3 new exhibits will share the Gallery at 3S Artspace starting March 5
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PORTSMOUTH—Three exhibitions will share the Gallery at 3S Artspace starting in March featuring a new body of paintings by Jim Zingarelli; sculpture by Steve Novick; and paintings, prints, and sculpture by Cody Mack. Works will be on exhibit March 5 through April 25.
Exhibits at 3S are free and open to the public, and can also be viewed virtually at www.galleryat3s.org. 3S Artspace is currently also offering private Gallery visits on Saturdays and Sundays which can be reserved in advance at www.3sarts.org.
“Sometimes, when we consider individual artist submissions, we are compelled to curate work that we feel speaks to each other,” said Beth Falconer, executive director of 3S Artspace. “In 2019’s Talisman for Travelers, for example, we brought together the work of three artists for a single exhibition in our main Gallery.”
Falconer said, “In this case, we’re staging three separate exhibitions that allow the visitor to experience and contemplate the work on its own, while also allowing ease of flow between exhibitions. Each artist balances a precision in artistic execution with an open and abstract relationship with the viewer. We are not being instructed or led down an obvious emotional path. As Jim Zingarelli writes in his artist statement: ‘This is for you.’”
Beyond the Virtual Gallery, 3S Artspace plans to provide additional exhibit experiences in the virtual realm, releasing mini artist talk videos and on March 31st, a Meet The Artists Q&A session will take place. Attendees to this Zoom event will have the opportunity to ask Zingarelli, Mack, and Novick questions in real time about their work, process, and backgrounds.
“In the past, one of the things I loved most about curating group exhibitions was witnessing the in-person connections that artists made during the artist openings. Holding the Meet The Artists Q&A gives the community the next best thing with a chance to connect virtually,” said Falconer.
Reservations for the Meet The Artists Q&A will open in the coming weeks.
Every Other Line:
“The long tones are lush and darkly sweet throughout the head of the tune,” said artist Jim Zingarelli, referencing jazz musician Dexter Gordon’s ballad ‘Don’t Explain.’ “It’s a statement with a set of questions embedded in it. The piano’s chords with the bass and drum rhythmically keeps the tune structurally directed as Dexter invents and offers high octave pleas that descend into darker recesses of the horn: a melancholy wandering, a journey, like a mixed memory drawing us back to happier times. Ultimately, we’re brought back the tune’s head which ends so conclusively and with a final flourish. It’s genius.”
Zingarelli’s exhibit Every Other Line features 50 new paintings, each one 13” x 13” x 2¾”. With influences ranging from jazz improvisation to color theories, from Vermeer to Albers, from Dostoevsky to Emmanuel Levinas, from Wes Montgomery to Ralph Ellison, Zingarelli states that this body of work rhythmically improvises its way through diverse issues where “the face of the other” becomes the means by which individual works, and we as individuals, find identity.
“Music informs these works, both in formal and intuitive ways. One of the things I love about jazz is that you have a given structure of existing chords, ‘the changes’ as they’re called, as well as a melodic structure, the ‘head’ of the tune,” Zingarelli said. “However, within and outside those structures is a realm of improvisation that each musician can invent within and through, as well as find new shapes in the musical conversation with bandmates during a performance. I hope my own work reflects both those structures and improvisatory departures and inventions found in jazz.”
Zingarelli begins his proces through a series of sketchbook drawings that evolve from the starting point of a single line.
“I love Paul Klee’s definition of drawing as ‘the art of taking a line for a walk.’ While that process is going on, I’m usually coating the entire canvas with a single color. I use water and matte medium to keep the paint thin so it saturates the linen. In that way, the color penetrates the surface instead of setting on top of it. Color and surface become one,” Zingarelli said.
“I settle on a particular pattern of horizontal lines that become the manuscript paper, as with musical bar lines, for the lines and colors to find their orientation. I transfer the lines onto the canvas and sometimes alter the transfers to create new transparencies and configurations. It all becomes less predictable as the process continues...new color choices, line thickness and balance, value adjustments and contrast,” Zingarelli said.
His artist statement describes: “Horizontal bands lighten and deepen, hues structured to variant tempos, melodic lines coursing and intersecting into a set of spatial shifts found between illusion and location: internal connectedness becomes an external dialogue. This is for you.”
The progression of the series from the first painting to the 50th can be associated with the base color used to saturate the first layer on the canvas. The earliest paintings began with unmixed colors directly from the tube with corresponding titles like “Cobalt” and “Yellow Medium.”
“The middle works in the series are based in a color invention I call ‘Blueprint Blue.’ I created my own recipe for mixing this,” Zingarelli said. “The last set of works in the series were a series of black paintings that also reference another color, like ‘Blue Black’ or ‘Red Black.’ The work also took on more gestural momentum in this last set of paintings as well as greater cultural significance.”
On creating work over the past year during the pandemic, Zingarelli has used the time to commit to a daily practice.
“There is no exhibit, no show, if you’re not making the work,” Zingarelli said. “I also found it relevant to be working on a series of paintings involving the relationship and responsibility of the other when Black Lives Matter took center stage. It happened that I was working mostly on the black paintings during the pandemic and I think that there’s something of this important culture moment that found its way into the work.”
Zingarelli describes every piece in the series as an extension of the other, a larger mosaic made up of smaller individual mosaics.
“Each painting is a physical presence. We can break it down even more to every color and line, every shape, and the negative space-- the unseen or implied line-- which are individual identities that give themselves up to the unity of that presence,” Zingarelli said. “You know, I’ve come to a point in life where I’ve stopped looking for miracles because, let’s face it, it’s all miracle. We’re all miracles.”
Steve Novick assembles found objects by way of “trial, error, and serendipity.” He began collecting objects when he was very young while accompanying his father to the Salvation Army on Saturdays.
“Scavenging, if you will, became part of my process in graduate school. I had reached something of an impasse with painting; gleaning and collecting, and incorporating objects into my work, was both a break and a natural-seeming progression,” Novick said.
Presently, his studio is “crammed with stuff” from thrift stores, yard sales, and flea markets.
“While browsing the wares, I often will undertake the use of a new item or form, or realize a possible solution to a previously intractable problem. Although the physical resolution of my sculptures may be quick, the ideas behind them normally gestate slowly,” Novick said.
There are seven works in the Ordinary, Elusive series in which viewers will find the simplicity of form, surrealism, and often wit in the identity of the representational object as well as the original items composing it: the object’s alter ego.
“As viewers, we’re akin to characters in a Superman comic: the hero is right there, but you don’t recognize him until Clark Kent takes off his glasses—or, in this instance, until the assembler reveals his secrets,” Novick said.
He described the two pieces in the series that read as pieces of pizza, “‘Slice (Leftover)’ comprises one part of a wooden cheese-utensil container and two red wheels from a pull toy. ‘Slice’ is that wooden container’s other half—a classic ready-made, presented without alteration, and the setup to the punchline. ‘Slice (Leftover)’ is an assisted ready-made, from variously sourced found items. The ‘leftover’ idea was prompted by existing stains on the wood, and by the truncated tip of the wedge.”
Novick said he thinks the pandemic hasn’t affected his process aside from preventing him from amassing new materials, although he admits he has plenty to work with for the time being.
“Maybe the show will strike viewers as pertinent to the COVID world,” Novick said. “Audience interpretation helps to complete the picture for me, as it were, and I’m wary of preempting their diagnoses by serving up my own.”
Cody Mack is an interdisciplinary artist often working in the forms of painting, printmaking, and sculpture.
Having grown up in the Endless Mountains region of Pennsylvania, Mack takes interest in place and how it can transcend in terms of art and abstraction. In Off-Color, he uses Pennsylvania Bluestone, a natural sandstone, as a theoretical topic and sculptural material.
“The utilitarian material, tripartite hue, and reductive properties present systems for making, and explore concepts related to chance, seriality, and pictorial organization. The words ‘blue’, ‘lilac’ and ‘off-color’ are like On Kawara’s Today series: a record of a preexisting system like a number, month, or punctuation mark,” Mack said.
He described the choice of using Pennsylvania Bluestone because of its free and pure properties.
“Unlike marble, it doesn’t have a long history in art. The material varies in size and color but is generally flat. So not only is it about the idea but also the idea of being something else,” Mack said.
The blue, lilac, and “off-color” used by Mack are based on his selection of three color classifications of Pennsylvania Bluestone and take on a multifaceted role in these works.
“On one hand I see the color as new primaries. On the other hand, I see the color as a shape or a field that speaks to itself,” Mack said. “The context of the earthy color relates better to color field painting or land art than anything representational.”
“I hand-picked each stone, created pigments to simplify the color and matched the pigment with latex paint. Some objects were outsourced and made with industrial processes. Others were less calculated and developed by chance systems,” Mack said.
3S Artspace staff has implemented enhanced health and safety measures as advised by the state of New Hampshire and the CDC. For example, visitors will be limited to 10 people at a time in the Gallery and masks will be required. Visitors can learn more in the “Health & Safety” section of the 3S Artspace website.
Coinciding with the Gallery exhibits, 3S Artspace has launched a virtual Gallery experience (at www.galleryat3S.org) for those who are not ready or able to visit 3S Artspace in person as a way to stay connected to 3S from home. The virtual exhibits will have a 3D virtual tour of the Gallery space, as well as high-resolution images of works in the exhibit.
? Gallery exhibition dates: March 5 - April 25, 2021
Free and open to the public.
? More info on Every Other Line: www.3sarts.org/gallery/every-other-line
? Visit 3S Artspace’s virtual Gallery: www.galleryat3S.org
? These exhibits are generously supported by The Sailmaker’s House and Water Street Inn.