Core Artists of Fountain Street – Part I January 18–February 18, 2024 ~ A Review by Robert Sullivan It is an absolute truth that the call to be an artist is something every creative individual has heard. The voice speaks very quietly, but with mysterious, intrinsic power (much like the e.e. cummings poem, after which the exhibition is titled). The same particular intensity, subtle but unmistakable, emanates from this show at Fountain Street Gallery; I felt it when I walked into the space. And when I stepped closer to encounter individual works, I received that same impression, but one tailored ..read more

Questions from Kay to Sarah: What is your inspiration for the botanical forms you use in your work?  My mother is British, and my dad was a master vegetable gardener. Many of my family members are avid gardeners, love of nature and varieties of botanicals were always discussed and surrounded me during my childhood. I am drawn to the symbolism of hidden botanical meanings and am intrigued by the life cycle of plants as they grow, go to seed, and emerge again.  It helps me process challenges in understanding life and its mysteries.  Is the long format of your drawings a ..read more

“Let your voice be heard.. These artists’ personal intimacy and confrontation, cultural, political, and personal engagement are clear and loud in this collection.” — Michelle and Payal At the First Friday Reception for “About Face” on August 4, 2023, Jurors Michelle May and Payal Thiffault announced the three recipients of this year’s Annex Exhibition Award. Here are their thoughts about the recipients, the selection process, their appreciation for the selected works, and their insights on the work in the show as a whole. First Nick Ward Boston, MA “Private Message #2” Oil on panel, 60 x 4 ..read more

What is Artificial Intelligence (AI)? How is AI already a big part of our lives? What is the difference between Narrow AI and Artificial General Intelligence (AGI)? How will AI and AGI impact creatives (artists, writers, musicians) and the creative process in general?  Curious to find out more? In this video, artists Steve Sangapore and Robert Sullivan explore these questions and much more, in the context of their recent show “Specularis” at Fountain Street in May 2023. (Missed the show or need a refresher? Check out the show HERE ..read more

by: Steve Sangapore These days, It seems like every day I stumble upon an article discussing an interesting new development in the world of artificial intelligence (AI). Each day holds a new advance, discovery or existential worry in regard to AI’s exponentially burgeoning relevance. Indeed, much of the AI-related media I have consumed contains the explicit notion that people are finding it difficult to keep up with the technology’s growth - including the developers. While there is a nearly infinite sea of interesting topics and ideas surrounding current AI developments, as an artist I cannot ..read more

Good Intentions 17" x 33" x .75" • Mixed Media • Wall mounted • 2022 While I typically work in oils, I have recently begun creating sculptures as a means to further investigate intellectual concepts that interest me. One theme that has gripped me for the past several years is appropriating, re-purposing and re-contextualizing universally recognized religious symbols and imagery. In doing so, I am able to begin a dialogue using symbols which already have emotional, intellectual and spiritual significance with viewers and ask them to view the symbols and icons from different perspectives and in ..read more

Shown here (from left to right):  (1st row) Virginia Mahoney’s Waiting, Natasha Dikareva’s All I want is Peace, Nilou Moochhala’s Rona (Cry); (2nd row) Molly Dee’s Cybele, Miller Opie’s Wandering Rosids, Sylvia Vander Sluis’ Hideout. “It is only when I shape the form that emptiness comes into play.” Molly Dee’s sentiment above is echoed in her stone sculpture – this piece exudes strength, weight, and playfulness while still being intimate in size. Her relationship to this piece was over a year, and the care with which she addressed this relationship can be seen through the final form. Na ..read more

Shown here (from left to right):  (1st row) Denise Driscoll’s Interaction 7 (detail), Kay Hartung’s Undercurrents 1 (detail), Melissa Shaak’s Soliloquy, Tatiana Flis’ Polar Abyss; (2nd row) Christopher Plunkett’s Rusty Pines, Robert Sullivan’s Vanitatum, Joseph Fontinha’s Summer of 42; (3rd row) Alexandra Rozenman’s Helping Mark Rothko to Move His Furniture, Steven Sangapore’s Sensorium, Denise Driscoll’s Interaction 6 (detail), Mary Marley’s Three Times As Much. By Nilou Moochhala, Assistant Curator I’ve been walking around the gallery, taking in all the well-curated pieces by Miller O ..read more

This Month in the Main Gallery we are featuring core artists Kathline Carr and Frantz Lexy. Their exhibition, Land/Form runs through May 29, 2022. Below Kathline talks a bit about her process and inspiration. I love hiking, particularly in wild, desolate places, and am fascinated by looking at the way light falls on the landscape when I am out on the trail, creating shapes that are craggy, or geometrical, or diffused—or shifting from one to the other. Sometimes I look at the sky or a mountain pass and try to remember the individual parts of the scene for later, when I will imagine the parts r ..read more

December 1, 2022 – January 15, 2023 Shown here (from left to right):  (1st row) Vanessa R. Thompson’s Secured, Vicki McKenna’s Sunset Splash, Rebecca Skinner’s To Dust; (2nd row) Monica DeSalvo’s Preserving Loss diptych (detail), Georgina Lewis’ pink mold black pearl, Marie Craig’s Roiling; (3rd row) Lior Neiger’s Water Licks Like Fire 1, Sarah Alexander’s Stay Awhile, Patty deGrandpre’s EFFLORESCE (The Green & Blue). The FS core artists with works on paper, in print, and through photography conceptually react to the meaning of “form” and “emptiness” in a multitude of ways. For some ..read more