Spaces and Places
08.01. 2020 - 09.19.2020
American artist Emily Noelle Lambert creates abstract paintings, totemic sculptures and installations that echo an evocative interrelation between color and form. Inspired by automatic drawings and plein air painting, Lambert’s gestural compositions reflect different aspects of her surroundings. Robust with geometric and biomorphic flat planes of color, each canvas expresses a unique portrayal of nature.
Tethered to her paintings are her sculptures that function as a metaphor for the environment. Utilizing found objects, Lambert’s precariously stacked totems reveal a sense of temporality and impermanence.
Both celebratory and introspective, Lambert’s work invites the viewer to look beyond the scope of their surroundings and into the realm of possibility.
06.20. 2020 - 08.31.2020
Denise Pelletier, Knave, glazed porcelain and black clay, 2019
Shauna Merriman, Fault Scarp (detail), glazed ceramic, 2019
08.29. 2019 - 09.21.2019
I am an artist, self-taught engineer, gonzo journalist, Computer-Aided Design and Manufacturing (CAD/CAM) consultant, and open source hardware evangelist. Though these descriptors appear to have little in common, they all express my overarching desire to make things and to do so on my own terms. I attribute this can-do attitude the Midwestern cities I’ve lived and worked in, including St. Louis, Cleveland, Detroit, and Chicago. Each of these towns is marked by a painful transition from the industrial age to the information age, which forced folks to hustle or go broke. Those stories are reflected in my own transition from welder, blacksmith, and commercial sculptor to self-taught computer scientist, academic, and Postdigital artist.
Megan Bogonovich arrived in New Hampshire in 2004. She holds an MFA in Ceramics from the University of Montana and received her BFA at the Maryland Institute College of Art in Baltimore. She maintains a studio in Concord and works as an adjunct professor at the local community college.
Recent exhibits include The McCoy Gallery at Merrimack College, Sante Fe Clay, The Renegade Gallery in Chicago, The Kohler Art Center, and Artstream in Rochester New Hampshire. She took part in the International exhibit "Fragiles" organized by Die Gestalten Verlag, and can be found in the corresponding book. She was a summer resident at The Archie Bray Foundation and assisted at two Haystack Mountain School of Craft workshops.
07.25. 2019 - 08.24.2019
06.27. 2019 - 07.20.2019
Jonathan Gitelson  is originally from Mount Kisco, NY and currently resides in Brattleboro, Vermont. He is an Associate Professor of Art at Keene State College in NH and works in a variety of mediums that include photography, artist books, video, installation, web-based projects and public art. Jonathan’s work has been exhibited at institutions throughout the United States, Canada, and Europe such as MASS MoCA, the deCordova Sculpture Park and Museum, the Scottsdale Museum of Contemporary Art, the Milwaukee Art Museum and Galerie f5,6 in Munich. His artwork is in the permanent collection of numerous institutions, including the Museum of Contemporary Photography, the Museum of Fine Arts Houston, the Museum of Fine Arts Boston, the Whitney Museum of American Art, the Museum of Modern Art New York and the Fidelity Investment Collection. Jonathan’s work has been featured in the Wall Street Journal, the Boston Globe, The Chicago Tribune, Art in America and Art New England.
The Collection Part II
05.30.2019 - 06.23.2019
This body of work is a critique of contemporary culture. I use humor, satire, and performance to examine the phenomenon of celebrity. Commonly used, fashionable formulas are employed to detail an unattainable lifestyle valued by our society as one of the highest degrees of success. The existence of Chad Bentley is to serve as the cover story that critiques a generation consumed by parasocial relationships and a vicarious lifestyle. The spectacle of the new American Royalty, and its enamoring characteristics, are condensed into objects and performances that allow for a closer examination of our contemporary values. The details and polished edges that make up Chad Bentley reference a world that prefers the sign over the signified. Caught between being appalled by its absurdity and lost in its decadence, I use this facade to critique both the upper echelon and those who ceaselessly perpetuate the
illusion of the new American Dream.
08.11.2018 - 09.08.2018
Craig Stockwell has shown his drawings and paintings extensively in New England and nationally including the Nielsen Gallery in Boston, The Fitchburg Museum, The Painting Center in NY, Spheris Gallery and several other venues. His work is in many permanent private and public collections including the Boston Museum of Fine Arts. In 2013-14 he was awarded a Residency Fellowship at the Sharpe-Walentas Space Program in Brooklyn.
In 2015 he was awarded a Residency at Virginia Center for Creative Arts.
In 2016 he was in the Biennial exhibition at the DeCordova Museum and was published in New American Paintings 2016. His work is also currently hanging for the summer at the Berkshire Art Museum.
Landscape for Lovers
06.15.2018 - 07.28.2018
Push the Limit
05.17.2018 - 06.10.2018
10.01.2017 - 10.28.2017
oil on canvas
oil and wax on linen
oil and wax on canvas
Stephanie McMahon & Jason Green
07.27.2017 - 08.26.2017
These artists have lived and worked in close proximity to one another for many years and this exhibition draws on the shared yet distinct qualities present in each artist's work. Through different mediums and processes, the artists create complex relationships between elemental shapes and forms that draw inspiration from both painting and ceramics.
Jason Green's tiles explore a painterly surface through fluid planes of transparent glaze overlapping structured geometric drawings. Referencing architectural tiles and combining historic and modern patterns, Green creates a tension that pairs the weight and texture of the object with an illusionistic sense of space on the surface.
Stephanie McMahon's paintings weave in and out of referential shapes and colors as unexpected and precarious relationships emerge between thin, translucent layers. Similar to a ceramic glaze, the materials transparently glide across the surface or run with gravity. Gestural forms within the body of work hint at earth or shale references that contrast with bright color fields and oscillating figure ground relationships.
Green and McMahon both pair the visibility of the artist’s hand with a mechanical process. Green's tiles reveal the texture of the hand on the interior of the tiles as they are pushed into a mold. His geometric patterns are designed on the computer and then drawn by hand onto the surface. McMahon's gestural marks are often contained within a shape or stopped by a sharp, masked edge in contrast to the action, revealing both transitory and measured time. Her process is both calculated and open, creating an active space for visual exploration. Together these artists exhibit separate bodies of work that reveal a love for material exploration.
Oil on Panel
38" x 35"
Recovered Geometry No.16
Terracotta, slip, Glaze
36" x 48.5" x 2"
Two Artist Exhibition
06.24.2017 - 07.21.2017
Blue Duck 2015
Resin, slipcast earthenware, glaze
Acrylic on Panel