Open: (only 4-6 masked people at a time)
"I tend to work with two or more themes or methods at a time. Varying my practice allows me to stay fresh and open to possibilities.
Through my work I explore the contradictions of mystery/adventure and danger/peacefulness found in a deep forest, or the beauty/tragedy and chaos/order experienced in our current world. I can emphasize a forest’s deep space using layered matte medium to draw one inward beyond the surface of the canvas or highlight the violence/hope of climate change or mass migration while using mixed media and collage to bring the materials closer to and off of the visual surface.The Forest represents for me the interior life. It can evoke contradictory feelings: mystery/expectation, danger/protection, terror/peacefulness, freedom/confinement. To emphasize the spacial depth that can draw one into such spaces, I work with layers of matte medium and acrylic paint, creating a palpable sense of depth and distance.
Working in abstract conceptual painting, I explore the forces that drive migration: War, oppression, poverty, and the effects of climate change: drought, famine, sea level rise, desertification, extreme weather events. I alternate between applying color and building up the surface of the canvas. I might use plaster, fabric, paper, papier mache, polyethylene foam, found objects, and other materials to create a contoured and varied surface."
Terry Boutelle is a Boston artist and teacher, with an MFA from the Massachusetts College of Art and Design low residency program at the Fine Arts Work Center in Provincetown. Exhibits include: “Counting Breaths” at the Koussevitzky Art Gallery at Berkshire Community College, “Remembrance” at Andover Newton Theological School, “A Forest in Mind” at the Arnold Arboretum of Harvard University, and “Treescapes” at VCC Gallery at Bentley College. Her work can be seen at AMP Gallery, Provincetown or at her studio by appointment.
Karen Cappotto is inspired by evidence of the handmade in a world where technology prevails and is known for her distinct palette and combination of medium.
Cappotto’s work is in PAAM’s Permanent collection and she has received multiple awards and prizes for her mixed media constructions. In 2011, her company Peg+Dick was launched when Mitchell Gold + Bob Williams asked her to produce their decoupage accessories. Her work has been seen in Elle Decor, The Washington Post, Provincetown Arts, and This Old House.
Cappotto is a founding member of the non-profit group Provincetown Commons, dedicated to developing a sustainable creative economy in the place that continues to inspire her work.
Cappotto is currently represented by AMP Gallery.
Jamie Casertano was born in Brooklyn, New York on Christmas Day in 1972. His discovery of photography occurred in his father’s basement darkroom. He did then, and still now, loves the dark. The urge to take photographs soon followed and later led him to study photography. He lives primarily in Provincetown, frequenting New York City where he once lived and began taking photographs. He seeks images in both the elusive dark corners and brightly lit stages of personality. Drawn to a diverse array of subject matter, his photographs vary from quiet to loud aesthetically, veiled to brazen in content and distant to intimate emotionally. The works of artists Diane Arbus, Ralph Eugene Meatyard, Peter Hujar, Kembra Pfahler, Yasumasa Morimura and Martin Parr are of great influence, to name a few. Casertano studied photography with Mark Asnin, among others, at the School of Visual Arts in New York. At that time, he was paired with and mentored by noted photographer Bill Jacobson. He has had multiple solo [and group] exhibits at A Gallery Art, the Fine Arts Work Center and currently at AMP Gallery, each in Provincetown. His work has been published in Provincetown Arts Magazine, The Boston Globe, Simon & Schuster and on multiple websites in the U.S., Sweden and London. His photographs are in the collections of the Provincetown Museum and The Leslie-Lohman Museum of Gay and Lesbian Art in New York City.
“The two parts of this title are stolen from texts written two hundred years apart. Title IX was first written into law in 1972 as an offshoot of the Civil Rights Act of 1964. It was part of US Educational Amendments and mostly concerned giving women equal access to sports programs in high school and college. Barach Obama added sexual orientation, gender identity, mental and physical handicap concerns to this law, as well as protection from sexual harassment and violence at schools, but President Trump removed these elements. Thoughts on the Education of Daughters is the title of a book Mary Wollstonecraft wrote in 1787, encouraging educators and parents to teach independence, self sufficiency, and the intellectual skills needed for women to gain a foothold professionally in the world. When I think about these two in tandem, it makes both become three dimensional in my head, and I feel that while much has changed for humans during the last two hundred years, relative to equal opportunities between different folks, not much has changed at all.Initially I began these paintings as a way to get into figurative work more, as in the human figure. Particularly in relation to figure ground, as in a person in a landscape. I played around with using photographs as a starting point, my own as well as images from advertisements. While the paintings took shape, I realized that my attraction to a certain type of image had meaning in relation to my experience as a person living here. In this landscape.” Barbara Hadden was born in 1955 in Hamburg, Germany, and spent her childhood in Europe and the Middle East. She studied painting, photography and filmmaking at the School of the Museum of Fine Arts, Boston. She was awarded an Alumni Traveling Fellowship from that school for her work in photography. Hadden was a finalist in the Regional Fellowships for Visual Arts, awarded through the New England Foundation for the Arts, and has also been awarded a Fund for Individuals by the Berkshire Taconic Artist’s Resource Trust. In the last decade, she regularly attended artist residency programs, which have deepened her commitment to landscape-based painting and photography. She lives in western Massachusetts.
“The circle as guitar sound hole, as record, as atom, planet, donut hole, of nothingness, signifying everything and everything left behind. In my work I have always been pulled towards making it, often unconsciously, eye hole, mouth hole, angry cry for help.”M P Landis has been working in various visual media since childhood. In 1989 he moved to Provincetown, MA to concentrate on painting and began exhibiting almost immediately in galleries there and was awarded a solo exhibition at the Provincetown Art Association and Museum in 1996. Soon after he moved to Brooklyn, NY where he lived and worked until 2015 when he and his family moved to Portland, Maine. Since 1990 he has been in over 30 solo exhibitions and many 2-person and group exhibits and is included in many public and private collections.
"I am often reflecting about how we feel in some sense separate from the natural world while always longing to be part of nature. It’s an existential dilemma, leaving most of us with a loneliness in just being. The photographs speak to that edge, that longing. I consider the forms of people like the forms of nature, often embracing natural environments yet posed and contrived. Never being able to make it ok, but always trying. For me it’s about youth and death and future space."David Macke is Artistic Director, YOUR NAME HERE: Theatrical Productions; Film director: Jeremy and Big Al. Visual work includes: Riverzine: A Tribute, in the collection of the Whitney Museum of American Art; Video Portrait Exhibitions: ArtSTRAND, AMP Gallery; Queer Portraits Videos; Queerocracy Symposium PhotoFeast. Art books: NY Art Book Fair, Artbook @ MoMA PS1; LA Art Book Fair, The Geffen Contemporary at MOCA; 80WES Gallery, Printed Matter Pop-up Shop, NY; 8 Ball Zine Fair, NY Art Book Fair at MoMA PS1. Artwork: Marginal Press, Tokyo; Art Metropole, Toronto; ARTBOOK@ MoMA PS1; PM@Walker Art Center; Printed Matter. Recently David was in the group show, “Divided States of America”, curated by Alison M Gingeras, Robb Leigh Davis and Stuart Comer.
"My work can be characterized by continuity and discontinuity: the continuity is reflected in the repeating qualities of the forms while the discontinuity reflects the variability shaped by my momentary experience. No two elements are ever the same. Slowly the ingredients, metal and movement, pins and paint, imagination, lights and shadows, come together to create a splash of color that is bigger than the sum of its parts.I express myself in metal, mostly steel and aluminum. For my twisted metal elements, I place one end of the metal in a vise while sliding the other end through a slit in the lower end of a “T” shaped primitive instrument that I built. I achieve the form of each element by using the power of my full body on the upper arms of the “T”, pushing and pulling against the inner strength of the metal. Mostly my strength overcomes the inner tension of the metal. Occasionally the strength of the metal wins in this game of arm wrestling, creating the unexpected ripples of the element that speak to the quality of the medium. Often my patterns are soft, contrasting the hardness of the metals; pleasing and agreeable to the senses they soothe their surroundings. This softness raises doubt about the hardness of the metal. Organic finishes, while exposing the true nature of the metal, create delicate silk-like ribbons. A recent piece, Order out of Chaos, was largely defined by the nature of the work of a national logistics company that receives containers of a product such as soap or cereal, and distributes them across the world to match orders. On the other hand, my piece Zandrian, was inspired by the play of colors of the work of Mondrian and responded only to my whim. The Cosmo Wave represents the playful stream of humanity that meets at the Cosmopolitan Hotel in Las Vegas to enjoy the elegant thrill of uncertainty and possibilities. The Wave is comprised of 380 unique elements; each unique and different like the people who are transported daily between gambling and conventioning. Like life, The Cosmo Wave, undulates to the rhythm of our breath.” Creating in three dimensions is a challenge that always interested Zammy. Working with raw metal, he brings life and motion to the new and recycled metal. His work does not intend to express a vision of the world, nor specific concepts. Rather they represent images that form in his imagination, which he wants to share with others. Forms connect to each other in space or in their relationship in space. Elements and their finished texture are manipulated to reflect the inner world of fertile and vital imagination. Zammy Migdal's work is found in private collections throughout the world and Art in Public places. He has had several gallery and museum exhibitions, including at the Armory Art Centerand at the Galerie Bernd A. Lausberg - Düsseldorf.
"These drawings are part of my daily drawing project for 2018. Inspired by making tea maps with my young students I would soak paper scrolls in tea each morning and from there the dot series began. Mostly working with ink, whiteout and sometimes acrylic paint, at first the dots were evenly ordered lines but then they became quite crowded together in a field of color. Then they gathered together to form organic shapes. Sometimes my morning drawing would be on tiny papers with words pieces stitched together and some of these drawings are four feet long and physically consuming.These drawings became my early morning meditations throughout 2018 and my best escape from the daily tornado of politics we are bombarded with. These days I've moved onto a single four foot drawing per week. The first of these are here too." Amy Solomon is an artist and arts educator with a BFA from Massachusetts College of Art and Design. Amy merges her dual interests in community activism and art via a monthly First Friday event at her Brookline Village art studio with the goal of empowering artists while raising funds for important causes. Amy was the principal organizer behind monthly exhibits benefitting the World Central Kitchen project to feed Puerto Rico following the devastation of Hurricane Maria. Amy also led a fundraiser for the McAllen Refugee Center in McAllen, TX, and art auctions supporting Tree of Life synagogue in Pittsburgh and the Christchurch mosque in New Zealand. Over the past year Amy received a grant from Jewish Collaborative Arts and had work shown at Post-Cubicle Gallery in Boston, MA and Chandler Gallery in Cambridge, MA.
"Lie in the grass or on a sidewalk or on your roof. Look at the sky. Feel your boots laced tight around your calves.Pile rocks. Get dirty. Take the t.v. antenna off your forehead. Be where you are, even for a snap. We are lured by the fastest, cheapest, biggest. We forget about authenticity. Art takes time. We are taught that there is value in canned, pre-packaged, foil-wrapped and zip-locked. There are too many plastic things marketed as originals. We all have stories to tell. Use this work as a prompt for your own story. Be present and see. Be curious." Lori Swartz began as a metal smith, creating sculpture, furniture and jewelry. She is also a painter, writer and a performer of circus arts (acrobatics, aerial fabric and aerial chain). Working as a multi-media artist has allowed her to express herself in ways that are both private and public. She does not have divided loyalties. She has one loyalty (art), with multiple expressions. Her work can currently be seen in galleries and boutiques across the country, on her website www.loriMetals.com and at her home studio in Madrid, NM.
Van Cauwenbergh’s works are resolutely abstract, and much of their success lies therein. These paintings work as pure paintings, which do not require references to the world outside of the picture -say to landscape, or to the body- in order to succeed. These paintings work because of the sureness of hand with which the medium is wiped onto the support, while leaving just the right amount of space for accidents to occur, the sureness of taste in the juxtaposition of colors and tones, and the artist’s expert editing skills. For Van Cauwenbergh knows when to stop, and he knows what works to eliminate from his oeuvre -for not all of these process-oriented paintings can achieve the right balance between tension and the sense of release, or relaxation. (Fragment from essay “Veils of Paint”, Michaël Amy, Ph.D, 2015)
Marc Van Cauwenbergh was born in Ninove, Belgium and lives and works in New York since 1994. He studied printmaking at the Higher Institute of Fine Arts Sint-Lucas in Ghent and holds an MFA in Painting from Pratt Institute in Brooklyn, NY while on a Fulbright-Hays grant.He has exhibited internationally since 1984 and his work is in private, public and corporate collections such as Leslie-Lohman Museum of Gay and Lesbian Art (NY), Collection of the Belgian Ministry of Foreign Affairs (Brussels, BE), Centre de la Gravure et de l’Image Imprimée (La Louvière, BE), Pratt Institute (Brooklyn, NY), EBES (Ghent, BE), St-Lucas (Ghent, BE), AMP Gallery (Provincetown, MA), and most recently at the Jason McCoy Gallery (New York, NY - online exhibition)
"My work is about relationships—and about separateness—but fundamentally the paintings are about the self. I'm interested in that place of tension between the containment and the expression of feeling, and in how to portray that visually.The paintings depict individual men, but they aren't portraits. The men inhabit a particular place, but it isn't real. It's an ambiguous, interior territory, where things are and are not what they seem. The paintings are like stages upon which dramas play out--theatrical moments--and the men who inhabit them are the actors. The reality lies in the emotional core of this world, intensely felt but highly contained. My model Lorenzo called it "emotional purgatory." Perhaps these are worlds of their own making—worlds with edges and outsides and unknown terrains beyond, just out of reach. For me the paintings are often as much about what isn't seen as what is. Although they're a group of anonymous men, they're at the same time in some way self-portraits. This is the region where desire and doubt, longing and reticence, intimacy and uncertainty coexist. It speaks of absence as much as presence." Forrest Williams has shown his work in numerous solo and group exhibitions in the US and Canada. Current solo exhibitions include: 2017 “Ghosts”, 2016 “Lowlands” and 2014 “Arrival” AMP, Provincetown, MA; 2010 “Crossways” Marx & Zavattero, San Francisco, CA; 2007 “Porches” Heather Marx Gallery, San Francisco, CA; 2005 “Passage” Heather Marx Gallery, San Francisco, CA. Recent group exhibitions include: 2013-14 “Hello, Goodbye” Dolby Chadwick Gallery, San Francisco, CA; 2012 “Two Loves – Sex, Art, and the Love That Dare Not Speak Its Name” Kymara Gallery, Biddeford, ME; 2012 “SEEN” Visual Aid Gallery, San Francisco, CA; 2012 “New York Academy of Art Sixth Annual Summer Exhibition” Flowers, New York, NY; 2011 “Sea Change” Marx & Zavattero, San Francisco, CA; 2011 “The Elegance of Refusal” Gensler, San Francisco, CA; 2009 “Seldom Seen” Leslie/Lohman Foundation; New York, NY; 2009 “Figuratively Speaking” Lyons Wier Gallery, New York, NY; 2008 “Color Key” The Painting Center, New York, NY.
"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. Prior to this career change, 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 drawn to move beyond the functional limits inherent in architectural and furniture design. Exploring new aesthetic challenges as a sculptor has become my current focus. Authenticity is far more important to me than the concerns of formal development. While I would not discourage intellectual reflection as part of the viewer’s experience with my work, I hope “thinking” is secondary to “feeling” and “sensing.” Toward the aim of evoking an emotional and sensory response in the viewer, I make intuitive choices regarding materials, the use of texture, color, and asymmetry. The archetypal spiral form often appears in my work, as does an irregular hand-drawn line. I bring decades of experience as an art-furniture maker and designer to my practice as a sculptor. My work is informed by a concern for craftsmanship and an intimate knowledge of how to shape and manipulate my materials. As the craft of what I do is now second nature, I am free to watch for the visual surprises that often occur as a sculpture evolves from sketch to mock-up, to the actual making of the final work. It is in these discoveries that I find opportunities for an authentic artistic expression to emerge." Rick Wrigley's work has evolved across disciplines: First as an Art Furniture-Maker, then as a designer and builder of houses, and currently as a sculptor. His career began with an apprenticeship to a classically trained British cabinetmaker. He then received a B.F.A. from the School for American Craftsmen, R.I.T., Rochester, NY. Recognized as an important figure in the Studio Furniture movement, Rick received a New England Foundation for the Arts Fellowship and participated in invitational exhibitions at the Smithsonian’s Renwick Gallery, The Boston Museum of Fine Arts, The Musee des Arts Decoratifs, Montreal, and The Silvermine Gallery in New Canaan. He won a Connecticut Commission on the Arts competition to design and make 44 large hearing room doors for the Legislative Office Building, Hartford. A pair of these doors was subsequently exhibited at the American Craft Museum, NYC. Rick's work is in the permanent collection of the Renwick Gallery. In addition to his studio practice, Rick has worked as an architectural designer/builder completing six houses in Provincetown MA. His most current work is as a sculptor. His sculpture has been exhibited at the Provincetown Art Association and Museum. He is represented by AMP Gallery in Provincetown where he shows regularly.