February 1-28, 2014
Opening Reception:  Friday, February 7, 6-8pm

Non-human beings are the stars of Animalia, a show featuring work by Pamela Blotner, Terry Gips, Joe Kitsch, Cherie Mittenthal, Vicky Tomayko, and Meg Walker, at Galatea Fine Art (Thayer Street/SoWA) in Boston Feb. 1-28, 2014.

Monoprints, sculpture, paintings, and encaustics portray birds, insects, mammals, and other creatures with humor, reverence, curiosity, and sometimes attitude.

“These expressive works help us see the world through the eyes of other animals,” say curators Terry Gips and Brett Warren. “Though the show is fun to look at, it also encourages us to contemplate non-human entities in our daily realities and in our deeper, subconscious lives.”




Pamela Blotner, “Red Fox”, felted wool, mixed media, 14″ x 11″ x 12″

 Pamela Blotner is an artist and educator who lives and works in the San Francisco Bay Area. In her Berkeley studio, she creates sculptures and drawings reflecting on humankind’s relationship to nature, animals, science, and calamity. Her early experiences as a sculptor/illustrator for the Houston Zoological Gardens in Texas, and her later work with Human Rights Watch and Physicians for Human Rights, set her course toward and continue to influence her aesthetic and practice. Her sculpture, drawings and installations have been exhibited in Europe, Asia, Africa, and throughout the United States. 

   “My mixed media sculptures and drawings explore humanity’s relationship with nature and belief through both functional objects and symbolic forms made from wood, clay, and hand-felted wool-evocative materials that, with their long and varied multicultural history, drive both form and content.
   “I am interested in stories, folk stories, urban stories, and the wisdom that is passed down from one generation to the next, textured by landscape, heritage, and mythology, that shapes and maintains a culture and ensures its continued survival.” (,




Terry Gips, “Orange Sheep”,Water-based monoprint, 20″ x 24″ (framed)

Terry Gips has had numerous solo shows throughout the U.S. Her work has alsobeen exhibited in China, Germany, and Poland, and is in permanent collections at the Museum of American Art and National Museum of Women in the Arts in Washington, DC. She is represented by Galatea Fine Art in Boston. In addition to years of University teaching, she was Director and Curator of The Art Gallery at the University of Maryland, College Park from 1991 to 1999.

     “While living in Vermont in the 1980s, I had a small flock of sheep and came to question the stereotypes associated with them. They had individual personalities and were not dumb. I could recognize a particular lamb by the sound of its bleating, or a sheep at night by the feel of its fleece. In the late 1990s, I came back to sheep from a totally different place: I was an urban dweller, immersed in digital technology, cybernetics, and cloning. I made conceptual artworks about Dolly’s cloning, and examined the role of sheep throughout human history, intrigued by ostensible contradictions. Ultimate pastoral symbol? Or laboratory darling of science? The prints in Animalia are from ongoing portfolios of photographs and prints of sheep.” (,,”
Joe Kitsch, “White Rabbit in a Snowstorm”, Acrylic on canvas, 6″ x 8″

Joe Kitsch is a contemporary artist who works in a wide variety of media, producing conceptual pop art that plays with notions of perception and meaning. Originally from Philadelphia, Kitsch received a Masters of Fine Art degree from the University of Hartford. Kitsch’s work has been exhibited throughout New England and in New York City, and has been featured in The Boston Globe, The Boston Phoenix, Weekly Dig, and New Scientist, among others.

Kitsch also produces art events as an independent curator. He organized themed pop-up events under the name “Pirate Gallery” in Boston’s financial district and as the Art Kitsch(en) for SoWa First Fridays. He also put together “Echoes of Pop in the New Millennia,” a survey-style show illustrating the influence of Pop Art on contemporary artists for the Cambridge Art Association, and was juror for “The Joy of Life,” a national juried show at Galatea Fine Art. Most recently, Kitsch was invited to become a panelist for the Griffin Museum’s annual artist portfolio reviews.

Kitsch currently resides in Dorchester, Massachusetts, and is a member of the Cambridge Art Association and Galatea Fine Art. (,




Cherie Mittenthal, “Crow on Piling”, Encaustic on panel, 20″ x 16″

Cherie Mittenthal received her MFA from the State University of New York at Purchase and her BFA from the Hartford Art School at the University of Hartford. She has been the Executive Director of Truro Center for the Arts at Castle Hill since 2002. Cherie serves on the boards of Campus Provincetown and Provincetown Cultural Council, and partners with Highlands Center Inc. for the only wood-fired kiln on Cape Cod. Cherie’s paintings and work on paper are redolent of the meeting of sky, sand, sea, and sometimes animals-from crows to pigs to sheep. In her studio practice, she works in pigment sticks, mixed media, and encaustic. Her work is represented by Kobalt Gallery in Provincetown. She is co-producer of the International Encaustic Conference in Provincetown. (,,




Vicky Tomayko, “Victorian Interior”, Drypoint, silkscreen, and monoprint, 15″ x 11″

Vicky Tomayko is an artist and printmaker who works with a variety of techniques to create one-of-a-kind prints. She teaches at Cape Cod Community College, Provincetown Art Association and Museum, and at the Fine Arts Work Center in Provincetown. She also manages the print studio for the Fine Arts Work Center during the 7-month Residency Program, and for the Massachusetts College of Art Low Residency Masters Program, providing workshops and one-on-one instruction. She was Artist-in-Residence at the Cape Cod Lighthouse Charter School in Orleans for 10 years, was assistant professor of printmaking at Connecticut College, 1979 through 1981, and was awarded a fellowship at the Fine Arts Work Center in 1985. She received an MFA in printmaking from Western Michigan University, and has been the recipient of two Ford Foundation Grants. She is represented by the Schoolhouse Gallery in Provincetown, and has been included in exhibitions in New York, Boston, Miami, Los Angeles, Venice, Istanbul, Basel, and Melbourne.
“Unexpected surprises revealed by printed and layered images are an important and sustaining element in the creation of these monoprints. The images are created using myriad drypoints, etchings, inks, and a few stencils, with much regard for drawing, color, and the pentimento of the plates themselves. The story in each piece evolves as the work progresses, one element at a time on one-of-a-kind works on paper. The imagery stems from the life I observe in Truro. A narrative is often hinted at in the title, but the title is only meant to give a clue and a way to begin looking.” (,,




Meg Walker, “Marrakesh Bird”, mixed media, 49″ x 25″ x 21″

Born and educated in Scotland, Meg Walker is a graduate of Edinburgh College of Art and Moray House College of Education. She lives in the country in Vermont and spends time each year living and working in her native Scotland. Her work has been exhibited in solo and group shows in the United States, Britain, and France.

“I am trying to make work that triggers, for the viewer and myself, first surprise, then recognition, and then engagement. The “birdness” of birds is what attracts me. I like their gestures, the way they take off and land, the way they peck the ground, sit in a row on a telephone wire, or rise up together, swooping and dipping as one. Newspapers are records of time and place, and that is one reason I use them in my work. Newspaper, with its rawness and crushability and implied impermanence, appeals to me. It is still cheap and readily available wherever I go, but for how much longer?” (,

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