The Standing Reserve
Studio art staff exhibition
Jen Barrows, Jim McLean, Myles Dunigan, Andrew Orloski
Jewett Art Gallery
Opening Reception: Tuesday Sept. 20, 4:45-6pm
Gallery Talk: Friday, Sept. 30, 12:30pm
Exhibit Dates: Sept. 20- Oct. 23
Gallery Hours: Daily 12-5pm
This work is an exploration of the construction of the American identity as it is mediated through film and television, national parks, historic monuments, sporting events and renditions of the Star Spangled Banner. The project encompasses the trajectory of American history and popular culture from Rocky Balboa to the Grassy Knoll in Dallas, through the spectacle of Nascar, circumscribing contemporary America and attempting to illuminate the characteristics of Americana.
Jen barrows is the Technology Support Specialist for the Jewett Arts Center at Wellesley College. Jen holds a Masters in Fine Arts in Studio Art from the School of the Museum of Fine Arts, Boston and Tufts University where she primarily worked in photography and video performance. She has taught most recently at The Art Institute of Boston at Lesley University, The University of Maine, and Chester College of New England. She maintains a workspace at Lufthansa Studios in Dorchester and splits her time between Boston and Maine.
My whole life I have been fascinated by the intersection of reality and imagination. In my work, I strive to create a dialogue between myth and reality, a world of sublime mysteries and fragmented memories. The search for this ineffable quality is my primary focus, and I search out subjects that possess a mystical quality to me. My search takes me into dense wilderness and dusty museums for subject matter, and continues into the image with extensive revisions and reworking. Pieces of human history, their original purpose obscured by time, are reunited with the chaos of nature and become something that is no longer specific, but symbolic. I see landscape as the most direct transcription of experience into image, an amalgam of observational constructs and expressionistic abstraction. Decaying trees, rocks, and crumbling architecture ebb and flow into each other, creating a world where time and space cease to be linear. The images ultimately have a foreboding presence of age and sanctity, yet in this ostensible bleakness I find a mysterious beauty hidden among the shadows.
Myles Dunigan is a printmaker and visual artist from Spencer, Massachusetts. Much of his inspiration is drawn from the untamed wilderness of central Massachusetts as well as from the modern ruins of New England. Abandoned factories, decrepit farms, and forgotten houses are monuments to the passage of time, and a focal point for his work. These unsung relics are collected in sketchbooks and subsequently woven into nebulous images where time and space endlessly fluctuate. He attended the Rhode Island School of design for his undergraduate degree, majoring in printmaking. He currently resides in Framingham, Massachusetts, and works in the art department at Wellesley College.
It’s hard to imagine now, during a time when so much of our daily lives are recorded-emails, Facebook, Tweets, cell phone cameras, security cameras—that there once was a time our memories did not rely on so many tools. When I think about memories I think of how fragile they are. How vulnerable we are to there existence. The role memory plays on our behavior, our identities, and our existence. How over time they can shift, alter, and then slowly fade. My memories seem fluid—some crash against the rocks of uncertainty while others remain poised like a lone cloud in an open sky. Much of my work investigates the relationship between memory and identity.
I am fascinated alternative photography. By combining 19th century photographic techniques, such as hand-coated emulsion on hand made paper with modern techniques like Rubylith masking and digital image setter negatives, I am creating a hybrid photographic painting reminiscent of ink wash or Japanese sumi-e. I often use a variety of brushes when applying the emulsion that allow the texture and stroke to remain visible. Some of the paper I have used to print on range from more commercial papers like Arche and Fabriano to handmade shifu, abaca, and flax.
Jim McLean grew up in suburban Washington, DC and recently relocated to the Boston area. Jim studied photography and digital imaging at George Mason University and received an MFA in film and electronic media from American University. Additionally, he studied printmaking, papermaking, and book arts at Pyramid Atlantic. Currently Jim is working on a documentary short about his grandfather and Alzheimer disease.