Current Exhibition


“ABSENCE OF COLOR IV”
JUNE 6TH – JULY 15TH
(We Will Be Closed on July 1st)

 

ARTISTS’ RECEPTION
SATURDAY, JUNE 17TH  FROM 7-9 P.M.
(Guests Are Asked to Wear Black and/or White!!)

 

 

Gallery Seven presents “Absence of Color IV” with works by Jean B. Carter, Steven Faucher, John Hayes-Nikas, Alla Lazebnik, and Janet Schwartz. Artists working in color are taught to get the values right, the harmony of light and dark is often the foundation that supports color and most artwork will translate well into a monochrome or black and white image. In this exhibition five artists come together with paintings, mixed media, woodcuts and drawings to celebrate the power and harmony that can be achieved by working only with darks, lights, and midtones.

Janet Schwartz’s talented hand brings us stunning images like “Copper Beech”, a charcoal and pastel of a massive tree rising up to touch the blackened sky, and “Ortiz Bridge”, an oil painting depicting an everyday scene near the Fenway Park area. Both pieces exude a quiet solitude in their own way. Steven Faucher also works in oils. The way in which he puts brush to canvas and works with values creates a harmonizing field of form and light. While inviting, his landscape scenes contain darker undertones: the duality of dark and light.

John Hayes-Nikas says that his work “resides somewhere between the imagined and the perceived”. While his art functions as powerfully minimal abstractions, pieces like “The Return: Reflection” contain the resonance of something familiar such as an architectural detail or large towers stretching out into the sky. The viewer should take some time with this work, it is profound and deeply meditative. Jean B. Carter’s whimsical abstractions use geometric shapes and lines. There is visual tension between the harmony created with the forms and the fact that everything is slightly askew. What Carter does in her masterful designs is make this all feel right and correct.

Alla Lazebnik creates exquisite woodcuts of female figures. We never see her subjects full face, but we can sense what they are feeling from the way in which she positions their hands or tilts their heads. Even though their faces are sometimes in shadow, sometimes partially covered by their own hands, Lazebnik somehow captures both their vulnerability and their strength. In all of this work it can be seen that something very meaningful is gained by the absence of color. There is a purity in the elegant balancing of tonality and it can be understood as reality having been stripped down to its bare essentials.

 

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