honeyjones
rare form
a moment suspended in time
not just the tail of the comet
the whole shebang
meteors showered all night and no one saw them
crystal sparks and glitter dust lit a halo
over our two heads
bent in unison
you said something so soft
it was the everything
here is everything
it is
right now
there is nothing
more than this
we were laughing
there was no other sound
only light
in the darkness
-Julie Ayaz
honeyjones
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baby winged creature found a sweet spot on the wall next to Diane Novetsky's painting, Quartet ...
The collection of artwork under the title of beat frequency, bossa nova, eta aquariids graced one long wall of the gallery and was very nicely integrated into remaining pieces from previous showings of The Dream, Nudes, as well as individual works by other honeyjones-shown artists.
Stephen Bergeron
Solar Panel #2 24 x 16 enamel on wood
Grew up in New England in the ‘50s and ‘60s. Had a paper route at nine and kept one or two jobs from then on. Liked to draw in grade school though the notion was lost to sports and girls. I was severely challenged in science and math so I decided to try for a degree that required both. A Liberal Arts approach was big back then and The Humanities provided a welcome balance to my tortuous major. Literature, Philosophy, Music and a certain reawakening in The Fundamentals of Design. Despite all this fun, the pragmatic degree endured. Marriage , two splendid daughters, divorce, and a thirty three year career. Aesthetic pursuits found pleasure in house and garden to make fine living if not fine art. Did make my own darkroom and pursued black an white images for some years. A few years back while spending an extended stay at my house in Brazil, a mounting boredom together with readily available broken tile everywhere, led to teaching myself mosaic technique that could be installed directly onto the houses’ stucco walls. I stole images from Matisse cutouts because I love them and I had a lot of blue and white tile. A vertical stream of waves of water and yellow fish were installed on a main beam, while high on the kitchen walls, four works were placed to anchor an intended Parthenon frieze. Well, I had found the low door in the wall. It was my entry into the world of making art....maybe. There was a keen sense of working in a discipline known for craft, but also of a history of modern art that had broken thru such orthodoxies.
Barbara Trachtenberg
A Corona of Blood Vessels Circles the Heart 20 x 20 acrylic on canvas
I am a self-taught painter who also makes collages and assemblages. I love color. My work and training in psychology and cultures influence my thinking about a piece I’m working as figures and symbols emerge. Process is key to my relationship with a work—I sweep strokes, connect disparate elements, adding viscosity, impasto, texture, shape and color. Revising old work, playing with accidental composition, I work messy—tearing, painting without gloves, using what’s at hand. Transience, impermanence, decay and joy, disorder and letting go are embedded in the piece. I’m spontaneous, emotional, sensory. I use strong colors and old broken things, and if figures emerge, I dialogue with aspects of myself—listening, sniffing, watching. Working with bold strokes, automatic gestures and texture, found, used, worn items, refuse from the process itself are my physical relationship with my work.
Non-traditional beauty, made to music and movement, through color and juxtaposition of shapes, reflect Boston’s urban push. A vital and vulgar American life reflects my aging and energy. I hike among fragments of nature where random configurations inspire me. Working spontaneously, without plan, I paint visceral and viscous. My process acknowledges there’s no answer to anything, really—life is suffering and joy, confusion and clarity, rife with contradictions. Aging, decay, letting go, from old age to childhood and back.
Energy and battling emotions, movement and spontaneity push rich color and texture from that first mark. Imagery and characters emerge in the abstract. A daughter of Hungarian and Russian immigrants, I was a teacher for severely handicapped children, a school psychologist and a professor of applied linguistics. I interviewed single Central American refugee mothers of the mid 1980s about their strategies of acculturating and now volunteer with Boston area refugee organizations. An international street photographer since the early 1980s, I have had solo shows in Havana, Cuba, Cambridge, Boston, and rural France. My work has moved exclusively to mixed media painting exhibited in solo, small and group shows throughout Greater Boston. I have a doctorate in literacy, language and cultural studies and masters degrees in education and psychology. I am a MacDowell Colony Fellow, currently a Regional Liaison. I work in my studio at The Mill Contemporary Art: Gallery and Studios in Framingham, Massachusetts.
Diane Novetsky
Quartet, 24 x 24 acrylic on canvas
My work explores a somatic vocabulary of biomorphic forms evocative of the female body. Bulbous, sensual, and whimsical shapes reference Art Nouveau, sixties psychedelia and early Modernism. Vignettes appear, from the erotic or sensual, to the mundane or comic. The connection of symmetry to the human body and its power to evoke an iconic sense of space are ongoing investigations.
Symmetry resonates with me due to its association with sacred art. It also serves to contain the high energy of the color and arabesque forms; providing a needed balance. Historically symmetry represented an ideal of beauty. My work engages subtle elements that depart from perfect symmetry in exchange for unpredictability.
Crisp contours are painted, freehand, into lush, flat surfaces that suggest spatial ambiguities. Unmodulated surfaces of saturated jewel color contrast to vertical pours. The pours resemble flowing tributaries; they envelop shapes and flow freely on passages of color. The synthetic palette of sulphurous yellow, neon orange and iridescent greys find counterparts in earthy greens, violets and reds oxides.
Images from observation, memory and the history of art serve as the source material for my painting. My work considers natural forms as well as digital imagery from our ubiquitous screens. I embrace the visual power of these two worlds and their combined effect has left a lasting impact on my art.
Celestial Necklace, 24 x 24 acrylic on canvas
Cécile Ganne
Inner Vision, 24 x 18 oil on canvas
Born in the medieval French city of Carcassonne, I spent my childhood in the lush Dordogne Valley in southwest France. My earliest and most vivid childhood memories are of walks through woods and fields with my family.
Both artists, my grandparents taught me how to see and capture the fleeting coolness of nature’s small quirky moments: a light or a juxtaposition of unexpected textures. They instilled in me this awe of nature’s vibrancy. These seminal experiences trained my eye to capture the warm chaos, the harmonies, emotions that move us through natural spaces, depths and colors.
Painting for me is an intuitive transcription of a wave of emotion that traverses me when I encounter a view that strikes my soul. These views often take the form of landscapes but I think of landscapes as a loose word for any type of horizon where subjects emerge and engage the onlooker. For me, in fact, each landscape, sometimes imagined, re-imagined, or even dreamed, is a window of experimentation with different materials, shapes, colors, and textures.
Painting is an opportunity to work out the puzzles that I see at the center of each composition as well as the ones in my soul. Reorganizing space, mixing colors as well as the physicality of applying paint are my way of practising mindfulness. Approach this state of lightness allows me to create timeless compositions that will bring serenity to art collectors. Art therapy and logotherapy are an extension of my visual work.
