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Erin Charpentier, Sam Wildman and Travis Neel
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TEMPORARILY CLOSED
104 Merchants Row
Rutland, VT
Thursday - Saturday 12 pm - 6 pm
Old Hat
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1. From Anywhere They Appear. 2020. Paper, box lid, plant roots, gouache, gold paint. 8” x 5.5” x 4”.
2. Shiver, 2021. Paper, box lid, gouache. 4.25” x 8.5” x 1”
3. The Luring, 2020. Paper, box lid, gouache, gold paint. 6” x5” x 1”
4. Sick Core, 2020. Box lids, paper, twigs, geranium ink, gouache.
5. Absolution, 2020. Box lid, paper, gouache, geranium ink. 6” x 4” x .5”
6. Luminosity of Fear, 2020. Box lid, wire, eggshell, paper, gouache, gold paint. 5.25” x 4” x 2”
7. Grief the Gift, 2020. Box lid, paper, gouache, gold paint. 8.5” x 9” x 1.25”
8. Fallow, 2021. Box lid, paper, plant roots, gouache, gold paint. 7.5” x 7” x 2”
9. Birth, 2020. Wax, wire, stone, plant root, wooden drawer. 12” x 6” x 1.5”
10. Faint Line, 2021. Wax, paper, pins, cardboard box. 4” x 11.25” x 1.75”
11. Devotion, 2021. Plaster, wax, paper, rose cane, plant roots, wire 26.5” x 13.5” x 5”
12. Devotion, detail.
13. Seed Dream, 2021. Paper, gouache, gold paint. 13.5” x 26.5”
14. Deep Rooted. Paper, gouache, graphite, charcoal ink. 15” x 30”
15. Gift of, 2020. Plaster, paper, plant roots, wax, wire, black walnut ink, quail eggs, gold paint, ribbon, pins. 24” x 14.5 x 5”
16. Gift of, detail.
17. Gift of, detail.
18. Misinterpreted, 2020. Paper, gouache, ink, gold paint. 25.5” x 18” x 1”
19. Other Sense, 2021. Plaster, roots, wire, lace cuff. 10” x 7” x 1.5”
20. Mother/Node. Cotton, linen, plaster, paper, wasp nest, wire. 13.5” x 26” x 4”
21. Other Nets, 2020. Linen, paper, gouache, wire, rose cane, quail eggs, wax. 16” x 11” x 3”
22. Other Nets, detail.
Sister Like a Meteorite
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Utopia is, inherently, about creating a perfect world, yet in this way, it is always in conflict with the present. These selected works are interpretations of Utopia, especially in the wake of a global pandemic, political upheaval, systemic oppression, and social injustices.
Juried by Kelly Burgess, Sept 2020
Artists:
Madeleine Bazil, Frances Bukovsky, Erin Charpentier, Ryan Courtier, Shereene Fogenay, Morgan Rose Free, Alex Gencarelli, Conner Gordon, Nanc Hart, Izosceles, Ethan Johnson, Roslyn Julia, Ryan Koopmans, Coco Ma, Diego Morales-Portillo, Kevin Bennett Moore, Avital Oehler, Olivier, Travis Neel, Amy Parrish, Becca Schwartz, Grace Tyson, Jessica Voas, Sam Wildman, Kevin Williamson, Tijera S. Williams, Sam Zalutsky
Don't Ask Me if You Don't Want to Know
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Fine Arts Center, Castleton University
45 Alumni Drive
Castleton, VT
Monday - Friday 8 am - 4:30 pm
Hanging the Dress
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Oliver Schemm has been the director of Castleton Galleries for the past five years. The brain child of artist and educator Bill Ramage, the Christine Price Gallery and the C.U. Bank gallery have been exhibiting a wide range of local to international artists. Oliver has worked in the gallery world for the past 20 years and finds the Castleton Galleries of great importance as a teaching tool for students and a community outreach to the Rutland area. Oliver, an artist himself, has been focusing on manipulated assemblage sculpture using a full range of materials and methods. His large-scale interactive sculptures have been exhibited all over the New England area. The narrative of history, memory and time are conveyed by his use of materials and composition. By playfully uniting perceived function with absurdity he mimics the human experience. Oliver has exhibited through out the East Coast and is a Professor of Art at Castleton University.
oliverschemm.webnode.com
The Sun Never Rises
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Contact Us
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\",\"settings\":{\"styles\":{\"text\":\"left\",\"align\":\"flex-start\",\"justify\":\"center\",\"position\":\"2/3/5/5\",\"m-element-margin\":\"0 0 16px 0\"}}},\"G3VEDFlD_b\":{\"type\":\"GridImage\",\"settings\":{\"alt\":\"\",\"image\":\"https://assets.zyrosite.com//Ygx0znZR5PsZRrPO/img-A3QNpZj39KSLxxP3.jpg\",\"styles\":{\"align\":\"center\",\"justify\":\"center\",\"position\":\"2/11/12/15\",\"object-fit\":\"contain\",\"m-element-margin\":\"0 0 16px 0\"}}},\"GAr6W9VBR0\":{\"type\":\"GridImage\",\"settings\":{\"alt\":\"\",\"image\":\"https://assets.zyrosite.com//Ygx0znZR5PsZRrPO/Mousetrap-YX4OvW8XoGhv8ODx.jpg\",\"styles\":{\"align\":\"center\",\"justify\":\"center\",\"position\":\"1/7/7/11\",\"object-fit\":\"contain\",\"m-element-margin\":\"0 0 16px 0\"}}},\"HJkQgYlj6j\":{\"type\":\"GridTextBox\",\"content\":\"Contact Gallery Coordinator, Kelly Burgess
Contact Gallery Director, Oliver Schemm
For years I’ve had two recurring nightmares. They’ve recently returned, no doubt due to the collective trauma and loss of the past year. In one I am in a house, wandering through rooms and hallways until I encounter the ghost of a girl who is visible to me only from the knees down. Though she never does anything to physically harm me, her presence is so ominous and frightening that it often forces me awake. The second dream has a similar undercurrent. I am suddenly living in a new apartment or house with an invisible, hostile, overwhelming presence that lives in some particular room. The ways in which I react to these fearsome entities has changed over the years, as I’ve gotten older and developed tools for managing underlying traumas or demons. Some part of me is attracted to the fear, so that I both loathe and welcome the familiar, monstrous dread of these dreams.
Years ago when I first read House of Leaves by Mark Z. Danielewski I understood, on an intuitive level, the way the author used text to construct space on each page, and the plot line that expanded physical and metaphorical space indefinitely through darkness, with the protagonist moving as though pulled by a magnet towards an invisible monster. It was a plotline and setting like that in my dreams.
In early January 2021 I watched a livestream of Patti Smith reading her poem The Cup, dedicated to Greta Thunberg, as a public art installation in Piccadilly Circus in collaboration with Circa. I sensed a thematic thread connecting the oblique danger of my dreams, the existential dread in Danielwski’s writing, and the apocalyptic prophecy of Smith’s poem: that of a greater global nightmare of humans as a self-destructive species. The commonality through it all is that the seed of the ominous invisible is in each of us, and is born through us. Its manifestation threatens desolation and destruction in all ways, large and small. This is the sort of doom that is fertilized by neglect of spirit, neglect of nature, neglect of humanity. The message of The Cup is that we’re still here to heed the warning.
One lesson that I’ve had the opportunity to meditate on during this year of relentless global turmoil is the value of grief. The way that loss can clear our vision when we stop fearing the terribleness of our pain, the way it can intensify the value of living. Perhaps it pushes us to redemption.
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