November 23 - December 30

Gallery exhibit Rock/Paper/Scissors combines Universal Forest, a micro/macro environment by Juliet Karelsen complemented by the layered papercuttings of Dylan Metrano.

Universal Forest / Juliet Karelsen / Artist Statement:

In all its various forms and configurations, my work cross references painting, stitching, tapestry, rug making, embroidery, abstract art, fantasy, landscape, textile, miniature worlds, and even science - from botany to mycology to planetary and solar - touching on the micro and macro scales. Are we looking out into the vast universe? Down at an exotic petri dish or at the lichens and moss on the forest ground? Although not overtly political, sadly, nature has become a political issue.

In a world where daily interaction with plants and trees and moss and lichen (etc!) is increasingly rare, even disappearing, my work points to the importance of taking the time to slow down, notice and protect the jewels of the forest, the world and the universe. As Denise Levertov says in her poem “Sojourns in the Parallel World”: We live our lives […in] / A world / parallel to our own though overlapping. / We call it ‘Nature’; only reluctantly / admitting ourselves to be ‘Nature’ too.

Papercuttings / Dylan Metrano / Artist Statement:
This series of layered papercuttings show the subject range I like to work with: portraits, animals, and scenes from the unique landscape of my home, Monhegan Island. The works created for Rock/Paper/Scissors push beyond the sum of my body of work and into the strange and unexpected. Inspired by whimsy and abstraction, I allowed those elements to sneak into this new body of work. ----

Juliet Karelsen:

Juliet Karelsen received an MFA in painting from The School of the Art Institute of Chicago and was granted a full scholarship to attend the Skowhegan School of Painting and Sculpture. In 2015 and 2016 she participated in fiber workshops at the Haystack Mountain School of Crafts on Deer Isle in Maine and began experimenting with various forms of stitching, embroidery and mixed media. Her work has been shown in Maine, New York City, Boston, Ohio, and abroad in Spain, Argentina and Switzerland. She was born and raised in New York City and has been living in Maine (mostly) since 1991.

Dylan Metrano:
Dylan Metrano cuts and layers portraits, animals, and architecture from colorful paper. He grew up in Newburyport, MA, where he was an active member of the theater and music communities. He co-founded the annual Free Art Show, which gives away hundreds of art pieces in boxes located throughout Newburyport and beyond each December.

Dylan currently lives on Monhegan Island, ten miles off the coast of Maine, where he’s been inspired by a landscape trapped in time. Its centuries‐old buildings and migratory birds have been carefully rendered in his meticulously cut paper.

Drawn to the simplicity of form, the boldness and relationships of colors, and cleanness of composition, Dylan’s artwork is entirely comprised of cut and carefully layered paper.

Dylan is a self‐taught artist, and has had his artwork featured on numerous album covers, book covers, posters, and in exhibitions throughout New England. He has shown work at the Newburyport Art Association, the Rockport Art Association, The Lupine Gallery (Monhegan, ME), Archipelago (Rockland, ME), Nahcotta (Portsmouth, NH), and many other galleries.

In February 2016, Scholastic published “Every Day Birds“, a children’s book which Dylan illustrated with his papercuttings.

Dylan also plays in the bands Tiger Saw and Cape Snow.

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September 28 - November 12

Article 23 of the Universal Declaration of Human Rights states, “Everyone has the right to do a job, to a fair wage for their work.” The foundation of the American economy certainly relies on underrated jobs performed by unsung hero-workers. Although the fruit of their labor benefits the American lifestyle, society fails to see and value the individual employee; his or her existence is taken for granted as a cog in the machine. My paintings make visible those who are invisible by honoring them in their humble activities, instead of depicting them as victims or second-class citizens.

Unglamorous jobs are performed by members of the lower social class; immigrants are included in this by default. Tapping into surreal aesthetics, my work features spiritual and mythological entities taking human form in the bodies of hard-working individuals. Their heads represent powerful symbols from different cultures. Underneath each painting lies a collage of photos that could have been taken from each worker’s photo albums. These vignettes show the richness of each culture, and sources of pride: vintage family pictures, folk traditions, patriotic festivities, religious ceremonies, landmarks, traditional dress and dishes. This background signifies the very fabric of cultural identity and individual self-respect.

Delving deeper than just outward looks, we can discover that underrated workers are endowed with a cultural wealth that could be a source of enrichment for all. When social tension based on ignorance and prejudice is running amok, my goal is to bring forth a perspective that invites us to view them in a different light.

Artist Bio
Sammy Chong:

Sammy Chong is a first-generation Ecuadorian, from a large artistic family of Chinese descent. In his early adulthood, Chong began a career in Graphic Design, working in an international advertising firm. However, after a near-fatal car accident, he became more aware of, and sensitive to, larger transcendental issues.

Chong completed his undergraduate studies at at Universidad Católica del Ecuador, Quito, Ecuador, and Universidad Javeriana, Bogota, Colombia. He pursued his transcendental interests at the Weston Jesuit School of Theology, Cambridge, earning a Master’s degree. His formal art studies began at the Massachusetts College of Art, and later he received a Master of Fine Arts degree from Tufts University/School of the Museum of Fine Arts, Boston (2012).

The following are recent solo exhibitions of Chong’s work: “The Twelve”, Pelham Arts Center, Pelham Art Center, Pelham, NY (2017); “MINOS: Tribulations of an Imagined or Not Creature”, Level One Gallery, Boston College, Chestnut Hill, MA (2016); “Tales of [dis]Engagement”, Carney Gallery, Regis College, Weston, MA (2015); “Layered Effects”, Krause Gallery, Providence, RI (2014); “Ex Situ”, ArtSpace Gallery, Maynard (2014).

A selected list of recent group exhibitions in which his work was shown includes: “Facing the Wall”, VETS Gallery, Providence, RI (2018); “The Gig Economy: Depictions of Life and Responses to Work in the Digital Bazaar”, Mills Gallery, Boston, MA (2018); “The Future of Work”, Atlantic Wharf Gallery, Boston, MA (2018); “Space Invaders”, Fountain Street Gallery, Boston, MA (2018); “2017 National Prize Show", Kathryn Schultz Gallery, Cambridge, MA (2017); “Public Domains”, Chazan Gallery, Providence, RI (2017); “Emerging Artists 2016”, Limner Gallery, Hudson, NY (2016); “Nowhere, Everywhere”, Thompson Gallery, Weston, MA (2016); “25th Annual Juried Competition”, Bowery Gallery, New York, NY (2016).

Chong is the recipient of the following honors and awards: Winner, “Who.Are.You?: (Re)Presentation and Challenge”, Atlantic Gallery, New York, NY (2018); Winner, “The Biennial 2017 Alexander Rutsch Award for Painting”, Pelham Art Center, NY (2017); Juror's Painting Award, “First Annual Juried Exhibition”, Gallery 334, Milton, MA (2016); 1st Place, “The 3rd Annual Juried Competition”, Milton Art Museum, Canton, MA (2014); The Marie Perry Award, “Celebration of 50 Years”, Bristol Art Museum, Bristol, RI (2014).

Chong’s current professional activities include a position as an Assistant Professor in the Fine Arts Department at Boston College. He teaches Figure Drawing, Portraiture, Painting, and Drawing Foundations courses. He keeps an art studio in Jamaica Plain, MA. His studio practice builds on the concept of social identity in contemporary urban life.

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Continuing in the tradition of re-photographic projects, the Internet and immersive travel simulators, such as Google Street View and Bing Streetside, are used to virtually journey to sites where iconic images from the history of photography and cinema were created. Photography, cinema, and newer technologies like Street View share a relation as mediums that have been used as surrogates for travel and a way of augmenting our lived experience. While serving a similar impulse, each platform delivers its own unique perception of reality. In choreographing a mashup of content that offers varied perspectives of a place, the iconic image is overlaid with the virtual landscape and then, relying on the vernacular of the digital image, allow an intelligent computer process to determine how those two sets of information will interact and composite.

To further the dialogue between the camera’s witnessing of the physical landscape and the mediated experience of its virtual equivalent, the images are written back into by glitching them with information gathered while researching the locations of the photographs. Navigating the Internet to find these locations is an exercise in traversing a hyperlinked set of stories, dead ends, data sets, news accounts, and testimonies. These signposts are presented below the image in an arrangement that produces a dialogue between the physical world and the datastream, past and present, banality and spectacle, filmic narratives and anonymous landscapes, amongst many other unanticipated relations. The works seek to leverage these complex layers of mediation in creating a new form of image that asks questions about our experience or non-experience of places through the proxy of the electronic image.


Jon Horvath: Jon Horvath is an interdisciplinary artist routinely employing systems-based strategies within transmedia narrative projects. He received his MFA in Photography from UW-Milwaukee in 2008, and a BAS in both English Literature and the History of Philosophy from Marquette University in 2001. Horvath’s work has been exhibited internationally in solo and group shows at venues including: The Print Center (Philadelphia), FIESP Cultural Centre (Sao Paolo, Brazil), Gyeonggi Art Center (Suwon, South Korea), OFF Piotrkowska (Lodz, Poland), Newspace Center for Photography (Portland), the Haggerty Museum of Art (Milwaukee), INOVA (Milwaukee), Colorado Photographic Arts Center, Manifest Gallery (Cincinnati), Johalla Projects (Chicago), and The Alice Wilds (Milwaukee). His work is currently held in the permanent collections of the Philadelphia Museum of Art and the Haggerty Museum of Art, and is included in the Midwest Photographers Project at the Museum of Contemporary Photography. Horvath currently teaches in the New Studio Practice program at the Milwaukee Institute of Art & Design.

Hans Gindlesberger: Hans Gindlesberger’s creative practice engages a broad range of photographic thinking and making. While remaining uncommitted to a singular approach or aesthetic, his work is anchored to an ongoing interest in places, whether real, manufactured, or imaginary, and in playful subversions of the photographic process. He received an MFA in Photography from SUNY Buffalo in 2006. His projects, spanning photography, video, installation, and new media, have been exhibited at Galleri Image (Aarhus, Denmark), Gallery 44 (Toronto), the Mt. Rokko International Photography Festival (Kobe, Japan), the Voies Off Festival (Arles, France), the Flash Forward traveling exhibition, and FILE Media Art (São Paulo, Brazil). He has lectured nationally and internationally at venues including the International Festival of Photography (Belo Horizonte, Brazil), Central Saint Martins, University of the Arts (London), Edinburgh University (Edinburgh, Scotland) and numerous universities throughout the United States. Recently, his work has been published in BLOW Photography Magazine, Diffusion, LensCulture, AintBad, and the Flash Forward Tenth anthology, published by the Magenta Foundation. Currently, he heads the photography program at Binghamton University in upstate New York.

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JUNE 16 - JULY 22

M. D. Acuff (Washington, USA) / Anna M. Clark (New Hampshire, USA) / Rachael Dease (Perth, Australia) / Brandy Leary (Toronto, Canada) / Justin Levesque (Maine, USA) / Cara Levine (Los Angeles, USA)

Each of the listed artists were fellows in The Arctic Circle’s Summer Solstice expedition in June 2017. The Arctic Circle residency program brings together international artists of all disciplines, scientists, architects, and educators who collectively explore remote and fascinating destinations aboard an ice-class Tall Ship (S/V Antigua). The residency takes place in the international territory of Svalbard, a mountainous Arctic archipelago just ten degrees from the North Pole.

----“There is a growing discrepancy between the increasing scientific certainty about anthropogenic interference with the climate system and a decreasing concern and popular support for ambitious and effective climate policies… A number of tentative explanations of the climate paradox have been proposed, including:climate change perceived as distant in both time and space,the lack of a global treaty and political action,the quest for economic growth,the financial crisis,the complexity of the problem leading to numbing and helplessness,cultural filters,cognitive dissonance,limited individual responsibility,an active counter-campaignand denial as a fear-avoidance strategy.The default response from many climate scientists and policymakers to what they perceive as a lack of the public to respond adequately to “facts” has been to increase the volume and amount of information. This approach to climate science communication has failed…”-Per Espen StoknesRethinking climate communications and the “psychological climate paradox”----

Stoknes offers the use of stories and narratives as one possible antidote to the psychological barriers that inhibit individual action in response to climate change.First we ask: What can these new stories look like? What imaginaries are possible under the Anthropocene? What ways of representing the Arctic run the risk of perpetrating further paradox? How can we manifest a troubled relationship to images and objects? How might new technologies help or hinder the realness of a remote place or a distant time?And further: How can we endure an encounter with catastrophic loss by allowing ourselves to sense it? How does the body filter, respond to or contain this grief? Is there resilience in the process of grieving when the land itself must be mourned? Can data be used to measure how we mourn for the disappearing Arctic? How does one ask for consent from the Arctic?In response to these questions, Freeze-thaw presents works in the form of video, photography, sculpture, sound, VR, and performance.


M. D. Acuff:
Acuff sees art making as a strategy for materializing knowledge, a way of constructing meaning from the world. Their recent work speaks to the tangled web of relations—aesthetic, ecological, and material—that define the period in human/geologic history now known as the Anthropocene. Acuff uses images and object to frame the fantasy, nostalgia and denial that characterize this precarious, human-driven, relationship to the planet and its inhabitants.

Anna M. Clark:
Anna M. Clark is a Brooklyn-based artist and writer originally from Portsmouth, NH. She is the co-founder of Montez Press, a publishing company that publishes texts which strive to write against current critical modalities and theoretical dogmas. She holds an MA in Food Studies from NYU, a BA in Fine Art from the University of Montana, and studied Creative Writing at CalArts. Through the gathering of evidence in the form of found material, video, drawings, and text, Anna creates various surfaces which captures elusive features of the intimate, the intuitive and the subjective. At this time, she works most with sound, text and performance.

Rachael Dease:
Dease is a composer and sound artist who has an interdisciplinary approach, often using installation, film or theatre to present her work. Her primary focus and research for the past several years has been twofold – Exploring how humans relate to death, it’s ritual and the grief process surrounding; and the ever-evolving world of space exploration - using data and technology from various agencies to create scores and soundscapes on which to base new work.

Brandy Leary:
Leary is a performance artist, dancer and acrobat whose work is concerned with entanglements of bodies and landscapes. In following this thread through her past work into future choreography, she links climate disruption, processes of colonial contact/settlement, the evolution of capitalism as the dominant economic system, the attempted genocide of Indigenous peoples and our current dependency on extraction practices, as inter-related actions that have re-shaped our landscape, bodies and climate patterns.

Justin Levesque:
Levesque approaches his interdisciplinary practice with a consideration for the materiality and tradition of formal photography and its relationship to new consumer technologies, image-culture, objects in space, and systems. His work for Freeze-thaw is provided by several components from a connected network of distinct but related projects made in response to Arctic image consumption, data as the new divine, spatial simulacrum, and corporeal denial.

Cara Levine:
Levine explores the intersections of the physical, metaphysical, traumatic and illusionary through sculpture, video, photography, and socially engaged practice. Her work centers around the idea that the Arctic Landscape cannot be captured through language. While on the Antigua, she repeatedly inserted herself in the landscape in attempt to create language over the landscape. What resulted was a cacophony of images, still and moving, that fail to articulate the indescribable nature that is the “Arctic Landscape.” In further response to this failed attempt, she has written an essay around land-use and consent to be included in the exhibitions related print collateral. Levine wonders: how can artists approach this place and do it justice in their representation?

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JUNE 1 - JUNE 10

3S Artspace, in partnership with The Drift Collective, presents: Young Americans. This exhibit presents work created by young artists (ages 13-25) growing up in America today. From the personal to the political, every generation and every individual has a voice.

Artists include:
Elizabeth Adams, Sadie Ball, Abigail Bargdill, James Brannan, Melissa Ciarelli, Izabella Clark, Emily Croteau, Nicholas Daly, Jenya Damsky, Nicholas Dundorf, Naomi Ellsworth, Megan Farr, Daniela Flint, Blake Fream, Josh Gennaro, Cade Giordano,
May Hoover, Jack Hurley, Margot Kavanagh, Bridget Kelley, Elizabeth Kostina, Isabelle Layman, Patricia Leonard, Corina Lombardi, Andrew Lombardozzi, Archibaldo Lora, Erick Maldonado, Gabriel Mata, Collin McLean, Olivia Vicarro, Mya Poluchov, Harry Pont, Emma Porter, Mary Provencal-Fogarty, Nathaniel Purdy, Hope Robb, Kaitlyn Robicheau-Hall, Isabella Schwind, Anabelle Souza, Courtney Stackpole, Naomi Torres-Ortiz, Emily Tozier, Jeremy Veldhuis

Due to an overwhelming number of submissions in photography, we are expanding the exhibit to our lobby to bring you Young Americans: Photography.

Photography Artists:
Jack Hurley
Theodore Jaffrey
Allison Lessard
Hannah Newcombe
Brooke Northrup
Kate Nowell
Jessica Speechley

Congratulations to the award winners!
Bridget Kelley is the recipient of the 1st place Drift Featured Artist Award.
Andrew Lombardozzi is the 2nd place award recipient in the 13-19 age division.
Nathaniel Purdy is the 2nd place award recipient in the 20 - 25 age division.

About The Drift Collective:
The Drift Collective is a local shop in Portsmouth, NH. Doubling as a creative design space, Drift repairs and recreates secondhand clothing on location, bringing new value to unwanted basics and forgotten vintage apparel. With a devotion to creativity, Drift aims to design clothing that speaks to the individuality of their customers, while rejecting the fashion industry’s mass produced values.

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APRIL 27 - MAY 20

Artist Statement:
“The more we are willing to become authentic rather than conventional, and the more unique, unconventional, or creative a being we are… the more we need to eschew conditioning for aliveness.” ~Brené Brown

Transgender is not just about one experience, not linear and not simple. Each transgender person is unique with incredibly diverse experiences yet we are united in a common struggle.

Portraits in this series are of individuals all over the world who are living their lives out in the open, and choosing integrity over safety. To live openly as transgender requires personal courage to live authentically in oppressive environments.

The artist deliberately uses no natural skin tones, instead drawing upon vibrant rainbow colors deliberately chosen to take pride in our intersectional identities uniting us in celebration.

The artist paints all clothing in gray-scale using simple black paint on white canvas. Choosing gray-scale (especially in the cases of many fashion trailblazers) helps to not distract from the vibrant living breathing souls represented while carefully respecting their style.

This series is a direct response to the oppression experienced by transgender people as they reclaim space, both literally in larger than life portraits and figuratively under a vast blue sky.

May joy, power, and blue skies be a reality for transgender and gender non-conforming community everywhere.

Brief Artist Bio:

Fine artist, designer, and muralist, Rae Senarighi is best known for vivid colorful abstracts, intricate typography, and bold transfixing portraits of modern icons.

After studying fine art at the University of Montana (2000,2004), Rae finished his BFA degree at the Art Institute of Seattle in 2009. He received a Hall of Fame Award from the Art Institute of Seattle in 2011.

Rae’s detailed, thoughtful works are influenced by nearly a decade of scientific illustration, studying the natural world in micro and macro. His illustrations have been internationally published in Cell, Nature, Gertrude Press, and Science Magazines among others.

After facing cancer in 2015, Rae refocused energy into creating fine art. Rae is a transgender non-binary artist currently living and working in Portland, Oregon. His most recent works, TRANSCEND, in which he masterfully captures the brightness in twelve transgender culture-makers, will be touring nationwide in 2018.

Presented with generous support from the Fishbaugh Family and in support of Seacoast Outright.

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March 30 - April 22

3S Artspace,in partnership with the Women’s Caucus for Art, New Hampshire chapter, is thrilled to present Glass Ceiling: Limitless View, a juried exhibition.

Glass Ceiling: Limitless View presents a dynamic and carefully curated selection of contemporary artists’ reflections on the concept of the Glass Ceiling as well as the Limitless View that one can have regardless of where you perceive your position relative to the Glass Ceiling. Artists were asked "Where and how has the idea of the Glass Ceiling affected you? What joys and/or sorrows do you relate to gender or to society’s notion of gender? Power? Potential? Limitless view?" 80 artists submitted work for consideration, and 13 artists' work was selected, including the work of: Beverly Alomepe, June August, Rachelle Beaudoin, Sally Bomer, Merill Comeau, Tanya Fletcher, Samantha Jones, Heather Lyon, Aimee Margolis, Annette Mitchell, Laura Morrison, Ashley Normal, and Dayna Talbot.

Glass Ceiling: Limitless View is curated by Bethany Engstrom- a curator, artist, and educator living in Belfast, Maine. She is associate curator at the Center for Maine Contemporary Art in Rockland, Maine and was previously at the Farnsworth Art Museum. She has taught as an adjunct instructor at Unity collage and the Intermedia MFA program at University of Maine. Bethany received a BA in Art History, her MFA in Intermedia, and an Interdisciplinary PhD in Intermedial Collaborative Practices, all from the University of Maine. She is currently an artist in residence at the Ellis-Beauregard Foundation and she was a 2013 fellow at Mildred’s Lane.

Please join us for an opening reception from 5-8 pm on March 30. Curator, Bethany Engstrom, will share thoughts about the exhibit at 7pm and many exhibiting artists will be in attendance.

The Lobby Gallery @ 3S Artspace will feature work by WCA NH artists and provide an opportunity for the public to engage in a public art piece.

About The Gallery @ 3S Artspace

The Gallery @ 3S Artspace is an incubator of ideas, facilitator of original content, and advocate for contemporary artists. Each year the gallery presents exhibitions that highlight unprecedented innovation across disciplines, celebrate artistic excellence, encourage lively discourse, and foster an unwavering appreciation for the vital role that art plays in our community.

About The Women’s Caucus for Art

WCA celebrates the successes of its women artists not only in NH but also on a national level. WCA NH is part of a national organization that promotes the advancement of women in the visual arts through educational programs, networking and exhibition opportunities.

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February 9 - March 11

Artist Opening Reception: Friday, February 9 5-8pm

Weaving Legends - MARGARET B. RUSSELL

Artist Statement

My looms and I share an infatuation with the fibers that we spend our days and nights with. To my core, I am a texture weaver. It is the robust fibers, raw and untethered, that make this heart beat even faster. The affection between weaver, her looms and her fibers is a love story. My pieces clearly define this union. All are woven exclusively of natural fibers and intrinsically feature the timeless beauty of simple functional design.

Weaving with wool is my métier, specifically the wools of primitive, rare, and threatened British sheep breeds that are being raised in the UK and the USA, often in the face of adversity. These are not the marketable and profitable meat sheep or soft and fluffy white breeds that were preferred by those who persistently culled flocks with “less desirable” characteristics. Separate watchlists in the two countries vigilantly monitor their vulnerable population numbers to prevent further losses. With all of this in mind, I work to promote awareness of these breeds and aid in their conservation through my weaving by using their unusual and often little-known wools.

For the past several years and for more to come, I am dedicated to weaving an extensive private collection of “Preservation Wraps”. Using the naturally colored and textured wools of watchlisted breeds, the wraps are designed and woven to look as if they were lifted right from the sheep themselves. These animals are walking archives going back hundreds and even thousands of years. A wealth of research accompanies each wrap. The stories I am able to share from my research are as crucial as the collection itself. Some are sad accounts of tragedy and loss, while others are celebrations of triumph and survival. Weaving Legends is my tribute to these storied sheep and their wools. When complete, there will be over seventy pieces in the collection.

Artist Bio

Margaret B. Russell is a self–taught handweaver with over 35 years of experience. A childhood filled with an abundance of textiles and tales told of ancestral weavers from Ireland and wool workers from England added formative influences, but in her mind she was always destined to be a weaver. As one, Margaret has upheld the tradition of her forebears, something she particularly values.

Vintage looms of many sizes fill a devoted weaving studio and study in Byfield, Massachusetts. A getaway on Badger’s Island, Kittery, Maine provides a space dedicated to historical research. Margaret’s handweaving workshops, classes, presentations, and piece displays are offered at arts and fiber centers, conferences, galleries, and guilds.

February 9 - March 11

Artist Opening Reception: Friday, February 9 5-8pm

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Amass and Disperse - FAFNIR ADAMITES

Artist Statement:

Using feltmaking, papermaking and other traditional craft processes, I create sculptural and installation work that act as monuments and reminders of trauma, intuition and the legacy of emotional turmoil inherited from past generations. Using repetitious processes in the creation of the work allows me to physically engage with and meditate on the concepts I am working with. Material exploration and discovering ways to embed meaning into the materials is the starting point for all of my artwork and plays a key role in building the conceptual backing of each piece. There is a Sisyphean element to both the physical labor and the conceptual ideas. Retracing the path of ancestors, repeating personal patterns, physically reenacting gestures – acknowledging both my place as a maker within this context and the irresolvable nature of the concepts themselves.

Brief Artist Bio:

Fafnir Adamites holds an MFA degree from the Fiber and Material Studies Department at the School of the Art Institute of Chicago and a BA in Photography and Women’s Studies from UMass Amherst. She teaches at Snow Farm: The New England Craft Program, Massachusetts College of Liberal Arts and at The Academy at Charlemont. She lives in Turners Falls, MA.

January 5 - February 3

Opening Reception: Friday, January 12 5-8pm

Botanical Transmutations: Selections From The Form and Space Series - NATHAN SULLIVAN

The inspiration for my work often starts with small and mundane things. I find meaning can be contained in the smallest things, and poetry in the simplest moments. My practice is bound in phenomenology and my focus is directed at experiences with the natural world – its space, time and physicality. My works are drawn and painted to present and reflect upon prosaic objects and moments in order to bring attention to the ignored, the forgotten, and the unseen. It is the microcosms that are entries to greater understandings. The Form Series explores the associative power of natural forms. By the alterations of scale, placement and context, the forms explored lose their concrete cognitive associations. The resulting images become indeterminate signifiers that viewers may readily associate with a multitude of objects and readings, resulting from their own experiences, and personal narratives. Through simultaneous recognitions, patterns emerge: natural forms beget associations of other, universal possibilities. The idea for the Space Series continues to seed its inspiration from observations of natural forms. The series reimagines these forms’ sources of origin, scale and orientation. The invented environments that these forms inhabit or create explore alternative evolutions. They imagine a world that may be after, without or elsewhere from the human centric world in which we reside. Neither an utopian nor dystopian gesture, the work seeks to create a visual space that is both unexpected and bewildering yet familiar enough to inspire contemplation of different ways of being and seeing. In a moment of recognizing the beauty that is to be found in the different, the unexpected, and the ignored, we are reminded of our fallibilities of judgment. My hope is that at its least, the work may stand as a prompt or aide-memoire; that value and judgment may be constructs; and that things of import may be in unlikely places, right under our noses, or feet. At its best, it -may function to explicate multiplicity of the social order, of difference, in equal regard.

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October 14 - December 16

Opening Reception: Friday, November 3 5-8pm


The Museum of Art of the University of New Hampshire and 3S Artspace collaborate to bring Seacoast audiences FLEXTIME an innovative and immersive experience centered on sculptor David Katz’s wet-clay site-specific installation. Originally planned for exhibit at the Museum of Art by its Director Kristina Durocher, the curatorial aspirations expanded beyond the boundaries of the University’s campus gallery. Moving the exhibition to 3S’s soaring white-box gallery offered Katz space to stretch his sculptural practice. The Gallery at 3S Artspace is thrilled to host FLEXTIME, and looks forward to inviting the public in to witness David Katz's installation process.


David Katz is a sculptor and installation artist who working primarily with ceramics and unfired clay and currently living in Providence, RI. David received a Bachelor of Fine Arts degree from the University of Wisconsin in 2005 followed by a Masters of Fine Arts in ceramics from Indiana University in 2012. David currently teaches at Ceramics at Rhode Island School of Design in Providence, RI where he has worked since 2014 as a Visiting Critic, Assistant Professor, and Interim Department Head. Before working at RISD David was the Ceramics Technician and faculty member at Bennington College in Bennington, VT. David has completed residencies at Greenwich House Pottery in New York City (2006-2008), Guldagergaard – International Ceramics Research Center in Denmark(2011), Arrowmont School of Arts and Crafts in Gatlinburg, TN(2012-2013), and Watershed Center for Ceramics in Newcastle, ME(2014). David’s work has been widely exhibited throughout the United States, Europe and Asia in both group and solo exhibitions in addition to numerous commercial acquisitions.

Artist Statement: David Katz

My work considers various aspects of the human condition, reflecting an awe and bewilderment at life and societal tendencies. I am interested in representing contradictions I perceive in human activity such as tendencies of expansive growth and restrictive constraint, vitality and impermanence, order and chaos. Fabricated ceramic components and found objects within my installations refer to the cultural artifacts constructed to support societies and represent the ways we live. The use of unfired clay as the primary substance supporting, consuming, and providing a backdrop for these symbols of social construct emphasizes the fallibility and temporality of life and the systems, structures, and innovations upon which we rely. Works are suspended in space as foreign interventions, encroaching on the comfort and expectations of viewers in hopes of exposing reflections of our accepted realities.


FLEXTIME was organized by the University of New Hampshire and curated by Kristina Durocher, Director, Museum of Art, supported by the UNH Arts Initiative. The UNH Arts Initiative is a donor-funded project that supports UNH arts programming in New Hampshire, taking the great art created in Durham to all corners of the State. Additional support was provided by 3S Artspace.

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October 7 - October 8

Opening Reception: October 7, 5-8pm

Catalyst: The Artist-Mentor Dialogue



Michele Johnsen
James O’Brien
Emily Belz
Michael Seamans

Artist Mentors:

Billie Mandle
Stephen Sheffield
Michael Oatman
Carly Glovinski

On October 7-8, New Hampshire Institute of Art (NHIA) and 3S Artspace will collaborate on a pop-up exhibition featuring the work of 8 artists: 4 MFA alumni and 4 of their Artist-Mentors. The role of the Artist-Mentor is key in the low-residency MFA model, as it is this intense semester-long, one-on-one dialogue that offers sustained feedback, challenge, and support during the stretch between on-campus residencies. This exhibit will feature the artist-mentor relationship as a way of honoring that rich collaboration, and, more abstractly, acknowledging the vulnerability and courage it takes to engage fully in critique and dialogue. To consider art as a Catalyst is a bold and hopeful perspective—one shared by 3S and NHIA. At its best, contemporary art can generate conversation, new thinking, and rich engagement with social issues. This exhibit will be a vehicle for presenting that shared viewpoint.



Opening Reception: Tuesday, September 5pm - 7pm

Furniture Masters: Inspiration, Design, Technique

Sale of New Hampshire and Maine Prison Outreach Pieces Saturday, September 23 12 - 5 p.m. Free and open to the public

Furniture Masters: Reception and Silent Auction Sunday, October 1 Reception and Silent Auction: 1:00pm - 4:30pmLive Auction: 5:00pm Dinner with the Masters: immediately following the Live Auction $35



Opening Reception: Saturday, July 22, 5-8pm

The Art of Watching: Privacy and the Public Eye - Lincoln Perry, Jakub Geltner, Nathalie Miebach, Laurie Frick, Barbara Hashimoto, Nikki Rosato, Will Sears, Jer Thorp

“The Art of Watching: Privacy and the Public Eye” brings together the IAPP’s collection of contemporary privacy art, more than 100 editions of George Orwell’s book Nineteen Eighty-Four, and various ephemera to the novel, to illustrate concepts of privacy and surveillance.

Since the first edition was published in 1949, there have been many hundreds of versions of Nineteen Eighty-Four published in dozens of languages. For each of these efforts, a graphic designer was confronted with the challenge of presenting the themes of the book in an accessible and compelling way.

Within the collection, you will find many images that seem cliché. Eyes, locks, doors and windows are all used as symbols of surveillance. But look at the evolution of these symbols over time and you will see everything from mid-century modernism to futuristic views of the 1960s to grim imagery of decay from the 1980s and 1990s. You will also see reflections of the eras in which each book was published. There are pulp-fiction covers that focus on the sexuality in Nineteen Eighty-Four; there are versions that focus on authoritarian power.

Together with contemporary works from artists Lincoln Perry, Jakub Geltner, Laurie Frick, Nathalie Miebach and others, the exhibit represents more than 60 years of artistic interpretations of the themes of privacy, surveillance, and political and social coercion – providing a fascinating view of the shifting perceptions of privacy through generations and across cultures.

June 2 – July 15

Large Woodcut Print Sessions
Opening Reception: June 2, 5-8pm
Dates of workshop: June 3rd – 4th, 2017


3S Artspace and BIG INK invites artists and community members of all ages to witness the wonder of fine art printmaking in action. Over the course of two days, visual artists from the seacoast region and beyond will converge at 3S Artspace to print giant hand-carved woodblocks on BIG INK’s 4’ x 8’ mobile printing press. The press, appropriately named, “The Big Tuna,” is a one-of-a-kind piece of printing equipment that travels to museums, arts centers, festivals, and schools up and down the East Coast. The rain or shine event, located at 3S Artspace’s gallery at 319 Vaughan St. in Portsmouth, is free and open to the public from 10 am – 5 pm. Additionally, 3S Artspace will be curating an exhibition of BIG INK prints that feature past artists which will be on display from June 2nd until July 15th. The opening reception for the exhibition is June 2nd from 5-8pm, and is also free and open to the public.

BIG INK, located in Florence, MA, has collaborated with creative organizations across the country. BIG INK’s director Lyell Castonguay has provided the means and equipment to produce countless woodblocks prints by over a hundred artists since the project’s inception in 2012. This event is sponsored by 3S Artspace, a Portsmouth nonprofit arts organization that combines the only midsize, flexible performance space of its kind in the area, a large, non-commercial gallery, and an affordable and approachable restaurant serving as a local hub, ideal as a gathering place for patrons and locals alike.

Woodblock is the oldest form of printing. The process involves carving an image into the face of plywood to create low-relief handcrafted stamp. The areas that display ‘white’ on the finished print are cut away from the face of the plywood using a chisel. This leaves the original surface level of the plywood to define certain areas of the finished print as ‘black.’ The surface level of the wood is then covered with ink by way of a roller. Once inked, the wood is impressed into paper by means of “The Big Tuna” which transfers the ink resulting in a finished woodblock print.

“We're excited to show how this traditional art form is being practiced in innovative and exciting ways,” said Castonguay. “We're essentially printing these amazingly complex giant hand carved stamps which take months to create.” The event at 3S Artspace will include 13 participating artists that live locally or as far away as Rhode Island and Ohio.

Those in attendance at the event will also have the opportunity to choose from a variety of smaller hand carved woodblock designs which they can ink and print to create their own mini masterpieces. “Inking a woodblock, printing it through ‘The Big Tuna’ and seeing the final image is a wonderful and rewarding experience,” says Jeffrey Fay of Willimantic, CT. Fay will be printing his 24” x 48” woodblock at 3S Artspace. He adds, “When you show your art making and get the community to actively participate, it’s a winning combination. It creates a deeper appreciation for the creative process.”

April 7th - May 20th

Opening Reception: Saturday, April 8th, 5-8pm

Knock On Wood - Scott Chasse, Kenley Darling, Thomas Dupere, and Damion Silver

This exhibition brings work relating to themes of luck and superstition together with work literally made of or on wood. This playful interpretation of “Knock on Wood”- said in order to prevent a confident statement from bringing bad luck - is reflected in the self-taught, fine art / folk art aesthetic, which carries across each artist’s individual body of work.

Scott Chasse (curator for Knock on Wood and exhibiting artist) Born in 1974 in north-eastern Massachusetts, Chasse now splits his time between Brooklyn and Woodstock, NY. An obsession with “persona” and the implications associated with what one creates are themes that drive the varied bodies of work he has produced. His most recent paintings and sculptures willfully explore folk art and craft, allowing his background as a woodworker to infiltrate his fine art making.

Chasse is the Founding Director of the Calico exhibition space in Greenpoint, Brooklyn. He works as a curator for exhibitions and commercial clients, and has over 10 years experience as an organizer for special arts events.

Kenley Darling Kenley Darling is a New Hampshire based artist currently residing in the sea coast area. Her illustrations and paintings are often intertwined with the concept of good luck. Although over the years the images have changed, the line remains the same. She explores the ideas of superstition, folklore, and faith, from shooting stars and lucky pennies to mandalas and simple shapes. Luck has been a constant theme throughout.

Darling’s most recent works focus on "the center”: a place that, within her art and herself, she explores with the belief that in this process there is only luck to be found.

Thomas Dupere Thomas Dupere was born and raised in New England. He is a self-taught artist working in a variety of mediums and materials. A life-long skateboarder and a concrete skatepark builder by trade, he draws inspiration from the sculptural elements of building and riding these functional pieces of art.

Dupere’s endless travels and wandering has informed his perception and concept of creating art; imperfect perfection, a wabi sabi style. Allowing the process to dictate the outcome, his work is about the journey, not so much the destination.

Damion Silver Damion Silver was born and raised in central Connecticut and now lives in Northern Massachusetts. He is a predominantly self-taught artist who has developed his skills from trades such as animation inker, cabinetmaking, and foundry work. His latest body of work evolves his collage and assemblage techniques from paper to wood and metal. Utilizing found, made, and sometimes liberated materials, Silver draws influence from the decaying urban landscape and a lifetime of skateboarding on the East Coast.

Silver's work has been shown across the U.S., Europe, Japan, and Australia. When not working as a design director, he is hanging out with his son and wife.