The Feathered Hand: Installation, Drawings, and Prints by Alison Hildreth

Installation, Drawings & Prints

Alison Hildreth

The Feathered Hand

The works in this exhibition are dedicated to Hasket Hildreth

Alison Hildreth

The Feathered Hand

Installation, Drawings & Prints January 13 – April 3, 2011

The exhibit at une is comprised of an installation and a group of drawings and prints created during the past 2 years. The drawings and prints represent walks through a changing landscape of associative ideas; each carries something from the previous image but moves on to a new interpretation. They continue end to end: divided cities, natural and man-made terrains, maps of investigations inspired as much by reading as by an empirical landscape. The installation is based on an interest I have had for a long time in puppets. The puppets are seen hanging through groups of lenses; they surround vessels of differing sizes. They are not presented as marionettes so much as inanimate objects in which I invested much imagination as a child. The time in our lives when the real and the imaginary are so intertwined.

As Camus elegantly puts it, “A persons work is nothing but this long slow trek to rediscover, through the detour of art those two or three great but simple images in whose presence his heart first opened� albert camus

by Alison Hildreth

The previous images and above are details from The Feathered Hand, Glass and plastic puppets, lenses, metal wire, sand, insects and carborundum 20’ × 7.5’ × 7.5’ 2011 Opposite: Imperium #9 Woodcut and etching 15.5" × 20" Edition of 10 2010

Chosen By The Stars It is not an angel it is a poet he has no wings only a right hand covered by feathers he beats the air with his hand flies up three inches and immediately falls again When he has fallen all the way he kicks with his legs hangs for a moment waving his feathered hand Oh if he could break from the gravity of clay he would dwell in the stars’ nest he would leap from ray to ray he would... but at the thought they would be the earth for him the stars fall down in fright the poet shades his eyes with his feathered hand he no longer dreams of flight but of a fall that draws like lightning a profile of infinity

Zbigniew Herbert

Gravity of Clay Ink and wash on Japanese rice paper 54.5" Ă— 40" 2010

Forthrights and Meanders #23 (detail) Ink, collage, encaustic and wash on Japanese rice paper Approx. 55" Ă— 36" 2008

by Lauren Fensterstock

Imagine That You and I

decide to walk through a garden. Depending on the garden, that walk might take form as a simple meandering through a small delineated patch of ground or a long trek through acres of landscaping. From every vantage point we may clearly see the entire vista or, perhaps, be surprised by twists and turns, dense forests, labyrinths, ups and downs, bodies of water, barriers, ruins, and other unexpected features. On this walk, we may pay close attention to our surroundings and delight in our discoveries.

Or maybe the movement of our feet and the intimacy of our endeavor will inspire a conversation that takes us elsewhere, to another time and space incongruous to the reality stretching out before us and enveloping our steps.

Now, imagine that you and I decide to build a garden. We could make plans or we could just start digging and see what happens. To some, this latter route would seem illogical as it allows for the inconsistent. The path is unsure and potentially wasteful. And yet, somehow, the idea is exciting. Therein lies the potential of chance, the ability to evolve, and the slow call and response of coming into being, dying, change, and finding liberation.

I imagine Alison Hildreth approaching her work with this same exploratory notion—that of an intuitive builder of gardens—as her work captures that sense of bold belief and release. Her drawings are intuitive even as they are informed by the artist’s intensive research into a disparate array of topics spanning history, literature, philosophy, and poetry.

Free from the binds of predetermination, Hildreth culls from these resources and her imagination to draw a new reality into being.

Hildreth lays a path ripe with complexities. Here, systems cross and converge. What begins as a road becomes a capillary system: first architectural, then biological, and finally botanical. These shifting connective systems are punctuated by isolated features. In some cases the punctuations appear like dialogue bubbles in a cartoon or a mandorla1 in a medieval Christian illustration. They are exclamatory moments that break the fluidity of the larger system. Windmills.

Processions. Soaring birds. Cloister gardens. The connectedness of these isolated images functions like the inventory of an allegorical ecosystem, woven together by a pilgrimage route of roads and waterways.

Forthrights and Meanders #31 (detail) Ink, collage, encaustic and wash on Japanese rice paper Approx. 55" Ă— 12.5" 2009

There are also traps along the way. Notably repeated is the form of Theresienstadt, an 18th century fortress (named after Marie Thérèse of Austria, mother of Marie Antoinette) that later served as a ghetto where Jews were held and forced to work, before being sent to the extermination camps at Auschwitz. Theresienstadt was featured prominently in one of Hildreth’s significant inspirations: W.G. Sebald’s novel Austerlitz, in which the very shape of the fortress hauntingly permeates the fragile memory of the protagonist. As Hildreth has noted, Theresienstadt was built to protectively keep people out, but was later used to forcefully shut people in. In its first appearance in Fragment #1, the fortress is rendered precisely, while in later drawings the image becomes increasingly abstract—a symbolic trap in a landscape of the imagination. These isolated details in the drawings function like instances of focus. They rise from the fluid network of connections as either potential destinations or looming areas of danger or both.

Ideas surrounding the notion of freedom arise throughout Hildreth’s work from the images of caged animals to the shedding of language to loose shifts in perspective. Partly inspired by ancient Turkish maps, Hildreth’s vantage point shifts widely from an elevation to a perspective; or from the viewpoint of a person on the ground to that of one liberated from grav-

ity’s pull. The drawings function like multi-dimensional maps describing something more complex than a simple topology or a single timeline. As John Berger points out, “Man is the only

Landscape with Nightingale (detail) Collage, ink and wash on Japanese rice paper 55" Ă— 240" 2010

creature who lives within at least two timescales: the biological one of his body and the one of his consciousness.”2 He goes on to say:

To make sense of what I am suggesting it is necessary to reject the notion of time that began in Europe during the eighteenth century and is closely linked with the positivism and linear accountability of modern capitalism: the notion that a single time, which is unilinear, regular, abstract and irreversible, carries everything. All other cultures have proposed a coexistence of various times surrounded in some way by the timeless.3 Hildreth’s drawings may, as Berger suggests, reject convention to imply a new way of mapping that allows for a more complex multiplicity of perception. She frees her drawings—and by implication her viewer—from the shortcomings of a linear perspective.

In her monumental sculptural installation, The Feathered Hand, winged creatures and phenomenal baubles possess an alchemy that allows them to transcend gravity. Their flight connects the multiple layers of the gallery at the University of New England. In contrast to the glorious vision of the figures in flight, a large and dark pool of water lies below. Here, the figures’ transcendence is tragically reflected as an endless descent. The doubling effect reads as a cautionary lament or

a comment on our need for an extreme dialectic of polarities to affirm our own place on the ground. Allen S. Weiss writes beautifully on the subject of reflecting pools in his treatise on the metaphysics of Versailles.

It is precisely the fluid, unstable effects of these aquatic mirrors that emblematize the baroque sensibility, with its fascination for doublings, exaggerations; its desire for flight, dispersal and evanescence; its passion for a vertigo in which the self is in flight with the clouds, flowing with the waters, ultimately absorbed by the world—a mutable form expressing the limits of the imagination.4 As Weiss suggests with his aquatic mirrors, art has the potential to relocate the self in an unsettling new “absorption” or connection to the world. As Alison Hildreth adeptly proves, the plane of a single piece of paper can provoke epic journeys.

Unlike our walk in the garden, Hildreth challenges us to leave the path already paved to build new terrain. If we agree that our world is a construction of our own perceptions bounded only by “the limits of our imagination,” then this paper could become not simply an image of the world, but the world itself. lauren fensterstock is an artist and curator based in Portland, Maine. She currently serves as Academic Program Director of the mfa in Studio Arts at Maine College of Art.

Notes 1. A Mandorla is an almond shaped area of light and color often found in paintings surrounding the image of a holy person or the figure of Christ.

2. Berger, John. “Into the Woods” [on Jitka Hanzlova’s Forest series, 2000–5], Le Monde Diplomatique (February 2006) as republished in Morley, Simon. The Sublime: Documents of Contemporary Art. Cambridge: MIT Press, 2010.

3. Ibid 4. Weiss, Allen S. Mirrors of Infinity. New York: Princeton Press, 1995.

Opposite: Untitled Ink and wash on Japanese rice paper 55.5" x 24" 2010

Landscape with Nightingale Collage, ink and wash on Japanese rice paper 55" x 240" 2010

Installation The Feathered Hand Glass and plastic puppets, lenses, metal wire, sand, insects and carborundum 20' Ă— 7.5' Ă— 7.5' 2011

Top to bottom: Imperium #3, #4, #1 Woodcut and etching Approx. 18" Ă— 22" Edition of 10 2010

Opposite: Forthrights and Meanders #26 Ink and wash on Japanese rice paper 56" Ă— 12.5" 2009

Opposite: Forthrights and Meanders #34 Ink and wash on Japanese rice paper 56.25" Ă— 12.5" 2009

The Feathered Hand Works List installation

prints

The Feathered Hand Glass and plastic puppets, lenses, metal wire, sand, insects and carborundum 20' × 7.5' × 7.5' 2011

Elective Affinities #1–9 Etching 38.5" × 11" Edition of 10 2009–2010

drawings Landscape with Nightingale Collage, ink and wash on Japanese rice paper 55" × 240" 2010 Forthrights and Meanders #3, #4, #10–11, #13, #23–24, #26, #28–32, #34–37, #40–42 Ink, collage, encaustic and wash on Japanese rice paper Approx. 55" × 12.5" (sizes variable) 2007–2010 Napoule I–III Ink and wash on Japanese rice paper 55" × 12.5" (each) 2010 Untitled Ink and wash on Japanese rice paper 55.5" × 24" 2010 Black Zodiac Ink, encaustic and wash on Japanese rice paper 72" × 19.25" 2010 The Gravity of Clay Ink and wash on Japanese rice paper 54.5" × 40" 2010

Imperium #1–10, #13–16 Woodcut and etching Approx. 18" × 22" (sizes variable) Edition of 10 2010 Fall Woodcut 72" × 24" State 1 2010 Fall Woodcut 72" × 24" State 2 2010 Spring Woodcut 71.25" × 26" State 1 2010 Spring Woodcut 71.25" × 26" State 2 2010 Dusk 1 Relief Print 38.5" × 11" 2010 Dusk 2 Relief Print 38.5" × 11" 2010 Untitled Soft ground etching, spit bite and dry point 39.5" × 12" Edition of 20 2010

EDUCATION 1972–1976 1956–1957 1955–1956 1951–1955

Portland School of Art, Portland, me , B.F.A. National Academy of Art, New York City, ny Art Students League, New York City, ny Vassar College, Poughkeepsie, ny, B.A.

Alison Hildreth

SELECTED SOLO EXHIBITIONS 2011 The Feathered Hand, The Art Gallery at the

University of New England, Westbrook, me 2008 Alison Hildreth: Forthrights and Meanders,

June Fitzpatrick Gallery, Portland, me 2005 June Fitzpatrick Gallery, Portland, me

Center For Maine Contemporary Art, Rockport, me 2003 University of Maine, Farmington, me

June Fitzpatrick Gallery, Portland, me 2002 Farnsworth Museum, Rockland, me 2000 June Fitzpatrick Gallery, Portland, me 1999 Arden Gallery, Boston, me 1998 Kouros Gallery, New York, ny 1997 Maine Coast Artists, Rockport, me 1996 Clark University Gallery, Worcester, ma

Arden Gallery, Boston, ma

Rothenfeld-McDermott Gallery, Cleveland, oh 1994 Kouros Gallery, New York, ny 1993 The Painting Center, New York, ny 1992 Condeso-Lawler Gallery, New York, ny 1990 Joan Whitney Payson Gallery of Art, Portland, me

Barridoff Galleries, Portland, me 1987 Barridoff Galleries, Portland, me 1985 Barridoff Galleries, Portland, me 1982 Chroma Gallery, Portland, me 1980 Open Book and Art Forum, Portland, me

University of Maine, Forum A, Augusta, me 1977 North Yarmouth Academy, Yarmouth, me 1976 St. Joseph’s College, Windham, me SELECTED GROUP EXHIBITIONS 2011 Three Person Drawing Exhibition, Olin Arts Center,

Bates College, Lewiston, me (forthcoming) 2010 Renovating Walden, Tisch Gallery, Tufts University, Medford, ma

Sacred and Profane: Eye of the Beholder,

Portsmouth Museum of Fine Art, Portsmouth, nh

thINK, Boston Printmakers Exhibition,

Zullo Gallery Center for the Arts, Medfield, ma

Boston Printmakers Exhibition, Smith College, Northampton, ma,

Moss-Thons Gallery of Art, Hayes, ks,

Kellogg University Art Gallery, Pomona, ca 2009 Spineless Wonders, Atrium Gallery, Lewiston, me

Animal Houses, L.C. Bates Museum, Hinckley, me

Black and White, June Fitzpatrick Gallery, Portland, me 2008 Drawings from Maine, Nancy Margolis Gallery, New York ny

Boston Printmakers, 60 Years, Wiggon Gallery, Boston ma 2007 Graphite, Portland Museum of Art, Portland, me

North American Print Exhibition, Boston University, Boston, ma 2006 Year of the Print, L.C. Bates Museum, Hinckley, me 2004 Naked, June Fitzpatrick Gallery, Portland, me

Exquisite Corpse, Walker Art Gallery, Bowdoin College, me

2003 North American Print Exhibition, Boston University, Boston, ma

ICA Gallery, Maine College Of Art, Portland, me

Four Vinalhaven Artists, University of Maine, Orono, me 2002 50 Year Anniversary Exhibition, Center For Maine Contemporary Art, Rockport, me

Site Specific Installations, Vinalhaven, me 2001 Ingredients For Peace Exhibition, United Nations, New York, ny

North American Print Exhibition, Boston University, Boston, ma 2000 Bruce Brown Collection, Portland Museum of Art, Portland, me

Artists Books, Boston Public Library, Boston, ma

Three Artists, Blum Gallery, Bar Harbor, me 1999 Island Artists, Farnsworth Museum of Art, Rockland, me

Print Exhibition, Treat Gallery, Bates College, Lewiston, me 1998 New Acquisitions, Portland Museum of Art, Portland, me

Joan Whitney Payson Gallery of Art, Portland, me

Maine Coast Artists, Rockport, me 1997 Kouros Gallery, New York, ny

Rosemarie Frick Curates, Robert Clements Gallery, Portland, me

Portland Museum of Art, Portland, me 1996 Triennial Exhibition, Fuller Museum of Art, Brockton, ma

Kouros Gallery, New York, ny 1995 Two Artists, Vassar Center Gallery, Vassar College, Poughkeepsie, ny

North American Print Exhibition, Duxbury Museum, Duxbury, ma

Kouros Gallery, New York, ny 1994 Kouros Gallery, New York, ny

Print Fair, New York, ny

Portland Museum of Art, Portland, me

Farnsworth Museum, Rockland, me 1993 Metropolitan Museum of Art Mezzanine Gallery, New York, ny

Condeso-Lawler Gallery, New York, ny

Foreman Gallery, Hartwick College, Oneonta, ny

The Painting Center, New York, ny 1992 Michael Walls Gallery, New York, ny

Monmouth Museum, Lincroft, nj 1991 Drawing Show, Boston Center For The Arts, Boston, ma

University Place Gallery, Cambridge, ma 1990 Perspectives, Portland Museum of Art, Portland, me

Island Portfolio, Dean Velentgas Gallery, Portland, me 1989 Chicago Biennial Exposition, Chicago, il

Condeso-Lawler Gallery, New York, ny 1988 Barn Gallery, Ogunquit, me 1986 Baxter Gallery, Portland, me 1984 Portland Museum of Art, Portland, me

Maine Painting, Farnsworth Museum, Rockland, me

Baxter Gallery, Portland, me 1983 Jurors Award, Hope Sound Gallery North, Portland, me

Painting and Sculpture, Maine Coast Artists, Rockport, me 1980 Maine Festival, Bowdoin College, Brunswick, me SELECTED COLLECTIONS New York Public Library, New York, ny Metropolitan Museum of Art, New York, ny Brooklyn Museum of Art, Brooklyn, ny Portland Museum of Art, Portland, me Colby College Museum of Art, Waterville, me Union Mutual Life Insurance Company, Portland, me Bates College Museum, Lewiston, me Farnsworth Museum, Rockland, me Elizabeth Noyce Collection, Portland Museum of Art, Portland, me Walker Museum, Bowdoin College, Brunswick, me Wellesley College, Wellesley, ma Smith College, Northampton, ma

Alison Derby Hildreth is a true original.

It is not possible to sum up her art in a few words or even a few paragraphs. She is immersed in numerous media. Moving from one drawer to another in her flat files reveals the depth of her explorations as an artist over a number of decades.

There are many different bodies of work, each distinct, singular, ethereal and rich.

Through the diversity of her series, connections exist, a tangible feeling of the artist’s heart and soul. Year after year she investigates new terrain.

Here is an artist who is a true intellectual inspired by diverse pursuits. ‘To me,’ she has noted, ‘what influences one is eclectic —even how an egg breaks into a frying pan can trigger both microscopic and macroscopic images.’

The installation, The Feathered Hand, is immediately accessible to young children and adults alike. The icons, emblems, symbols and magical puppet figures create a glittering, shimmering, changeable feast of visual delight. It is at once so delicate as to hint at the possibility of crashing and shattering and so strong as to belong in the foyer of an august art institution.

The University of New England Art Gallery is honored to host Alison Derby Hildreth’s latest creative body of work. These works transform the une Gallery in the most unique manner.

Our deepest appreciation is extended to this artist and her talented team.

Anne B. Zill, Director UNE Art Gallery Portland, Maine

I would like to extend a special thanks to Alina Gallo, my studio assistant, a talented young artist who has helped me navigate the byzantine world of technology and assisted with the many stages of the work on the exhibition. She has been indispensable and as she says, she can make puppets in her sleep.

Ernie Paterno, an extraordinary glass artist has also been crucial to this project. He has made hundreds of glass parts for the piece with expertise that is hard to imagine. A true renaissance man, he designed and installed the structure that attaches to the ceiling of the gallery making it possible to suspend The Feathered Hand in the way I had envisioned it. I would also like to thank Irina Skornyakova who helped with wiring puppets and making braces, Deborah Luhrs who sewed dozens of wings and brought bees from her failed hives to use in the piece. Kevin Callahan offered support and encouragement, made beautiful frames for the drawing and was crucial in the general installation of the work.

Thank you Michel Droge for help packing the piece and being essential in the installation process. To Damir Porobic and David Wolfe who helped me print, in a series of experiments that would push most printers over the edge. Thank you June Fitzpatrick for your support, help and good humor.

Many thanks to Charles Melcher and Margo Halverson for designing the catalogue and to Luc Demers for fortitude in photographing the exhibition in spite of endless snow storms. The results are stunning. I am supremely grateful to Lauren Fensterstock for writing such an insightful and elegant essay on the work. She is an impressive artist, intellect and wordsmith.

Anne Zill, the director of the une gallery has been so steadfast in her encouragement and support of this complicated project that it is hard to know how to say thank you. Through the many days of installation when things never go quite as planned, to opening the gallery for off-hour visitors, to always showing up when help was needed; the entire team appreciates the many things that you have done.

Lastly I would like to thank Hoddy, my partner and friend in life who I thought might lose it at times, but stuck through to the end, ever cheerful and helpful.

And he cooks.

UNE Art Gallery 716 Stevens Avenue Portland, Maine 04103 www.une.edu/artgallery www.alisonhildreth.com