Mood Swing

Boston Sculptors Gallery presents Mood Swing, on view July 18 to August 18, 2024. Featuring ten invited, emerging sculptors, the works in the exhibition represent a shift in the maker’s attitude and mood. The sculptural works prompt the viewer to wonder if they should or could function, begging the questions: What do they do? Anything? As makers, their creations might function, yes. But in this case, the functionality is for the sake of sharing a narrative. Mood Swing showcases a series of stories—memorized, recorded, stored, and ultimately shared. Contained within these stories are questions about action and activation, curiously questioning what we do together and why. Their narratives allude to performance, the spectacle of art studio production, and the collective circus of art observation. Many of the artists enlist animal actors to tell their tales, portraying them negotiating the stressors of the world without being paralyzed by them, and enabling them to modulate the mood of the show and stabilize its swings. Animals are innately not self-conscious, and allegorical animals ease the telling of the sculptors’ stories, allowing the narrative to be received with fewer preconceived perceptions. These animal actors work to abstract human narratives and create archetypal stories. Through minimal representation of the human figure, these abstracted tales offer an alternative, more expansive understanding of our true nature and offer more generative models for being in the world.

Boston Sculptors Gallery

Julie Weiman: Seeking Solace

Artists’ Reception: July 19, 5 - 8pm, artist’s talk at 7pm First Friday Reception: August 2, 5 - 8:30pm Gallery Hours: Wednesday - Sunday, 11am - 5pm Julie Weiman’s exhibition Seeking Solace features textile works resembling garments, shrouds, artifacts, or ceremonial objects. Her process begins with commonplace materials—salvaged cotton and linen, old garments and patchwork—which she then dyes, assembles, and hand stitches together. She uses sustainable and mostly local dyes to produce a range of monochromatic hues.&nbsp; Primarily a painter, Weiman began to work with textiles over the last year. Colleague Nicola Vruwink of the Goat Gallery in Landers, California expands on Weiman’s practice: “Sharing with her painting methodology, her textiles are abstract compositions with intentional mark-making. At times approaching obsessive, the poetic compositions of various fabrics, threads, and at times copper wire, they contain elements of painterly marks and sculptural texture.” Weiman’s work has been shown in solo and group exhibitions in Boston, Los Angeles, Palm Springs, Joshua Tree, Indio, Bombay Beach, and with Asher Grey Gallery on Artsy. She studied at the School of the Museum of Fine Arts at Tufts University, Massachusetts School of Art and Design, and Anderson Ranch in Aspen, Colorado. She completed residencies at Vermont Studio Center and RUC Artist Residency in Lombardy, Italy. Weiman holds an MBA from Boston University. She lives between California and Massachusetts.

Keri Straka: Biological Tithing

Boston Sculptors Gallery presents Keri Straka: Biological Tithing, on view June 13 to July 14, 2024. Straka’s sculptural works conjure clusters of cells, tissue, organs, and bones, while posing intimate questions about the anatomy of the human soul as witnessed by the aging human body. Composed of stuffed and sewn textiles, bone-like ceramic forms, and found objects, Straka’s sculptures probe their soft landscape, luxuriously cascading outward. Tender gestures in pink intermingle with hard ceramic bits, pressing upward and receding back into vulnerable nylon membranes. Two series of related watercolors are also on display in the artist’s second solo show at Boston Sculptors Gallery. Straka’s delicate crimson watercolors compliment her sculpture, centering on circles, intersecting each other and other organic forms, alluding to cellular division, the moon’s phases, and the staining of menstrual blood. These circular perimeters serve to both harness and protect. While tithing is essentially the act of giving back a percentage of one’s income, and historically related to religion, Straka expands on the concept, wondering whether molted cells could be collected and used to patch and protect skin as it becomes threadbare with age or illness. Alternatively, she muses at the possibility of cells and tissues—broken, stray, and lost—being sutured back together, the artist’s needle and thread becoming a means of longevity. Keri Straka holds a Master of Fine Arts degree from Massachusetts College of Art and Design with a concentration in Ceramics.&nbsp;She is a Professor of ceramics at Framingham State University, and maintains her studio at The Mills Contemporary Art in Framingham, MA. Keri Straka: Biological Tithing runs concurrently with Claudia Olds Goldie About Face.

Claudia Olds Goldie: About Face

Boston Sculptors Gallery presents Claudia Olds Goldie: About Face, on display June 13 to July 14, 2024. This exhibition represents a turning point for the artist as she invites playfulness and spontaneity into her ceramic figures and portraits. While she maintains meticulous attention to detail, an organic quality now prevails alongside the intricate surface decorations which previously dominated. The work in About Face evolved during a tumultuous time for Olds Goldie. The first pieces she created for the show appeared to be sagging or dissolving, reflecting the weight of the political and social environment. But then a difficult set of circumstances took her away from the studio for many months. Upon her return, Olds Goldie found her work unfolding in unanticipated ways as she approached her practice with greater flexibility and ease. She explains, “My excitement to be working again, and my willingness to accept simplicity and fluidity, is in many ways a reversal of my previous premeditated approach.” This proved to be an “about face” for the artist. While Olds Goldie’s female figures have always manifested strength and determination, they now embody an even greater sense of fortitude in their carriage and demeanor. The show also features a series of ceramic heads created by shaping hollow built forms from the inside out. Much to the artist’s surprise, male faces evolved alongside the female portraits, and unexpected—yet welcome— relationships, connections, and dialogue ensued. Claudia Olds Goldie: About Face runs concurrently with Keri Straka: Biological Tithing.

Donna Namnoum: Incarnation 

Donna Namnoum’s exhibition Incarnation features ceramic works exploring the covered jar as a mode of expression. In this evolving series, the aesthetics of the vessel is a persistent interest, as it has been throughout the artist’s career. Discreet components of each work are mainly made on the potter’s wheel, and then altered and assembled to create energetic dynamic forms, many of which are inspired by plants. Namnoum’s jars sport lids sprouting plant-like, organic, and abstracted forms, delighting viewers as they seem to grow, twist, and even wilt. Unusual surfaces and color combinations are integral to the work as the results of the glazing process after firing are inherently unpredictable. The artist’s goal is that uncertainty and experimentation are visible, while simultaneously conjuring familiar images—some easily recognizable, others more vague and mysterious. Namnoum received a Masters Degree in Art Education and Ceramics at the Hartford Art School of the University of Hartford, CT. She worked as an art teacher and administrator in Connecticut public schools for 35 years until her retirement. Now working full-time as an artist, Namnoum maintains a home and studio in Canton, CT.&nbsp; She has exhibited at venues throughout New England and the United States, and her work has been featured several times in Ceramics Monthly Magazine. Most recently, her work was exhibited at the New Britain Museum of American Art, and in the national juried show AONE at the Silvermine Gallery in New Canaan, CT.

Jessica Straus: Packing for Mars

Black humor, longing, and regret are at play in Jessica Straus’s exhibition Packing for Mars, on view at Boston Sculptors Gallery April 4 – May 5, 2024. Straus looks forward with dread to a future when humans must flee a devastated Earth to settle on far flung, arid worlds. Yet, the artist is not packing gear for survival in a desolate landscape but, rather, offering poignant reminders of what has been left behind. Masterfully carved wooden figures stand-in for everyman and everywoman as they gaze longingly earthward from the moon, Mars and the star fields. Fragile hand-sewn earth spheres reveal vulnerability in their delicate stitching. In a particularly poignant series, Straus whittles plant specimens from her native New Hampshire, transforming them from humble grasses into botanical treasures. Packing for Mars looks both backward and forward in time, as we each contemplate the preciousness of the environment we love and on which we all depend. Jessica Straus has exhibited widely at venues including DeCordova Museum, Fuller Craft Museum, Danforth Museum, Sculpture Center in Ohio, New Britain Museum of American Art in CT, Qorikancha Museum in Peru, and ArtTerritoire in France. In the summer of 2024, Straus will mount a solo exhibition at the Brattleboro Museum in VT, and her work will be featured at the Jewish Museum in Portland, ME. Jessica Straus: Packing for Mars runs concurrently with a “Off Center” of Marilu Swett. First Fridays April 5 &amp; May 3, 5 - 8:30pm Artist’s Reception Saturday, April 13, 2:30 – 5pm Artists’ Talks 2:30 – 3pm Artist Meet &amp; Greets April 6, 20 &amp; 28, 11 – 5pm May 4, 11 – 5pm

Marilu Swett: Off Center

Marilu Swett’s solo exhibition Off Center features new sculpture and drawings acknowledging a time of dissonance. As Swett explains, “Rapid shifts in contemporary culture, communication and concern for the planet can create dissonance, a dissonance that increases as changes are more deeply felt. This can throw a person off center.” In response to this state of off-centeredness, Swett has created a series of off-balance, often humorous abstract mixed media sculpture, using materials including plaster, wood, and foam. The wonderfully droopy, awkwardly lumpen, and sometimes prickly forms are both humble and proud, sporting titles like Pet Peeve, Vertigo, Snafu and Small Worry. A dramatic layered drawing surprises viewers as it cascades off the wall and glows greenish in the dark, while a tightly trussed form thick with paint impasto sits alone on a stool. Individual pieces reach to regain balance and a sense of composure. Swett has exhibited throughout the United States, and has work in several corporate collections including Bank of America, Fidelity Investments, Meditech Corporation, and New England Biolabs. She is the recipient of a First Light award for the Town of Brookline, MA; a residency for iron casting at the Maryhill Art Museum in Washington state; a New England Foundation for the Arts Fellowship in Sculpture; a Somerville Arts Council grant; and a Massachusetts Artists Foundation Studio Exchange grant. Swett has been an Associate Professor of Art at Montserrat College of Art in Beverly, MA. A greater-Boston native, she lives and works in Jamaica Plain. Marilu Swett: Off Center runs concurrently with Jessica Straus: Packing for Mars.

Ed Andrews: Random Order

Ed Andrews’ solo exhibition Random Order features a new series of polychrome metal wall sculptures embracing the tenets of maximalism, “more-is-more” and “less-is-a-bore.” These visually rich compositions combine an assertive palette, intuitive layering of patterns, and the careful application of intricate details. Personal expression is integral to Andrews’ process, decoration and ornamentation are celebrated and visual complexity is standard procedure. Using an eclectic approach of incorporating multiple influences and challenging stereotypes, Andrews’ work pushes boundaries and defies established norms while embracing the vibrant diverse world we share. Andrews’ process begins by cutting aluminum sheets into geometric and organic shapes and applying complex patterns in bold colors. He then stacks the layers together, juxtaposing shape and color combinations to create an oscillating effect. Floating on the supporting wall, the works gain further depth through the complicated shadows they cast. Andrews holds a BFA from Kansas City Art Institute and an MFA from Indiana University. He taught fine arts for forty years at Northeastern University, Washington University, and the University of Kentucky. Grants and awards for his work include a Massachusetts Artists fellowship, NEA Visual Artists fellowship and M-AAA NEA fellowship. Andrews has exhibited at the Fuller Craft Museum, deCordova Sculpture Park and Museum, and Socrates Sculpture Park. His work was recently installed at Boston’s new Logan airport terminal E for the Delta Airlines Skyclub. He has been a member of Boston Sculptors since 2016. Ed Andrews: Random Order runs concurrently with Leslie Wilcox: OUTWITS First Friday Reception March 1, 5–8:30pm Artist's Reception &amp; Talks Saturday, March 16, 2–5pm Artists’ Talks at 3pm Artist Meet &amp; Greets March 3, 9 &amp; 23, 11–5pm Gallery Hours Wednesday – Sunday 11–5pm

Leslie Wilcox: OUTWITS

Leslie Wilcox’s solo exhibition OUTWITS is the second in a trilogy of exhibitions that contend with our cascading global climate catastrophe. Extracting weather-beaten driftwood detritus from the beach and ocean, Wilcox petrifies the wood, then gilds it, and adds patinas and metallic screening, providing protective armament against further damage and destruction. Wilcox’s previous show ROTTEN encouraged audience collaboration, offering paper and pens where gallery visitors could express their own personal feelings, opinions and concerns, some even contributing drawings. Inspired by these comments, the new work is paired with many of these anonymous “witticisms” such as: “What can I offer my children when the corrupt steals their future?” “It’s too LATE SCREWED” (accompanied by a drawing of screw and screwdriver). Followed by “EARTH WILL BE FINE. HUMANS AREN’T NECESSARILY PART OF IT.” “WIT has truth in it; wisecracking is simply calisthenics with words.” - Dorothy Parker, 1956 A founding member of Boston Sculptors, Wilcox lives and works in Boston’s South End. Her work is featured in collections including Boston’s Museum of Fine Arts, Fidelity Investments, Federal Reserve Bank, Boston College, Brandeis and Harvard Universities, and DeCordova Museum and Sculpture Park, Lincoln, MA. Wilcox also completes public outdoor installations and is reviewed regularly in regional and national periodicals. OUTWITS runs concurrently with Ed Andrews’ Random Order.

Leslie Wilcox’s solo exhibition OUTWITS is the second in a trilogy of exhibitions that contend with our cascading global climate catastrophe. Extracting weather-beaten driftwood detritus from the beach and ocean, Wilcox petrifies the wood, then gilds it, and adds patinas and metallic screening, providing protective armament against further damage and destruction. Wilcox’s previous show ROTTEN encouraged audience collaboration, offering paper and pens where gallery visitors could express their own personal feelings, opinions and concerns, some even contributing drawings. Inspired by these comments, the new work is paired with many of these anonymous “witticisms” such as: “What can I offer my children when the corrupt steals their future?” “It’s too LATE SCREWED” (accompanied by a drawing of screw and screwdriver). Followed by “EARTH WILL BE FINE. HUMANS AREN’T NECESSARILY PART OF IT.” “WIT has truth in it; wisecracking is simply calisthenics with words.” - Dorothy Parker, 1956 A founding member of Boston Sculptors, Wilcox lives and works in Boston’s South End. Her work is featured in collections including Boston’s Museum of Fine Arts, Fidelity Investments, Federal Reserve Bank, Boston College, Brandeis and Harvard Universities, and DeCordova Museum and Sculpture Park, Lincoln, MA. Wilcox also completes public outdoor installations and is reviewed regularly in regional and national periodicals. OUTWITS runs concurrently with Ed Andrews’ Random Order.

Caroline Bagenal: Swimming Sculptures

Caroline Bagenal’s exhibition Swimming Sculptures comprises sculpture, embroidered photographs and video based on her experience of swimming in tidal rivers and lakes. With her uncanny sculptures attached to her body, Bagenal takes to the water and swims with them, activating and transforming the work as it marks the movements of her body and the water’s currents.  In August 2021, Bagenal fell off her bike, broke both arms, and cracked her jaw. Swimming outdoors was an important element in her recovery and is the inspiration for this series of work. Now freed from gravity, her body became a receptor with heightened senses and, for a time, just another being in the river’s ecosystem. The swimming sculptures are made from recycled woven plastic, bubble wrap and other materials that float. They derive in part from the artist’s embroidered photographs, which function as part of her creative process—a kind of drawing with thread which she uses to imagine future sculptures.  Caroline Bagenal was born in Scotland, and now lives in Cumbria, UK. She has an MFA in Painting and an MA in Modern Art History, Theory and Criticism from the School of the Art Institute of Chicago. Her work has been shown widely in both the UK and the USA, including The Maritime Museum in Liverpool and OIA Gallery, New York. Bagenal has received numerous awards and artist residencies, most recently in 2023 at Cove Park, Scotland.

Jodi Colella: But It Doesn’t Hold Water

But It Doesn’t Hold Water, Jodi Colella’s third solo exhibition at Boston Sculptors Gallery, marks an exciting new direction for the artist as she introduces ceramics to her expansive repertoire of skills and techniques. Known primarily for her work centering around fiber and textiles, Colella intermingles her acts of craft and care with hard clay vessels, exposing an introspective moment in her practice. Vessels, which historically functioned as containers for sustenance, here cannot hold water. Defying the rules of engagement, Colella pushes the clay against stress and breaking points before it hardens to solid form. The results are lumpy and misshapen, riven with cracks and orifices. They feel vulnerable, fungible and porous to the world. In a signature gesture of mending, she stitches them with thread and adds bits from her trove of domestic materialities – quilts, drapes, upholstery, clothing, unfinished needlepoint, and toys. Colella contrasts rigid with soft, rawness with refinement, and invites a state of “unfinish” that reads as tenderness. In this exhibition, the pointed exterior narrative, so crucial to the artist’s prior work, has come undone. Instead, Colella’s deliberate acts of control and resistance unravel to reveal an interiority previously tightly protected. The work in But It Doesn’t Hold Water quietly embodies both the frailty and the strength of surrender. Colella’s exhibitions include The Textile Museum in Washington D.C.; Textile Center, Minneapolis; Fuller Craft Museum, Brockton; Danforth Museum of Art, Framingham; and Da Wang Culture Highland in Shenzhen China. She has collaborated on several public art projects, and her work is held in multiple museum collections. Colella has featured in The Boston Globe, Surface Design Journal, The Woven Tale Press, Vasari 21, Artistry in Fiber, and <a href="https://onebox.scenethink.com/creator/events/TextileArtist.org">TextileArtist.org</a>. She is the recipient of a Massachusetts Cultural Council Fellowship and the founder of Fiberlab. Jodi Colella: But It Doesn’t Hold Water runs concurrently with Roya Amigh: Beyond Us. Artists’ Reception &amp;Talks Saturday, November 11, 2 – 5pm. Talks at 3pm with guest artist/curator Patricia Miranda Artist Meet &amp; Greets November 11, 25 &amp;amp; December 10, 11am – 5pm First Friday Reception December 1, 5 - 8:30pm

Roya Amigh: Beyond Us

Roya Amigh’s solo exhibition Beyond Us narrates women’s personal, cultural, and political experiences— highlighting social activism and examining the impact of these events on everyday life—while honoring and preserving their memory. Constructed from fragments of paper and fabric hand-stitched together, the intricate forms feature her detailed narrative drawings created by gluing tread on paper.  From the intersection of the women's movement and individual experiences, Amigh builds bridges and raises questions about our collective identity and social history through the lens of gender and sexuality. Encouraging reflection on the body and its most intimate parts, she employs fragmentation in her work inviting viewers to contemplate the sense of fragmentation often experienced by women. Through the depiction of various women's movements, Amigh establishes ties to societies frequently marginalized as “other,” shedding light on the cross-cultural, patriarchal persecution of women. Her sculpture breaks down concepts and experiences into small components and reunites them to proudly occupy space, and to resound boldly through women's voices.   Amigh holds an MFA in Painting from Boston University. Her work has been exhibited in academic and public venues from Korea, to Greece, to the U.S., including New York, NY: Boston, MA; Lincoln, Nebraska; Providence, RI; and Wellesley, MA. She has held residencies at MacDowell, Art Omi, MASS MoCA, and The Millay Colony for the Arts, among others. She was awarded a Massachusetts Cultural Council Fellowship in Drawing and Printmaking in 2020 and a Pollack-Krasner Foundation Grant in 2022.  Roya Amigh: Beyond Us runs concurrently with Jodi Colella: But It Doesn’t Hold Water.  Artists' Reception &amp; Talk 11/11 2-5pm. Talke at 3pm with guest/curator Patricia Miranda First Friday Reception 12/1, 5-8:30pm Artist Meet &amp; Greets 12/7 12/8 and 12/9 11am-5pm

Eric Sealine: Still, Life

Boston Sculptors Gallery presents Eric Sealine: Still, Life, on view October 5 through November 5, 2023. The exhibition showcases Sealine’s affinity with a range of media and building techniques—skills gained not only as a visual artist, but as a carpenter, ship-keeper, and architectural modelmaker, among other “day jobs.” Viewers are treated to a magical miniature house made of mirrors, a diorama of the artist’s workspace, figurative pieces both drawn and carved in wood, and not one, but two waterfalls. Sealine’s work is enchanting and poetic, with a droll sense of humor. The artist adds, “I have always built things. Along the way I’ve learned to work with a lot of materials and disciplines. For each of us, every new skill we gain has the effect of multiplying the possibilities of our existing ones. The work in this exhibition was built in the wake of a life-changing experience. After a serious motorcycle crash, I’m very glad to be alive, and it shows in the work. For me, each piece in the collection is like a physical haiku—a concise poetic offering.” One of the artist’s favorite pieces is Somebody’s Home (pictured above). A small house, meticulously crafted in wood, is flooded up to the windows—submerged in clear green plexiglass water—yet a light shines out from the upstairs window indicating that somebody is home, and life carries on. Eric Sealine: Still, Life runs concurrently with Peter DeCamp Haines: Archaic Echoes. ﻿SOWA First Friday Receptions October 6 &amp; November 3, 5 – 8:30pm Reception &amp; Artist Talks Saturday, October 21, 2 – 5pm Artists’ talks begin at 3pm Artist Meet &amp; Greets October 14 &amp; 28, November 5, 11am – 5pm

Boston Sculptors Guild

Peter DeCamp Haines: Archaic Echoes

Boston Sculptors Gallery presents Peter DeCamp Haines: Archaic Echoes, on view October 5 through November 5, 2023. The exhibition features his grand Archaeology of the Subconscious, a collection of 1000 small abstract bronzes the sculptor has been working on for forty-five years. DeCamp Haines explains further: “My interest in psychology and anthropology has deeply informed my art. The clearest expression of this is a series of 1000 elemental bronze ‘artifacts,’ begun in 1978 and added to yearly. Metaphorically, I think of the collection as An Archaeology of the Subconscious – universal archetypes that recall the archaic materiality of our ancestors. The presentation is on a 6’ x 22’ table, arranged as a collection of ancient objects, tools, or effigies that might be seen in an old museum. I work in a modernist tradition. For me, the process of sculpting is not the execution of a design. Rather, it is a search for shapes and images that appeal to my taste. From the miasma of a lump of wax, objects emerge like images seen in an inkblot or in the night sky. I refine and essentialize the sculptures with an eye to true form, negative space, and composition.” Abstraction is a way to convey the relationship between man and ancient universal sources. ﻿ -Isamu Noguchi Peter DeCamp Haines: Archaic Echoes runs concurrently with Eric Sealine: Still, Life. ﻿SOWA First Friday Receptions October 6 &amp; November 3, 5 – 8:30pm Reception &amp; Artist Talks Saturday, October 21, 2 – 5pm Artists’ talks begin at 3pm Artist Meet &amp; Greets October 21 &amp; 29, November 4, 11am – 5pm

S22: conversations

Wondering what to do in Boston? Places to eat? Free activities? Good for a group? Date night spot? Girls night out? The best things to do? Ask Joyraft!

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The most fun, cool and unique things to do in Boston. Can’t miss events, shows and experiences. Concerts, restaurants, bars, free things in Boston and beyond.

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S11: happening this weekend

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S21: roundups

Our top picks: outdoor dining, free events, spring festivals, best bars, upcoming concerts, museum parties - the latest in and around Boston.  Slug: joyraft-top-picks-best-things-to-do-boston-ma

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S28: calendar experiences

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S3 (A): trending experiences

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S17: interest based

Your guide to everything free in and around Boston. From events, to fairs, to festivals, to outdoors. Joyraft has all the free events happening near you.

100+ free things to do in Boston and beyond

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Where to eat and drink in Boston? Joyraft has Boston’s newest bars, restaurants and specials. Drinks and pre fixe dinner menus. Cambridge & Somerville too.

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Experiences

Mood Swing

Julie Weiman: Seeking Solace

Keri Straka: Biological Tithing

Claudia Olds Goldie: About Face

Donna Namnoum: Incarnation

Jessica Straus: Packing for Mars

Marilu Swett: Off Center

Ed Andrews: Random Order

Leslie Wilcox: OUTWITS

Leslie Wilcox: OUTWITS

Caroline Bagenal: Swimming Sculptures

Jodi Colella: But It Doesn’t Hold Water

Roya Amigh: Beyond Us

Eric Sealine: Still, Life

Peter DeCamp Haines: Archaic Echoes