Inquiring into immigration
“What a New Day’’ (oil on canvas) by Taiwanese-American artist Chris Chou, in the group show “Roots of Passage: Artists Examine Immigration,’’ at Atlantic Works Gallery, East Boston, through Aug. 17.
— Image courtesy of Atlantic Works Gallery.
The gallery says the show is an opportunity for artists to investigate immigration from various viewpoints
“With East Boston’s rich tradition of welcoming immigrants, and now with immigration such a burning issue in the news today, the gallery felt compelled to not only examine, but to celebrate the issue," according to Atlantic Works Gallery founding member Eric Hess.
East Boston Immigration Station circa 1922.
The woods are ready
“Forest Floor,’’ by Dan Hoftstadter, in his show “From Life: Drawings by Dan Hofstadter, ‘‘ at Atlantic Works Gallery, Boston, through Nov. 25.
The gallery says:
This is a show of “direct, perceptual drawings, unmediated by tools. The artist always keeps his sketchbook by his side, a constant companion to his work as an abstract painter and arts writer. Shown at the gallery are freehand landscapes – responses to wherever he was living at the time - along with portraits and figure studies.’’
Bad for swimming but perhaps edible
“Algae Bloom” (acrylic pouring on canvas), by Sandrine Colson, in her joint show with George Shaw, “Environmental Effects,’’ at Atlantic Works Gallery, Boston. Ms. Colson, a native of France, lives and works in Boston.
Accepting imperfection and transience
“Kintsugi Plate,’’ by Christine Palamidessi, in the “Wabi-Sabi’’ show at Atlantic Works Gallery, Boston, through March 2.
This exhibition features the work of Palamidessi and Bo Petran in their experiments with classic Japanese aesthetic of Wabi-Sabi, which is based on an acceptance of imperfection and transience. Artscope says that Palamidessi calls the work "irregular, intimate, unpretentious, earthy, murky, [and] simple." Palamidessi's works include broken ceramic plates repaired via the Japanese art of kintsugi, and Petran has created a suspended wax-and-paper angel sculpture called "Siddhartha’’.
A house on the edge of meaning and the void
"Journey's End'' (oil/cold wax/molding on wood panels), by George Shaw, in the show George Shaw and Marjorie Kaye: The Poetics of Space,'' Oct. 8-29, at Atlantic Works Gallery, East Boston.
The gallery writes: "George Shaw and Marjorie Kaye will present unique approaches examining the lyrical dissection of space and surface.''
"George Shaw's paintings and constructions are on and made of wood panels, and consist of oil paint, oil pastel, dry pigment, wax medium, molding and found objects. This combination produces a balance between luminosity and saturation, with a focus on texture and the relationship between minimal objects and space. The background and foreground is interchangeable, creating illusive space, yet there are very distinct relationships between them.''
Mr. Shaw writes: "The physics of consciousness, in relation to modern quantum mechanics theory illustrates my intention in regards to my work. I am interested in what consciousness truly is and the physical connection between our consciousness and/or spirit and the universe; and that we are truly interrelated."
He says thatthe desire for an answer appears as a shelter, an anchor, a sanctuary: home.
"Gradually, in my works, a house-like shape emerged, and became an important element: a counter-point to a universe, poised on the knife edge of meaning and the precipice of the void."
Of a hearty heart
"Solid Survival" (exterior house paint on wood), by MARJORIE KAYE, at Atlantic Works Gallery, East Boston, in the show "Inner Investigation/Hidden Truths,'' March 6-28.