Lynda Ray, Banded Iron, 2015, encaustic on panel, 12 x 24 inches
"Depth Perception" refers not only to the physical way three-dimensional work is experienced from different vantage points but to the way a two-dimensional surface can be developed to suggest dimension, either through perspective on a flat plane or by the buildup of the surface into high or low relief. If you find yourself on Cape Cod between now and June 4, please stop in at the Cape Cod Museum of Art in Dennis to see Depth Perception, the 19-artist exhibition of painting and sculpture that I co-curated with artist Cherie Mittenthal.
Considering depth in two and three dimensions. From left: Carol Pelletier, Cherie Mittenthal, Susan Lasch Krevitt (on pedestal) and Wayne Montecalvo
Depth Perception is timed to coincide with the International Encaustic Conference in Provincetown, an annual event I founded that is now directed by Mittenthal. All of the artists in the exhibition work in the medium of encaustic, sometimes in concert with other materials. In curating this exhibition, which brings together dimension in its real and perceived states, we underscore the idea that there is no such thing as "encaustic art" (a dreaded hobby concept) but simply that wax is a particularly effective medium by which ideas can be realized in contemporary art.
The exhibiting artists are Pamela Blum, Steven J. Cabral, Karen Freedman, Lorraine Glessner, Jane Guthridge, Susan Lasch Krevitt, Sandi Miot, Wayne Montecalvo, Laura Moriarty, Nancy Natale, Carol Pelletier, Lisa Pressman, Lynda Ray, Stephanie Roberts-Camello, Toby Sisson, Dietlind Vander Schaaf, Janise Yntema, and the two curators, Mittenthal and me. This exhibition of modestly scaled works is installed in the intimate Polhemus Savery DaSilva Gallery.
With Lynda Ray's vertiginous "folded" painting at our right shoulder let's turn left and enter the gallery, going clockwise around the gallery.
On wall from left: Janise Yntema, Pamela Blum, Lorraine Glessner, Stephanie Roberts-Camello; on pedestal: Sandi Miot
Sandi Miot, detail of Purple Biome, 2016, wax and mixed media
Janise Yntema, Hallwood, 2017, encaustic on panel
Pamela Blum, Limb #2 and Limb #3, both 2016; encaustic, oil, plaster on armature, and mixed media
Lorraine Glessner, Pink Snow, 2015; encaustic, collage, and mixed media on panel
Continuing clockwise: Glessner, Roberts-Camello, Toby Sisson, Nancy Natale
Stephanie Roberts-Camello, Revision, 2016, encaustic relief on panel
Toby Sisson, grow inward like a root II and III, both 2017, encaustic monotype on paper mounted on panel
The wall opposite the entrance: Joanne Mattera, Lisa Pressman, Steven J. Cabral; on pedestal: Laura Moriarty
Joanne Mattera, Chromatic Geometry 40, 2016, encaustic on panel
Lisa Pressman, Stop It, 2017, encaustic on panel
Steven J. Cabral, Ukiyo 6, encaustic and oil on panel
Laura Moriarty, detail of Runaround, 2017, encaustic
Photo: Stephanie Roberts-Camello
Photo: Stephanie Roberts-Camello
Dietlind Vander Schaaf, Vatn 4, 2017, encaustic and oil on panel
Karen Freedman, Ruche 0352.127, 2016, encaustic and casein on panel
Carol Pelletier, Mittenthal, Lasch Krevitt, Montecalvo
Carol Pelletier, Burned Ground, 2017, oil and cold wax on panel
Cherie Mittenthal, House with Chair, 2017; encaustic, rubber, and mixed media on panel
Left: Wayne Montecalvo, Say That Again, 2017; watercolor, coffee stain, acrylic, ink, encaustic on handmade and Tengucho papers; Susan Lasch Krevitt, Bound Trio, 2015; rubber, textiles, and encaustic
Installation photos by Michael Giaquinto, director of exhibitions at CCMoA, except where noted. Artwork and details by the individual artists
Visiting: A museum-wide reception will take place on Friday, May 26, while a closing specifically for Depth Perception will take place on Sunday, June 4. Opening and closing receptions will run 5:30-7:30 on those days. The exhibition's 19 artists, including the two curators, will be in attendance at the closing reception. You are invited.
Viewing: Can't make it to the show? A catalog (cover left and spread below), viewable at no cost in its entirety, is available online here. My essay and the artists' statements provide more information about the work in the exhibition, and there are forewords by co-curator Mittenthal and museum director, Edith A. Tonelli. Take a look.
Cover design: Jane Guthridge; catalog design: Karen Freedman