Memories of landscape
"Granite in Spring" (painting) by Kathline Carr, in 29 her show “In Awe of Nature,’’ through May 29, at Fountain Street Fine Art, Boston. She lives in The Berkshires.
She tells the Gallery:
“I love hiking, particularly in wild, desolate places, and am fascinated by looking at the way light falls on the landscape when I am out on the trail, creating shapes that are craggy, or geometrical, or diffused—or shifting from one to the other. Sometimes I look at the sky or a mountain pass and try to remember the individual parts of the scene for later, when I will imagine the parts rearranged, the lights and darks reversed, or perhaps just one form that caught my eye. My dream travels take me to treks in Tibet, Alaska, Wyoming—I look at pictures of the landscapes in the places I’d like to go, and those images work their way into what I’m making as well. I am in awe of nature and the colors that exist and arise organically and atmospherically. Although I’m not painting the landscape representationally, my observations and memory of it is ever-present in my work, in some form.’’
A view of The Berkshires in North Adams, Mass.
— Photo by jbcurio
Pictures of the shifting
Left: "Fragnet” (oil and graphite powder on canvas), by Kathline Carr; right: “Crane Beach” (photo), by Vicki McKenna, in their show together “Geographies of a Shifting World,’’ at Fountain Street Fine Art, Boston, through Oct. 25
The gallery says:
The two “share an interest in elemental landforms and geological processes. Carr’s drawings, paintings, and monotypes are in conversation with McKenna’s photography-based prints. They implicitly share an interest in human interaction with the natural world. Their current work has a common focus of climate change. Carr utilizes multiples and repetitious mark-making allowing patterns, gestures, and forms to represent her feelings of despair and hopelessness about current climate. McKenna’s photo illustrations combine multiple images intended to collapse present and future into one image that suggests the result of sea-level rise.’’
Panorama of Crane Beach in September 2007
— Photo by Thomas Steiner
Crane Beach is a gorgeous 1,234-acre state-owned conservation and recreation property in Ipswich, Mass., just north of Cape Ann. It has a four-mile-long sandy beachfront, dunes and a maritime pitch pine forest. Five and a half miles of hiking trails through the dunes and forest are accessible from the beachfront.
The land was given by the Crane family, whose fortune was from plumbing supplies. (One of the family bought my great-great grandfather’s house in Woods Hole, on Cape Cod. — Robert Whitcomb.)
'External spaces, interior imaginings'
"Ley Line," by Kathline Carr, at Fountain Street Fine Art, Boston, through Aug. 2. Ley lines are lines that crisscross around the globe, like latitudinal and longitudinal lines.
Ms. Carr, who lives in the Berkshires, writes:
“My process of making is one of construction and reiteration: I render abstractions of real and imagined space, while imposing diagrammic marks through those planes. My work seeks to fuse mappings of external spaces with interior imaginings and associations. I utilize materials that are meaningful to me, often employing fabrics, collage, or found objects to hone in on a particular locale or experience. The landscape interests me as a point of entry to explore isolated forms, light, and implications of human interference.’’
See:
kathlinecarr.com
and:
https://www.fsfaboston.com/