a beautiful cherry wood, chairside table crafted by Dick Walters of Shelburne
This gallery contains 12 photos.
Here is a glimpse of a few steps in this frame’s conservation and restoration process. Click the first image to enlarge and to progress through the restoration.
October 26-November 27, 2012
Brian Sweetland lives and works in Pawlet, Vermont. He travels the state
painting outdoors year round in the company of his beloved dogs. “Brian
Sweetland’s oil paintings of rural Vermont…have the immediacy of the
Impressionist tradition, and there’s an underlying compositional
architecture that is careful and deliberate and enduring. His subjects are
the threatened landscape, that which is bound to disappear, and he is
adept at capturing both its substance and its essence. Pastoral Vermont is
depicted lovingly, but not sentimentally…”.
Brian Sweetland was born in Wheaton, Minnesota in 1952 and was raised in
Montana, Oregon, Pennsylvania and Ohio. In 1977, his sketches caught the
attention of Dean Fausett, a prominent portrait, landscape and mural
painter, and Sweetland was invited to Vermont to continue his studies. A
grant from the Society for the Preservation of Traditional Values in the
Fine Arts helped Sweetland begin his apprenticeship. His first major
exhibit was held in 1980 in Middleburg, VA, and since then he has shown at
many galleries in Vermont, New York, Alabama, and Massachusetts, where he
has exhibited at the Copley Society and, in 1988, at the St. Botolph Club.
His work is found in the permanent collection of the Southern Vermont Art
Center and in many private collections around the world.
Exhibition Dates: September 21- October 23, 2012
Opening Reception: Friday, September 21, 6-8 p.m.
Dianne Shullenberger works in two distinctive mediums that both uniquely convey the intricate details found in natural objects and the outside world. Her detailed colored pencil drawings on black paper capture the luminosity that a photograph cannot easily convey. The fabric collages, composed of infinitely shifting shades of silk and other fabrics, transport one into the dimensionality and depth of nature, yet they have a playful surface quality that engages the viewer in a more abstract manner.
Shullenberger says of her work:
“The places I go, the outdoor activities I do are major influences in my fiber and colored pencil work. I have always wanted my work to take you with me or to provide an opportunity to share these special observations. I am a collector of all natural objects and apply the same philosophy I use when I buy fabric and thread: it will have a use sometime. I love detail so every piece of work is a study of light, texture, color,patterns and weather. When I squint my eyes I see objects fractured into the many colors that make up the shape. Layering of color is crucial in the way I work with both fiber collage pieces and colored pencil drawings.”
Abbey Meaker and Amanda Zackem create works that remain mysterious, even as they confront the viewer with a striking immediacy. Both artists’ works suggest narratives, yet refuse a single storyline. Instead, they drift on a dark current; like chapters unbound from the novel’s arc, these images hover, loosed from the imperative to resolve in a denoument. They retain the intensity of a plotline without succumbing to its linear progression, instead unfurling in a liminal space between storytelling and secret-keeping.
Curated by Amy Rahn as part of Furchgott Sourdiffe’s Guest Curator program.
Join us for the opening reception August 17!
Coming up July13th-August 14th, we will be showing “BIRD”, with work by Don Hanson, Valerie Hird, Beth Robinson, and Adelaide Tyrol. Join us for an opening reception on Friday, July 13th, 6-8 p.m.
Adelaide Tyrol is the curator for this exhibit which explores the bird kingdom through reality, myth, fantasy, and intuition.
Here is how she describes the show:
“All four artists in this exhibition look well beyond the avian bird form and deep into an exploration of how birds are part of our collective psyche. Since the beginning of time – through art, science, mythology, childhood memories, and daily life,-birds have populated our explanations of the world. The desire to imbue birds with supernatural powers is a universal one and time and time again we call on them to bridge a gap between the known and the ineffable. I like to think of each of these pieces as avatars- enigmatic beings that work in different ways to clarify and enrich our understanding of the world ”