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Dark Grey Dome   Wool fiber, embroidery floss and thread on felt, stuffed with fiber fill and mounted on wood.  22” diameter, 11” deep

Dark Grey Dome

Wool fiber, embroidery floss and thread on felt, stuffed with fiber fill and mounted on wood.

22” diameter, 11” deep

SATURDAY JANUARY 26 - SATURDAY FEBRUARY 9

JULIET KARELSEN

UNIVERSAL FOREST

With an opening event on Saturday, January 26th, 5 to 8pm

“In all its various forms and configurations, my work cross references painting, stitching, tapestry, rug making, embroidery, abstract art, fantasy, landscape, textile, miniature worlds, and even science - from botany to mycology to planetary and solar - touching on the micro and macro scales. Are we looking out into the vast universe? Down at an exotic petri dish or at the lichens and moss on the forest ground? Although not overtly political, sadly, nature has become a political issue. In a world where daily interaction with plants and trees and moss and lichen (etc!) is increasingly rare, even disappearing, my work points to the importance of taking the time to slow down, notice and protect the jewels of the forest, the world and the universe. As Denise Levertov says in her poem “Sojourns in the Parallel World”: We live our lives [...in] / A world / parallel to our own though overlapping. / We call it ‘Nature’; only reluctantly / admitting ourselves to be ‘Nature’ too.”’

Juliet Karelsen studied painting at The School of The Art Institute of Chicago and The Skowhegan School of Painting and Sculpture. She has been painting for many years and experimenting with different forms of stitching for the last few years. Her work has been shown across Maine, New York City, New Hampshire, Boston, Ohio and abroad in Spain, Argentina and Switzerland. She was born and raised in New York City and has been living in Maine (mostly) since 1991.

Her work can be found at julietkarelsen.com.

 

THURSDAY FEBRUARY 15 - SATURDAY MARCH 30

TONEE HARBERT

With an opening event on Thursday, February 15th, 6 to 8pm

Tonee Harbert is a photographer living in Portland, Maine. His frequent subjects have been people and the landscape of Maine. For his current fine art work he uses a plastic “Diana” camera to capture mysterious and haunting landscapes, and surreal interventions of the human touch on our world.

Harbert’s current work is concerning humans’ interaction with the landscape. Any purpose we impose on the landscape leaves a mark which can be overt, or faintly reveals a past narrative. These signs inhabit our visual world, and when taken together, can transmit the surreal feel of a dream being pieced together.

Harbert's photographs have been exhibited at the Corcoran Gallery of Art, Portland Museum of Art, Farnsworth Art Museum, Danforth Museum of Art, University of Miami, ICA at Maine College of Art, and the Center for Maine Contemporary Art. He was granted a one-year artist residency at the Roswell Artist in Residence Project beginning in June 2019. He’s been awarded a New England Emmy award and his work has also been included in two motion pictures: Home Less Home (independent) and Message in a Bottle (Warner Brothers). Harbert received a degree in Visual Communication from Ohio University in 1986.

MARCH - APRIL

HENRY WOLYNIEC

Henry Wolyniec has been a visual artist for over 25 years. He was educated at New York University and Columbia University, and received his BFA from the Parson Schools of Design in 1979. Among his other artistic credits, Henry is the author and artist of two comic book series. He shares his talents in both comics and drawing classes.

For more information about the artist please visit: www.henrywolyniec.com

 
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May - Mid June 2019

4-REAL? FOUR VIEWS

Four Views is a group show which includes four artists taking formally distinct paths to re-imagine known subjects. Mary Behrens, Vico Fabbris, Mary Louise Geering, and Jan Lhormer employ unlikely combinations of visual means to highlight ambiguities in perception and challenge belief systems. All four artists emerged from the 1980s, a decade in which visual artists often veered away from being defined by a particular school and rather embraced a more complex development of intersecting and sometimes overlapping styles. These artists appropriate aspects of these 1980s idioms in varying ways - aspects embedded within the formal and conceptual choices of each.  

(There will be a gallery talk accompanying this exhibition with at least two of the artists discussing their work and answering questions from visitors).