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Wood As Muse" Dates: May 7 - September 3, 2017 Reception Date: Sunday L:30 - 3:30 PM May 2L"T Guest Curators: Andy Moerlein and Donna Dodson

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Wood As Muse The Art Gomplex Museum presents Group Exhibition: "Wood as Muse" Dates: May 7 - September 3, 2017 Reception date: Sunday l:30 - 3:30 PM May 2l"t Guest Curators: Andy Moerlein and Donna Dodson As arranged by Gontemporary Curator: Craig Bloodgood Participating artists: Amy Archam bau lt, http ://www. amyarcha m ba u lt. com/ Thomas Beale, http://www.tbeale.com/ Don na Dod son, r¡ruwv. d on nad od sona rtist. b logspot. com B reon Du n i ga n, http ://www. a rtstra nd. com/a rtists/b reon-d u n iga n Vanessa German, http://pavelzoubok.com/artisUvanessa-german/ Pat Keck, http://www. patkeck.com/ Jen n ifer Maestre, http : //www.jen n ife rmaestre. com/ Jason Midd lebrook, http ://jasonm idd lebrook. com/ Andy Moerlein, www. a ndymoerlein. blogspot.com Martin U lman, http ://www. roslindalestud io. com/ M ike Wrig ht, http ://scu lptorm ikewri g ht. com/ Curatorial Statement Making art with wood is not an arbitrary decision. For the artists in this show, wood is theír muse and the source of their inspiration. Each artist has an affection for wood that comes from a very personal place. ln fine art, the mastery of materials and craft must serve the aesthetics of the work. We selected contemporary art for this exhibition that speaks through wood as its medium. We placed several different approaches to using wood in juxtaposition, bringing individual voices into focus. We see wood, as a medium, in the true sense of the word "an intervening substance or agency for transmitting or producing an effect." Each artist in the show approaches wood from a conceptual framework that yields surprising and divergent results. -The Myth Makers, Donna Dodson & Andy Moerlein www.woodasm use. blogspot.com Amy Archambault www.amyarchambault.com Artist Statement The structural properties of wood and the value it possesses as a consfructive and decorative material is essential to my investigation of fabricated objects, my creation of "play-things", and the influence of a renovation-obsessed-culture on contemporary living. Adapting the role of the "renovator" in recent years, my visual lexicon has been saturated by the objects, tools, and equipment we acquire as "homeowners" and / or "home-improvers". I have absorbed a great deal of knowledge about the builder's space, the materials and objects that are associated with that space, and the many methods of fabrication, assembly, and finishing. Wood, the "go-to" material of my past chiefly for its structural dependency, has recently shifted into a source for expression, description and imitation. As one consumed by labor, better known to me as "the project", I search for adventure and delight by imagining visual and functional connections between a given task and the toys and games that defined my childhood. This nostalgic and oddly educational connection, synonymous to the way that a child engages in "pretend", transforms the shop into my stage, my practice into "play", and wood into my most adaptable prop. Biography Amy Archambault received her MFA from the University of Pennsylvania, PA and BA in Studio Art I Psychology from the College of the Holy Cross, MA. Archambault's large-scale installations, sculptures and inspective mixed media drawings uncover playful and unconventional activations of sites and structures. Her complex and energetic installations incorporate both the material and the visual languages of athletic culture, childhood play and the "home improvement" / constructive domain. Recipient of the 2013 Massachusetts Cultural Council Artist Fellowship Grant (Sculpture / lnstallation) and member of the Boston Sculptors Gallery, MA, Archambault has exhibited her work throughout the Northeast. Archambault was most recently named the Boston Center for the Arts Artist in Residence. Her public interactive installation "inMotion: Memories of lnvented Play" was featured on the Boston Center for the Arts Plaza (Summer 2015) and earned her recognition in the Boston Globe. ln addition, Archambault participated in the ambitious "lsles Arts lnitiative" (Summer 2015) with her work being installed in Fort Warren (Georges lsland, Boston Harbor lslands, Boston, MA). Archambault's installation "Futile Ascent" was featured in a group exhibition of faculty artists, "Pulse", at the College of the Holy Cross, MA and additionally at GRIN Providence, Rl. Prior, her installation, "Live-work", was featured in a solo exhibition at 17 Cox, Beverly, MA in 2014. Archambault was recognized in Pulse Magazine for its "Up & Coming Local Artists" outlook in Central Massachusetts, 2012. She is currently Studio Supervisor / Lecturer at the College of the Holy Cross, MA. G--- -r r ."f å få fl, o ,t W r;Ë-r rS 5f- I tl Í| I I Amy Archambault AMYARCHAMBAUTT WOOD AS A MUSE,2Ot7 t1l Reflect (2016) Tx5x2inches African mahogan¡ birch plywood, cabinet handle, cotton candy and acid purple with silver gray diamond paracord l,2l Steødy (2016) II 7 x7 x4 inches Poplar, canary wood, heavy duty black hinge, fireball paracord I t3l Grasp (2016) 5x5x2inches Birch plywood, poplar, cabinet handles, fast paracord l4l shîÍt (2oL4l Maple, door hardware, gecko paracord Tx5x3inches lsl DriÍt(2016l. 8xTx5inches African mahogany, birch plywood, canary wood, double coat hook, cotton candy paracord l6l Support (2OL4l Maple, azek, railing hardware, peacock paracord Tx5x4inches 17l Nook (2oL6l 6x7 x5 inches African mahogany, zebrawood, cabinet handle, cotton candy paracord t8l Hong (2OL6l 9x5x3inches Oak, birch plywood, zebra wood, poplar, cabinet knobs, abyss paracord tel Stretch (2016) 9x4x3inches t. \.1 African mahogany, white ash, coat hooks, fast paracord [10] Pivot (2OL6) 7 x6x 3 inches Birch plywood, poplar, cabinet handles, acid purple with silver gray diamond paracord 'a [ 11] t"-* Crown (2016) oo Moulding, latex enamel, pine, carpet, caulk guns, hardware 63 x 134 x 70 inches 2 Thomas Beale tbeale.com Bio: Thomas Beale is aNew York-based artist who works primarily with found, natural materials. In 2008, he founded Honey Space, a non-commercial exhibition space that he operated in Chelsea wttilZ0l2. Exhibitions include Museum of Old and New Art (Tasmania,20l3), Family Business (New York, 2013),Moscow Biennial (2011), Gogolfest (Kiev, Uk¡aine 2010), amongst others. Thomas has received numerous honors including grants from the New York Foundation for the Arts, the U.S.-Japan Creative Artist Fellowship, and has participated in residencies at Yaddo, Pioneer Works, the Watermill Center, and the Vermont Studio Center, amongst others. Artist Statement: Deep memories of time spent in the woods: alone, with friends, building, exploring, wondering, aware-ing, becoming. Much later, what is it I wish to bring into the world? A reflection back, told through that very medium. Wood breathes. It is both hard, and soft. Long, long ago, our ancestors climbed down from the trees. Much later, they hamessed fire. And sometime thereafter, they built a culture, and civilization- largely from wood. We take all of this for granted, yet somewhere within, I believe, this is all still a part of us. We live largely removed from the tumult and wonder of forced survival amidst an untamed environment. Surely we should be grateful for our circumstances, and yet, for many, I suspect, an ennui can creep in at the edges. We are not always within our nature, but it is somewhere within us. This work is a wild, blind reach to something... not always certain, but when it works, for me, it feels right. Tramp by Thomas Beale 2012 Found wood, pigment, paint, fabric, metal, glass 45 x32 x 30 inches Untitled by Thomas Beale 20t2 Found wood, graphite 30 x 28 x 42 inches Venus by Thomas Beale 2002 Found wood 3tt x 3t'x 3tt iltF Harlequin by Thomas Beale þictured in video) Donna Dodson: Artist Statement and Bio 'My artwork celebrates the mystical relationship between human beings and the animal kingdom. Because there were no icons of women in the church that I grew up in, my vision is to create them. Through hybrid female-animal forms that I sculpt in wood, I flesh out sensuality, sexuality and soul with a well-proportioned figurative vocabulary. The natural grain of the wood interacts with the form and shape of my sculptures in a descriptive way, suggesting nostrils, and nipples or garments and fabric textures. I often stylize each piece to enhance the girl, woman, princess, queen or goddess within. The mouths, or in some cases beaks, are closed symbolizing the mysteries they embody. These figures are sculpted in sizes ranging from one to fourteen feet tall. I use color in both subtle and bold ways to activate each piece. My inspiration comes from ancient iconography and mythological imagery.' Donna Dodson is an American sculptor who has been honored with solo shows for her mythic wood sculptures in art museums, galleries and art fairs. In addition, her larger than life goddess figures have been exhibited intemationally in sculpture parks and public art projects. ln20ll she participated in the Verbier 3D Foundation's Artist Residency and Sculpture Park in Switzerland. In 2013, she was featured at the Fountain Art Fair NYC in the historic 69th Regiment Armory Building. [n2014, she participated in a residency in Cusco Peru at the Escuela de Bellas Artes that culminated in an exhibition at Museo Convento de Santo Domingo Qorikancha with the Boston Sculptors Gallery. Donna had her first solo museum show of "Mermaids" in2016 at the New Bedford Art Museum. Her work is in collection of the Provincetown Art Museum, the Fuller Craft Museum, the Davistown Museum, the Dana Hall School and many private collections. Her work has been reviewed in the Boston Globe, Sculpture Magazine, Boston Magazine, The Daily Mail, New York Magazine, Artnet and The Daily Beast. She has received grants from the George Sugarman Foundation, the Massachusetts Cultural Council and the New Hampshire Woodworkers Guild.
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