Senior
Seminar
SHOW
April
23 - May 11,
2007
Pamela Lang
Redick
Soul
Searching
March 5-April 20, 2007
Jennifer Hauri
Flight
of the Butterfly... Women
of Afghanistan
/
Nomadic
Butterfly... Women
of Mongolia
January 15
– March 2 , 2007
Student
Art Show
November
27, 2006 - January 12, 2007
THE
W.I.S.E. (Art) GUYS
BIG, BIG ART SHOW!
October
16-November 24, 2006
Marlene Rye
DREAM
JOURNAL
August
28 - October 15, 2006
Senior
Seminar Show 2007
April 23 - May 11
Featuring
artworks by:
Megan Callahan
Kathleen Conlon
Jenna Finch
Ekaterini Kakouros
Jessica Kingston
Allison Sherlock
Laura Thomas
Opening Reception
with the
Assumption Chamber Strings
Wednesday, April 25, 4:15 p.m.
 Beside Still Waters
Blessings
|
Pamela Lang
Redick
Soul
Searching
March 5-April 20, 2007
Reception
& Remarks
Wednesday, March 14, 4:30
p.m.
Pamela
Redick studied art at the Worcester
Art Museum
and Valparaiso
University
in Indiana.
She has exhibited throughout the United States
and has won prizes at the Art Institute of Chicago, The National
Association of
Women Artists and The National Academy of Design in New York. Her
work is in numerous private
and public collections including Fidelity Investments, Borg - Warner
Corporation, the Brauer Museum of Art and the Dade County Public Art
Collection
in Miami.
http://www.pamredick.com
Soul Searching
- Statement
I have
been an artist all my
life and a professional artist since the early seventies. I am known
for showing
realistic; nature based landscapes and interiors in acrylic as well as
experimental pieces done with other media. While studying art at Valparaiso University and experimenting
with
graphic design I created an image that was an entity. It has some kind
of
spiritual presence. Not knowing what it was, I asked for input and
people
thought maybe it was God. Through the years I have done other work that
was
unintentionally “spiritual”. Things would just fall into place coming
from something
that was greater than me or my intention. Here I am showing some of
these
pieces and I have done artwork that is intentionally related to the
sacred in
our lives.
Landscapes
recreate that sense
of being close to God that experiencing His creation offers. These
pieces were
done with a reverence for nature, looking especially for images that
give us
peace. The altered book drawings were done in the wilderness. These are
travel
journal sketchbooks made from old Reader’s Digest books. I used the
pages of
the novel Blessings to sketch these
blessings received from being in nature, the fishes and frogs and water
lilies.
Drawing close up scenes from the shore of the pond was a quick and easy
pleasure.
For the
past three years I have been using car spray paint. These spay
paintings are more abstract, primitive and spontaneous, yet they are
realistic
in a different way. I do them quickly and rely on accident and
coincidence. I
find natural materials and I make stencils out of card stock to create
the
images.
I hope
that my spiritual
journey through the art will resonate with the viewer in their own
quest.
Beneath
the Surface
|
|
Jennifer
Hauri Stanley was born in Oklahoma and attended college
and
graduate school in Texas. She has studied with Humberto Oliveros,
Jesus Perez and Miguel Rivera in Venezuela and Tina Szaiko in Houston.
Her works have
been exhibited in many venues in the Houston area, and
can be found in several personal collections in Texas.
Artist's
Statement:
May I
feel said me…
Art
is contemplation and an enjoyment of the mind that
seeks to search nature and recreate it with a vision.
Art
is not the end it is the beginning…a mission through
expression of thought symbolically transforming ideas into creative
action that
seeks to understand the world and make it understood…the beginning of
soaring
to the highest of spiritual creation.
“Humble
me, create a “portrait” said my spirit that
reflects the nature of humanity’s soul.”
Art
frees the soul. Take flight for the vision
of the freedom of the butterfly
has just
begun.
...yes, I
can
feel said me.
"Flight of the
Butterfly, With Veil...Without Veil" is about the plight of Afghani
Women. My work depicts the pain and
beauty and hope of the Afghani Women. The
butterfly is a symbol of freedom. My goal
in my art is to uncover the faces of the Afghani
Women so that
they can be seen by the world.
As women, we
stand
together not because of race, creed or ethnicity. We
stand together not because of any war or
any inflicted oppression. We stand
together because we are women. We must
stand up for one another and say, "yes”, we care because we are women
and every
woman in the world matters.
The women of Afghanistan
do not stand alone. Women of the world
are fighting for their cause everyday to help them to have the freedom
that all
women deserve…freedom to live as celebrated women of the world.
I hope that my work
brings awareness to the world of the plight of Afghani Women. The flight of the butterfly has
begun...freedom is near.
|
Jennifer Hauri
Flight
of the Butterfly...
Women
of Afghanistan
/
Nomadic
Butterfly...
Women
of Mongolia
January 15 – March 2 , 2007
Opening Reception
& Remarks
Wednesday,
January 17, 4:30 p.m.
"Journey to Freedom"
|
Student
Art Show
November
27, 2006 - January 12, 2007
Opening
Reception
Wednesday, November 29, 4:30 p.m. |
|
THE
W.I.S.E. (Art) GUYS
BIG, BIG ART SHOW!
October
16-November 24, 2006
Opening Reception:
Wednesday,
October 18, 2006, 4:30pm
WORKS
BY: Chris
Durham, Arnold
Edinberg, Louise
Gleason,
Mimi
Grenier, Sarah Kelly, Pat
King,
Mike
Laipson, Erwin
Markowitz, Arthur
Matson,
David
Picard, Stu
Pomeroy, Arlene Zemaitis
Co-sponsored by W.I.S.E.
(Worcester Institute for Senior Education)
|
 |
Artists'
Statements
ARLENE
J. ZEMAITIS: On
a whim, in the spring of 2000 I signed up for a
drawing course at the Worcester
Art Museum. Without prior experience I
was completely at
a loss. The encouragement of the
instructor gave me the confidence to pursue another class.
Pastels were my choice and this proved to be
a rewarding experience. Drawing with
pastels gave me the opportunity to make and correct mistakes, mix
colors in an
almost childlike exuberance and still come up with a satisfying
image.
Next, I tried oils, then acrylics. Each medium brought new
challenges. Currently, I consider myself an artist “wanna
be,” who enjoys studying painting techniques and the unique qualities
of
different mediums; so that each painting I attempt will be an
interesting
reflection of a memory or a moment in time.
LOUISE
GLEASON:
Colored
pencils
I am a novice at
colored pencil art and have worked with this medium for 6
years.
Originally my purpose was to learn and develop good shading skills and
then apply them to my rug hooking. I found colored pencils
unintimidating and an
uncomplicated medium that allows much freedom.
It can deliver a precision line and can establish large areas of
color. It can evoke either drawing or
painting effects or a combination of both. I
like the challenge of the layering of color and the subtle nuances and
textures
it creates. My work is from photos
except “queen” and “eva, me and tea”. A
joint effort by my granddaughter Eva (8 years) and myself.
Traditional
rug hooking
Traditional rug
hooking began as a craft in the early 1800s and has developed into an
art. Originally done using burlap “feed bags” washed and
stretched over a frame and old
clothing scraps cut into strips for hooking.
It has now become more detailed and realistic. The strips of wool
are cut into widths 1/16
of an inch to ½ inch strips. These strips are looped
through the holes of
the material with a hook. A variety of backing materials
are used -
linen, monks cloth and burlap are the
most common. Old wool and new wool is
used. It is dyed and overdyed to meet
the needs of the project. Both
commercial and original designs are produced.
I
have been
“hooking” for 9 years and consider myself a novice in
this medium also. This like colored
pencils presents
challenges to color and
interpretation. My work has primarily
been with commercial design. However, I
have designed two large rugs and plan to pursue this direction. I have completed 8
large rugs and numerous small pieces. The piece “giant
blossoms” is a commercial design by Harry Frazer. It
was chosen for Celebration xv. This is the
only juried exhibit of the years
best hand-hooked rugs 2005. It appeared
in the international publication “celebration of hand hooked rugs”.
Haussegan (house
blessing) is a commercial design.
PAT KING: For
as long as I can remember, I've
loved making pictures, particularly of people. As a child I
received oil
paints and an easel as a gift. I've been painting ever since, and
am self
taught. I like to experiment with various styles and media
and feel
comfortable using oil paints, acrylics, and pastel. I would like
to
explore water color and learn printmaking.
I also write poetry, and
eventually I'd like to
incorporate some of my poetry into my prints. My
paintings are
eclectic because I'm always experimenting. Generally, however, I
tend
toward impressionism.
MIMI
GRENIER: My works are enamels, using an ancient technique
of
fusing powdered glass onto metal, usually copper, at a high temperature
of 1450
deg.F. I begin a piece by reshaping the base copper, hammering,
bending,
folding, etc., and then experimenting with multiple applications of
glass and
firings to achieve desired brilliance and luminosity.
From an initial concept, I
let my imagination take over, improvising at will.
MIKE LAIPSON: An active
member since WISE’s beginnings, was the
owner and operator of M. H. Laipson & Co., a dairy processing and
distribution plant. Since his retirement in 1991, with more time
available, he
has seriously been involved with woodworking, a hobby he had enjoyed
for many
years.
In addition to crafting furniture for
his homes in Worcester
and Sandwich,
he has made many pieces for his children and grandchildren. He has also
been
involved in a number of special projects for friends and acquaintances
with
specific needs.
STU
POMEROY: My first photographs were
taken
in the late 1930s when I was in high school. When World War II came to
the United States,
I joined the U.S. Navy. On board an amphibious ship in the Pacific we
had a
ship’s camera, so I was able to continue my camera work overseas. After
the
War, I returned to college and found myself taking increasing amounts
of
pictures. Years later I took several courses at the Worcester Craft Center
under Peter
Faulkner’s watchful eye. I was subsequently invited to join his Sunday
Night
Group in which about a dozen of us critiqued each other’s work once a
month
except for July and August. This provided a really good opportunity for
learning.
When
I look at my work in general, I find that my work tends to lean toward
architectural subjects. However, I do find fascinating photos elsewhere
as you
can see from the pictures in this exhibit. I try to photograph from
unusual
angles and frequently unusual circumstances such as in the dark of
night, in
snowstorms, or through foggy conditions.
ARNOLD
EDINBERG: In 1946, after a stint in the U.S. Navy, I
enrolled at the Vesper George
School of Art, in Boston. I
graduated in 1949 and went to
work as a commercial artist for various local companies. In 1955 I started an
Advertising Agency in Worcester,
which worked on
business-to-business accounts. This included: design, writing
copy and
placing space in business publications. Also created catalogs,
direct
mail and corporate identity programs for clients.
After retiring in
1994, I took courses at the Worcester Art
Museum
to learn how to work with different media. My work over time has
evolved
into a semi-impressionistic style.
I
have had many shows; in Worcester
at the Jewish Community Center, the Art and Garden Festival at the Notre
Dame Long Term
Care Center,
Assumption College, and “Opening Windows to Art and Culture”, a
project started by Assumption College using empty downtown store
fronts, and at
the Truro Public Library, Truro, MA.
ARTHUR MATSON: A Worcester
native, Arthur worked for over 40 years as a studio artist/owner in Boston serving primarily
local advertising agencies. Now retired and living in Uxbridge, he
paints an
occasional watercolor.
Assumption Faculty Exhibition
DREAM JOURNAL
Marlene Rye
August
28 - October 15
Opening
Lecture & Reception
Wednesday,
September 6, 4:30 p.m
Poetry
Reading by Bryan Rye
September 15, 2006, 7:00 p.m.
Marlene
Rye received her A.B. in art at Smith College
in 1993. From
there she went on to earn an M.A. in art at Western
Carolina University
and an M.F.A. from the University
of Pennsylvania.
She has
studied under distinguished artists such as Andrew Forge, Robert
Godfrey,
Barbara Grossman, John Moore, and Martha Armstrong. Her work has been
accepted
into juried shows with curators from the Whitney Museum of American Art
and the
Guggenheim. Coda Gallery in New York City, Gross McCleaf in Philadelphia,
Watkins in Northampton, and East End
Gallery in Margate City
NJ
represent her. Most recently,
distinguished artist Lois Dodd accepted her into a juried show at the
Bowery
Gallery in New York City.
To
see more of Prof. Rye's paintings, go to:
Artist's Statement
Travel
in your mind back to a time as a child when you were in the
“wilderness”:
backyard, vacant lot, roadside, field, or forest. Remember
how the world looked as you crawled
through the grass, each individual blade becoming a towering tree,
rocks
transformed into mountains. Visualize
looking through the brambles and thickets of your backyard and feeling
the
enormity of that space juxtaposed with the closeness of the surrounding
branches. See a field, feel the openness of the air and the closeness
of the
warm ground beneath, expanding and contracting the space at the same
time.
These sensations are at the heart of my work.
Through
painting I explore the idea of what wilderness feels like. Seldom
do we slow down or use our senses fully
enough to really experience nature.
Take a stroll into these paintings, feel the
color with your hands, breathe in the rich vividness.
Journey slowly, letting the leaves brush
against your body, notice the fragrance of purple flowers underfoot.
Revel in
the freshness of spring and celebrate the crispness of autumn. Dance with the trees as they stretch through
the space, winding like ribbons in the wind.
Through
use of color and line I attempt to depict not just images or scenes of
nature
but rather evoke feelings and emotion of a place. My
mark making and palette is combined with
layering, glazing, and a scratching away of the paint.
What emerges is a portrait of a place over
time. Light in the work is oftentimes
multidirectional and the space is at once open and airy, then close and
confining. Contrast is often present at
times, yet space is sometimes seen through use of color alone. The overall effect is akin to a voyage
through and into a place, not just a peek at or a visit to nature.
Whether
I am painting large or tiny, I seek to create intimate worlds with a
feeling of
immensity. This vastness doesn’t
necessarily manifest itself in the form of deep space, but rather a
feeling of
expansion inside oneself when looking at the work.
Landscape,
wilderness, and the outdoors are spiritually and emotionally important
to all
of us. As children we know this
inherently. I want to speak to that child in the viewer, and help them
recapture a sense of the mystery, anxiousness, excitement and magic
felt when
outdoors.
