“Triangle”
features the work of three artists who share a focus on nature
and the environment that surrounds them. Meredith LeBlanc, the
daughter of artist Karen Nash, "was fortunate to have the
encouragement to explore being creative in any way possible.
Whether it's flowers, water, an intriguing detail - the beauty
of the object creates a vibration in me to create something to
share what I am feeling through paint and canvas. In turbulent
times I rely on visual imagery to bring optimism to my life and
hopefully those around me."
Brooke Hammerle calls her work "Gutter Funnies": "During the
limited travel of the pandemic lockdown I decided to photograph
in the streets of my neighborhood. My subject was trash, the
proliferation of the discarded plastic bottles, cans, gloves,
masks, and other general detritus in the gutters. These
discarded items once serving a purpose were now abandoned,
transforming through the process of destruction, decay, and
oblivion. I was initially depressed and the weather of overcast
and rainy days intensified these feelings. But it also created a
sense of timelessness, a suspension of reality that inspired my
imagination. As I photographed I found humor and irony in their
mortality and beauty in small things."
Jillian Barber, well known ceramist, whose work is in the
permanent collection at the Newport Art Museum and many
galleries, has from childhood been fascinated with nature and
the supernatural. "Her expressive work creates a personal
mythology of dreamlike images. The portraits are exotic, richly
textured and exquisitely detailed. Often working from plaster
face castings, Barber’s masks invoke timeless mystery and
magic."
- www.jillianbarber.com
Born
in Staffordshire, England, Jillian Barber grew up in Westerly,
RI and graduated from the Rhode Island School of Design. There
she studied ceramics with Norm Schulman and glass with Dale
Chihuly. Mythical portraits and imaginary creatures are enduring
themes in Barber's ceramic sculpture. An artist from childhood,
her fascination with nature, animals, faces, and costume
continues today. Her expressive work creates a personal
mythology of dreamlike images. The portraits are exotic, richly
textured, and exquisitely detailed. Often working from plaster
face castings, Barber's masks invoke timeless mystery and magic.
For over 30 years, Barber was mask and costume designer for the
Chorus of Westerly's Celebration of Twelfth Night. Dragons,
unicorns, wild boars, stags, and wolves came alive on stage. Her
fascination with mythical beasts, fairies, kings and queens had
come to be and were also translated into clay. Barber's work has
received a RISCA Fellowship in Design, numerous Katherine Forest
Craft Foundation awards for excellence in ceramics, and over 100
juried awards. A retrospective, Vintage Jillian, was held at the
Newport Art Museum where her work is in the permanent
collection. Barber is represented by the Charlestown Gallery,
the Fuller Gallery in Jamestown, RI where she resides, and
Studio 460 in Wickford. Barber was invited to be Artist in
Residence at the Ocean House in Watch Hill, Rl in January 2019
and 2020.
A video on Barber's life and art may be seen at Networks
Rhode Island.
During
the limited travel of the pandemic lockdown I decided to
photograph in the streets of my neighborhood. My subject was
trash, the proliferation of the discarded plastic bottles, cans,
gloves, masks, and other general detritus in the gutters. These
discarded items once serving a purpose were now abandoned,
transforming through the process of destruction, decay, and
oblivion. I was initially depressed and the weather of overcast
and rainy days intensified these feelings. But it also created a
sense of timelessness, a suspension of reality that inspired my
imagination. As I photographed I found humor and irony in their
mortality and beauty in small things.
Bio:
As the daughter of an artist, Meredith LeBlanc was fortunate to
have the encouragement to explore being creative in any way
possible. After a 34 year break from the easel, in 2019 she was
inspired by an artist friend to rediscover this creative outlet
and to get lost in the luxury of the oil paint and color. Each
time she steps up to the easel and places her brush on the
canvas is a learning experience. Feeling the sensuousness of the
paint itself, the vibration of blending the colors, and the
emotion that arises as she works. This exploration has increased
her appreciation of all artists and their work. It has given her
the gift of a new viewpoint. It has lessened her personal need
for perfection and to let her flow be more natural. She looks
forward to this ongoing artistic journey.
Artist Statement: My intention as an artist is to share
what brings me joy and peace. My inspiration arises during
meditation, dreams, and walking my favorite muse, my pug
Scarlet. Whether it is flowers, water, an intriguing detail -
the beauty of the object creates vibration in me to create
something to share what I feel through paint and canvas. Even in
turbulent times, I rely on my visual imagery to find the light
and inspiration to bring optimism to my life and hopefully to
those around me.
The image that fills this small painting is complicated. It suggests conflict and crossed purposes, a combination of organic shapes and thick fog; a solid gourd growing out of a bed of dreams. Buried within the bulging forms, a head blooms. Perhaps screaming. I don't know what I'm looking at: is it a conventional still-life of vegetables and lilies viewed through a trans-dimensional lens? Or is it something dredged up from the depths of the ocean, only to disintegrate at the surface? Is it a moment of transformation during which neither the beginning nor the end is recognizable? Will it change every time we look at it? Is it safe to look away? Is it safe to look at it? This is a painting that will smoulder wherever it is placed, a silent furnace of the kind that never goes out.
A long white fence fills the painting, end to end. Does it keep the viewer out or invite us to jump over it? I decide to enjoy the fence itself: the grain of the wooden posts, the pleasure (perhaps only imagined by me) of creating small differences within the rigid sameness of each post, the white bars scratched against the grey sky, the cool mood, the cold weather. The dense colour of the signboard, so hard and flat in contrast to the grass, equally dense but soft. In the distance, the buildings like punctuation marks in a poem about resilience. About boundaries. About territory. About a place that might not be home.