Saturday, April 3, 2-5pm (outside weather permitting)
*masks required, and social distancing will be observed in gallery
Fridays and Saturdays, 2-6 pm
or by appointment,
Ready-Set-Go! Two Boston artists open borderlines and offer innumerable possibilites for shape shifts. Marjorie Kaye and Christine Palamidessi’s “Sensations of Soaring”, at Atlantic Works Gallery during the month of April, push constructs of form up and out into the vortex of infinity. Kaye’s work is hinging on the geometic, examining micro and macro cosmos. Palamidessi takes a more carnal approach, seeing what happens when she releases the Divine out of the body. It’s through collective joy that these artists, friends, and like minds bring their work together.
In her latest gouache paintings, Marjorie Kaye is working on large flat panels, exploringthe form itself in its purity. She came to the realization, upon reading and studying Ernst Haeckel’s “Art Forms in Nature” that “anything goes” in the natural world – that the apex of creation resides internally, and that release from the oppression of self-imposed structure allows the pure vision of infinite possibilities to be transmitted from the universal repository of higher design. In conjunction with observation of the diversity of the natural world, Kaye continues to be mesmerized by sacred geometry. Her understanding being largely intuitive, she is absolutely in awe of the mathematical mind– how it breaks down the mechanics of the universe into sustainable equations. Her work combines the discipline of geometric sequence with its polarity of abandonment.
Christine Palamidessi’s sculptures and monotype series embody two stories of human awareness. First is physical awareness, such as what we feel when someone touches us; the sensation of being held. It’s an agreeable feeling like the tickling of the artist’s soft paint brush over your bare arm. Second is the awareness of the bliss within that connects our spiritual energy to something outside of the ego. Palamidessi made the monotypes while she was a visiting artist at Mass MoCA. The plates used to print the monotypes are collapsed paper sculptures formed over women’s torsos. The artist painted the plates and passed them through a press. Her figurative work invites the viewer to see the body as if it were inside a garment or under a sheet, changeable and tucked inside something other than itself; connected to the finite and infinite.