Camey McGilvray

DEEP PURPLE metal wood cubist

Green Hope Coil was reviewed in the Boston Globe. "Dewart sculpts gatelike forms and mandalas that read like sacred geometry. The gate template, two columns framing a central form, i...

Quote from RT on style subject matter. From the model image the actual artwork evolves in the studio. What was once a model is now a reference. The act of making, testing material compatibility, critical evaluation, chance, gesture and the Illuminating accident often shift the final concept. Ine artwork has a lite of its own. The Rare Earth artworks grew out of my investigative research in 2009 while working on a Smithsonian Artist Research Fellowship (SARF) application. That resulted in a body of work titled “Imagos”– photo/journalism images that capture a moment in history and immediately place the viewer at that moment in time. While navigating Landsat records of Earth's land surfaces from space I discovered large areas of disturbed landscapes. These were immense open pit mines at numerous locations world wide, many of which were Rare Earth mines or REEs. The mining and processing to separate the rare earth elements is an environmental conundrum. On one hand these elements are in extremely high demand and necessary for electric vehicles...

This painting by Linda King Ferguson is part of her equivalence series, which began as a feminist project; works that subvert the historically male gaze and a material language speaking of gendered concerns. While typically, King Ferguson paints both sides of the canvas and cuts a flap on the the frontside to reveal the color of the back of the canvas, she unexpectedly does the opposite here. The painting is hung from the "frontside" of the canvas, revealing to us the raw edges of her linen canvas, stapled to the stretchers. Two oblong shapes of pink and red dominate the center of the painting. A thin semioval cut has been made inside of both of these shapes. Her color choices first came from Helen Molesworth’s essay, Painting With Ambivalence, published in WACK! Art of the Feminist Revolution. The Essay includes a large reproduction of Mary Heilmann’s 1979 painting...

Acrylic and resin on 3-D stretched canvas. Sculpture, blue, green, orange. Abstract, biomorphic.