Opening Reception: Friday, July 28, 6-8 pm
Portraits of Autism
“This new body of work seeks to create a platform for social awareness, while opening up a discussion about available support systems and funding for both children and adults diagnosed with Autistic Spectrum Disorder (ASD).
The oil portraits in this series follow five families who are currently caring for a child or adult with ASD ranging in ages 9-46. The focus of this new body of work is to provide a public connection and “face” to bring awareness to the many challenges as well as successes in caring for both children and adults with autism.
For many families raising a child on the autistic spectrum there is a persistent fear and concern for their child’s future. This becomes increasingly disconcerting as parents begin to look at the reality of what may happen when they are no longer alive or become incapable of caring for them. Small children are the public face of autism, their appeal helping to win public understanding and educational support. Will there be public support for them as adults?
Deborah Martin is a contemporary artist and independent curator based in Sky Valley one hundred miles East of Los Angeles, CA. Her artistic work examines the complexities of individual experience particularly in relation to home, isolation and memory.
“Portrait’s of Autism” is Martin’s latest work and is a departure from what she is perhaps best known for - her paintings of the blasted communities surrounding the Salton Sea and the nether parts of Cape Cod.
Martin’s work has been featured in numerous publications including Provincetown Arts, Building Provincetown, art ltd., Palm Springs Life Arts + Culture, Angeleno Magazine and New American Paintings. Work from Martin’s “Narrow Lands” series - an architectural geography of history and time along the outer cape, is included in the Provincetown Art Association and Museum’s (PAAM) permanent collection.
Martin received her BFA and BS Masters of Arts in Teaching, Art Education from The Museum School of Fine Arts, Boston and Tufts University. She is a recipient of the Orlowsky Freed Foundation Grant sponsored in part by PAAM.
Back and Forth
“My visual work, be it camera obscura or painting or lithography, has centered on my fascination with time. It is the same with Provincetown: a continuous fascination with the feelings of village, community, and incredible beauty. Even though the town has changed much in the 34 years since I came here, its landscape and seascape and art seem to embody and hold the past. The present and the past are woven into the fabric of life here. Looking at my own work, I can see both a feeling of joy and a sense of quiet melancholy or yearning. Like Chagall (an inspiration for some of the work in this exhibit), I find the joy of life in and the mysteries of time in spirit of my village.”
Marian Roth, well known for her camera obscura imagery, is also a painter and printmaker. She received a Pollock Krasner grant in 2016, and a Guggenheim in 2000. She has been awarded grants by the Mass Cultural Council and C-Scape. This past spring Marian received a medal for lifetime achievement in the arts from the Provincetown Art Association and Museum. Her work has appeared in Eric Renner’s classic “Pinhole Photography”, in various magazines and journals, and a folio of her work was highlighted in “Adventures with Pinhole and Home-Made Cameras” by John Evans.
Marian has exhibited internationally and taught widely. She is currently having a career retrospective exhibition at the Provincetown Art Association and Museum (PAAM), curated by Patrick Davis.
She makes her home in Provincetown.
Sculpture No. 5
“After 25 years as an art-furniture-maker and over 10 years designing and building houses, I am now finding new inspiration as a sculptor. Up until a few years ago, my creative process involved working within the tight constraints set by the function of the object or building I was designing. For instance, a successful design for a chair, a table, or especially a house, must meet a very particular set of functional criteria. In the case of a commission, the needs and desires of the client as well as the budget add further constraints.
For many years, I enjoyed the challenge of solving aesthetic problems within these types of strict parameters. The work required a discipline I was comfortable with — a discipline that, with time, became automatic for me. But I now feel motivated to move beyond the functional limits inherent in Craft and seek out new aesthetic challenges as an Artist, and that’s why my current focus is purely on sculpture.
I have observed a hunger for a tactile and sensuous experience with Art in our increasingly digitized world. My work is sketched and made by hand — all without the aid of computers. I believe this imbues the work with an emotional richness that would not otherwise be possible. My aim is to achieve a complementary relationship between overall form and sensuous detail. The spiral often appears in my work as well. I see it as an archetypal form that evokes a sense of mystery and intrigue.”
Rick Wrigley has shown his sculptural works in group shows at the Provincetown Art Association and Museum (2013), and AMP Gallery, Provincetown (2016).
As an art-furniture designer and maker, Rick was a recipient of the Mass Cultural Council / New England Foundation for the Arts Regional Fellowship in the Visual Arts. He was a visiting instructor in the BFA program at The School for American Craftsmen, RIT, Rochester, NY. Rick has shown art-furniture in The Museum of Fine Arts, Boston; The Smithsonian Museum of American Art’s Renwick Gallery, Washington, DC; The American Craft Museum, New York City; The Musee des Arts Decoratifs, Montreal; The Milwaukee Art Museum; The Oakland Museum; The Flagler Museum, Palm Beach, Florida; the Fuller Museum of Art, Brockton, Massachusetts, and The Cape Cod Museum of Art.
His work is included in the collections of the Smithsonian Museum of American Art’s Renwick Gallery, The Smith College Museum of Art, and The Boston Public Library. He has executed commissions for The Isabella Stewart Gardner Museum, Boston; The Springfield Museum of Fine Arts, The Legislative Office Building, Hartford, CT; The Babson College Interfaith Chapel, and the U.S. Embassy in Amman, Jordan.
Sculpture in the Unmaking
“In 2008 I “met” a stand of 500-year-old English oak pollards in Windsor Great Park, south of Windsor Castle. The venerable trees seemed to hold a body trapped in their contorted and convoluted forms. My encounter with the body in nature there fueled my longtime fascination with the woodland landscape. Out on the tip of Cape Cod, I scavenge materials from the woods and beach, choosing fragments and shapes that I carve, assemble, deconstruct, and paint into figural “drawings” in space. Holding on to a memory of the woods, I work from this pile of shapes in the studio, juxtaposing the fragments intuitively without plan into sensuous hybrid relationships, often punctuated with color. Trunks and massed together sections of saplings assume the role of head or torso; branches, saplings, and roots posture as arms or legs.”
Lyman will be exhibiting her signature sculpture in wood evoking the body in nature, the gathered elements of sapling, root, trunk, and vine seamlessly juxtaposed and animated into sensuous hybrid relationships. Her new wood sculptures are made from found and milled wood, in large part reinvented and/or reduced from sculptures of the past 30 years.
Susan Lyman is a sculptor and a painter. She has lived and worked in Provincetown for over 35 years since arriving as a Visual Arts Fellow at the Fine Arts Work Center. In March 2017, she had her third solo show, “Sculpture in the Unmaking”, at Boston Sculptors Gallery where she has been a member since 2012. Her work was recently included in the international exhibition, “Branching Out: Trees as Art”, at Peabody Essex Museum. Other recent exhibitions include “Reluctant Landscapes” at Cotuit Center for the Arts, and “Second Nature: Vico Fabbris, Susan Lyman, Michael Mazur, and Nathalie Miebach” at Provincetown Art Association and Museum. In September 2015, Lyman’s work was included in “Working Women: 36 Contemporary Women Artists” at Colby-Sawyer College (catalog). Lyman has exhibited her work for over 35 years in Japan, New Zealand, and the U.S., and her work is represented in private, corporate, and museum collections.