Galatea Fine Art: March 2016

Matthew Keller: furtherandfurtherandfurther
Carolyn Letvin: Am I Dreaming?
Amy Rizzico:The Impossibility of Atargatis

March 2-27, 2016
Opening Reception:  March 4, 2016, 6-8pm

Matthew Keller: furtherandfurtherandfurther

“futherandfurtherandfurther explores relations between communication, memory and perceptions of self through repetitive drawing processes, multiple layered recordings and ritualized performance.”

Carolyn Letvin: Am I Dreaming?

“I’ve been painting Jacob sheep for 14 years. When I began, I had no idea that they would engage me as a visual subject for such a long time! As when I started painting them, I still get a charge from the results of the combination of my hand, the medium and the subject. One of the things that has evolved through the making of them is that I’ve pretty much eliminated any identifiable background. I think the flat color background accentuates the negative space of the composition. To me, composition is, as with any piece of art, the most important element in the painting. No matter how well the picture is painted, if the composition is lacking, the piece will not be successful.

Sheep are often one of the first images we see in our lives. Think of all the nursery rhymes and children’s stories that involve or are about sheep. In my case, one of my very first memories is of painted wooden cut-outs of Little Bo Peep and her sheep that my mother had hanging above my crib. I can envision that room and how the “art” was hung to this day.

Maybe you, too, have some kind of formative visual in your mind about sheep. It could be that you use the tried and true method of falling asleep by counting sheep. Or maybe you connect with them for other reasons. Either way, I hope you will enjoy my paintings!”

Amy Cole Rizzico:  The Impossibility of Atargaris

“Silence can be deafening. Silence that is a result of suppression, even more so.  Silencing of a culture, identity or a movement is a violent act, often perpetuated through seductive means, positioned as a desirable safety net. We crave normalization and non-confrontation, whatever that means to us. We band together under the guise of commonality, agreeing in our silence to wipe clean our collective consciousness and alongside it, our historical context. We agree to wear blinders and turn our backs on each other in times of need.

Silencing of the feminine, specifically, has almost become tradition. The impossibility of Atargaris is an exploration of identity, place and the act of collective and individual silencing. This exploration takes place within the context of feminist-motivated art. Simultaneously seductive and interruptive, swaths of color and “painterly” line tangle with layered imagery, referencing historically “safe” feminine arts of decoration, pattern and kitsch, and more “dangerous” imagery, drawn from the story of Atargaris, the ancient Syrian fish-woman goddess, whose child became a dove. In an example of ultimate appropriation and suppression, the symbology of the dove and fish has been historically repurposed and culturally misplaced. Run through a juggernaut of religious and societal pressure, these symbols no longer exist to celebrate the feminine, but instead have been re-contextualized into common memory, representative of views, where woman is the ultimate betrayer with the blood of mankind on her hands.”

460B Harrison Ave., #B-6
Boston, MA   02118
(617) 542-1500

Hours:  W-F 12-6pm; Sa-Su 12-5pm

Press Contact:
Marjorie Kaye, Managing Artist

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