August 30 - September 22

Artists Opening Reception: Friday, August 30. 5-8pm. 
Art 'Round Town: Friday, September 6. 5-8pm. (monthly art walk in Portsmouth)
Free and open to the public. 

Inurn We Trust, Mortal Vessels of the 21st Century / Artist Statement / Auguste Elder
The wood-fired ceramics in this collection reference Etruscan canopic urns and votive offerings from approximately the 5th century BCE. Etruscan urns are historically significant in that they may represent some of Western civilization’s earliest attempts at individualized portraiture: biomorphic vessels that suggest the likeness and worldly/vocational roles of the persons inurned within. Exactly why the Etruscans chose to invest the deceased with vitrified bodies is up for speculation. However, it would not be a grand leap to assume it may have been to endow the dead with a vehicle by which to continue living out their lives in some form or manner beyond the limits of the ephemeral flesh.

The impulse to look back in time to adjust our gaze forward is essential to the survival of our species. Reflexively, I leaned into these mechanisms, and borrowed these historic forms to examine our relationship to life, death, memorialization, and the beyond. While our views certainly differ on what happens to us upon our passing away, what we leave behind in the way of words, actions, objects, deeds, and legacies eventually slips into the realm of the artefactual and archeologic. I entered into a dialog with this inescapable eventuality, speculating on how signs and symbols either endure or obscure. But equally urgent was the need to hint at the lives that have passed through, and continue to populate our collective conscience. The works before you offer those hidden, at risk, lost, discarded, invisible or on the run a vehicle by which to quietly stand their ground, to bear witness, and resist.

Burnt Out, Spaced In / Artist Statement / Katrine Hildebrandt

I am often left feeling conflicted when I reflect upon my own childhood religious upbringing and my current beliefs and values.  It is a troublesome subject matter for most people that affect our whole society. However, despite all the friction and chaos it may generate, there are many unifying elements that are found throughout almost all religions that unify us all. There is a peace and solace that religion practices bring, and there are the physical spaces that bring people together to worship and provide sanctuary.

My work references these sacred spaces, architectures, and geometries, drawing upon familiar visual signs or symbols and re-arranging them into inclusive and all encompassing layered maps.  Every drawing is a diagram of energies and forces that aim to connect the conscious with the unconsciousness through hypnotic and trance inducing compositions. Similar to a mandala which has an entry way and center point, I wish to take the viewer on a journey through various passage ways that challenge the viewers presence and awareness.

The process of handing burning paper is ritualistic and meditative in action, but it also reflects the duality of life, permanence and transience. “For dust thou art, and unto dust shalt thou return”


Talismans for Travelers / Artist Statement / Andrea Thompson
In my recent work I’ve been exploring themes of journeys and mapping, looking at the subjective ways we understand place and dis-placement. A new installation created for the 3S exhibition space, Talismans for Travelers, will consist of multiple elongated forms suspended overhead, made of steam-bent oak slats and a transparent skin of fiberglass. The organic shapes will suggest boats, or perhaps seed pods or cocoons, floating above the viewer. The Talismans will evoke a long-distance journey, a migration perhaps; and although their source and destination remain mysterious, they embody the kind of plucky, improvised resilience we all need to make our way in the world.

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Artist Bios


Auguste Elder:
Auguste Elder has studied pottery independently in Philadelphia, Paris, and New York City. He has been a visiting artist at Salem Art Works (SAW) since 2015, where he focuses primarily on wood-firing vessels and urns inspired by Japanese and Etruscan wares. His pottery is in the permanent collections of the New York Public Library and The American Buddhist Study Center, both in Manhattan, and has also appeared in Ceramics Monthly. Elder’s works have recently been exhibited in California, Illinois, Pennsylvania, New Jersey, and around New York State, including the international exhibition “Shapes of Influence Biennial,” juried by ceramist Simon VLevin, which seeks to showcase “the best in contemporary ceramics.” Auguste teaches art to high school students full time at The Calhoun School in Manhattan, NY, and ceramics at ClayHouse in Brooklyn, NY.

Katrine Hildebrandt:
Katrine Hildebrandt-Hussey (b. 1982) is a Boston-based visual artist whose work is inspired by sacred geometry and the metaphysical mapping of space and time. Using volatile processes like burning paper, the artist creates layered, geometric work. She primarily explores patterns, and meditates on the correlation between chaos and order, permanence and transience, and the interconnectivity of the universe. She earned her BFA at Hartwick College and her MFA in Sculpture at Massachusetts College of Art & Design.

Andrea Thompson:
I first came to the Boston area as a student at MIT, studying astronomy and physics. I continued at MassArt to become a graphic designer, and eventually took a sabbatical from the design world to become a sculptor.

Over the past decade, I have created site-specific installations in locations around New England and as far away as Japan, the Netherlands, and the Arctic Circle. I’m interested in the way an art installation can reframe visitors’ perception of a place: by using familiar elements in an unexpected way, by highlighting a history that is usually hidden, or simply by being a pleasant disruption of the hustle and bustle of daily life.