[ngg src=”galleries” ids=”268″ exclusions=”5940,5919,5924″ sortorder=”5925,5923,5920,5934,5921,5927,5937,5942,5940,5941,5933,5931,5919,5935,5938,5918,5922,5924,5936,5939,5928,5930,5932,5929,5926″ display=”basic_slideshow”]June 1 – July 14, 2021
An arresting use of light characterizes each of these 22 prints by eleven printmakers. The distinctive voice of each artist is made manifest by the specific way they render visual light, representing it in ways that are at times realistic, metaphorical, abstract, somber or serene.
Light is a dramatic force in the high contrast world of Nancy Haver’s woodcut landscapes, while it is softly romantic in the monotype water-scapes by Judith Wolf. The particular light of the sea and sky ‘scape by Joan Wright evokes an intimate, perhaps late evening time. The richly colored light in the delicate floral drypoint/ monotypes by Olwen Dowling is evocative of dappled sunlight. Raking light is used to great effect to emphasize the majesty of the women in Julie Rivera’s portraits, while light forms mysterious reflections Suzanne Artemieff’s photopolymer interior/exterior etchings. Liz Chalfin’s delicate mixed-media pieces of shadows can be read as the power of light to create its own reality.
Several prints represent abstracted light, manifesting light through formal means. (After all, color itself is simply light reflected.)
The affecting drypoints of chickens and cows in Meredith Broberg’s“Appetite” series are metaphorically trapped in, or illuminated by, cages of light. Maggie Nowinski’s abstracted cellular forms seem to generated their own other-worldly light, while Tekla McInerney’s subtle monotypes are worlds created by pulling light out of darkness. Lastly, Carolyn Webb’s intaglios on delicate papers nearly capture fragments of light itself.
I thought the concept of light particularly resonant now, this year, this season: we can begin to see in a new light. In addition, I think each piece is very beautiful.
Anne Beresford Curator Statement, June 2021