Museum of Art of the University of New Hampshire: IMPACT 2017

IMPACT

CelebrATINg 15 yeArs Of THe PIsCATAqUA regION ArTIsT ADvANCeMeNT grANT

2017: Cathy McLaurin 2016: Carly Glovinski 2015: Cheryle St. Onge 2014: Lauren Gillette 2013: Justin Kircho 2012: Bear Kirkpatrick 2011: Kim Bernard 2010: Gail Spaien 2009: Lynn Szymanski 2008: Ross Cisneros* 2007: Kirsten Reynolds 2006: Barbara Rita Jenny 2005: Tim Gaudreau 2004: Maureen Mills 2003: Katherine Doyle 2002: Gary Haven Smith

*(not exhibiting)

IMPACT CelebrATINg 15 yeArs Of THe PIsCATAqUA regION ArTIsT ADvANCeMeNT grANT

Impact presents the work of artists who have been awarded the prestigious Piscataqua region Artists Advancement grant from the New Hampshire Charitable foundation. Now in its fieenth year, the grant recognizes the contributions of working artists to the cultural life of the region by providing an annual financial award of $25,000 to support the artistic growth of artists and cras people. e grant is intended to help in the development of an artist’s career, providing unrestricted financial assistance to meet the needs of artists to advance their studio practice. e award is also intended to inspire philanthropy by encouraging others to support artists living and working in our community as well as patronize the many local arts organizations who present the visual arts to the public. e artists featured in Impact share little in common other than geography and a singleminded dedication to their profession. ey toil, experiment, and refine their aesthetic through persistent revisions and adaptations, striving to create work that communicates an idea or visual ideal. Many of the artists are well known with long careers, while others are just gaining steam. I hope you enjoy seeing work by established artists and work by artists who may be new to you. ere is much to see: e exhibition highlights a variety of disciplines and art forms, including photography,

painting, sculpture, ceramics, and installation work.

Artistic collaboration among regional partners makes good sense — sharing resources and expertise expands our boundaries and opens up new opportunities for innovative programming. is exhibition was made possible by: two enthusiastic champions for the arts in the Piscatqua region; simon Delekta, senior program officer, and Maria sillari, program consultant, at the New Hampshire Charitable foundation; and with the behind-the-scenes support of Museum of Art staff including sara Zela, education and communications manager; laura Calhoun, exhibition and collections manager; Cindy farrell, administrative assistant; and museum fellows Megan Cooper, rachel goyette, and sebastian Mandino.

I also wish to extend my gratitude to Dean Heidi bostic of the College of liberal Arts for supporting this partnership and to the New Hampshire Charitable foundation for their dedication to strengthening the arts in the region and statewide.

IMPACT Celebrating 15 Years of the Piscataqua Region Artist Advancement Grant

Kristina l. Durocher, Director Museum of Art, University of New Hampshire

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2017

Cathy Mclaurin Danville, New Hampshire Master of fine Arts, Tus University school of the Museum of fine Arts, boston, MA “It’s this incredible validation of your artistic practice, it needs to be done and they invest in it.”

Cathy Mclaurin connects history and current social issues with notions of value(s), morals, national identity, philanthropy, kinship, and legacy. rough extended relationships with personal and institutional entities, along with research in archives and libraries, she challenges the systems that underpin complex social concerns. is manifests in ongoing projects that result in series of objects, installations, and performances.

A Deathless Contract, 2016, Pigment prints, Tyvek, frames, and found frame, 21.5” x 15”, 15 x 21.5”, 29.5” x 24”

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THE MUSEUM OF ART OF THE UNIVERSITY OF NEW HAMPSHIRE

2016

Carly glovinski investigates patterns, objects and organizing systems found in everyday life. glovinski uses trompe l’oeil to create art that mimics everyday objects. Her point is to slow the viewer down, to make them look closely and intently.

IFC (The Sea Around Us), (detail), 2017, Acrylic on wood, 16” x 11.5” x 1”

IMPACT Celebrating 15 Years of the Piscataqua Region Artist Advancement Grant

Carly glovinski Dover, New Hampshire bachelor of fine Arts, boston University, boston, MA “ere is definitely some powerful magic at the intersection of hard work, opportunities, and financial support. is grant has really helped make everything take off.”

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2015

Cheryle st. Onge Durham, New Hampshire Master of fine Arts, Massachusetts College of Art and Design, boston, MA bachelor of fine Arts, Clark University, Worcester, MA

Cheryle st. Onge’s photography focuses on the crossover of art and science and photography’s ability to distill our sense of time and curiosity. she makes pictures predominantly with an 8 x 10 view camera and considers her work a collaborative process.

NOAA Weather radio overheard. North-northeast winds of 5-10 knots and seas of 2-4 feet, Great Bay, NH, 2012, Digital print, 8” x 10”

“is grant was life changing!

It gave me the opportunity to create a space where I felt liberated, more relaxed and that allowed my mind to wander and imagine all the more.”

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THE MUSEUM OF ART OF THE UNIVERSITY OF NEW HAMPSHIRE

lauren gillette’s work has underlying threads: biography, history, text, repetition and memory. With each project she attempts to bear witness. When Marvin gaye called out, ‘Can I get a witness?’ she heard the call. Her projects allow her to collect, chronicle and archive, tell and retell in order to reveal something emotive and intimate about each historical subject. gillette embellishes leather jackets to create intricate historical narratives through an intaglio of song lyrics, quotes, images and embroidery. (front) Allie Mae Burroughs: “Ev’thing There is True”, 2017, Found leather jacket, acrylic, photo transfer, fabric, concrete, antique farm chain 24” x 9” x 12.5”, (middle) Lucy Burroughs: Just Call Me Lucky, 2017, Found leather jacket, acrylic, photo transfer, fabric, concrete, antique farm chain, 22” x 24” x 5, (back) Floyd Burroughs: Low-Man-on-the-Totem-Pole, 2017, Found leather jacket, acrylic, photo transfer, fabric, concrete, antique farm chain 25” x 30” x 5” IMPACT Celebrating 15 Years of the Piscataqua Region Artist Advancement Grant

2014

lauren gillette york, Maine “As a recipient of this grant, my work had been underwritten, inspired, encouraged, pushed forward, and accepted on faith by the Charitable Foundation.”

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2013

Justin Kirchoff eliot, Maine Master of fine Arts, Massachusetts College of Art and Design, boston, MA bachelor of fine Arts, Maryland Institute College of Art, baltimore

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Justin Kirchoff explores built landscape, personal identity, and beauty of the photographic print.

Kirchoff has an interest in images both as a form of communication and as objects. His respect for the integrity of the medium is an important value he instills in his students at the Maine College of Art. Southeast View, 2015, Inkjet print, 30” x 40”

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2012

bear Kirkpatrick defines his imagery as evidence, documents of past and present human psychological states. He is presently working to develop a model to prove that acquired characteristics are not only inherited as a result of natural and artificial selection, but also as the result of psychological selection as created by the environmental pressure of human memory.

bear Kirkpatrick rollinsford, New Hampshire Master of fine Arts, University of Massachusetts, Amherst, MA

The Human Diorama 34, 2015, Archival pigment print, 45” x 61”

IMPACT Celebrating 15 Years of the Piscataqua Region Artist Advancement Grant

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Kim bernard is fascinated by predictable patterns in matter and motion. she’s interested in creating work that demonstrates this phenomena simply, with an aesthetic that allows the viewer easy access, and provides a tangible way of seeing physics.

1965, Phonon, 2015, Recycled bicycle inner tubes and springs, 17” x 17” x 17”

2011 Kim bernard rockland, Maine Master of fine Arts, Massachusetts College of Art and Design, boston, MA bachelor of fine Arts, Parson school of Design, New york “e Artist Advancement Grant gave me the opportunity to fully focus on bringing movement into my work through interactive kinetic sculpture. is proved to be a pivotal point in my development and trajectory, one that might not have happened had it not been for the grant.”

2010 gail spaien

gail spaien is known for making paintings that depict an idealized view of the natural world and a denial of unpleasant things. Her current work examines the symbolism and contradiction embedded in the floral still-life tradition touching on themes of well-being and mortality, pleasure and loss. spaien’s use of deliberately artificial imagery transforms extreme emotion to a restrained strength as a commentary on the complexities of our time and a continuation of her interest in sentimentality as it relates to the intersection of nature and culture.

south Portland, Maine Master of fine Arts, san francisco Art Institute, san francisco, CA bachelor of fine Arts, University of southern Maine, Portland, Me

Evening, Serenade #9, 2017, Acrylic on linen, 30” x 40”

IMPACT Celebrating 15 Years of the Piscataqua Region Artist Advancement Grant

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2009

lynn szymanski rollinsford, New Hampshire Master of fine Arts, san Diego state University, san Diego, CA

lynn szymanski makes art that lies in the small quiet details that permeate daily life; details that are knotted in the intricacies of our inner world, in the subtleties of relationships and in the weeded stories of life histories.

Although trained as a fine furniture maker, her work has always been more poetic than practical, finding beauty in imperfection and comfort in the detritus of the past.

Drift #1, Basswood and mahogany, Not Rectangular: 11” x 8” x 3”

2007

Kirsten reynolds plays with architecture and language, disrupting their expected rational construction with humor and uncertainty. Poised in a moment between perpetual creation and imminent collapse, her architectural structures form an absurd tableau that the viewer can enter, and by so doing, become a participant in an irresolvable narrative. scattered toy-like pegs and tacks, useless cuts, paint smears on patterned facades, sculpted mops, rags and black rubber drips parody the mishaps of an absurd building process. e structures’ incompletion reveals what remains and activates what could become.

An Event, 2017, Wood, MDF and paint

IMPACT Celebrating 15 Years of the Piscataqua Region Artist Advancement Grant

Kirsten reynolds Newmarket, New Hampshire Master of fine Arts, Maine College of Art, Portland, Me bachelor of fine Arts, syracuse University, syracuse, Ny “Because of the Artist Advancement Grant, I successfully realized two ambitious projects that elevated the scale and scope of my artistic work and career.”

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2006

barbara rita Jenny Portsmouth, New Hampshire Master of fine Arts, Maine College of Art, Portland, Me “Receiving the grant was first and foremost a welcome validation of my work, and confirmation that I was clearly communicating something meaningful.”

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barbara rita Jenny is a digital media artist and educator. she transforms photographs of human flesh into ornate pattern by applying complex geometrical equations. finished products take various forms, from traditional wall-hung prints, to projected images and immersive installations.

Astroglial Meditation, 2017, Painted PETG

THE MUSEUM OF ART OF THE UNIVERSITY OF NEW HAMPSHIRE

2005 eco-artist Tim gaudreau is passionate about the environment and the interconnections between people and nature. His work combines photography, video, new-media, graphics, and sculpture with humor and irony to create collaborations that advocate for a greater awareness of eco-issues and empowerment. His work initiates dialogue about social and environmental issues and serves as an entryway to improve our relationship to nature and consider each individual impact.

18.9 Tons: A Year of Considered Consumption aka 365 Days of Tracking my CO2 Emissions, 2017, Photographic collage IMPACT Celebrating 15 Years of the Piscataqua Region Artist Advancement Grant

Tim gaudreau

Portsmouth, New Hampshire Master of fine Arts, Maine College of Art, Portland, Me bachelor of fine Arts, University of New Hampshire, Durham, NH “is award validated my work. e creation and exhibition of public work meant to challenge the status quo complacency around environmental issues.”

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Maureen Mills creates layers of imagery and patterns on her work, using the dramatic results of firings to accent color and pattern. Her forms are a combination of extraordinary hand building skills with balanced wheel-working techniques. Mills has a great depth of knowledge from kiln building and firing, to glaze calculations and slip casting. (front), Orb Vase, 2015, Stoneware 15” x 7” x 7”‘, (back), Text Vase, 2014, Stoneware, 11” x 9” x 9”

2004 Maureen Mills

Portsmouth, New Hampshire Master of fine Arts, University of Nebraska, lincoln, Ne bachelor of Arts, Knox College, galesburg, Il “I used the application process to explore the intentions behind my work more fully; writing in this manner focused my thinking that could be actualized through immersed exploration.”

2003

Katherine Doyle york, Maine University of louvain, belgium American University, Washington, DC, Art & Art History, bfA “e Artist Advancement Grant recognition provided philosophical support for my urge to explore new territory, and lent fuel to my fire. It gave me a freedom to experiment, launching a time of challenges and growth that have changed my life and work in essential ways.”

(top) E IV, 2016, Upcycled New Hampshire oak, steel wire, 3-D printed hardware, Irregular: 28” x 29”, (bottom) Totem I (Burn Out), 2017, Upcycled New Hampshire oak, fire, oil, 36” x 23” x 24”

2002

gary Haven smith Northwood, New Hampshire bachelor of fine Arts, University of New Hampshire, Durham, NH “feeling unburdened by financial constraint I embarked upon large-scale sculpture in stone that was not commissioned nor envisioned for a show.

It is difficult to make sculpture of this size for speculation.”

gary Haven smith’s abstract sculptures and paintings explore the boundaries between the enduring aspects of past cultures and the fast-paced, technologically driven nature of modern life. While his granite sculptures may retain some of their natural qualities in form and surface, by utilizing the subtractive process of carving, smith imposed geometric shapes, hard angles, and pierced forms into the stone. by creating visual passageways, he pulls our attention through the age of the stone to the contemporary world on the other side. ese industrial facets are interspersed with more human-like, almost playful marks—gentle spirals and wavy lines—and oen the addition of color.

Angeion, 2013, Carved slate and gold leaf on Birch plywood, 26.5” x 43.25”

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THE MUSEUM OF ART OF THE UNIVERSITY OF NEW HAMPSHIRE

EXHIBITION CHECKLIST Kim Bernard Phonon, 2015 recycled bicycle inner tubes and springs 17” x 17” x 17” Ross Cisneros (not exhibiting) Katherine Doyle Totem I (Burn Out), 2017 Upcycled New Hampshire oak, fire, oil 36” x 23” x 24” Katherine Doyle E IV, 2016 Upcycled New Hampshire oak, steel wire, 3-D printed hardware Irregular: 28” x 29” Tim Gaudreau 18.9 Tons: A Year of Considered Consumption aka 365 Days of Tracking my CO2 Emissions, 2017 Photographic collage Lauren Gillette Lucy Burroughs: Just Call Me Lucky, 2017 found leather jacket, acrylic, photo transfer, fabric, concrete, antique farm chain 22” x 24” x 5” Lauren Gillette Allie Mae Burroughs: “Ev’thing There is True”, 2017 found leather jacket, acrylic, photo transfer, fabric, concrete, antique farm chain 24” x 9” x 12.5”

Lauren Gillette Floyd Burroughs: Low-Manon-the-Totem-Pole, 2017 found leather jacket, acrylic, photo transfer, fabric, concrete, antique farm chain 25” x 30” x 5” Carly Glovinski Horizon Line, 2017 Acrylic on laser cut plexi-glass, 1.25” x 24” Carly Glovinski IFC (The Sea Around Us), 2017 Acrylic on wood 16” x 11.5” x 1” Justin Kirchoff Southeast View, 2015 Inkjet print 30” x 40” Bear Kirkpatrick The Human Diorama 34, 2015 Archival pigment print 45” x 61” Cathy McLaurin A Deathless Contract, 2016 Pigment prints, Tyvek®, frames, and found frame Triptych: 21.5” x 15” Triptych: 15 x 21.5” Triptych: 29.5” x 24” Cathy McLaurin Dogs in the Manger, 2016 HD video Maureen Mills Text vase, 2015 stoneware 15” x 7” x 7”‘ Maureen Mills Orb vase, 2014 stoneware 11” x 9” x 9”

Kirsten Reynolds An Event, 2017 Wood, MDf and paint Barbara Rita Jenny Astroglial Meditation, 2017 Painted PeTg Gary Haven Smith, (1948 – 2017) Angeion, 2013 Carved slate and gold leaf on birch plywood 26.5” x 43.25” Gary Haven Smith, (1948-2017) Memory Dust, 2008 Carved slate and white gold leaf 51.5” x 57” Gail Spaien Evening, Serenade #9, 2017 Acrylic on linen, 30” x 40” Gail Spaien Still Life Serenade #2, 2016 Acrylic on linen 34” x 36” Cheryle St. Onge Cruiser’s Net weather radio overheard. An elongated area of high pressure extending westward, Tilloo Cay, Bahamas, 2014 Digital print, 8” x 10”

Cheryle St. Onge Cruiser’s Net weather radio overheard. Slack tide, rain likely with temperatures declining by early evening, Man O War, Bahamas, 2014 Digital print 8” x 10” Lynn Szymanski Drift #1, 2017 basswood and mahogany Not rectangular: 11” x 8” x 3” Lynn Szymanski Drift #2, 2017 basswood and mahogany Not rectangular: 11” x 8” x 3” Lynn Szymanski Drift #4, 2017 bleached oak and dyed mahogany Not rectangular: 10.5” x 7.5” x 2” 2017 first runner-up: Sachiko Akiyama The Blue of Distance, 2016 Wood, paint, and steel 33” x 11” x 68”

Cheryle St. Onge NOAA Weather radio overheard. North-northeast winds of 5-10 knots and seas of 2-4 feet, Great Bay, NH, 2012 Digital print, 8” x 10” Cheryle St. Onge NOAA Weather radio overheard. Ebbing tide, areas of fog and drizzle, Cuttyhunk, MA, 2013 Digital print, 8” x 10”

IMPACT Celebrating 15 Years of the Piscataqua Region Artist Advancement Grant

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Museum of Art University of New Hampshire Paul Creative Arts Center 30 Academic Way Durham, NH 03824-2617 (603) 862-3712 www.unh.edu/moa

MISSION MUSEUM HOURS: Mon, Tues, Wed, Fri: 10 am–4 pm Thurs: 10 am–8 pm Sat, Sun: 1-5 pm Closed University holidays

VISITOR PARKING: Free parking is available weekdays after 6 pm and all day on the weekends in B Lot. For visitor information: www.unh.edu

PROGRAMS & EVENTS: Visit www.unh.edu/moa For a guided tour contact (603) 862-3713 or museum.of.art@unh.edu TTY users: 7-1-1 or (800) 735-2964 (Relay NH) All exhibitions are supported in part by the Friends of the Museum.

Impact: Celebrating 15 years of the Piscataqua region artist advancement grant is supported by the New Hampshire Charitable Foundation.

This catalogue was published on the occasion of this exhibition at the Museum of Art of the University of New Hampshire, October 26 – December 15, 2017. © 2017 IMPACT: Celebrating 15 Years of the Piscataqua Region Artist Advancement Grant Front Cover: Bear Kirkpatrick, The Human Diorama 34, 2016, archival pigment print, 45” x 61”

The Museum of Art of the University of New Hampshire collects, preserves, and interprets works of art, serving as a visual arts resource and an educational catalyst for the University and Seacoast communities. The Museum of Art inspires lifelong learning by offering experiences to engage with art through exhibitions, hands-on study, educational programs, and the creative process.