Robert Morgan's latest work is a series of large, densely hued paintings which are cut out and glued together to create various visual planes. The paintings are composed of a number of layers of watercolors mounted on other watercolors. The resulting enlarged images and moody atmospheres are an attempt to create an eerie, disquieting transcendence, drawing the viewer into an inner world of emotional and sensual conflict.

In this body of work, viewers are encouraged to participate in the paintings as an ‘absent presence.’ The large scale and sensuality of the medium invite entrance into each situation. Objects or people inhabit ambiguous spaces, reminiscent of stage settings where numerous symbolic levels are presented to the audience using backdrops. The viewer may experience an emotional potpourri, depending on the individual’s base associations with the symbols.

People and objects in modern society are often found out of context or alienated from predictable settings – life is complicated and so are the conflicting emotions we experience. The paintings are about these clashes and the necessity to produce one's own metaphysical symbols, one's own myths, one’s own spirituality. Yet the hope and peace in the paintings seem to lie beyond the barriers, abysses or ambiguity, hence the discord. The contrasts -- hard and soft, dark and light, warm and cold, peaceful and threatening -- are juxtaposed against each other, giving resonance to an outwardly simple painting.

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Photo taken by Will Howcroft


Adria Arch creates "hybrid paintings" on lightweight plastic comprised of cut out abstract elements inhabiting space. Points of entry physically engage and suggest new ways of seeing. Suspended from the ceiling and walls, this work combines the formal concerns of painting while extending into space like sculpture, thus their hybrid nature. These installations question what makes a painting and how the viewer interacts with it.

Twist, turn, spin, leap – these words evoke the dance-like movements that inform the compositions. Expressing a physical experience of the world, they reach into the realm of both theater and child’s play. Referencing decorative elements and colors typical of mid-20th century women’s clothing, comic books, and street art, Arch uses pattern, shadows and bold colors with sharply defined edges that suggest self-assertion. The use of simple and often ephemeral materials (paper and lightweight plastic) unapologetically champions the handmade.

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June 7 - July 14

Multidisciplinary artist Michael Hambouz uses: multi-dimensional perspectives and forms as tools to capture profound life experiences and daily observations; the process of making, for positive self-healing and/or diversion from said experiences; and the finished work, as a vehicle to initiate connectivity and dialogue with others. His work ranges from light, humorous vignettes to heavier investigations embedded within symbolic, abstracted subtexts—approaching each piece with the same adaptive thoughtfulness as he approaches the ebbs and flows of daily life.

Hambouz’ ever-evolving processes involve constant experimentation with multiple mediums, techniques, and approaches, and diving into unfamiliar territories with technical problems to solve. He often keeps 3-5 simultaneous series in motion, and when completing one piece (in cut paper for example), he moves on to painting, drawing, printing, and animation (no specific order). With each passing of a cyclical cycle of mediums, he begins anew with heightened insight and skills—always moving forward.

For the Factory Made series, he hand-cut paper stock from independently-owned, family-run French Paper Company to create vibrant, abstracted scenes of the very factory where the paper is produced. The series provides a glimpse into the operations of the 140-year-old American paper mill by showcasing the production process and machinery—from pulp to the final paper product—in intricately layered collage format.

The subject matter is of particular resonance to the artist, growing up within a mile of the mill, and investigating it as a means to reconnect with his hometown of Niles, Michigan following the unexpected passing of his mother in 2012. Hambouz found artistic inspiration in the factory and its paper—providing an adventurous new direction in his work and practice to come. The resulting series celebrates small manufacturing and a geographical sense of home.

Artist Bio
Michael Hambouz:
Michael Hambouz (born 1977 in Niles, Michigan) is a visual artist based in Brooklyn, NY since 2000. Hambouz has had solo exhibitions with the Brooklyn Academy of Music, chashama, Calico Gallery, and Kayrock in New York City, The Krasl Art Center in Michigan, and a recent survey exhibition at his alma mater Antioch College in Ohio in 2018. He has participated in select group exhibitions at Maya Hayuk’s GROWROOM//SHOWROOM, The National Arts Club, and the Williamsburg Art and Historical Society and is an avid supporter of the arts and social justice, donating work to benefit auctions hosted by Luhring Augustine, Cheim & Read, Bridget Donahue, and Pioneer Works. His art and curatorial work has been featured in Artnet News, Hyperallergic, Vice, Create! Magazine, and Design Milk.

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April 19 - May 26

High-Water Mark is a multimedia, regionally specific installation by Boston-based artist Yu-Wen Wu, curated by Kristina Durocher, Director, Museum of Art of the University of New Hampshire. Born in Taipei, Taiwan, Wu’s family immigrated to the United States soon after the enactment of the Immigration and Nationality Act of 1965. Her experiences as an immigrant have shaped the themes of her work: examining issues of displacement, movement, assimilation, culture and identity. High-Water Mark focuses on rising sea levels, storm surge flooding, and the projected displacement of people who live in the New Hampshire and Maine sea coast region. The exhibition video and a large-scale wall drawing represent the wanderings of someone new to the region, a visitor surveying the landscape, city, and its surroundings with fresh eyes – Wu is the proverbial migrant, making connections between natural and built environments, cultural systems, and seeing relationships between past and present that will help us navigate an unfamiliar ecosystem and an environment in flux.

While relying on hard data and scientific research practices, Wu’s visualization of data—video, maps, and graphs—is a metaphorical reading of a changing environment, incorporating filmed scenes of the tidal waters of the Piscataqua River, sites along the North and South Mill Ponds, coastal wetlands, and sky, emphasizing the aesthetic experience over narrative characteristics. Viewers will come away with an impression and awareness of the impact of rising sea levels on the Portsmouth region.

Artist Bio
Yu-Wen Wu:

Born in Taipei, Yu-Wen Wu is an interdisciplinary artist who explores the visualization of journey, process, and topography. Through drawing, video and installation, her work bridges art and science, imagination and documentation. Whether actual or virtual in traversing routes, mapping is the way Wu locates herself in the world physically, culturally, and psychologically. She attended Brown University, where she received a Bachelor of Science before attending the School of the Museum of Fine Arts. She received the Massachusetts Cultural/NEA Grant for Painting, 2004, 1998, 1989, and the Traveling Scholars Award, Fifth Year Competition, School of Museum of Fine Arts, Boston, MA, 1989.

High-Water Mark 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. Exhibition support provided by 3S Artspace.

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March 1 - April 7

I’m an artist whose interest in shapes manifests itself through a variety of media. I seek to bring forward the contradictions between the expectations of society and an individual’s sense of self. My focus is on women and the stark standards that have been established for a woman’s appearance. After finding a study made by the U.S. government in 1940 to standardize the woman body, I created a geometrical shape using the measurements generated by the study and presented it in drawings and three-dimensional figures.

The exploration of shape goes deeper through my work with the study of body language. The pose is shapes, and shape is both a noun and a verb-- to understand the human behavior is imperative to see it as a whole. Body language gives a visual form to identity and enhances the visual aesthetics of communication. You are what you create, as much as you are what you perform. My goal is to create images that echo the past, confront the present, and embrace the future.

About Linda Behar:
Born in Venezuela and established in the United States since 2000, Linda Behar is an artist originally trained as a civil engineer. Always interested in the arts, she attended the Academia Taller Arte y Fuego in Caracas between 1994 and 1998. She became a specialist in glass casting and pate de verre through studies and workshops in Italy and the U.S..

Interested in learning new materials and methods for her work, Behar received a Master of Fine Arts degree with an emphasis in printmaking at Florida Atlantic University, from which she graduated in 2014.

Behar has actively participated in biennales in Venezuela and the United States with numerous awards and honorable mentions. Her work has been exhibited nationally and internationally in galleries and art centers. A dedicated teacher, Behar taught in Venezuela as well as at the University of Miami and Florida Atlantic University.

Behar uses a wide variety of techniques and medias. She is currently working on combining laser cutting with traditional printmaking techniques, specifically woodblock printing. Her research has centered around the representation of women’s bodies and gender identities throughout history, more specifically focused on body language as it relates to gender norms.

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March 1 - 17

JJ Gonson and Kim Maroon’s photography capture the raw energy and aliveness of punk, past and present. From basements, to barricades, to festivals, they present performance photography at its finest, capturing the real faces, fun, and fury of punk. Punk is ALIVE and still wielding ideas at the world loud and clear!

JJ Gonson / The Rathskeller / Boston / 1986

About JJ Gonson:
Photographer. Localvore. Music-lover. JJ Gonson has had a camera in her hand for most of her waking hours and most of her life, a large amount of her work is of punk/hardcore bands taken in the dank clubs of the Boston area between 1985-1991. Unafraid to climb stacks of amps and speakers or bang around in the pits with beer and sweat to get the best shots, JJ captures the living, in-your-face passion and power of punk rock in the 80s and early 90s.

Kim Maroon / House of Blues / Boston / 2013

About Kimberly Maroon:
Kimberly Maroon's interest in photography ignited in 2003 when she brought her 35mm Minolta camera to a campus show at the University of Delaware. Through music, she learned how to be a photographer and how to connect with people. Kim quickly became part of the punk and hardcore music scenes, mesmerized by the wild energy and chaos at shows, and the community that accompanied it. From 2003 - 2011, she traveled between Delaware, New Jersey, New York City, and Philadelphia documenting bands and crowds from basements, bars, and theaters to arenas, festivals, and even a bowling alley. Regardless of the venue, she finds the connection of the community and subculture built around this music to be unwavering and she continues to keep an intimate record through her photographs.

Kim has lived in the Allston neighborhood of Boston since 2011 and received her MFA from the Dynamic Media Institute at MassArt. She is a self-taught photographer and filmmaker while also working as an experience designer. Kim creates visual content for a variety of active and lifestyle brands such as Red Bull, GoPro, Do617, and ICA Boston. She has exhibited her work in Portland, OR and throughout New England, and is currently exhibiting select photographs from The Race of Gentlemen (Pismo, CA and Wildwood, NJ - 2016-2018) at Mingo Gallery in Beverly, MA.

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February 1 - February 24

This exhibit provides work in multiple mediums by UNH art students and alumni. All work is informed by Rebecca Solnit’s collection of autobiographical essays entitled A Field Guide to Getting Lost. In this investigation into loss, losing and being lost, Solnit explores the challenges of living with uncertainty. A Field Guide to Getting Lost takes on subjects as eclectic as memory and mapmaking, Hitchcock movies, and renaissance painting. Beautifully written, the book combines memoir, history, and philosophy and sheds light on how we live today.

The work in this exhibition reflects Solnit's multitude of approaches to the theme of getting lost. UNH students and alumni responded to A Field Guide to Getting Lost by creating paintings, drawings, photographs, sculpture, animated GIFS, and furniture. Additionally, students from the English department will write pieces in response to the book as well as the exhibition. The artists' interpretations of this theme include exploring unknown territory, examining what is viewed as the familiar, reinterpreting art history, and focusing on the process of making art as an act of getting lost.

Wayfaring Stranger, On the Way to Lost and Found was coordinated at UNH by Sachiko Akiyama- sculptor, Portsmouth resident, and professor of art at UNH. She was also recently awarded the Artist Advancement Grant from the New Hampshire Charitable Foundation. Support provided by the University of New Hampshire.

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There is a certain quality in something made by hand. The presentation of an insight, which in the case of photography is the print, seems somehow different when it is a product of skilled craftsmanship rather than the press of a button. A darkroom photograph may not be as perfect as a digital print, but that may be its validity: neither is it as sterile.

For ten years I hand-made platinum/palladium portraits, a 19th century process that renders a very beautiful print of soft and delicate tones. Recently, however, and a bit of an about face, I switched to using very bold and dramatic black inks and the mechanical operation of producing a print by running a metal plate through a rotary press. This is still very much of a hand-made product with its learning curve full of decisions and expenses and frustrations, but just enough occasional breakthroughs.

This exhibit, then, is a series of intaglio prints--photogravures--of local yogis and yoga teachers. All the sittings were done in my Portsmouth studio and all the prints made on a large French press at Chase’s Garage in York, Maine.

I would just add that if making a good photogravure is more difficult than it sounds, the poses in this exhibit are much more difficult than they look!

Artist Bio:
Jay Goldsmith spent the first twelve years of his adult life as a high school English teacher. In 1981, he decided to give up ten weeks of paid vacation every summer and free health and dental insurance and devote his full attention to a career in professional portrait photography. He is a partner with event photographer Julia Russell. For most of his long career Jay has photographed children and their families throughout New England, in natural light, from June through October.

For the last ten years, he has been working with hands-on alternatives to digital printing. He began with platinum/palladium, a nineteenth century printing process characterized by a very long tonal scale and an extremely stable, aesthetically pleasing image. In this process, particles of these two precious metals are embedded within the fibers of paper to make the image.

Most recently, Jay has been making photogravure intaglio prints, which utilize very dramatic black inks and hand-made watercolor papers. The procedure starts by transferring a digital file to a positive transparency and then to a metal plate which is in turn inked and run through a rotary press.

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January 4 - January 27

Wildlife Fashion Art Safari began in the summer of 2005 as a collaboration between ceramicist Peter Morgan and new media artist Adam Hinterlang. The original principal was to take fashionable, trendy colors of the day and apply them to silhouetted images of animals in action poses. This project brought together both artists' interest in animals & color theory. Wildlife Fashion Art Safari was our get rich quick scheme that involved creating designs for purses, and T-shirts that we are still waiting to capitalize on.

The project has expanded from the early days of digital prints and theoretical handbags into large tile panels. This foray into ceramic tile focuses on the unique color, depth, and material phenomenology of the ceramic process exploring the optical and perceptive properties of different glaze combinations. The tile format gives us the opportunity to expand the scale of the work exponentially while creating unique compositions within the larger whole.

Though representational in nature, we think of Wildlife Fashion Art Safari as analogous to hard edge, color field painting, with a focus on the phenomenon of color perception. We are interested in the optical effects and illusions such as “after image” created from viewing these works. Of recent interest is the experience of viewing the works through 3D or Anaglyphic glasses. We stumbled upon these unique optical effects by accident, and it has become a design principle in many of our new tile works, prints, and videos.

Artist Bios

Peter Morgan: Peter Morgan is a native son of Virginia, currently based in Phoenixville, PA. He has a MFA in Ceramics from the New York State College of Ceramics at Alfred University, and has exhibited throughout the United States and Europe. Notable residencies include the Northern Clay Center in Minneapolis, and the Archie Bray Foundation.

Currently Peter practices in his home studio, and recently was a resident artist at the Clay Studio in Philadelphia for four years, and was the 2012 Evelyn Shapiro Foundation Fellowship recipient. In 2016 Peter was selected as one of the National Council on Education for the Ceramic Arts (NCECA) Emerging Artist awardees and recipient of the 2016 Victor Spinski Award. He is a founding member of an artist run space in Philadelphia called Practice, which focuses on performance, participation, and experimentation.

Peter has taught at California State University: Long Beach, Gettysburg College, and Temple University. He has exhibited across the United States and Europe. His work is found notable collections including the Alfred Ceramic Art Museum, the Toki Collection, and a public work for the Philadelphia Pet Hotels and Villas. When Peter is not working in the studio, he is an avid bird watcher and runs ultramarathons. Adam Hinterlang: Adam Hinterlang (b. 1975, Pittsburgh, PA) has exhibited his work in drawing and animation in the US and abroad and has been featured at the MCA in Chicago and MoMA in NYC. He received his BFA in New Media from KCAI in 2004 and his MFA in Electronic Integrated Arts from Alfred University in 2006.

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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.