August 23 – September 15, 2024
August 10 – September 15, 2024
August 10 – September 15, 2024
June 29 – July 28, 2024
June 29 – July 28, 2024
May 18 – 25, 2024
October 6 – November 12, 2023
OCTOBER 6 – NOVEMBER 12, 2023
AUGUST 5 – SEPTEMBER 17, 2023
AUGUST 5 – SEPTEMBER 17, 2023
JULY 21 – 23, 2023
june 10 – july 16, 2023
november 3 – november 4, 2022
september 10 – october 30, 2022
july 9 – august 14, 2022
August 23 – September 15, 2024
August 10 – September 15, 2024
August 10 – September 15, 2024
June 29 – July 28, 2024
June 29 – July 28, 2024
May 18 – 25, 2024
October 6 – November 12, 2023
OCTOBER 6 – NOVEMBER 12, 2023
AUGUST 5 – SEPTEMBER 17, 2023
AUGUST 5 – SEPTEMBER 17, 2023
JULY 21 – 23, 2023
june 10 – july 16, 2023
november 3 – november 4, 2022
september 10 – october 30, 2022
july 9 – august 14, 2022
Installation view, works by Gabrielle D’Angelo, Carlos Enrique Martinez Ramos, and Gaby Collins-Fernandez.
A Word dropped careless on a Page
May stimulate an eye
When folded in perpetual seam
The Wrinkled Maker lie
–Emily Dickinson
Dickinson’s poem suggests many interpretations, fitting for a work concerning the long and unpredictable paths of symbols. A word stimulates—then explodes, its meaning multiplying long past the writer growing wrinkled and still. Dickinson offers the image of a perpetual seam for this infinite folding and unfolding. The seam is a metaphor but also a physical suture, implying that meaning emerges from material and from joining. Artists Gaby Collins-Fernandez, Gabrielle D’Angelo, and Carlos Enrique Martinez Ramos create joyful and layered works that elide linguistic pin-downs, generating pluralistic interpretations that elaborate over time and through the viewer’s imagination.
Installation view, works by Gaby Collins-Fernandez, Carlos Enrique Martinez Ramos and Gabrielle D’Angelo.
Perpetual Seam is organized by Boston-based artist and educator Rina Goldfield. Goldfield is currently Interim Co-chair of MFA Painting at Boston University and has held research fellowships at the Beinecke Library (2022) and the New York Public Library (2023). The artist received an MFA in Painting and Printmaking from Yale School of Art (2023) and a BFA from The Cooper Union (2010).
Full curatorial text can be found at this link.
Installation view, works by Gabrielle D’Angelo, Carlos Enrique Martinez Ramos, and Gaby Collins-Fernandez.
A Word dropped careless on a Page
May stimulate an eye
When folded in perpetual seam
The Wrinkled Maker lie
–Emily Dickinson
Dickinson’s poem suggests many interpretations, fitting for a work concerning the long and unpredictable paths of symbols. A word stimulates—then explodes, its meaning multiplying long past the writer growing wrinkled and still. Dickinson offers the image of a perpetual seam for this infinite folding and unfolding.
The seam is a metaphor but also a physical suture, implying that meaning emerges from material and from joining.
Artists Gaby Collins-Fernandez, Gabrielle D’Angelo, and Carlos Enrique Martinez Ramos create joyful and layered works that elide linguistic pin-downs, generating pluralistic interpretations that elaborate over time and through the viewer’s imagination.
Installation view, works by Gaby Collins-Fernandez, Carlos Enrique Martinez Ramos and Gabrielle D’Angelo.
Belongings is organized by Austin-based art historian Maggie Mitts. Mitts is currently a doctoral candidate at The University of Texas at Austin, researching the works and lives of sisters Rosemary and Bernadette Mayer. Mitts holds an MA in Art History from The University of Texas at Austin (2019) and a BA in Art History and English Literature from Williams College (2015).
Full curatorial text can be found at this link.
INSTALLATION IMAGES
INDIVIDUAL ARTWORKS
Gaby Collins-Fernandez, Not Better, Just Different, 2023, oil and acrylic paint and digital photocollage print on beach towel and chiffon, 68 x 52 in.
Gaby Collins-Fernandez, The Change Fell Out Of Your Eye, 2023, oil and acrylic paint and digital photocollage print on beach towel, chiffon, and double-sided sequins, 68 x 52 in.
Gabrielle D’Angelo, Sternum Lifted, 2024, pulp paint, flax paper, acrylic paint, yarn, paper mache, foam, 25 x 24 ½ x 6 in.
Gabrielle D’Angelo, Untitled, 2024, acrylic paint, paper mache, cardboard, cotton paper cast, 25 x 27 x 2 in.
Gabrielle D’Angelo, Up and Out, 2024, acrylic paint, paper mache, cardboard, plastic tubing, burlap, canvas, 22 x 23 ½ x 4 ½ in.
Gabrielle D’Angelo, Evening Walk, 2024, pulp paint, flax paper 18 ½ x 16 ½ in.
Gabrielle D’Angelo, Egg Beater, 2024, pulp paint, flax and cotton paper, 21 x 17 in.
Gabrielle D’Angelo, Sun Spots, 2024, pulp paint and string, flax and cotton paper, 20 ½ x 16 in.
Carlos Enrique Martinez Ramos, Flaming Blue Heart Thawing The Petrified, 2024, acrylic, ink, mica, holographic film on canvas, 9 x 12 in.
Carlos Enrique Martinez Ramos, Variable Self-portrait 5 – Circle manifold, 2024, acrylic, ink, mica, holographic film and inkjet print on canvas, 12 x 9 in.
Carlos Enrique Martinez Ramos, Quark-Gluon Plasma Aquarium, 2024, acrylic, ink, mica, and holographic film on canvas, 9 x 12 in.
Carlos Enrique Martinez Ramos, Transparency Atlas Holding Possible Worlds, 2024, graphite on paper, 9 x 11 ½ in.
Carlos Enrique Martinez Ramos, Retrato De El Niño Dios Y Epifanías En Enero Seis, 2024, graphite on paper, 8 x 5 in.
ADDRESS
112 Water St.
Williamstown, Mass.
01267
HOURS
Thursday: 11 – 6pm
Friday: 11 – 6pm
Saturday: 11 – 6pm
Sunday: 12 – 5pm
ADDRESS
112 Water St.
Williamstown, Mass.
01267
HOURS
Thursday: 11 – 6pm
Friday: 11 – 6pm
Saturday: 11 – 6pm
Sunday: 12 – 5pm