12.07.2009
Denise Driscoll and Art I: Digital Natives
10.01.2009
Robert Collins: Paintings
October 5 to October 30, 2009
Artist Reception:
Friday October 16, 6:30 to 8 pm
Artist Reception:
Friday October 16, 6:30 to 8 pm
Robert Collins
Composition in Red White and Black
Mixed media on wood, 2009
48 in. X 48 in.
Biography
Biography
Robert Collins has his BFA, (1976) and MFA, (1978) degrees from Boston University, Boston, Massachusetts. He has taught at Boston University, Boston, Ma, University of Massachusetts Dartmouth, Dartmouth, MA, and he is currently teaching at Rhode Island College, Providence, RI, the School of the Museum of Fine Arts, Boston, MA, the Danforth Museum School, Framingham, MA, the Brookline Arts Center, Brookline, MA, and the Merrimac Center for Professional Development, Billerica, MA. Robert Collins has also worked as a Senior Designer for Hasbro Toy Company, Pawtucket, RI, where he was responsible for product design and development including such product lines as “My Little Pony”, "Jem”, “Charmkins”, and “Get in Shape Girl”. He was a Senior Design Director for American Manufacturing, Boston, MA, and also for the Bradford Novelty Company, Bellingham, MA. Robert also was a commercial artist and layout designer for Sears Roebuck and Company, Natick, MA. Robert Collins has exhibited his paintings and drawings throughout the New England area in such galleries as: the Bernard Toale Gallery, Boston, MA, the G. Watson Gallery, Stonington, ME, the DeBlois Gallery, Newport, RI and the Bromfield Gallery, Boston, MA as well as at the Danforth Museum, Framingham, MA. He was inducted into the “Who’s Who Among America’s Teachers in 2002 for his contributions in Fine Art and Industrial Design. Additional work may be viewed at RobertCollinsPaintings.com.
2009 (September) Kristin Ford: Maine Waters
August 18 to September 24, 2009
Artist Reception Wednesday September 16, 6:30 to 8 PM
Artist Talk, Friday September 11, 11:30 AM and 12:45 PM
Artist Reception Wednesday September 16, 6:30 to 8 PM
Artist Talk, Friday September 11, 11:30 AM and 12:45 PM
2007 Michael Frassinelli: The Legend of the Pianistas
Legend of the Pianistas
The Art, Artifacts and History of a Curious People
The Art, Artifacts and History of a Curious People
An Exhibit of Piano Sculpture and Other Objects by
Michael R. Frassinelli
Michael R. Frassinelli
January 28 to March 7, 2008
Opening Reception
Thursday, January 31
6 to 8:30 pm
Press: Metrowest Daily News
Artist's Statement
My work has changed in style and substance over the years to include painting and sculpture, masks, works on paper, canvas, and wood; using found objects and motors, feathers and concrete; work that has been welded, carved, sketched, written, videotaped and burned. What remains in all is an interest in the substance and meaning of objects, mechanisms and materials, and an underlying sense of humor.
My work has changed in style and substance over the years to include painting and sculpture, masks, works on paper, canvas, and wood; using found objects and motors, feathers and concrete; work that has been welded, carved, sketched, written, videotaped and burned. What remains in all is an interest in the substance and meaning of objects, mechanisms and materials, and an underlying sense of humor.
My recent work centers around sculptures made from old piano parts. While making these objects a story emerged of a fictional tribe known as the Pianistas. The objects function as artifacts from this lost culture that used piano parts for all their basic needs, creating tools, ceremonial objects, masks, musical instruments, shelter, weapons and other items, in much the same way tribes from the Great Plains utilized the buffalo. The original purpose for these objects, how they are described by art historians and anthropologists, and what happened to these objects over the course of history is all part of the storyline, which continues to evolve. The objects, materials and documentation are exhibited in a Natural History Museum format.
Biography
Artist Michael Frassinelli got his BFA in Art from the University of Connecticut. He has worked on Nantucket, MA as a staff member of Nantucket Island School of Design and the Arts; as Set-Designer in Residence and mask-maker for the Shotgun Players theatre company in Berkeley, California; and taught theatre design at the Lick-Wilmerding School in San Francisco. His work has previously been shown in galleries on Nantucket, in California and Connecticut and more recently around the Boston area, including the New Art Center in Newton, The Amazing Things Art Center in Framingham, and Elm Park in Worcester. He was recently listed in the MetroWest Daily News’ “Year in Review” issue as one of the 10 best in Arts and Entertainment for 2008. Michael lives in Holliston with his wife and two children, and teaches art and design at the Dana Hall School in Wellesley, Massachusetts, where he is also Director of the Dana Art Gallery.
2008 (September) Greg Kitterle and Dianna Vosburg: Illumination
Greg Kitterle
Artist Statement
The influence for my work stems from my interest in how the eye leads and is lead. Whether or not we are aware of it, much of our vision is completed through visualizing. Using the innate properties of my chosen materials within formalist painting concerns, I seek to exploit the visualizing aspect to allow the mark to be a marker. As the mark is “seen into” and “seen as” images emerge. Since these images are not planned, it allows a fluid interpretation giving rise to autonomy of meaning. This then re-emphasizes this process, creating an active circular visual dialogue.
Dianna Vosburg
Artist Statement
In this game of revealing and concealing, ribbons and swaths of fabric writhe, levitate, burn, and tear, suspending time in a free play of the imagination. I use the material seductiveness of paint to reference skin, webbed text, space, and the infinite entwining and enfolded nature of the labyrinthine world.
Despite their melancholy wretchedness, these paintings are set aglow, ecstatic with light, color, and movement.
Biography
Dianna Vosburg was born in 1961 in Bremerton, Washington. She spent her early childhood on the West Coast, and then moved to Mystic, Connecticut. Dianna attended Goddard College in Vermont for two years. She returned to California to earn her BA in Psychology at the University of California, Santa Cruz, in 1986. Back in New England, Dianna studied oil painting at the Danforth, Worcester, and DeCordova museum schools, and life drawing at New England Realist Art School.
Dianna earned her MFA-Visual Arts degree from the Art Institute of Boston in 2008.
2008 (October) Jodi Colella: Material Matters
MATERIAL MATTERS
artist statement by Jodi Colella
Contemporary society promotes superficiality with quick studies and the prevalence of multitasking. Technology is a constant disruption. The yearning to be connected actually distances us from private thought or contemplation. One antidote is to combine the process of making with the discovery of materials and technique.
Conducting a dialogue between concrete practices and thinking.
The loss of one's consciousness while engaged in a manual process promotes the opportunity for free thought and expression, The technique is simple, 'Plain Weave'. The materials are experimental. The practice is focused. The possibilities for expression are infinite. The actions are important as a meditative exercise while the material accumulation of units embodies the amalgamation of meaning or message. The preoccupation of practice helps one to learn about themselves through the things that they make.
Materially, humans are skilled makers of place.
Peruvians work with the materials at hand, wool, natural dyes, traditional design, strap looms, time. With these choices they weave functional objects as expressions of tradition and identity.
Our choices are numerous including existing materials both found and reinvented. With close observation and experimentation we can discover unique qualities and characteristics of the obvious. Plastic bags, rags, newspaper, wire etc. transform into unexpected modes of expression simply by changing the context. Illustrations of warmth, fear, tentativeness or aggression are all a function of material choice and practice.
By merging habitual practice with the consideration of materials and concept we give voice to materials and process. By conveying a complex set of ideas in the service of content, we merge the subject with the object and the tangible with the intangible.
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