Sasha Chavchavadze’s mixed-media drawings, paintings and installations focus on the disappearance of things in the natural world and through the passage of time. In her mixed-media paintings, she builds up layers of vintage fabric, acrylic paint and collaged drawings to create tapestry-like surfaces. The words of forgotten women mentors, or neglected amendments to the U.S. Constitution (Clean Air Act, Voting Rights Act) are sometimes applied to the warp and weft of the fabric. Inspiration has often come from an old Wellfleet house, that Chavchavadze’s Russian émigré grandparents lived in for fifty years. Images of artifacts and skeletal forms – horseshoe crabs, box turtle shells – suggest loss and change.

Chavchavadze's work has been exhibited widely for twenty-five years, including: the Luise Ross Gallery and Cooper Union Gallery, NYC; Kentler International Drawing Space and the Rotunda Gallery in Brooklyn, NY; Bangs Street Gallery and DNA Gallery in Provincetown; the Arkansas Art Center, Little Rock; the Museum of Literature, Tbilisi, Georgia;  She has received numerous awards and residencies, including as a 2018 Visiting Artist at the American Academy in Rome. Her visual work and writing have been published in the art and culture magazines Cabinet and Bomb, and as a book (Museum of Matches, 2011). Chavchavadze has presented her work in workshops at the Museum of Modern Art; as a TEDx talk; and as an artist talk at the Wellfleet Public Library and DNA Gallery in Provincetown.

www.sashachavchavadze.com

Phyllis Ewen lives in Massachusetts, with studios in Somerville and Wellfleet. Her art is in public collections, including the Boston Museum of Fine, the DeCordova Museum, the Boston Public Library, Harvard University, the Reykjanes Museum of Art, and numerous corporate and private collections. Ewen’s work has been shown widely. In 2017, Ewen’s work was in a well-received 3-artist exhibit at the Reykjanes Museum of Art in Iceland, Við Sjónarrönd/Above And Below The Horizon, a two-person show, Imprint, in York Maine, and a solo, Land and Water, at the Lesley University Spotlight Gallery. In 2018, she had a solo show, Flux & Flow, at Off Main Gallery, Wellfleet, and Deep Time, at the Kingston Gallery in Boston. Her work was included in HOW’S YOUR WEATHER? 7 Artists Respond to Climate Change, at the Grimshaw-Gudewicz Art Gallery, Bristol Community College, Fall River. She has had several solo shows in Cuba and at the A.I.R Gallery, where she has been a member since 2005.

"Our earth is not a stable entity; we live on its very mobile surface.
The natural world is far from settled but ever changeable"

The movement of the earth’s surface has been a source of inspiration and imagery for more than a decade. I explore anthropogenic climate change and its effect of land and water: rising seas, drying rivers, shifting coasts and volatile geothermal terrains. My palette includes umbers, ochers, crimson, and sienna, blues and greys. Maps, charts, and photographs form the basis for my work. Many I turn into 3-dimensional reliefs allowing us to imagine ourselves within the piece. Others are unique multilayered pigment prints created from photographs of the beaches of Cape Cod. These I modify in Photoshop and, by hand, with drawing in graphite, paint, and pastel.

www.phyllisewen.com

For Terry Gips, subject matter and concept are more important than choice of media although she often uses photography directly or indirectly. She returns to some subjects, such as natural forms, repeatedly. She’s particularly interested in the intersections of land and water, the chaos of nature along with its orderly patterns, and environments altered by humans.

Her work has been shown throughout the US and in China and Germany. Solo exhibitions include Tweed Museum of Art in Duluth, Light Work Gallery in Syracuse, Troyer Fitzpatrick Lassman Gallery in Washington, DC, 112 Workshop in NYC, Harmony Hall Art Center in Maryland, Galatea Fine Arts in Boston, and Sarah Doyle Gallery at Brown University. Her work is collections at the National Museum of American Art and the National Women’s Museum in Washington as well as other public and private collections. Gips was awarded grants from the National Endowment for the Arts and the Fine Arts Sea Grant program at the University of Rhode Island. 

www.coldmeadow.com/index.html

In a landscape, the edges of the paper define a small, specific piece of the infinite space of the world, at a particular time, from my particular point of view. The space on the paper is a metaphor for existence: the image is a record of my physical experience of that place. Each piece of work, whether it is a painting, drawing, print, collage, or book, is a dialogue: an interaction between the materials, internal experience, external experience, observation, ideas, and memory.

artbarbaragordon.com

At this time my work is about showing up daily...

without intention or direction, rather, connecting with what lies within and bringing it into visual form.

I would say I respond to the psychological drama that is with us all... the human condition.

Susie Nielsen works across mediums to explore meaning and context. Her projects are made with the viewer in mind. How do we communicate without relying on what we know?

She brings disparate content together to make formal connections, while scraping away specifics. In painting and printmaking, Nielsen pulls language from science and foreign language books and signage that is imposed over layers, adding and subtracting to create new meaning. She leaves room for ambiguity, unfinished meaning. “We are always trying to know, part of what I am interested in is unknowing and not knowing, two different ways of being in the world”.

Susie Nielsen is an artist, designer and curator. She has a MFA from Rhode Island School of Design an undergraduate degree from Northeastern. Originally from New York, she lives in Wellfleet.

Narrative and making meaning have been at the center of all my artwork. This not only reflects my interest in this kind of representing through artmaking but also my previous work as an English professor. My fascination with printmaking is personal: as the son and grandson of printers, I feel that printmaking allows me to pay tribute to the craft my father and grandfather practiced; I am drawn to making art that is repeatable and historically tied to images in books, political posters, etc. The most compelling reason is the process it always experimental and holds an element of surprise.

My way of working is in series--producing prints that are thematically and technically related. Each series is informed by some theme and bits of poetry and combining new techniques. In many works, I combine drypoint and monoprint techniques. Newer works are screenprints, which allows for both graphic and painterly elements and the making screens that use text and/or photos.            

My MFA is from the University of North Carolina-Chapel Hill. Further study includes Penland School of Art (North Carolina), Zea Mays Printmaking (Florence, MA), Fine Arts Work Center (Provincetown, MA), Provincetown Art Association and Museum (Provincetown, MA).

I had an Artist Residency at the Tyrone Guthrie Centre, Annaghmakerrig, Newbliss, County Monaghan, Ireland in the summer of 2009; was Artist in Residence, Cambridge University, Homerton College, Cambridge, England in printmaking and bookmaking 1998. I taught at Art New England for two summers, 2001 and 2002.

I have been in many group shows including: Arts New England Faculty Show at the Plum Gallery in Williamstown, MA; Castle Hill Center for the Arts, Truro, MA, Provincetown Art Association and Museum, I have participated in members’ shows. Solo exhibits include: Cambridge University, Homerton College, the Monroe C. Gutman Library at Harvard University the Wellfleet Public Library Gallery in Wellfleet.

As a part of my work as an associate professor at Lesley University, I started established two galleries of which I was Director/Curator: the Marran Gallery, from 2001-2011 and the Atrium Gallery, Lesley University from 2007-2013, which both exhibited work of students, faculty, community artists.

My interest in printmaking grew out of a long-standing fascination with the expressionist woodcuts of the Brücke and Blaue Reiter groups active in Germany at the beginning of the 20th century. I began as a printmaker carving woodblocks and printing them and eventually moved on to include the many intaglio, relief, and monotype methods available to the contemporary printmaker.

My original training was not as a graphic artist, but as a musician and as a linguist. As such, I became accustomed to thinking abstractly. I am attracted to simple forms, and making abstract images on plates is a pleasing way of thinking for me. The challenge of trying to achieve in non-representational art the aesthetic clarity that is found in music is a constant, informing my efforts as a printmaker.

www.hanniwoodbury.com