April 6 - April 28
"Deep Woods", an exhibit of the works of Robert Sabin and Eleanor
Sabin, marks the first time that this talented father/daughter duo has
publicly exhibited their work together. And, while their mediums and
styles differ greatly, the viewer is certain to enjoy discovering the
common thread which underlies both artists' work.
Bob's daughter, Eleanor, is a very accomplished artist in her own
right. Her most recent award is Best in Show, the Maxwell Mays Award
from the Providence Art Club, in their current National All Media
Juried Exhibition for her pen and ink diptych called "Augery". For her
part in the "Deep Woods" exhibit, Eleanor has created numerous pen and
ink drawings as well as 3D works.
While Eleanor's detailed pen and ink drawings offer stark contrast to
her father's liberal use of color in his dream inspired paintings, the
viewer may note that the two artists have more than lineage in common.
As Eleanor explains, "My Dad and I both love the woods, especially the
areas less travelled … the title of the show, "Deep Woods", acts as a
metaphor for the conceptual and creative rabbit hole you can fall into
while working on a series of artwork - one idea leads to another, and
then another, like following a trail of breadcrumbs into the deep woods
where larger and more secret ideas may lie."
The artwork in this exhibit was done during winters on Cape Cod. After thirty years of doing commissioned work I was trying to open the door to my own ideas. A number of the images are derived from dreams, Guide, for example, but most of the paintings start out as single images around which visual and symbolic content condenses, seemingly by coincidence. The most successful paintings take on a life of their own, acquire a narrative and emotional resonance.
I was born in 1949 in Michigan. My parents fostered my interest in art in every way. From age 19 I was completely absorbed in the practice of drawing and painting from observation, a process that still challenges me today. In the “real” world there is always more to learn to see. I’m forever trying to understand the patterns of how the world expresses itself.
My wife, Nellie, and I have two grown children, Eleanor and Sky. We live in Newport with a corgi and a greyhound.
Lance Walker Gallery, Dennis, MA
Thomas Henry Gallery, Nantucket, MA
Nessus Sphinx and Moonflowers
The Stuntman's Departure
Surfers' End, Second Beach
Pen & Ink
The pen and ink drawings presented in this show represent a body of work
based on the theme of modern ruins. I explore the ways in which the origins of these
structures, as well as their contemporary states, may be re‐contextualized and
obscured by time and human interpretation. Pen and ink is often considered a
medium of the past, and reminds one of all things antique. Using this medium to
portray modern ruins conveys a sense of conceptual, historical, and anachronistic
Each drawing I make begins as a hike through the woods of Rhode Island. As
I walk I keep my eyes open for ruins‐ maybe an old foundation, a crumbling
stonewall, or sometimes a dilapidated cement bunker. Once spotted, I thoroughly
document the site in digital photographs that I later stitch together into a large
composite image using Adobe Photoshop. Taking my own reference photos allows
me to direct every aspect of the drawing, as well as understand and focus on what
makes each site most unique. I find the experience of traversing these ruins, and
wondering about the people who built them, is crucial to my process. It not only
serves as inspiration, but also helps me to imbue every drawing with an atmosphere
appropriate to each ruin.
In this work, I am exploring the idea that the story of a place is forged over
time, by fusing physical and constructed evidence with the memories of human
experiences that have taken place there. This has led me into thinking about
haunted places, and what is it that drives people to call a place “haunted.” In part it
is the human history of the site, the frightening or macabre events that occurred
there, but it is also an animalistic interpretation wherein the physical characteristics
of the place sound our primitive alarm bells to warn us of impending danger. So it is
that the older and more historical the site, and the more folklore that surrounds it,
the more haunted that place is considered.
Through the passing of time, and the accumulation of human experiences,
modern ruins take on a haunted quality. In these constructions we are confronted
by a past that can only be partly known; the truth of each place is hidden as each
person associated with the building and original use of the site dies, and their
stories pass from memory to folklore. So we must rely on socially approved
memories, and our “fight or flight” animal senses to tell us about a place. In this
way, I am interested in the idea that history is a construction, and that the story of a
place has been adapted and re‐interpreted by the impressionable system of human
To Live Off the Land
Pen & Ink
We All Stand Together, Everyone Stands Alone