Museum of Art of the University of New Hampshire On The Edge

ON THE EDGE

ON THE EDGE Presented by The Museum of Art of The University of New Hampshire January 25 - April 2, 2022

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Exhibition On the Edge implies a balancing act, an impulse, a change in direction, discovery. The edge can be structural as in the separation between spaces or things, borders, thresholds, new frontiers—a precipice, coastlines, expanded visions or vistas. The edge can be perceived in human terms: those on the margins, the fringe, or outsider vs. insider. On the Edge could open a dialogue on mental states, apprehension, societal tension, or moments of equilibrium.

The edge can be formal: contour, perimeter, outline, boundary; or conceptual: experimental work that might be skirting norms, dangerous, or risky. The exhibition presents drawings by 52 artists from surrounding communities in New Hampshire, Maine, and Vermont, who responded to our open call for submissions.

Thank you to all the artists for sharing your visions and talents with the UNH community. Your participation made this wonderful exhibition and its programs possible.

ON THE EDGE / 3

Lisa Addison '99, Woods-Rollinsford-February, 2021 Graphite, watercolor, and opaque watercolor, 24" x 29.9"

Allison Belolan, Interrupted Landscape M4, 2021 Mixed media and mirrored glass, 13.6" x 15.8"

Madison Albanese '22, Breakfast, 2021, Charcoal, 23" x 35" Ben Berube, Sulu, 2020, Colored pencil, 12" x 9" 4 / THE MUSEUM OF ART OF THE UNIVERSITY OF NEW HAMPSHIRE

Artist Statements Lisa Addison '99 Woods-Rollinsford-February, 2021 Graphite, watercolor, and opaque watercolor, 24" x 29.9" It is my neighborhood of mill buildings and wild woods that I have been drawing and painting. I seek the solitude of empty hallways, back stairwells and urban wilds filled with invasive plants. The quiet unused mill spaces are beautiful in their austerity. The overlooked woods beautiful in their impassible growth.

Ben Berube Sulu, 2020, Colored pencil, 12" x 9" I draw what I like. And what's wrong with that?

Allison Belolan Interrupted Landscape M4, 2021 Mixed media and mirrored glass 13.6" x 15.8" The abstract landscapes that I create in collage and mixed media are meditative reflections of the phenomena of unexpected lines and edges that I encounter and observe in the natural world. A crack in the pavement or the contour of a mountain will inspire me to document it with a photograph, sketch or direct rubbing onto paper. These studies become visual references as I work on larger compositions creating a sense of space and balance.

Madison Albanese '22 Breakfast, 2021, Charcoal, 23" x 35" Madison curates images that explore the extremes of space, size, composition, material, and how they relate to relationships, memory, and states of being.

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Kristine Biegel, I Tried to Ask a Question, 2021 Paper, ink, and tape, 16" x 16.5" Christina Boutin, 376, 2020, Pen and ink, 8.9" x 6"

Christina Boutin, 203, 2021, Pen and ink, 8.1" x 7.1" 6 / THE MUSEUM OF ART OF THE UNIVERSITY OF NEW HAMPSHIRE

Greg Mason Burns, Una Vista de Ardales,2017, Charcoal, 11" x 14"

Kristine Biegel I Tried to Ask a Question, 2021 Paper, ink, and tape, 16" x 16.5" This work helped me to work through a painful experience that took place this summer in a place I thought was safe. The experience shook my confidence in people and the belief that the right thing is always done.

Christina Boutin 376, 2020, Pen and ink, 8.9" x 6" 203, 2021, Pen and ink, 8.1" x 7.1"

Greg Mason Burns Una Vista de Ardales, 2017, Charcoal, 11" x 14" Focusing primarily on the “interpretation gap” that is present in Reception Theory, he attempts identify areas of mis-information, manipulation, and mis-representation of the mass media’s message and relate them to the audience’s understanding of reality.

My artistic practice explores connection and moments of seeing. Portraiture opens up a limitless space for observation, attention, care and acceptance— momentarily bridging the gap between self and other. These snapshots can be understood as occasions for contemplation, a grounding of emergent, fluid, and dislocated expressions in any given moment.

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Peter Cady '98, Gazelle Reclining, 2021 Ink and charcoal, 27.3" x 23.9"

Joe Caruso, Mass and Cass, 2021, Charcoal and pastel, 21.9" x 29.9"

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Joe Caruso, Kabul, 2021, Charcoal and pastel, 21.9" x 29.9"

Brian Chu, Winter Tree, 2020, Ink, 11.1" x 15.3"

Peter Cady '98

Joe Caruso

Gazelle Reclining, 2021 Ink and charcoal, 27.3" x 23.9"

Mass and Cass, 2021 Charcoal and pastel, 21.9" x 29.9"

My interest is in distilling/amending/ embellishing experience and memory. I’m currently exploring ink and charcoal on paper to loosen up my work, make it less formal, and push expressiveness.

Brian Chu Winter Tree, 2020, Ink, 11.1" x 15.3"

Kabul, 2021 Charcoal and pastel, 21.9" x 29.9" Working in paintIng, sculpture, and ceramics, I draw inspiration from ancient cultures, myths, and folklore as well as from contemporary life. I am especially interested in the various symbols that man uses to connect with nature and with the spiritual world. These are often embedded in a vast array of art forms ranging from sculpture and masks to movement and ceremony. I create my own versions of some of these forms to address present-day issues.

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James Chute '72, Boreal Limnology, 2020, Ink, 6" x 7.9"

Jane Cohen, Move with me #01, 2021 Pencil, charcoal, and liquid charcoal on YUPO, 5" x 7"

James Chute '72, Peak Foliage, 2020, Ink, 6" x 7.9" Jane Cohen, Move with me #02, 2021 Pencil, charcoal, and liquid charcoal on YUPO, 5" x 7" 10 / THE MUSEUM OF ART OF THE UNIVERSITY OF NEW HAMPSHIRE

Jane Cohen James Chute '72 Boreal Limnology, 2020, Ink, 6" x 7.9" Peak Foliage, 2020, Ink, 6" x 7.9" I make some marks and get out of the viewer’s way.

Move with me #01, 2021 Pencil, charcoal, and liquid charcoal on YUPO, 5" x 7" Move with me #02, 2021 Pencil, charcoal, and liquid charcoal on YUPO, 5" x 7" As soon as I could hold a crayon or pencil I became an artist! Since the beginning of 2020 the work has been directed by materials and their cause and effect. Impatience and physicality create exuberance. I'm energized by exploring materials; staying off balance and unpredictable. Always making work with energy, spontaneity, and audacity. Not thinking, but staying in a state of absent mindedness.

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Nancy R. Davison, Tightrope, 2021, Ink, 12" x 20.8"

Sally Dion, The Story of My Condition, 2021, Ink on silk, 70.3" x 32.3" Matt Demers, Untitled, 2021 Pen and crayon on vintage paper, 8" x 8.5"

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Nancy R. Davison Tightrope, 2021, Ink, 12" x 20.8" Tightropes are an apt metaphor for our increasingly uncertain lives in a time of political and community instability, climate change and a searing, mutating pandemic.

Matt Demers Untitled, 2021, Pen and crayon on vintage paper, 8" x 8.5" I’m interested in line, form, color, and things that are falling apart. I break down visual and emotional experiences into fragments and reconfigure them, allowing them to crash together and make something new.

Sally Dion The Story of My Condition, 2021 Ink on silk, 70.3" x 32.3" We are all drawn to the facts of history and how they reverberate with us and attempt to find a connection. The lines found in the drawings are fresh and original as the connections you may personally find. The figures are purposefully not situated in a landscape or dwelling but rather float and intertwine with each other. Just as the women that descended into the caves and documented their lives I wish to find a solidarity that exists with each other.

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David Donovan, Consequence of Force 01, 2021 Charcoal, 13" x 4.5"

David Donovan, Consequence of Force 05, 2021 Charcoal, 12" x 4.5" 14 / THE MUSEUM OF ART OF THE UNIVERSITY OF NEW HAMPSHIRE

Johanne Durocher, Self-portrait, 2021, Charcoal, 12" x 9"

Daniela Edstrom '96, The Mutation, 2021, Ink, 12" x 9"

David Donovan Consequence of Force 01 2021, Charcoal, 13" x 4.5" Consequence of Force 05 2021, Charcoal, 12" x 4.5" Consequence of Force is a series of drawings where I force mediums through pieces.

Daniela Edstrom '96 The Mutation, 2021 Black Marker, 12" x 9" The Mutation expresses the precarious nature between man and the natural environment.

As a species, we are clearly "on the edge" of tampering with the stability of creation (genetic splicing of animal DNA with plant cells, for example). Since classical times, humanity has endeavored to control and impose itself onto flora and fauna. This piece wishes to reveal nature as a rebellious force, focused on survival.

Johanne Durocher Self-portrait, 2021 Charcoal, 12" x 9" I draw to illustrate my surroundings and as a process of self examination about what comes up as I create. This experience of my inner dialogue provides an opportunity for my own healing; as I draw, I listen, inquire, and breathe.

I draw with charcoal or soft pastels because this media makes it difficult for me to achieve consistency and a perfect representative line.

This built-in problem challenges my reach for perfection and opens up a negotiation of what is true/truth and letting go.

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Victoria Elbroch, Nature on the Edge, 2021, Ink, 10" x 13"

Norajean Ferris, The Most Vulnerable, 2020, Pen, pastel, marker, and ink, 30" x 22"

Marina Forbes, St. George Slaying the Dragon, 2021 Egg tempera, 12" x 9" 16 / THE MUSEUM OF ART OF THE UNIVERSITY OF NEW HAMPSHIRE

Norajean Ferris, On These Pandemic Streets..., 2020, Pen, pastel, marker, and ink, 44.8" 53.5 "

Victoria Elbroch Nature on the Edge, 2021 Ink, 10" x 13" My current work addresses the climate crisis and the fact that nature could save the planet if we only let it.

Marina Forbes St. George Slaying the Dragon, 2021, Egg tempera, 12" x 9" I love dedicating a major part of my life to studying, creating and promoting authentic Russian arts and culture and communicating my enthusiasm to American audiences. For me, my creative work is always joyful and rewarding. I have a “Russian soul,” and my art is infused with my heritage and my unique perspective on the world around me. My ultimate goal is always to satisfy my creative impulse by producing lasting works of great imagination, strength, universality, dignity, and spirituality.

Norajean Ferris The Most Vulnerable, 2020 Pen, pastel, marker, and ink 30" x 22" On These Pandemic Streets...

2020, Pen, pastel, marker, and ink 44.8" x 53.5" Throughout the ages of humankind, governments have either been strong in political stability or steeped in corruption. It is these two states of governmental welfare that either create systemic moral or immoral laws toward civilians. As a young artist, I am always questioning what are the definitions of equality and discrimination. Through my political paintings and drawings I expose the many issues within America, and work toward spreading a message of positive change.

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Julia Gittes, Reader 2, 2021, Graphite, 9" x 12.3" Tom Glover '84, Turmoil #1, 2021 Acrylic, opaque watercolor, and charcoal, 7.6" x 9.8" Anna Gunn, Balance Act, 2021, Mixed media, 7.9" x 4.9"

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Tom Glover '84 Julia Gittes Reader 2, 2021 Graphite on paper, 9" x 12.3" For three years, I have been working on a series of Readers in watercolor and photography. I sketch extensively to find a language that captures the private world of reading and literature.

Conveniently, the subjects stay still—but they also invariably adopt an intensity that extends beyond their posture and filters into their surroundings. "EDGE" as a theme gave me an added impetus to further develop value and drawing gestures that will inform my painting.

Turmoil #1, 2021 Acrylic, opaque watercolor, and charcoal, 7.6" x 9.8" My work often starts very traditionally and moves into more and more abstract realms as I research and explore a subject. My areas of interest include the New England Coast; islands; fish, fishing gear and commercial fishing boats; Fenway Park; landscapes of Europe, birds, mudflats, rivers and so on.

Anna Gunn Balance Act, 2021 Mixed media, 7.9" x 4.9" My piece is about the struggle of keeping your mental and physical health balanced with the pressure of society watching/judging.

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Kate Higley, Autumn Wetlands, 2021 Graphite, conte crayon, and ink on YUPO, 27" x 12"

Wayne Hopkins, Gimme Gimme, 2020, Graphite, 11.6" x 8"

Kate Higley, Edge of Autumn II, 2021 Graphite, conte crayon, and ink on YUPO, 12.9" x 9.9" 20 / THE MUSEUM OF ART OF THE UNIVERSITY OF NEW HAMPSHIRE

Eric Katzman, Perturbation Theory, 2020 Graphite, colored pencil, China marker, 12" x 9"

Kate Higley

Wayne Hopkins

Edge of Autumn II, 2021, Graphite, conte crayon, and ink on YUPO 12.9" x 9.9"

Gimme Gimme, 2020, Graphite, 11.6" x 8"

Autumn Wetlands, 2021, Graphite, conte crayon, and ink on YUPO 27" x 12" These drawings are about the edge of autumn as it turns to winter. Moving from the NH Lakes Region to Eliot, Maine just across the river from Portsmouth, New Hampshire in 2017, I have been moved by this area of exquisite wetlands.

The wetland plants die back revealing their stems while they wither amidst the loss of leaves and blooms. My appreciation of this process is bittersweet as the wetlands reveal the trash that has been unthinkingly tossed in summer.

These are drawings of ideas I do while I am working on my paintings.

Eric Katzman Perturbation Theory, 2020 Graphite, colored pencil, China marker, 12" x 9" My work is informed through the organization of memory processing and meditation. We know personally and scientifically that memory is plastic and easily deformed. This malleability— the conception of self through past experience isn't objective—it's just an amalgamation of narratives that are provisionally subjective.

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Colleen Kiely, Green Coat with Dog, 2020 Graphite, opaque watercolor, watercolor and collage, 10.8" x 8.3"

Kris Lanzer '96, Swirling, 2019, Ink, 12" x 9" 22 / THE MUSEUM OF ART OF THE UNIVERSITY OF NEW HAMPSHIRE

Kris Lanzer '96, Centers and Parts Together, with Feelers 2019, Ink, 12" x 9"

Julianne LaRue '25, Every Supper, 2021 Digital drawing, 11.6" x 15.5"

Colleen Kiely Green Coat with Dog, 2020, Graphite, opaque watercolor, watercolor, and collage on paper 10.8" x 8.3" These drawings are part of an ongoing series Women on the Verge. Working with graphite pencils, gouache, and watercolor, I create imaginative, composite portraits of women, contrasting interiority, and persona. In these process-driven drawings, I create women in a state of metamorphosis and "on the edge".

Julianne LaRue '25 Every Supper, 2021 Digital drawing, 11.6" x 15.5"

Kris Lanzer '96 Centers and Parts Together, with Feelers, 2019, Ink, 12" x 9" Swirling, 2021, Ink , 12" x 9" My Edges and Interiors series is part of a larger project about my expressing the somatic effects of being a member of the noisy and energetic whole. As a multidisciplinary artist, I am interested in movement, sense of place, and ecology. My home and studio are centered in the “Garden of Sustenance”, an art-gardenenvironment behind the “Dover Traffic Spiral”, a roadside art installation.

Can you be nostalgic for something negative?

Can you yearn for the hard aspects of life? That's what my work tries to explore. I work with positive and negative elements to weave together works that allow the viewer to see and analyze their own past in the work.

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David Martsolf '85, Raised Hand, 2021, Ink, 9" x 12"

K. Lee Mock '08, Home I, 2021, Crayon, 6" x 4"

Jennifer Minicucci, Pausing, 2021, Graphite, 12" x 9" 24 / THE MUSEUM OF ART OF THE UNIVERSITY OF NEW HAMPSHIRE

David Martsolf '85 Raised Hand, 2021, Ink, 9" x 12" The free-form line sketches run the gamut from those that suggest objects understandable in our day-to-day 3-dimensional world to totally abstract work, i.e., his Dance series. Dance pushes the original line to become the artwork itself. The lines are emboldened with a variety of line widths of black oil paint with bold background colors to intrigue the eye in a dance filled with suggested motion. Solid and broken lines depicting figures and faces have evolved in 2021.

Jennifer Minicucci Pausing, 2021, Graphite, 12" x 9"

K. Lee Mock '08 Home I, 2021, Crayon, 6" x 4" My drawings depict a female figure growing beyond her mental and emotional confines of home during quarantine. My ideas range from woman vs. environment, and freedom vs. constraint. The drawings are deeply personal and act as a release from my current emotional and mental grief of becoming a new mother during a pandemic.

Jennifer is an emerging New Hampshire Seacoast-based artist working primarily in oils out of her studio in East Kingston. Using classical techniques, her work most often reflects moments of gratitude—from the simple to the sublime—and her joy at living surrounded by natural beauty.

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Carol Moses, Friends // World Citizens // Fellow Sufferers 2020, Ink, 4" x 6"

Carrie Nixon, First Generation, 2021, Charcoal, pastel, and acrylic, 30.5" x 20"

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Thomas Perkins, Incident on 4th Street, 2021 Graphite and White-Out, 22.5" x 31.8"

Carol Moses Friends // World Citizens // Fellow Sufferers, 2020, Ink, 4" x 6" The quadriptych was made in Leipzig during a residency. I was very much on the edge of my experience—my longest stay abroad, and a big exhibition of work, with the largest visitor attendance for me, to date. In order to be able to keep working, creating, I developed the habit of taking a set of varied diameter pens with me and small sized paper, when I travel or am otherwise away from the studio, and away from paint.

Carrie Nixon

Thomas Perkins Incident on 4th Street, 2021 Graphite and Wite-Out, 22.5" x 31.8" This drawing reflects Perkins's reference to shapes with an emphasis on drawn edges and the space between objects. Early figurative pieces (1970-1990) evolved into later conceptual constructivist shapes using intuitive imagery that seems to be part of genetic code without relying on duplicating nature.

First Generation, 2021 Charcoal, pastel, and acrylic 30.5" x 20" My piece is about the struggle of keeping your mental and physical health balanced with the pressure of society watching/judging.

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Roland Salazar Rose, Alpha #3, 2021, Charcoal, 7.3" x 11.1"

Judith Ellen Sanders, Go Sign, 2021 Color pencil and ink on vellum, 59.5" x 20"

Rachelle Royer-Llamas, Turtle Island-The Place Where Food Grows on Water, 2021, Oil pastel, 12.5" x 9.5" 28 / THE MUSEUM OF ART OF THE UNIVERSITY OF NEW HAMPSHIRE

Roland Salazar Rose Alpha #3, 2021 Charcoal, 7.3" x 11.1" Drawing is important to me. But, I must confess I set it aside for the past ten years; that's to say, as my art product, with no additional medium applied. But, what to use: pen, pencil, other. I decided that I'd use charcoal, and for paper natural Stonehenge. This drawing is from a series that I worked on, titled: DNA Shadows. I drew this with 'chunk' charcoal. I felt it would limit and yet broaden the overall concept shown in the piece.

Rachelle Royer-Llamas Turtle Island-The Place Where Food Grows on Water 2021, Oil pastel, 12.5" x 9.5"

Judith Ellen Sanders Go Sign, 2021, Color pencil and ink on vellum, 59.5" x 20" Using a palette of colors, I combine their many hues and textures to depict expansiveness and synergy. At one point in my art career I went to graduate school for science. Learning that molecules flow into and out of the cell while simultaneously creating beautiful intertwining pathways showed me just how extraordinary nature is. At graduation I went back to the studio full-time to put a lens on the possibility and expansiveness that are part of us at all times.

Turtle island images have been appearing to me in drawings since 2018.

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Kathryn Shagas, On the Verge, 2021, Mixed media, 7.9" x 7.9"

Kirk Trombley '88, '20 LLM, Edge of the Sea, 2021, Oil, 31.5" x 31.5"

Craig Stockwell, Los Que Faltan, 2020, Pencil and acrylic, 12" x 9" 30 / THE MUSEUM OF ART OF THE UNIVERSITY OF NEW HAMPSHIRE

Kathryn Shagas On the Verge, 2021 Mixed media, 7.9" x 7.9" Rhythm is fundamental to all life, organizing energy as it travels through space and time.

Daily, seasonal, lunar and solar cycles, and the oscillations of our planet, make up the symphony of rhythms in which life on earth exists. The beating of our hearts and the pauses between beats keep us alive. My paintings are about the power of rhythm to transform chaotic energy into connection. They are inspired by my walks in the natural beauty of midcoast Maine and my early training in classical music. The living landscape often feels like invisible energy finding form and connections through rhythm.

Yet, within these connections, the delicate balance of rhythms and cycles that we depend on for life is now threatened by an approaching tipping point in climate change. The runaway loss of ice sheets, rising sea levels and disabling of the ocean’s circulation system combine to make the Gulf of Maine one of the fastest warming bodies of water on the planet. In the studio I let the power of unseen energies transcend my thoughts, allowing the interplay between chaos and equilibrium to become a dialogue of movements in form. It is a visual record of the vitality of the natural world in continuous motion at a time when there is still an option to choose connection and renewal over environmental collapse.

Craig Stockwell Los Que Faltan, 2020, Pencil and acrylic, 12" x 9" The edge where gesture and formalism meet for a conversation (in the shadow of those missing)

Kirk Trombley '88, '20 LLM Edge of the Sea, 2021 Oil, 31.5" x 31.5" I am a self trained painter that practices law as a day job and dreams to paint at night

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Deb Vendetti, Burnt Head, Monhegan, 2019 Burnt umber pencil, 7.8" x 11.9" Julio Munoz Uribe, Jose del Cielo / Josh of the Sky, 2020, Digital drawing, 23.4" x 15.6"

Miranda Vitello, Allie, 2021 Graphite, pastel, and brush pen, 9" x 12" August Ventimiglia, Untitled No. 19-3, 2021, Graphite, 10.5". x 9.5" 32 / THE MUSEUM OF ART OF THE UNIVERSITY OF NEW HAMPSHIRE

August Ventimiglia Julio Munoz Uribe Jose del Cielo / Josh of the Sky, 2020, Digital drawing, 23.4" x 15.6" I work as an intercultural artist, indigenous art and international art. My principal search has been focused on reflecting culture and its manifestations in images and colors.

Deb Vendetti Burnt Head, Monhegan, 2019 Burnt umber pencil, 7.8" x 11.9" For the past 40+ years my work in drawing and photography have been informed by the quality of light and atmospheric weather at the “edge”, the intersection of sky/land/water along the coast and islands of Maine and the Maritimes.

Monhegan Island has been an annual summer pilgrimage since the early ‘80s. The quality of light and fog at the intersection of sky and water are unrivaled there. Another favored location, the wide, flat shelf on the incoming tide at the Ducktrap, Lincolnville, Maine

Untitled No. 19-3, 2019 Graphite, 10.5" x 9.5" I make abstract drawings inspired by forms and processes in nature such as horizons, waves, tides, patterns, noises and sounds. I am interested in visualizing the experience of time, both the minute length of time it takes me to draw a single line and the imagined expanse of the universe. Recently, I have been making drawings using traditional graphite on paper. I seek to make the surface of the drawing resonate, as if it is sound or noise, not merely an image or recording of sound or noise.

Miranda Vitello Allie, 2021, Graphite, pastel, and brush pen, 9" x 12" Since the start of the pandemic I have attended hundreds of life drawing sessions over Zoom, where I have had the chance to draw models from all around the world. This marked a change of direction in my subject matter, since I previously focused on landscapes. I especially enjoy drawing models with unconventional looks.

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Shiao-Ping Wang, Moves, 2021, Ink, thread, and cut paper on handmade paper, 20.3" x 26"

Rebecca Waterhouse, Fuel-Efficient Routes, 2021, Ink, 10.5" x 6.3"

Ashley Williams, Deep Time / Edge Time, 2020 Acrylic and graphite, 6.5" x 9.3" 34 / THE MUSEUM OF ART OF THE UNIVERSITY OF NEW HAMPSHIRE

Shiao-Ping Wang Moves, 2021, Ink, thread, and cut paper on handmade paper 20.3" x 26" My work comes out of a process of internal dialog. The various pods of self, formed from intuitions, memories, and experiences, are in conversation with one another to collaborate in decisions of art-making. Behind the abstract patterns of my work are imagined stories that I freely associate from my family’s multigenerational migration history.

Ashley Williams Deep Time / Edge Time, 2020, Acrylic and graphite on paper 6.5" x 9.3"

Rebecca Waterhouse Fuel-Efficient Routes, 2021 Ink, 10.5" x 6.3" Becky Waterhouse’s work reflects internal complexities through minimalist design, with subject matter revolving around mindfulness, collective action, and connections to place. Her process is inherently collaborative, guiding people to their own sense of identity and relating it to the world around them. Her creative practice cultivates a sense of belonging, engages equitable access to resources, and activates shared spaces.

My work is driven by a deep sense of wonder and curiosity about the natural world, especially landscapes that feel tentative, vulnerable, and in need of attention. When I walk in nature, I explore the insides of things. I’m fascinated by interior stories: the vein of history in a rock that describes an ancient disturbance, or an irregular tree ring that indicates solar activity or human impact.

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Joyce Ellen Weinstein, After the Divorce, 2019, Ink, 11.8" x 9.3"

Cathy Wysocki, Total and Sweeping Clarification, 2019, Permanent ink on plastic bag, 18.3" x 13.8"

Joyce Ellen Weinstein, Waiting, 2019, Ink, 24" x 29.9" 36 / THE MUSEUM OF ART OF THE UNIVERSITY OF NEW HAMPSHIRE

Cathy Wysocki, Distillation with Vigor, 2019, Permanent ink on plastic bag, 18.5" x 13.5"

Joyce Ellen Weinstein After the Divorce, 2019 Ink, 11.8" x 9.3" Waiting, 2019, Ink, 24" x 29.9" Drawing is Fundamental Regardless of style, media and/or subject matter, drawing is fundamental. To me, it is the most direct and intimate connection between artist and subject and viewer. Drawing creates movement, rhythm and intensity. Drawing teaches the artist how to look and see. Drawing enables eye/hand coordination. Drawing lets the viewer into the private world of the artist.

Drawing can be both the starting point and the end point.

Thematically, I find my inspiration in the personal.

Cathy Wysocki Total and Sweeping Clarification, 2019, Permanent ink on plastic bag 18.3" x 13.8" Distillation with Vigor, 2019, Permanent ink on plastic bag 18.5" x 13.5" The drawings on plastic bags that I submitted are related to my Suffer a Sea-Change series about our seas on the brink. Intuitively driven with mythological meanings and metaphors for the mind, the works reflect pollution, marine life, survival, and the needed human change in thinking and actions in this precarious world. As goes the mind, so goes the sea.

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