteo

 

Monday, February 4

Open Drawing Workshop

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Open Drawing Workshop is a monitored, non-instructional workshop in which artists can work at their own pace in the medium of their selection (no turpentine-based oil paints, please) from a live nude model in short and sustained poses. Chairs and a limited number of easels are available. Students must provide their own materials. Come as often as you like throughout the year!


REGISTRATION IS NOT REQUIRED —just drop in and pay at the door ($15/$12 ACP members). Canceled on all Holiday Mondays.

All That You Leave Behind

[caption id="attachment_23052" align="aligncenter" width="575"] Nelson Hancock[/caption]

All That You Leave Behind, a collaboration between textile artist Diana Weymar and photographer Nelson Hancock, explores narrative and artistic interpretations of personal, everyday objects. How many of us have shopped at estate sales, driven past dilapidated houses, or visited historical sites only to find ourselves creating stories about the former owners or occupants? The urge to tell stories about what is left behind satisfies our need and desire to infuse the materiality of objects with personal meaning.

 

[caption id="attachment_23055" align="aligncenter" width="1024"] Diana Weymar[/caption]

Objects are a material evidence of life already lived. We carefully curate our own lives based on the premise that meaning can be implied, that we can control our own narratives after we have passed, and that we will be remembered through these objects. When we photograph an object or use one for artist interpretation, we are both speaking for it and for ourselves. Whether it’s a photo of a worn and decaying kitchen, embroidered text on a doll’s clothing, or an actual object, the space between it and the viewer is filled with intangible forces that have defined our lives.

 

Sculpture by Gyuri Hollosy


At a very young age, Gyuri Hollosy started his career in sculptured art and in the 1960’s, attended the Cleveland Institute of Art. Gaining an interest in sculptures, Gyuri began fusing materials together to create beautiful original sculpture artwork in the 1970’s. Gyuri’s artwork represents a philosophy, an emotion or a portrait of an influential figure or time period of our history.

As a bronze sculpture artist, Gyuri has been able to transform his visions into reality and create one-of-a-kind pieces of artwork. There is a detailed process involved in designing and fabricating his work; the end result is very appealing to the eye. He uses a multitude of materials and techniques to sculpt 3-dimensional figures.

You can find his work in various locations around the country. He has been recognized for his talent and is the recipient of many prestigious awards. Gyuri expanded his artistic talent and created original artwork oil paintings in addition to his sculptures. Much of what Gyuri has to offer is based upon his new language of expression through bodies that were fragmented and partial.

Gyuri hopes that you will be intrigued by the elements of strength and fragility revealed by his figures. For an in-depth insight into Gyuri Hollosy’s artistic background, you may view his biography page and also take a look at his collections page. Gyuri is available by email or telephone number, which are both listed on his contact page. Both of Gyuri’s original sculptor artwork and original artwork oil paintings are viewable on his gallery page.

Taking Pause

Taking Pause is a documentary, collaborative portrait project that asks people to reflect on what in their lives feels most essential. With what do we identify and connect most deeply? What truly matters to us and why?

The goal is to ask the same simple, thought-provoking question — what is irreplaceable to you — of the widest possible range of participants and to document the differences and commonalities of these reflections while engaging the spectrum of American diversity and disconnections, both political and economic.

This is a collaborative project because those who participate are more than passing subjects. In addition to sharing something of deep personal resonance, each participant also tells the story behind what they chose and engages others to take part in the project. Participants are documented in their home or place of their choosing with two distinct portraits. One of themselves, their physical selves, and an accompanying portrait of their reflective selves through what they have chosen to share. Each person is also asked to tell the story behind their selection, both orally, during the making of their portraits, and later, for the context of the long-term manifestation of the project as a book and exhibition, as a brief written text.

To advance and attain diversity in the series, each participant accepts some ownership in the project and, with thought and consideration, lays forward the collaboration by engaging one or two others to take part, helping to organically involve the spectrum of geographical regions and socioeconomic classes of the United States. The goal is to encompass the full range of our society, from the financially secure to the evicted to those who have lost everything in recent natural disasters.

Taking Pause is a collective project that aims to create an intimate glimpse of our country in a troubling and disconnected time. The United States, one of the wealthiest countries on earth, has a disparity in income that is unconscionable. We live in a period of incredible abundance but are we aware of what really matters? Many of us find ourselves struggling to find clarity in a sea of possessions that occupy our physical environment and block our mental space yet whose meaning is long lost or worse, never even existed. How we manage our mounting accumulation of possessions, and the inherent wastefulness of this in terms of material, time and natural resources, has become a huge societal problem — independent of means or situation.

Taking Pause combines photographs and stories in a visual and verbal narrative that explores both the complexities and simplicities of what we value. Participants are grateful to reflect and to share in this way. Thus far what people have shared is about deep memories and identity, not monetary value.

At a time when our country feels so torn and disconnected, Taking Pause aims to reconnect and place trust with those we don’t know. Participants are asked to host me when they are able so that we can spend some time getting to know each other and so that our interaction is about more than the making of the portraits and they are more than passing subjects. As such this project at its essence is about trust. The trust of participants in me to share something that is deeply personal as well as my trust in them to offer hospitality and to welcome me into their homes.

In our current society we are hyper “connected” in our dependency on devices, yet our lives have become increasingly hermetic and disconnected. Our communication and “social” activity has become more virtual than actual. Thus a crucial part of this project is its collaborative nature, which aspires to connect with people, share stories and spend time together. In short, to take pause, to reflect.

 

 

The Concussion Diaries

“I suffered a serious concussion in April 2017. Alice fell down a rabbit hole; I just fell on the floor. The doctors forbade ‘reading, screens of any sort, and complex thinking.’ For the first four months I couldn’t even listen to music. I wondered if I might go bonkers – and then I wondered if that was complex thinking. Without the capacity for the usual distractions, I found myself in a quiet world of color and composition. In some ways my sensory experience was stripped down, but in other ways it was heightened. On the daily walks required for my recovery, I noticed every detail of spring in New Jersey – leaves unfurling, vines encircling, the patterns in moss – with a piercing intensity.

At the suggestion of a friend I started painting. I had spent a lifetime deeply engaged by twentieth-century American artists and poets. My icons were the two Helens of New York, Frankenthaler and Levitt, and the poets Robert Hass and John Ashbery. At various points my artistic energy went into making photography, writing poetry and weaving, but I had always considered painting off limits. The concussion eliminated my silly, self-imposed restraints, and painting turned the disaster into discovery.

My limited faculties when I started painting freed me from spending any time thinking about why I was painting and what I was trying to say with my work. Two of my paintings, Charlottesville and Categoría Cinco (Maria) are direct responses to current events, but the others are explorations of technique, color and form. Asking myself now about the why and the what, I am reminded of a talk I went to by the photographers Laura McPhee and Virginia Beahan. In response to a student who asked about pursuing a career in art, one of them said, ‘If you don’t need to make photographs, you won’t.’ I am still finding my way as a painter, but I can say for certain that I need to make paintings.”

-Terri Riendeau

The Periodic Table of Elements


“My work has always been inspired, to one degree or another, by my interest and attention to the Sciences.


This new body of work, THE PERIODIC TABLE OF ELEMENTS, gets to the essence of life and ecosystems by focusing on the natural “elements” themselves which make everything in the natural and synthetic worlds possible.


Congruent with this are my own principle interests with surface and materiality as each work is an experiment with materials and texture – mixing a variety of gels and other additives to the paints in order to achieve the desired effect.  This is the driving force for me with relation to this project. Each element presents a new set of characteristics that need to be studied and assessed. This pushes me to experiment with textures and material effects that speak directly to the physical properties of each element, as well as, direct the color and compositional aspects of the work.  I consider experimentation and imagination to be the two key components in all creative endeavors and these are intrinsic to the creative process in general.


For me, every work should move forward in some way – never repeating motifs or notions about plasticity in order to attain consistency. Rather, painting is first and foremost about attention and discovery – attention for the sake of understanding and discovery for the sake of expression.”

-Robert DiMatteo

 

Tuesday, February 5

All That You Leave Behind

[caption id="attachment_23052" align="aligncenter" width="575"] Nelson Hancock[/caption]

All That You Leave Behind, a collaboration between textile artist Diana Weymar and photographer Nelson Hancock, explores narrative and artistic interpretations of personal, everyday objects. How many of us have shopped at estate sales, driven past dilapidated houses, or visited historical sites only to find ourselves creating stories about the former owners or occupants? The urge to tell stories about what is left behind satisfies our need and desire to infuse the materiality of objects with personal meaning.

 

[caption id="attachment_23055" align="aligncenter" width="1024"] Diana Weymar[/caption]

Objects are a material evidence of life already lived. We carefully curate our own lives based on the premise that meaning can be implied, that we can control our own narratives after we have passed, and that we will be remembered through these objects. When we photograph an object or use one for artist interpretation, we are both speaking for it and for ourselves. Whether it’s a photo of a worn and decaying kitchen, embroidered text on a doll’s clothing, or an actual object, the space between it and the viewer is filled with intangible forces that have defined our lives.

 

Sculpture by Gyuri Hollosy


At a very young age, Gyuri Hollosy started his career in sculptured art and in the 1960’s, attended the Cleveland Institute of Art. Gaining an interest in sculptures, Gyuri began fusing materials together to create beautiful original sculpture artwork in the 1970’s. Gyuri’s artwork represents a philosophy, an emotion or a portrait of an influential figure or time period of our history.

As a bronze sculpture artist, Gyuri has been able to transform his visions into reality and create one-of-a-kind pieces of artwork. There is a detailed process involved in designing and fabricating his work; the end result is very appealing to the eye. He uses a multitude of materials and techniques to sculpt 3-dimensional figures.

You can find his work in various locations around the country. He has been recognized for his talent and is the recipient of many prestigious awards. Gyuri expanded his artistic talent and created original artwork oil paintings in addition to his sculptures. Much of what Gyuri has to offer is based upon his new language of expression through bodies that were fragmented and partial.

Gyuri hopes that you will be intrigued by the elements of strength and fragility revealed by his figures. For an in-depth insight into Gyuri Hollosy’s artistic background, you may view his biography page and also take a look at his collections page. Gyuri is available by email or telephone number, which are both listed on his contact page. Both of Gyuri’s original sculptor artwork and original artwork oil paintings are viewable on his gallery page.

Taking Pause

Taking Pause is a documentary, collaborative portrait project that asks people to reflect on what in their lives feels most essential. With what do we identify and connect most deeply? What truly matters to us and why?

The goal is to ask the same simple, thought-provoking question — what is irreplaceable to you — of the widest possible range of participants and to document the differences and commonalities of these reflections while engaging the spectrum of American diversity and disconnections, both political and economic.

This is a collaborative project because those who participate are more than passing subjects. In addition to sharing something of deep personal resonance, each participant also tells the story behind what they chose and engages others to take part in the project. Participants are documented in their home or place of their choosing with two distinct portraits. One of themselves, their physical selves, and an accompanying portrait of their reflective selves through what they have chosen to share. Each person is also asked to tell the story behind their selection, both orally, during the making of their portraits, and later, for the context of the long-term manifestation of the project as a book and exhibition, as a brief written text.

To advance and attain diversity in the series, each participant accepts some ownership in the project and, with thought and consideration, lays forward the collaboration by engaging one or two others to take part, helping to organically involve the spectrum of geographical regions and socioeconomic classes of the United States. The goal is to encompass the full range of our society, from the financially secure to the evicted to those who have lost everything in recent natural disasters.

Taking Pause is a collective project that aims to create an intimate glimpse of our country in a troubling and disconnected time. The United States, one of the wealthiest countries on earth, has a disparity in income that is unconscionable. We live in a period of incredible abundance but are we aware of what really matters? Many of us find ourselves struggling to find clarity in a sea of possessions that occupy our physical environment and block our mental space yet whose meaning is long lost or worse, never even existed. How we manage our mounting accumulation of possessions, and the inherent wastefulness of this in terms of material, time and natural resources, has become a huge societal problem — independent of means or situation.

Taking Pause combines photographs and stories in a visual and verbal narrative that explores both the complexities and simplicities of what we value. Participants are grateful to reflect and to share in this way. Thus far what people have shared is about deep memories and identity, not monetary value.

At a time when our country feels so torn and disconnected, Taking Pause aims to reconnect and place trust with those we don’t know. Participants are asked to host me when they are able so that we can spend some time getting to know each other and so that our interaction is about more than the making of the portraits and they are more than passing subjects. As such this project at its essence is about trust. The trust of participants in me to share something that is deeply personal as well as my trust in them to offer hospitality and to welcome me into their homes.

In our current society we are hyper “connected” in our dependency on devices, yet our lives have become increasingly hermetic and disconnected. Our communication and “social” activity has become more virtual than actual. Thus a crucial part of this project is its collaborative nature, which aspires to connect with people, share stories and spend time together. In short, to take pause, to reflect.

 

 

The Concussion Diaries

“I suffered a serious concussion in April 2017. Alice fell down a rabbit hole; I just fell on the floor. The doctors forbade ‘reading, screens of any sort, and complex thinking.’ For the first four months I couldn’t even listen to music. I wondered if I might go bonkers – and then I wondered if that was complex thinking. Without the capacity for the usual distractions, I found myself in a quiet world of color and composition. In some ways my sensory experience was stripped down, but in other ways it was heightened. On the daily walks required for my recovery, I noticed every detail of spring in New Jersey – leaves unfurling, vines encircling, the patterns in moss – with a piercing intensity.

At the suggestion of a friend I started painting. I had spent a lifetime deeply engaged by twentieth-century American artists and poets. My icons were the two Helens of New York, Frankenthaler and Levitt, and the poets Robert Hass and John Ashbery. At various points my artistic energy went into making photography, writing poetry and weaving, but I had always considered painting off limits. The concussion eliminated my silly, self-imposed restraints, and painting turned the disaster into discovery.

My limited faculties when I started painting freed me from spending any time thinking about why I was painting and what I was trying to say with my work. Two of my paintings, Charlottesville and Categoría Cinco (Maria) are direct responses to current events, but the others are explorations of technique, color and form. Asking myself now about the why and the what, I am reminded of a talk I went to by the photographers Laura McPhee and Virginia Beahan. In response to a student who asked about pursuing a career in art, one of them said, ‘If you don’t need to make photographs, you won’t.’ I am still finding my way as a painter, but I can say for certain that I need to make paintings.”

-Terri Riendeau

The Periodic Table of Elements


“My work has always been inspired, to one degree or another, by my interest and attention to the Sciences.


This new body of work, THE PERIODIC TABLE OF ELEMENTS, gets to the essence of life and ecosystems by focusing on the natural “elements” themselves which make everything in the natural and synthetic worlds possible.


Congruent with this are my own principle interests with surface and materiality as each work is an experiment with materials and texture – mixing a variety of gels and other additives to the paints in order to achieve the desired effect.  This is the driving force for me with relation to this project. Each element presents a new set of characteristics that need to be studied and assessed. This pushes me to experiment with textures and material effects that speak directly to the physical properties of each element, as well as, direct the color and compositional aspects of the work.  I consider experimentation and imagination to be the two key components in all creative endeavors and these are intrinsic to the creative process in general.


For me, every work should move forward in some way – never repeating motifs or notions about plasticity in order to attain consistency. Rather, painting is first and foremost about attention and discovery – attention for the sake of understanding and discovery for the sake of expression.”

-Robert DiMatteo

 

Wednesday, February 6

All That You Leave Behind

[caption id="attachment_23052" align="aligncenter" width="575"] Nelson Hancock[/caption]

All That You Leave Behind, a collaboration between textile artist Diana Weymar and photographer Nelson Hancock, explores narrative and artistic interpretations of personal, everyday objects. How many of us have shopped at estate sales, driven past dilapidated houses, or visited historical sites only to find ourselves creating stories about the former owners or occupants? The urge to tell stories about what is left behind satisfies our need and desire to infuse the materiality of objects with personal meaning.

 

[caption id="attachment_23055" align="aligncenter" width="1024"] Diana Weymar[/caption]

Objects are a material evidence of life already lived. We carefully curate our own lives based on the premise that meaning can be implied, that we can control our own narratives after we have passed, and that we will be remembered through these objects. When we photograph an object or use one for artist interpretation, we are both speaking for it and for ourselves. Whether it’s a photo of a worn and decaying kitchen, embroidered text on a doll’s clothing, or an actual object, the space between it and the viewer is filled with intangible forces that have defined our lives.

 

Sculpture by Gyuri Hollosy


At a very young age, Gyuri Hollosy started his career in sculptured art and in the 1960’s, attended the Cleveland Institute of Art. Gaining an interest in sculptures, Gyuri began fusing materials together to create beautiful original sculpture artwork in the 1970’s. Gyuri’s artwork represents a philosophy, an emotion or a portrait of an influential figure or time period of our history.

As a bronze sculpture artist, Gyuri has been able to transform his visions into reality and create one-of-a-kind pieces of artwork. There is a detailed process involved in designing and fabricating his work; the end result is very appealing to the eye. He uses a multitude of materials and techniques to sculpt 3-dimensional figures.

You can find his work in various locations around the country. He has been recognized for his talent and is the recipient of many prestigious awards. Gyuri expanded his artistic talent and created original artwork oil paintings in addition to his sculptures. Much of what Gyuri has to offer is based upon his new language of expression through bodies that were fragmented and partial.

Gyuri hopes that you will be intrigued by the elements of strength and fragility revealed by his figures. For an in-depth insight into Gyuri Hollosy’s artistic background, you may view his biography page and also take a look at his collections page. Gyuri is available by email or telephone number, which are both listed on his contact page. Both of Gyuri’s original sculptor artwork and original artwork oil paintings are viewable on his gallery page.

Taking Pause

Taking Pause is a documentary, collaborative portrait project that asks people to reflect on what in their lives feels most essential. With what do we identify and connect most deeply? What truly matters to us and why?

The goal is to ask the same simple, thought-provoking question — what is irreplaceable to you — of the widest possible range of participants and to document the differences and commonalities of these reflections while engaging the spectrum of American diversity and disconnections, both political and economic.

This is a collaborative project because those who participate are more than passing subjects. In addition to sharing something of deep personal resonance, each participant also tells the story behind what they chose and engages others to take part in the project. Participants are documented in their home or place of their choosing with two distinct portraits. One of themselves, their physical selves, and an accompanying portrait of their reflective selves through what they have chosen to share. Each person is also asked to tell the story behind their selection, both orally, during the making of their portraits, and later, for the context of the long-term manifestation of the project as a book and exhibition, as a brief written text.

To advance and attain diversity in the series, each participant accepts some ownership in the project and, with thought and consideration, lays forward the collaboration by engaging one or two others to take part, helping to organically involve the spectrum of geographical regions and socioeconomic classes of the United States. The goal is to encompass the full range of our society, from the financially secure to the evicted to those who have lost everything in recent natural disasters.

Taking Pause is a collective project that aims to create an intimate glimpse of our country in a troubling and disconnected time. The United States, one of the wealthiest countries on earth, has a disparity in income that is unconscionable. We live in a period of incredible abundance but are we aware of what really matters? Many of us find ourselves struggling to find clarity in a sea of possessions that occupy our physical environment and block our mental space yet whose meaning is long lost or worse, never even existed. How we manage our mounting accumulation of possessions, and the inherent wastefulness of this in terms of material, time and natural resources, has become a huge societal problem — independent of means or situation.

Taking Pause combines photographs and stories in a visual and verbal narrative that explores both the complexities and simplicities of what we value. Participants are grateful to reflect and to share in this way. Thus far what people have shared is about deep memories and identity, not monetary value.

At a time when our country feels so torn and disconnected, Taking Pause aims to reconnect and place trust with those we don’t know. Participants are asked to host me when they are able so that we can spend some time getting to know each other and so that our interaction is about more than the making of the portraits and they are more than passing subjects. As such this project at its essence is about trust. The trust of participants in me to share something that is deeply personal as well as my trust in them to offer hospitality and to welcome me into their homes.

In our current society we are hyper “connected” in our dependency on devices, yet our lives have become increasingly hermetic and disconnected. Our communication and “social” activity has become more virtual than actual. Thus a crucial part of this project is its collaborative nature, which aspires to connect with people, share stories and spend time together. In short, to take pause, to reflect.

 

 

The Concussion Diaries

“I suffered a serious concussion in April 2017. Alice fell down a rabbit hole; I just fell on the floor. The doctors forbade ‘reading, screens of any sort, and complex thinking.’ For the first four months I couldn’t even listen to music. I wondered if I might go bonkers – and then I wondered if that was complex thinking. Without the capacity for the usual distractions, I found myself in a quiet world of color and composition. In some ways my sensory experience was stripped down, but in other ways it was heightened. On the daily walks required for my recovery, I noticed every detail of spring in New Jersey – leaves unfurling, vines encircling, the patterns in moss – with a piercing intensity.

At the suggestion of a friend I started painting. I had spent a lifetime deeply engaged by twentieth-century American artists and poets. My icons were the two Helens of New York, Frankenthaler and Levitt, and the poets Robert Hass and John Ashbery. At various points my artistic energy went into making photography, writing poetry and weaving, but I had always considered painting off limits. The concussion eliminated my silly, self-imposed restraints, and painting turned the disaster into discovery.

My limited faculties when I started painting freed me from spending any time thinking about why I was painting and what I was trying to say with my work. Two of my paintings, Charlottesville and Categoría Cinco (Maria) are direct responses to current events, but the others are explorations of technique, color and form. Asking myself now about the why and the what, I am reminded of a talk I went to by the photographers Laura McPhee and Virginia Beahan. In response to a student who asked about pursuing a career in art, one of them said, ‘If you don’t need to make photographs, you won’t.’ I am still finding my way as a painter, but I can say for certain that I need to make paintings.”

-Terri Riendeau

The Periodic Table of Elements


“My work has always been inspired, to one degree or another, by my interest and attention to the Sciences.


This new body of work, THE PERIODIC TABLE OF ELEMENTS, gets to the essence of life and ecosystems by focusing on the natural “elements” themselves which make everything in the natural and synthetic worlds possible.


Congruent with this are my own principle interests with surface and materiality as each work is an experiment with materials and texture – mixing a variety of gels and other additives to the paints in order to achieve the desired effect.  This is the driving force for me with relation to this project. Each element presents a new set of characteristics that need to be studied and assessed. This pushes me to experiment with textures and material effects that speak directly to the physical properties of each element, as well as, direct the color and compositional aspects of the work.  I consider experimentation and imagination to be the two key components in all creative endeavors and these are intrinsic to the creative process in general.


For me, every work should move forward in some way – never repeating motifs or notions about plasticity in order to attain consistency. Rather, painting is first and foremost about attention and discovery – attention for the sake of understanding and discovery for the sake of expression.”

-Robert DiMatteo

 

Thursday, February 7

All That You Leave Behind

[caption id="attachment_23052" align="aligncenter" width="575"] Nelson Hancock[/caption]

All That You Leave Behind, a collaboration between textile artist Diana Weymar and photographer Nelson Hancock, explores narrative and artistic interpretations of personal, everyday objects. How many of us have shopped at estate sales, driven past dilapidated houses, or visited historical sites only to find ourselves creating stories about the former owners or occupants? The urge to tell stories about what is left behind satisfies our need and desire to infuse the materiality of objects with personal meaning.

 

[caption id="attachment_23055" align="aligncenter" width="1024"] Diana Weymar[/caption]

Objects are a material evidence of life already lived. We carefully curate our own lives based on the premise that meaning can be implied, that we can control our own narratives after we have passed, and that we will be remembered through these objects. When we photograph an object or use one for artist interpretation, we are both speaking for it and for ourselves. Whether it’s a photo of a worn and decaying kitchen, embroidered text on a doll’s clothing, or an actual object, the space between it and the viewer is filled with intangible forces that have defined our lives.

 

Sculpture by Gyuri Hollosy


At a very young age, Gyuri Hollosy started his career in sculptured art and in the 1960’s, attended the Cleveland Institute of Art. Gaining an interest in sculptures, Gyuri began fusing materials together to create beautiful original sculpture artwork in the 1970’s. Gyuri’s artwork represents a philosophy, an emotion or a portrait of an influential figure or time period of our history.

As a bronze sculpture artist, Gyuri has been able to transform his visions into reality and create one-of-a-kind pieces of artwork. There is a detailed process involved in designing and fabricating his work; the end result is very appealing to the eye. He uses a multitude of materials and techniques to sculpt 3-dimensional figures.

You can find his work in various locations around the country. He has been recognized for his talent and is the recipient of many prestigious awards. Gyuri expanded his artistic talent and created original artwork oil paintings in addition to his sculptures. Much of what Gyuri has to offer is based upon his new language of expression through bodies that were fragmented and partial.

Gyuri hopes that you will be intrigued by the elements of strength and fragility revealed by his figures. For an in-depth insight into Gyuri Hollosy’s artistic background, you may view his biography page and also take a look at his collections page. Gyuri is available by email or telephone number, which are both listed on his contact page. Both of Gyuri’s original sculptor artwork and original artwork oil paintings are viewable on his gallery page.

Taking Pause

Taking Pause is a documentary, collaborative portrait project that asks people to reflect on what in their lives feels most essential. With what do we identify and connect most deeply? What truly matters to us and why?

The goal is to ask the same simple, thought-provoking question — what is irreplaceable to you — of the widest possible range of participants and to document the differences and commonalities of these reflections while engaging the spectrum of American diversity and disconnections, both political and economic.

This is a collaborative project because those who participate are more than passing subjects. In addition to sharing something of deep personal resonance, each participant also tells the story behind what they chose and engages others to take part in the project. Participants are documented in their home or place of their choosing with two distinct portraits. One of themselves, their physical selves, and an accompanying portrait of their reflective selves through what they have chosen to share. Each person is also asked to tell the story behind their selection, both orally, during the making of their portraits, and later, for the context of the long-term manifestation of the project as a book and exhibition, as a brief written text.

To advance and attain diversity in the series, each participant accepts some ownership in the project and, with thought and consideration, lays forward the collaboration by engaging one or two others to take part, helping to organically involve the spectrum of geographical regions and socioeconomic classes of the United States. The goal is to encompass the full range of our society, from the financially secure to the evicted to those who have lost everything in recent natural disasters.

Taking Pause is a collective project that aims to create an intimate glimpse of our country in a troubling and disconnected time. The United States, one of the wealthiest countries on earth, has a disparity in income that is unconscionable. We live in a period of incredible abundance but are we aware of what really matters? Many of us find ourselves struggling to find clarity in a sea of possessions that occupy our physical environment and block our mental space yet whose meaning is long lost or worse, never even existed. How we manage our mounting accumulation of possessions, and the inherent wastefulness of this in terms of material, time and natural resources, has become a huge societal problem — independent of means or situation.

Taking Pause combines photographs and stories in a visual and verbal narrative that explores both the complexities and simplicities of what we value. Participants are grateful to reflect and to share in this way. Thus far what people have shared is about deep memories and identity, not monetary value.

At a time when our country feels so torn and disconnected, Taking Pause aims to reconnect and place trust with those we don’t know. Participants are asked to host me when they are able so that we can spend some time getting to know each other and so that our interaction is about more than the making of the portraits and they are more than passing subjects. As such this project at its essence is about trust. The trust of participants in me to share something that is deeply personal as well as my trust in them to offer hospitality and to welcome me into their homes.

In our current society we are hyper “connected” in our dependency on devices, yet our lives have become increasingly hermetic and disconnected. Our communication and “social” activity has become more virtual than actual. Thus a crucial part of this project is its collaborative nature, which aspires to connect with people, share stories and spend time together. In short, to take pause, to reflect.

 

 

The Concussion Diaries

“I suffered a serious concussion in April 2017. Alice fell down a rabbit hole; I just fell on the floor. The doctors forbade ‘reading, screens of any sort, and complex thinking.’ For the first four months I couldn’t even listen to music. I wondered if I might go bonkers – and then I wondered if that was complex thinking. Without the capacity for the usual distractions, I found myself in a quiet world of color and composition. In some ways my sensory experience was stripped down, but in other ways it was heightened. On the daily walks required for my recovery, I noticed every detail of spring in New Jersey – leaves unfurling, vines encircling, the patterns in moss – with a piercing intensity.

At the suggestion of a friend I started painting. I had spent a lifetime deeply engaged by twentieth-century American artists and poets. My icons were the two Helens of New York, Frankenthaler and Levitt, and the poets Robert Hass and John Ashbery. At various points my artistic energy went into making photography, writing poetry and weaving, but I had always considered painting off limits. The concussion eliminated my silly, self-imposed restraints, and painting turned the disaster into discovery.

My limited faculties when I started painting freed me from spending any time thinking about why I was painting and what I was trying to say with my work. Two of my paintings, Charlottesville and Categoría Cinco (Maria) are direct responses to current events, but the others are explorations of technique, color and form. Asking myself now about the why and the what, I am reminded of a talk I went to by the photographers Laura McPhee and Virginia Beahan. In response to a student who asked about pursuing a career in art, one of them said, ‘If you don’t need to make photographs, you won’t.’ I am still finding my way as a painter, but I can say for certain that I need to make paintings.”

-Terri Riendeau

The Periodic Table of Elements


“My work has always been inspired, to one degree or another, by my interest and attention to the Sciences.


This new body of work, THE PERIODIC TABLE OF ELEMENTS, gets to the essence of life and ecosystems by focusing on the natural “elements” themselves which make everything in the natural and synthetic worlds possible.


Congruent with this are my own principle interests with surface and materiality as each work is an experiment with materials and texture – mixing a variety of gels and other additives to the paints in order to achieve the desired effect.  This is the driving force for me with relation to this project. Each element presents a new set of characteristics that need to be studied and assessed. This pushes me to experiment with textures and material effects that speak directly to the physical properties of each element, as well as, direct the color and compositional aspects of the work.  I consider experimentation and imagination to be the two key components in all creative endeavors and these are intrinsic to the creative process in general.


For me, every work should move forward in some way – never repeating motifs or notions about plasticity in order to attain consistency. Rather, painting is first and foremost about attention and discovery – attention for the sake of understanding and discovery for the sake of expression.”

-Robert DiMatteo

 

Friday, February 8

All That You Leave Behind

[caption id="attachment_23052" align="aligncenter" width="575"] Nelson Hancock[/caption]

All That You Leave Behind, a collaboration between textile artist Diana Weymar and photographer Nelson Hancock, explores narrative and artistic interpretations of personal, everyday objects. How many of us have shopped at estate sales, driven past dilapidated houses, or visited historical sites only to find ourselves creating stories about the former owners or occupants? The urge to tell stories about what is left behind satisfies our need and desire to infuse the materiality of objects with personal meaning.

 

[caption id="attachment_23055" align="aligncenter" width="1024"] Diana Weymar[/caption]

Objects are a material evidence of life already lived. We carefully curate our own lives based on the premise that meaning can be implied, that we can control our own narratives after we have passed, and that we will be remembered through these objects. When we photograph an object or use one for artist interpretation, we are both speaking for it and for ourselves. Whether it’s a photo of a worn and decaying kitchen, embroidered text on a doll’s clothing, or an actual object, the space between it and the viewer is filled with intangible forces that have defined our lives.

 

Sculpture by Gyuri Hollosy


At a very young age, Gyuri Hollosy started his career in sculptured art and in the 1960’s, attended the Cleveland Institute of Art. Gaining an interest in sculptures, Gyuri began fusing materials together to create beautiful original sculpture artwork in the 1970’s. Gyuri’s artwork represents a philosophy, an emotion or a portrait of an influential figure or time period of our history.

As a bronze sculpture artist, Gyuri has been able to transform his visions into reality and create one-of-a-kind pieces of artwork. There is a detailed process involved in designing and fabricating his work; the end result is very appealing to the eye. He uses a multitude of materials and techniques to sculpt 3-dimensional figures.

You can find his work in various locations around the country. He has been recognized for his talent and is the recipient of many prestigious awards. Gyuri expanded his artistic talent and created original artwork oil paintings in addition to his sculptures. Much of what Gyuri has to offer is based upon his new language of expression through bodies that were fragmented and partial.

Gyuri hopes that you will be intrigued by the elements of strength and fragility revealed by his figures. For an in-depth insight into Gyuri Hollosy’s artistic background, you may view his biography page and also take a look at his collections page. Gyuri is available by email or telephone number, which are both listed on his contact page. Both of Gyuri’s original sculptor artwork and original artwork oil paintings are viewable on his gallery page.

Taking Pause

Taking Pause is a documentary, collaborative portrait project that asks people to reflect on what in their lives feels most essential. With what do we identify and connect most deeply? What truly matters to us and why?

The goal is to ask the same simple, thought-provoking question — what is irreplaceable to you — of the widest possible range of participants and to document the differences and commonalities of these reflections while engaging the spectrum of American diversity and disconnections, both political and economic.

This is a collaborative project because those who participate are more than passing subjects. In addition to sharing something of deep personal resonance, each participant also tells the story behind what they chose and engages others to take part in the project. Participants are documented in their home or place of their choosing with two distinct portraits. One of themselves, their physical selves, and an accompanying portrait of their reflective selves through what they have chosen to share. Each person is also asked to tell the story behind their selection, both orally, during the making of their portraits, and later, for the context of the long-term manifestation of the project as a book and exhibition, as a brief written text.

To advance and attain diversity in the series, each participant accepts some ownership in the project and, with thought and consideration, lays forward the collaboration by engaging one or two others to take part, helping to organically involve the spectrum of geographical regions and socioeconomic classes of the United States. The goal is to encompass the full range of our society, from the financially secure to the evicted to those who have lost everything in recent natural disasters.

Taking Pause is a collective project that aims to create an intimate glimpse of our country in a troubling and disconnected time. The United States, one of the wealthiest countries on earth, has a disparity in income that is unconscionable. We live in a period of incredible abundance but are we aware of what really matters? Many of us find ourselves struggling to find clarity in a sea of possessions that occupy our physical environment and block our mental space yet whose meaning is long lost or worse, never even existed. How we manage our mounting accumulation of possessions, and the inherent wastefulness of this in terms of material, time and natural resources, has become a huge societal problem — independent of means or situation.

Taking Pause combines photographs and stories in a visual and verbal narrative that explores both the complexities and simplicities of what we value. Participants are grateful to reflect and to share in this way. Thus far what people have shared is about deep memories and identity, not monetary value.

At a time when our country feels so torn and disconnected, Taking Pause aims to reconnect and place trust with those we don’t know. Participants are asked to host me when they are able so that we can spend some time getting to know each other and so that our interaction is about more than the making of the portraits and they are more than passing subjects. As such this project at its essence is about trust. The trust of participants in me to share something that is deeply personal as well as my trust in them to offer hospitality and to welcome me into their homes.

In our current society we are hyper “connected” in our dependency on devices, yet our lives have become increasingly hermetic and disconnected. Our communication and “social” activity has become more virtual than actual. Thus a crucial part of this project is its collaborative nature, which aspires to connect with people, share stories and spend time together. In short, to take pause, to reflect.

 

 

The Concussion Diaries

“I suffered a serious concussion in April 2017. Alice fell down a rabbit hole; I just fell on the floor. The doctors forbade ‘reading, screens of any sort, and complex thinking.’ For the first four months I couldn’t even listen to music. I wondered if I might go bonkers – and then I wondered if that was complex thinking. Without the capacity for the usual distractions, I found myself in a quiet world of color and composition. In some ways my sensory experience was stripped down, but in other ways it was heightened. On the daily walks required for my recovery, I noticed every detail of spring in New Jersey – leaves unfurling, vines encircling, the patterns in moss – with a piercing intensity.

At the suggestion of a friend I started painting. I had spent a lifetime deeply engaged by twentieth-century American artists and poets. My icons were the two Helens of New York, Frankenthaler and Levitt, and the poets Robert Hass and John Ashbery. At various points my artistic energy went into making photography, writing poetry and weaving, but I had always considered painting off limits. The concussion eliminated my silly, self-imposed restraints, and painting turned the disaster into discovery.

My limited faculties when I started painting freed me from spending any time thinking about why I was painting and what I was trying to say with my work. Two of my paintings, Charlottesville and Categoría Cinco (Maria) are direct responses to current events, but the others are explorations of technique, color and form. Asking myself now about the why and the what, I am reminded of a talk I went to by the photographers Laura McPhee and Virginia Beahan. In response to a student who asked about pursuing a career in art, one of them said, ‘If you don’t need to make photographs, you won’t.’ I am still finding my way as a painter, but I can say for certain that I need to make paintings.”

-Terri Riendeau

The Periodic Table of Elements


“My work has always been inspired, to one degree or another, by my interest and attention to the Sciences.


This new body of work, THE PERIODIC TABLE OF ELEMENTS, gets to the essence of life and ecosystems by focusing on the natural “elements” themselves which make everything in the natural and synthetic worlds possible.


Congruent with this are my own principle interests with surface and materiality as each work is an experiment with materials and texture – mixing a variety of gels and other additives to the paints in order to achieve the desired effect.  This is the driving force for me with relation to this project. Each element presents a new set of characteristics that need to be studied and assessed. This pushes me to experiment with textures and material effects that speak directly to the physical properties of each element, as well as, direct the color and compositional aspects of the work.  I consider experimentation and imagination to be the two key components in all creative endeavors and these are intrinsic to the creative process in general.


For me, every work should move forward in some way – never repeating motifs or notions about plasticity in order to attain consistency. Rather, painting is first and foremost about attention and discovery – attention for the sake of understanding and discovery for the sake of expression.”

-Robert DiMatteo