My art is usually designed for the interior space the title for my outdoor piece Frame Buffet represents the variety of different structural materials designed for the outdoors indoors. To have this universal quality to it, as if it’s a hybrid piece.

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Nigel Jones

I was born and currently work and live in Boston. I started drawing when I was young, being inspired by industrial design and pop culture. Coming from a family background in construction, I was also introduced to woodworking at a young age. As I got older, I’ve developed more of interest in pursuing visual arts. I graduated with a BFA in Interdisciplinary Arts from Montserrat College of Art in 2015 studying painting, drawing, sculpture. Post-Graduation I’ve taken jobs in Custom fabrication and woodworking through sign work, picture framing and furniture-making. Working those jobs has expanded my ideas and approach to creating my art. Which led me to creating the art I make currently.

In my current work, I construct and paint shaped wooden panels. I design the shapes in various directions, encapsulating it in a frame as an extension of the overall design. The design of my recent work still derives from the industrial design and pop aesthetic that kick started my creative instinct in my youth. The inspiration behind the shapes, is anything that exists or is invented in which the ideas are sporadic, tying in with the shapes design being sporadic and individualized. The constructing process is like an assembly line combined with building a lego set in which every design has its own directions to follow. I compare the process to putting together a song. My power tools are my instruments and all the cut pieces are different sounds composed together to create a structurally sound and colorful melodic look.

Blown Away is an enlarged version of dandelion caught in the wind. I found a tangle of fishing ropes on Duxbury Beach. Caught in this tangle were black plastic fishnet buoys, which I thought looked like seed pods. That was the genesis of his sculpture!

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Gints Grinsberg

Lifelong packrat, Gints took up welding to make use of all the beautiful junk he had collected! Received BA Architecture from RISD 1986. Participated in countless group and solo shows throughout New England including the DeCordova museum, Fuller Craft Museum, Heritage Museum and the National Museum of Art in Riga, Latvija, as well as the DeMenil Gallery at the Groton School. Currently exhibits with the Clark Gallery in Lincoln, Ma., Boston Art, and the Sunne Savage Gallery. Lives and works in Dedham, Ma. with his wife, 3 daughters, coonhound Magnuss and a seemingly endless supply of junk!

I attempt to make things useful by upcycling everyday industrial detritus into the infinitely more intricate forms designed by nature. My training as an architect taught me to think about structure first and surface last, eliminating unnecessary embellishment. I focus on gesture, balance and line quality in my work, making them more like 3D line drawings!

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Kyle Browne

Kyle Browne is a multimedia, conceptual artist exploring the interconnectedness of nature and humanity through subversion, wonder and beauty. She was born on Rocky Neck where the counterculture arts scene and proximity to the ocean were and continue to be her muse. Her diverse background in arts education has led her to work with many institutions and organizations throughout the Greater Boston area where she has provided high quality programing and accessibility to the arts for over 10 years. She currently serves as an arts consultant to The Neighborhood Developers, is a professor at Merrimack College and an artist-entrepreneur. She has an MEd from Lesley University and an MFA from the School of Visual Arts. She currently lives and works in Chelsea, MA where she loves watching the massive cargo ships navigate through the harbor.

Our innate wildness, the place within us thousands of centuries old, that senses the cycles of the moon, who knows the value of a seedling and is keenly aware of the feeling of the wind, is a form of wisdom. I believe this embodied wisdom is a key to soulfully connecting and deepening stewardship to those around us and the places we live. Drawing from found natural materials, archetypal creation stories, ecological philosophy and the human body, my work seeks to create a reconnection to who we are and where we inherently come from. Humans are part of the natural systems of evolution and as these systems fail, we, in a sense, are losing our own humanity. I ask the viewer to consider this through overly sensualized and absurd surreal sculptures of raw food, or becoming tangled in a colored-pencil wilderness of fingered branches. These figurative landscapes are a liminal space between wild vs. domestic and confront the feminine/masculine power struggle while asking us to question the tension of our consumable relationship with the natural world.

Much of my work conveys the concepts of time, change, movement, and energy within the context of a personal narrative as an artist, mother, daughter, wife, and friend. Mystic Motion consists of three identical forms that can be positioned in a myriad of ways to provide that desired element of change. It looks part animal, human, and organic or botanical and sparkles with intensity and light. Whirling dervishes, the dance or winding of time as a circle consisting of three phases: past, present, future, or birth, life, death, or beginning, middle, end each enfolding itself to the next and continuing into infinity are referenced in this sculpture as is the triplicate idea of Thomas Aquinas’ three requisites for the beautiful: wholeness or perfection, harmony or proportion, and radiance. Does this triad hold up to such principles or is it merely a gesture of a simple curtsy. A bow as thanks for the gift of being able to combine three essential elements of experiencing a different aesthetic viewpoint: art, viewer, and nature.

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Kim Radochia

Artist Kim Radochia immerses us in the moment with creations that capture movement and energy. Her intense process of making, exploring materials and connecting to place has led to inventive, vibrant artworks that convey fragility and strength. In 2016 Radochia installed ‘AB’, a kinetic, highly polished metal sculpture representing molecules in the human body called antigen binding sites for the bioscience company Cell Signaling Technology, Beverly, MA. In 2010 through an open competition, Trinity Financial, Boston, MA awarded her a commission for an atrium sculpture called ‘Currents’ at Appleton Mills in Lowell, MA. In 2011 she was featured in Art New England as three sculptors to watch in an article titled, Setting the Pace by David Raymond.

Her fellowships and honors include, the American Academy in Rome, Italy, the Camac International Residency Program in France, S.L.A.P. Artists in Residency Program in Martha's Vineyard, MA. Radochia’s exhibitions and installations include an invitation to exhibit at the Huntenkunst International Art Fair in Ulft, ND, Art Miami, Sculpt Miami, the Miami International Art Fair, Miami, FL and Adelphi University’s Sculpture Biennial, Garden City, NY.

Recent solo exhibitions include, Shimms at Casco Bay Artisans Gallery, Portland, ME, Less at The Object Center, Boston, MA and Murmurations at the West Branch Gallery in Stowe, VT. Radochia attended the School of the Museum of Fine Arts at Tufts University in Boston, MA, Hartwick College in Oneonta, NY, and has taught middle school, high school, and lectured throughout the country on creativity, art, and sculpture.

Kim’s art is represented by Casco Bay Artisans Gallery, Portland, ME and Matthew Swift Gallery, Gloucester, MA.

An homage to human ingenuity, labor, and craftsmanship - the impetus of the granite industry.

In this sculpture, Venus embodies a wedge and feather’s; Vulcan, the head of hammer. These simple tools, carefully forged by blacksmiths, were used by immigrant quarrymen and stonecutters to harvest, cur, and shape thousands of blocks and pavers from the early 1800s - 1900s around Cape Ann.

The technique of using feathers and wedges to split rock involved inserting a series of thin, flat metal feathers into closely spaced, parallel holes drilled into a stone, each with a wedge placed between them. As the wedge was hammered into the drilled hole, it exerted outward pressure on the feathers, gradually and evenly splitting the rock along its natural line of weakness. When the hammer struck the wedge, it produced a ringing sound. Stonecutters were expert interpreters of these tones; using them to adjust the force and angle of their blows for accuracy, and to monitor the progress of the split.

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John Tagiuri

Tagiuri’s art projects and commissions all display unique combinations of strong concepts with playful twists.

This piece was created on site and the wood for this sculpture was sourced locally.

This is an installation of a long time collection of wooden turnings, old chair parts, fence pieces, stair railings and whatever other found objects I have in my collections. It is the largest installation have ever constructed.

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Hans Pundt

I am a visual person stimulated not necessarily by what I see but how see it. The art of gathering….materials, ephemera, discards, unwanted items, fills my creative spirit and guides me in a spontaneous way to the vision I have in my mind. The media I prefer to work in is either two dimensional collage or three dimensional installations and many times it’s a collaboration of both. The combination of unrelated elements are brought together for a final story or statement. My intention is to create art that will engage the viewer with contemplation, wonderment and at the same time simulating their own imagination of the story they have encountered. I have had no formal art education and therefore my process has been guided by my sense of observing the esthetics of various creative ideas and the desire to share my vision with others. Searching for objects that become part of my palette is a large part of my of my creative joy. Often walks on the beach, flea markets here and in Europe, and anywhere I might encounter something discarded is where I get my inspiration. My collages are all hand cut and glued and often they are attached to masonite and cut on a scroll saw. I enjoy the process of combining various unrelated objects into my assemblages and giving them a new purpose.

Photo credit: Lynne Sausele

The sculpture turns in the wind, creating a dynamic energy as the squid swims through the air with its fantastical tentacles and arms.

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Shelly Bradbury

Bradbury holds a Master of Fine Arts in Sculpture from Boston University. She has served as an adjunct professor at Boston University and Gordon College, and she has exhibited works throughout Massachusetts and in New York City, Pennsylvania, and Washington, D.C., and California. Her prestigious awards include the Helen Foster Barnett Award in Sculpture from the National Academy of Design in New York City, the Audubon Artists Gold Medal of Honor from the Salmagundi Club, and the Anna Hyatt Huntington Award from the Catherine Lorillard Wolfe Art Club. She and her partner Ron Magers won the international competition for the Old Man of the Mountain in New Hampshire. Shelly works from her studio in Ipswich, Massachusetts.

My sculpture is a direct response from the interior life. I continually seek the invisible subtleties in nature and translate them into visible form. I am inspired by the many dwellings where beauty lives and the senses are heightened by its unexpected forms.

Acorn Finial was molded from a turned wood ornament from the house of the poet Henry Wadsworth Longfellow. Similar garden ornaments are visible today on Brattle Street in Cambridge, Massachusetts. Now reconfigured and re-contextualized in contemporary materials - the sculpture has a new life and renewed spirit. Acorn Finials are hollow cast with vividly colored resin which glows from within. 

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Niho Kozuru

Kozuru explores the ideas and shapes of turned wood and wheel thrown ceramics. She reconfigures and recontextualizes New England’s iconic motifs such as finials, balusters and urns which are ubiquitous, yet often overlooked. Kozuru renews these iconic objects in contemporary materials with an unexpected blast of color, giving them new spirit and new life. Through color and form, Kozuru spreads positive vibrations and optimism - believes art is a universal language that can connect all people.

Wingit represents the beautiful shape of a dragonfly's wing with very spontaneous and free form markings of the metal made quickly with the electric sander. I use my sander as a drawing tool rendering abstracted patterning that catches light and adds interest to the form.

13

Kim Radochia

My art moves fluidly between large site-specific outdoor sculptures, small intimate assemblages room-sized installations, and large, immersive wall reliefs. I work in sculpture and other media to explore visual and physical boundaries that diverse materials can present. The common themes in every case are pattern, structure and the perception of space as it relates to the timeline of life. My artwork records that space or moment in time while incorporating the movement of energy residing there both human and elemental. Water currents and water lines, patterns of flocking birds called murmurations, and geological formations collect and disperse on my worked surfaces. The structure and patterns of domesticity, family, and history build as stacked forms in metal or hundreds of rocks cast in pulp as an homage to honor women. My work is inspired by the natural world, time, and a desire to interconnect the spiritual, physical and intellectual.

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Kerry Mullen

Kerry Mullen is a multi-media artist living and working in Gloucester, Massachusetts. She is influenced by the natural surroundings on Cape Ann.

Kerry Mullen's work can primarily be described as expressions of spirit and transcendence; an honoring of the mysteries of life.

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Niho Kozuru

Niho Kozuru (髙鶴丹穂) is a Japanese-born artist based in Boston, MA. Kozuru is a member of a multi-generational family of ceramists from the Southernmost island of Kyushu, Fukuoka, Japan. Her family has been making ceramics in the style of Agano-ware, (上野焼) which was founded for matcha tea ceremony in 1602.  Kozuru relocated to the U.S. when she was 12 when her father became a Visiting Fellow at Harvard University’s Ceramics Studios. Kozuru was brought up cross-culturally; while educated in the US, she maintains strong connections to her Japanese heritage and language by returning to the homeland regularly. Believing in the intersection of art, crafts and design Kozuru is motivated by her family's deep ceramics roots, combined with New England culture which informs her studio practice. Inspired by American architecture, craft and decorative arts of New England, Kozuru’s interest in hand-turned architectural ornaments honors the ceramic ancestry of her Japanese family and upbringing in Massachusetts. Through this hybrid connection, Kozuru strives to share stories, cultural history and her personal identity.

Stoneware Quilt Stoneware clay mounted on wood

In addition to her hand-built, 3-d pots and vessels, Morgan also creates 2-d work, including panels made of tiles inspired by the walls of quarries and this piece which was done in collaboration with Pat Pandolfi.

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Marty Morgan

A good friend introduced me to clay. I loved the feeling of the clay in my hands and the seeming magic of the firing process. I studied with Frances Trapp at the Boston Museum School for several years, learning the basics of throwing on the potter’s wheel. In 1968 I moved to Carmel, California and joined Peninsula Potters Cooperative where I learned how to fire high-temperature gas kilns and did extensive glaze testing. Big Creek Pottery was just up the highway in Santa Cruz, and I was able to take many workshops there with Daniel Rhodes and other well-known potters.

I returned to the East Coast in 1972 and opened a retail crafts gallery and teaching studio, The Works, located in Manchester by the Sea, MA. In 1979 I moved to my present home in Gloucester, MA and turned the garage into my studio and showroom. John Baymore designed my 65 cubic foot cross-draft propane-fired car kiln. The car is loaded with pots inside my studio and then rolled outside into the body of the kiln for the firing. It is the best kiln (and easiest to load) I have ever used. Working at my wheel or glazing table I can look out at the Mill River, which is always changing with the tides.

After 30 years of making primarily functional pieces, my latest work features “quarry vessels” and wall tiles made from highly textured slabs of porcelain. One of the great pleasures of working with clay is that there is always something new to try. Shino-glazed porcelain is also new for me and I love the mystery of what happens with that glaze, a range from pale apricot to smoky grey.

Stained glass mosaic Seagulls On granite rock

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Judith Wright

Check out number 3 above to learn more about Judith and her work.

White Reed Ceramic

I started working with clay again in 2001 after a 25 year layoff. My goal as an artist is to constantly look at the world and the materials that I use with fresh eyes, searching for new ways of combining materials while exploring possibilities and images that will surprise, enchant or challenge myself and the viewer.

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Larry Elardo

Eland operates a ceramic studio, M Street Potters, dedicated to creating one of a kind works of art with clay and other materials when appropriate.
Awards: “People’s Choice Award” and “Best of Show” Sculpture Garden, League of NH Craftsmen. “Best of Contemporary Design” League of NH Craftsmen, “Best in Show, Furniture-Body of Work-Contemporary”, “Best in Show – Innovative Use of Materials Award”, Fine Furnishings Show
Contributor to “Pottery Making Illustrated”
Inventor of the AccuAngle ceramic tool

Disperse Porcelain clay and steel rod

Disperse is one of a series of installations referencing resilience and tenacity. The work takes its form from the shapes, shadows and movement of native flora.

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Helen Duncan

Duncan is an artist who works in ceramics and mixed media. Helen has a BA in Product Design Ceramics from Limerick College of Art and Design Ireland, attended University of Massachusetts Dartmouth post graduate ceramics and has a Masters of Art Education from Boston University. Helen has exhibited in both Ireland and the USA in solo and group exhibitions.

I choose materials that best communicate a concept or experience that is personal to me. When working in clay, I use hand building as well as wheel throwing techniques when constructing my pieces. I might choose the seductive plasticity of porcelain with its vitreous translucency or the earthy grounded weight of grogged stoneware. The materials take form in a visual language and become multiples in installations, or pieces in a series based on a theme.

Hide and Seek Cast plaster and cement

In 1995, having completed my work celebrating the lives of Senior Citizens, I turned my attention to a celebration of the innocence of childhood. For this work, I used a material similar to plaster combined with cement which I applied to alginate (material used for dental molds). The alginate gave me a clear definition of the selected (anonymous) child’s hand. The cement/plaster material produced a clear reproduced image which bears likeness to the individual child’s hand which I then used in playful communication i.e. “hands on trees” indicating a playful “hide and seek” engagement.

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Juni Van Dyke

Juni Van Dyke is a graduate of The School of The Museum of Fine Arts, Boston and holds a BFA and MAT from Tufts University. Since 1993 she has been the director of the arts program at The Rose Baker Senior Center, Gloucester. Under her direction, work created by Senior Citizens have been exhibited in museums and public institutions in New England. Van Dyke is the recipient of The St. Botolph Foundation Award, Boston. Van Dyke’s work is held in the permanent collection of The Cape Ann Museum; The Carney Center of Art at The College of The Holy Cross; and in numerous private collections. Past exhibitions include The Fuller Art Museum; The Boston Center for the Arts; Barrington Center for the Arts; Bromfield Gallery/Boston; Kingston Gallery/Boston; The South Shore Arts Center; Flatrocks Gallery; and The Jane Deering Gallery.

Both nature and music are driving forces in my art. And, as I work, these words by Spanish painter Joan Miro are never far away. “I try to apply colors like words that shape poems, like notes that shape music.” Also never far away: Miles Davis “Music is painting you can hear… And Painting is music you can see.”

Long + Lanky Plaster and resin

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Jill Solomon

I have been an artist since 1974 when I began my career at the Croydon College of Art and Design in England. My work has been widely exhibited in the USA, England and Canada. I have also been shown at the Fitchburg Art Museum, the Danforth Museum and the American Craft Museum in New York City. I am the recipient of a Massachusetts Artist Foundation Award and have been honored with an award from the National League of American Pen Women for Crafts. I was also the recipient of the Mayor's award for "outstanding visual art in 3D" at the annual City of Boston Arts Festival and am a member of the Licentiateship of Designer Craftsmen in England. Over the years I have had both individual and group shows in galleries throughout the country as well as at the Harvard Ceramics Program, Rocky Neck Art Colony and other places.

My current body of work plays with the basic concept of a boat form extending it in different directions so that the pieces are only reminiscent of boat shapes. I use textures as a way emphasizing the shape then layering many colors over each other to provide depth and contrast.

This piece is an extension of a series of clay sculptures based on my experience as a South African and my interest in Cycladic art.