In the Ocean Edge Gallery

at the Cape Cod Museum of Art

I don't normally toot my own horn quite so insistently, but this has been an extraordinary 12 months for me--many good exhibitions, all curated by dealers and curators with exquisite sensibilities, in the company of many strong artists--that I've been posting walk-throughs of the shows (Territory of Abstraction, A Few Conversations About ColorDoppler Shift and more), sharing images of their work and mine. Allow me to do that again in this post, with a particular emhasis on my own paintings.

Partial panorama of the installation, with work by Emily Berger on the left, Mira Schor on the right, and Sarah Hinckley on either side of the doorway leading to the small gallery where my paintings are hung

There's a dedicated website for the show in lieu of a catalogue, so here let me just say that the painter Sarah Hinckley has curated an exhibition at the Cape Cod Museum of Art, up through May 31, which brings together six painters with a long-time connection to Cape Cod: Erica H. Adams, Emily Berger, Joanne Freeman, Hinckley, Mira Schor, and me. I invite you to spend some time on the Formal Aspects website. All the works in the exhibition are viewable, and each artist talks about her work and connection to the Cape.

In this post I'd like to bring you into the Ocean Edge Gallery, visible in the distance of the partial panorama above, and take you around the small, almost chapel-like space in which my work is installed. I'm not sure how I lucked out into that beautiful and serene little room, but I suspect I have Michael Giaquinto, curator of exhibitions to thank.

With the larger exhibition space to the left, we turn right to begin a clockwise tour of my work in the Ocean Edge Gallery. The paintings for this exhibition are all new, from 2014 and 2015. 
Above, Silk Road 191, 12 x 12 inches, and Silk Road 257, 18 x 18 inches

A closer view of Silk Road 257

Continuing past Silk Road 257, we come to a grid of 18 paintings from a series that is edging toward 300 paintings. It is a luxury to be able to show so many at one time, and a good part of my time in the studio was spent figuring out  how I wanted them to be seen together

Here's the full installation (a closer view of which you can see here)
I have worked on this series for 10 years. When I started, it was the iridescence of taffeta and the  texture of douppioni silk that inspired me, but over time the series has expanded into a broader formal exploration of color and texture

With our back to the grid, we look out into the main gallery, where paintings by Schor and Adams can be seen

Silk Road 190 with a view of Emily Berger's work in the main gallery. Closer view below

A more accurate rendering of the subtleties of hue and surface. Painting courtesy of Arden Gallery, Boston

Closer views from left, above, and right

And a closer view still to show you something of the luminosity of the layers and the way I limn the edges of each painting to charge each small color field. Silk Road 244, foreground, courtesy of Schoolhouse Gallery, Provincetown

In addition to acknowledging Sarah Hinckley, Michael Giaquinto, and my co-exhibitors, I'd like to thank Edith Tonelli, the museum's director, for her support, and extend a special note of appreciation to artist and museum volunteer Hugo Rizzoli for his precision installation of the 18 paintings. Finally a thank you to Schoolhouse Gallery, Provincetown; Arden Gallery, Boston; and Kenise Barnes Fine Art, Larchmont, New York, for letting me take some of my work off their walls and out of their racks for this exhibition.