Wally Kemp sitting outside the museum.
Wally Kemp
Wallace McMillian Kemp was born on June 2, 1925. He grew up in Braintree, Massachusetts, graduating from Braintree High School. He continued his education at Tufts University and then on to Yale where he became a Doctor in General Surgery.
Wally was one of five other general practitioners who were the original founders of the South Shore Medical Center.
Always working with wood from a young age, Wally also builds and repairs furniture. When he retired from medicine, woodturning became a fascinating pastime.
His love of nature and natural materials is always visible in his work. The association and community of other local woodturners and opportunity for exhibitions and demonstration became great sources of motivation and inspiration.
During the past few months, while in quarantine, he and Duxbury artist Kriss Brennen have been working together collaborating and creating Victorian walking sticks. Wally is still using his lathe and teaching Kriss his techniques. He loves spending time with others and people always enjoy his company. He describes his process of creating his pieces this way: “I use my head, put it on paper, make it, and then I give it to someone I love.” His positive attitude and kindness is infectious and has certainly kept him in good health. He says this pandemic has not really changed his life; he is well cared for and is staying connected socially. He is reading books and enjoying his beautiful home.
To see a video of Wally’s work click here.
Olga in her home studio.
Olga Rothschild
Artist and former museum volunteer
Olga Landeck was born in the American Hospital in Paris on September 4, 1929. Both her parents had graduated from the Columbia School of Architecture the previous year. They took an extended honeymoon traveling through Europe. The Great Depression hit and they returned to America. There was no market for designing new buildings and both her parents turned to teaching, her father Armin to art and her mother Beatrice to music. Olga is a product of progressive education, first at the Little Red School House in Greenwich Village, NYC. Her father later taught at the Brearley School, which Olga attended for high school. From there, she went to Bennington College. She married young, before finishing her degree, but returned to Sarah Lawrence College when her three children were in middle school. It was there that she first made prints and sculpture and studied with the renowned Joseph Campbell. She learned rug hooking from Harriet Clark, an old family friend in Cornwall, Connecticut. She and her first husband divorced in 1980. Two years later she married Dick Rothschild and they settled first in Greenwich, CT and then, for many years, in Duxbury.
More recently they built the contemporary home of their dreams in Rocky Nook, Kingston. Olga created the active group Duxbury Rug Hookers. They meet every Tuesday. It is a congenial, supportive group of women. Each year they raffle off a communal rug with the proceeds going to the Duxbury Senior Center.
Olga answered these interview questions.
When did you know you were an artist?
My father was an artist and so it always seemed a “normal“ existence to me.
Was there a particular pivotal moment?
No, I am still not sure I am an “artist”.
Who are your biggest influences?
Wanda Gag –years ago.
Where do you find inspiration?
In artist’s work and sometimes in nature.
What do you do for fun?
I like to read fiction.
What are you reading right now?
Wallace Stegner
What are your favorite art mediums?
Hooking wool rugs and drawing
How is everything (Covid-19, social distancing, wearing masks, lock downs, shutdowns, the political environment, Black Lives Matter and the protests against police brutality to name a few.) that is now being called our “New Normal” affecting your work and your life?
More time at home.
It was a wonderful treat to visit Olga and we are pleased to share her beautiful world!
To see a video of Olga’s home and studio click here.
Zach Horn in his Dorchester studio. Zach was one of the artists in our very successful, “Draw the Line” exhibition last fall. He will return to the ACM for a solo project in 2023.
We had to enlarge the wall of our gallery for Zach’s drawing, “Cave”. Graphite and soft pastel on canvas with crayon and branches.
A triptych of Zach’s “Grill Drawings”. Graphite on Stonehenge paper.
“Spagetti Painting”. Oil and Acrylic on canvas with forks.
Watch Zach’s new video by clicking here.
Interview with artist Zach Horn
Tell me a little about your background.
I am from Philadelphia, though I have lived in a breadth of eastern seaboard cities. I now live in Dorchester with my brilliant wife and three rambunctious kiddos. Our house is constant chaos, but filled with the best possible commotion. I love it.
When did you know you were an artist? Was there a particular pivotal moment?
I have always been an artist. My grandmother was a terrific modern artist and she introduced me early to the wonder of painting. But, I was always tempted to apply my analytical brain, and I could have wandered another less satisfying though more remunerative path.
A few inspirational teachers, like Stan Whitney in Italy, and Richard Ryan and John Walker at Boston University, gave me the clarity to see how I could make a life as an artist. Though I think falling in love gave me the confidence to leap with faith. Thank god.
Who are your biggest influences?
Ben Shahn for his subject matter, Van Gogh for his color. Daumier for his drawing, Helen Frankenthaler for her grace, and Vija Celmins for her attention span.
Where do you find inspiration?
I find inspiration in little things. When I do the breakfast dishes on Saturdays, I sometimes look at the pancake crumbs stuck in syrup and jelly and think that it is the most beautiful abstract and literal painting. The transparency of the amber syrup and crimson jelly are just exquisite.
What do you like to do for fun?
For fun, I like to do active things like hiking, swimming, camping, beaching.
I cook, though lately I feel like a sergeant in a mess hall. I miss cooking casually…
What are you reading right now?
In my studio, I listen to a lot of audiobooks. Quarantine has put me on a bit of a tear. The best fiction book that I listened to recently is American Spy, by Lauren Wilkinson. The best nonfiction book is Boys in the Boat, by Daniel James Brown. I am now in the middle of The Woman Who Smashed Codes, by Jason Fagone, it’s the story of codebreaker Elizabeth Friedman.
What is your favorite medium(s)
I love experimenting with new materials and frequently use paint, graphite, wood, plaster, paper pulp, saw dust, marble dust, and charcoal.
Still, I think there is something special about oil paint. It smells right.
Can you describe your process?
I am consistently inconsistent in my processes. I intentionally look for new ways of making things, mostly for the fun of it.
I am currently working on an exhibition for the Museum of Work and Culture in Woonsocket, RI, titled United We Bargain, Divided We Beg, opening on October 5th.
How is everything (Covid-19 and the current political situation), affecting your work and your life?
Ack. I have been in lockdown with the kids, 2, 5, 7, so that has kept me pretty busy. The political situation is nauseating. I am anxiously and optimistically looking forward to November.
You can visit Zach’s website by clicking here.
For the past year The Art Complex Museum has enjoyed several of Alfred Glover’s colorful metal sculptures on the grounds. His work inspires childlike whimsy and joy. Visit his website to read about his process and watch a video. To download a PDF coloring page based on his work click this link:
Glenn A. Sorei Pereira and student Miko Brais at the Boston Children’s Museum tea house.
Consul General and Mrs. Michii are guests at a tea presentation in the “Shofuan”, (Wind in the Pines) tea house at The Art Complex Museum.
Tea presentation on Swan Boats on Boston Common during the Urasenke 60th Anniversary Celebration.
Museum Director, Charles Weyerhaeuser and staff members, Mary Curran and Sally Dean Mello congratulate Glenn Pereira at the Foreign Ministers Commondations Award in 2017.
Glenn A. Sorei Pereira presenting tea on a Swan Boat in the Boston Public Garden during Urasenke 60th Anniversary.
If you would like to watch the video, “An Invitation to Tea”, click here.
Glenn A. Sorei Pereira is an instructor of chanoyu, the Japanese tea ceremony. He has been performing tea ceremony at The Art Complex for the many years, both for adults and children. He imbibes teaching tea with his wonderful humor to delight all those who have experienced the ceremony.
Originally from Fall River, Massachusetts, of Portuguese descent, Glenn now lives in Boston, where he holds weekly classes for anyone interested in studying tea. His students include both Japanese and Americans from all walks of life coming together to learn both the role of host and guest at a tea gathering. Besides teaching these roles, Glenn also instructs students in flower arranging, cooking and other tea related subjects.
In 1981 Glenn was introduced to chado, the way of tea and immediately began his studies. In 1982 he received a scholarship to enter the Midorikai program of intensive tea study at the Urasenke Professional College of Chado in Kyoto, Japan. Sen Genshitsu XV, Great Grand Tea Master of the Urasenke School of Tea in Kyoto, gave the scholarship to him.
After graduating from the Urasenke Professional College of Chado Glenn returned to Boston where he continues his studies of tea along with teaching. He now does lectures and demonstrations at many schools, universities, social clubs and art galleries throughout New England bringing the way of tea to many people. Glenn travels to teach intensive training workshops for tea groups throughout the United States. He also returns to Japan each year to further his studies in tea.
In February of 1993 Glenn received his chamei, professional tea name, from Sen Genshitsu XV. The name given him was Sorei, meaning beautiful, bright, clear, fine, and serene. In November of 1997 he received, junkyoju, an associate professor degree and in December 2002 he received, kyoju, a professor degree also from Sen Genshitsu XV.
In February of 2013 Glenn became ceritified to teach tea in the Japanese School system.
In June of 2017 Glenn received the Foreign Minister of Japan’s Commendation. It was in recognition of outstanding contributions that he has made to the promotion of Japanese culture in the United States.
As a missionary of chado, Glenn continues the wishes of Sen Genshitsu XV and Sen Soshitsu XVI, to create peacefulness through sharing a bowl of tea. This sharing of a bowl of tea also fosters a great relationship between both countries.
When did you know you wanted to study chado?
In 1980 I received a gift certificate of 10 lessons to study tea. No knowing anything about it I didn’t act on it until 9 months later September of 1981. The reason being was that although I had a great interest in Japan I knew nothing about the tea culture. I went to the first lesson with no intentions of going to the other nine. To my surprise I fell head over heels in love with it.
Was there a particular pivotal moment?
Yes, it was at my first lesson on September 9, 1981. The teacher was very knowledgeable and excited to talk about chado with me. His excitement about it was infectious. When he asked about my background and heard that I was from Portuguese decent he seemed even more excited to tell me about the Portuguese influence in Japan and chado. I knew by the end of that first lesson that I wanted to continue to study and one day to become a teacher as well.
Who are your biggest influences?
Allan Sosei Palmer, without a doubt, that gave me that first lesson.Also, the 15th generation Grand Master Hounsai Daisosho who gave me the scholarship to study in Japan at Urasenke and the present 16th generation Grand Master Zabosai Oiemoto. I return to Japan yearly and both continue to set such a good example of what a good chajin (tea practitioner) is- through not only words, but actions.
Where do you find inspiration?
I find inspiration from the Grand Masters both past and present. Other teachers and students inspire me. They all make me want to continue my studies and be a better instructor of tea.
When hosting a tea gathering my choice of utensils is inspired by seasonal events, nature, culture and my own personal taste.
What do you do with your knowledge of the tea ceremony?
I am the current Chief of Administration for the Chado Urasenke Tankokai Boston Association. Besides teaching, I as well as other teachers and members of our group, do lectures and demonstrations throughout New England. We are especially busy with local schools of all levels.
Privately, members host tea gatherings for friends and family.
Can you describe the process of what you do?
That’s a tough question. The serving of tea, as simple as it may seem to most people, is actually quite complex in its preparation. It would depend on whether you do a full tea gathering, which would be about 4 hours or just invite someone over for a simple ceremony. The preparation time would be anywhere from a few hours or even less to possibly weeks or even months to organize and prepare.
How is Covid-19, (social distancing, wearing masks, lock downs, shutdowns affecting your work and your life?
Due to mask wearing and social distancing getting together to share tea is currently difficult. All demonstrations and in person classes have been cancelled due to Covid-19. We have however held some classes and events using Skype and Zoom. I’m happy to announce that all our members are safe and healthy. This is due to tea practitioners being extremely disciplined when following rules. Also, purity* is one of the principles we follow so we seem to be always cleaning.
When returning to the tearoom, hopefully soon, we will have new rules and restrictions to keep everyone safe.
For example: In a full tea gathering the host makes two teas. The first is koicha, which is a tea with a thick consistency. The host makes a bowl with enough tea for up to five guests to share. The second tea is called usucha, which has a thin and frothy consistency. This is made for each guest individually.
There is however a koicha ceremony that takes care of the shared bowl problem during a pandemic like we are now experiencing, which was created 100 years ago by the 13th generation Grand Master Ennosai. Rather than sharing the same bowl the host makes each guest a bowl of thick tea.
For more information about Urasenke Boston or to contact us please go to our website: urasenkeboston.org or Facebook- Urasenke Boston
*I mentioned that purity is one of the principles that we follow. Tea practitioners follow four principles; Harmony, Respect, Purity and Tranquility. These are explained on our website.
White Sands
Black Lives Matter
Pink Sky
Gretchen Moran
Artist and Museum Volunteer
Gretchen studied and received her BA at Connecticut College from 1951-1955, and also attended The Art Institute of Chicago from 1983-1984, to become an Art Therapist. Becoming an artist was a gradual process for Gretchen, starting in her late teens and continuing through her college years. Among the artists she studied with were George Nick, Jon Imber, Sally Bishop and Elizabeth Ahern.
Some of her major influences, in addition to her teachers, are Matisse, Fairfield Porter, and Marsden Hartley, to name a few. The great outdoors and gardens are major sources of inspiration for her landscapes and floral motifs.
Gretchen also loves to travel. She has visited many states including Maine and Alaska, and abroad to Mexico, Greece, Spain and France.
In addition to art, Gretchen loves to listen and attend opera, ocean and pool swimming, gardening and cooking.
She is currently reading “Out of Darkness, Shining Light” by Petina Gappach, “What are People For?” by Wendell Berry, and “The China Mirage” by James Bradley.
Gretchen’s mediums of choice are acrylic, watercolor and collage. Her process usually starts with drawing with a paint brush, adding some color, then reacting to that, and gradually pulling the painting together.
In this state of perpetual change and confusion, what with Covid-19, masks, physical distancing, lockdowns, unprecedented political environment, Black Lives Matter protests, all now the “new normal”, it has profoundly affected the lives of everyone. However, the other side of the coin is now Gretchen has more time for reflection, making art, listening to Met operas, swimming and meal planning.
Check out “A Visit to Gretchen Morans Home and Studio” on Vimeo by clicking here.
Wanda Gág
Wanda Gág
Inspired by her cats, American artist Wanda Gág (1893-1946) created illustrations using them and their antics as subject matter. Gág was charmed by the way cats “fit themselves into all sorts of places and spaces,” as in this image called Siesta (1937).
Surprisingly, Gág had only two cats while making Siesta: Snoopy and Snooky. She sat and sketched their antics on the kitchen floor, then used their various poses for this print. These same cats were her models for her book Millions of Cats published in 1928, the first commercially published children’s book in America. A free spirited artist, Gág’s whimsical drawings entertained both children and adults in their Disney-like, imaginative approach.
Click here to color your own Wanda Gág illustration.
Fairie Houses
Fairie Houses!
These magical little homes are perfect rainy-day crafts for kids of all ages. They can be simple or fancy, made from all natural materials from your yard, the woods, the beach or around your neighborhood. You can also construct them out of recycled material. On Monhegan Island in Maine, the tradition has been to make them on site, using only what is already in the woods. Birch bark from fallen branches is wonderful! (only found on the ground – never strip the trees!) Or completely crafted from recycled materials. How you choose to construct yours is entirely up to you. The idea is to express creativity while creating adorable little refuges in which enchanting creatures may dwell.
Here is a great link for making one out of a soda bottle and pebbles.
Here is a PDF you can print out as a template for a traditional structure you can cover with materials.
Find a spot in your home or yard to nestle the dwellings into a village. If you can find some moss use that – but anything works! Use your imagination and have fun!
Once you get started you will get all sorts of ideas of things to do with tiny materials you have laying around.
This link takes you to a recipe for cornstarch clay (even though the author says corn flour, its U.K. term for cornstarch). This clay was what was used to make the mushrooms in the video.
Sally Smith is a master of fairie houses. To see her art visit her website at
To watch a video of Sally Dean Mello’s backyard fairie village and samplings from past fairie house workshops at the museum click here.
Salt Dough Fish Mobile
Make a Salt Dough Fish Mobile
Click the link below for instructions.
Click this link to see our YouTube video.
Lisa Houck
Lisa’s studio
An interview with artist Lisa Houck
Tell us a little about your background.
I studied printmaking at RISD (Rhode Island School of Design) in the 1970’s. I have been working as an artist in the Boston area for over forty years. I work in many different media, and I have done a few public art projects over the years. I have recently moved to Cape Elizabeth, Maine, where I have a studio next to my home.
When did you know you were an artist? Was there a particular pivotal moment?
Around the age of thirteen, I had a wonderful art teacher in my public school in Cleveland Heights, Ohio. He inspired me to think of art as something you could do for your life’s work. I still have a pastel self-portrait that I did in his class.
Who are your biggest influences?
I love the art of Paul Klee, and I wrote my MFA (Master of Fine Arts) thesis on his work when I studied at the Museum School in Boston in the late eighties. I like hand-crafted objects of all kinds and I am drawn to the textures and patterns in textiles. I like honest well-made things that show the touch of the hand.
Where do you find inspiration?
I am inspired by the variety and texture in the natural world. I am inspired by color and the love of making things.
What do you like to do for fun?
Yoga, gardening, walking, knitting, beading, cooking, and a bit of reading.
What are you reading right now?
Olive, Again by Elizabeth Strout and Overstory by Richard Powers.
What is your favorite medium(s)
Mosaics, Ceramics, Printmaking and everything else.
Can you describe your process?
I begin by laying out my materials and getting interested in certain colors and just starting something. Although my work can be drawn and planned out in advance, it changes in the process of making it. I like to have lots of things going at once so I can move around between pieces. I make very orderly pieces out of a chaotic mess of materials surrounding me. I sometimes look at photos and books I have collected to get me started on a new idea.
How is everything (Covid-19, social distancing, wearing masks, lock downs, shutdowns, the political environment, Black Lives Matter and the protests against police brutality to name a few) that is now being called our “New Normal” affecting your work and your life?
I am a very social creature and I am finding it difficult that I can’t have open studios or go to museums or art openings or host dinner parties. I am grateful for the beautiful space where I can work, but I am struggling to accept the isolation. I am very disturbed by the lack of leadership in this country during the crises we are facing, and I am hopeful that we will head in a new direction after the election.
Katja Oxman (American, b. Germany, 1942)
Unsuspected Turns, 1985
color etching on paper
Sally Dean Mello’s recreation of Katja Oxman’s print Unsuspected Turns
Rufus Hathaway (United States, 1770–1822)
Judith Winsor, 1795
Oil on canvas
Anders Zorn (Sweden, 1860-1920)
Zorn and His Wife, 1890
Etching
Angelica Kauffmann (Switzerland, 1741–1807), The Two Old Students (Die Beiden Studenten Alten), 1763, published by John Boydell (England, 1720-1804), etching
Andrea Andreani (Italy, c.1560-c.1623)
A Woman Contemplating a Skull, 1592
After Alessandro Casolini
Sekino Jun’ichirô (Japan, 1914-1988)
My Family, 1957
color woodcut
MUSING AROUND AT HOME!
Museums around the world are inviting people who are staying at home during quarantine to reinterpret artworks from their collection. Using themselves, their pets and items from the house, people are coming up with clever and amusing photographs and sharing them on social media.
We decided to jump on the bandwagon and have some fun!
Our Education Coordinator, Sally Dean Mello, arranged this still life after the color etching from the museum’s collection.
We have chosen five images from our permanent collection for you to try. Have some fun! We will spotlight a few of them in our museletter. Email your images to sally@artcomplex.org, or post on Instagram- please tag us @theartcomplexmuseum and use the #inspiredbyacm.
Laura Tryon Jennings
An interview with one of The Art Complex Museum’s painting instructors, Laura Tryon Jennings
Tell me a little about your background. When did you know you wanted to do what you are doing now?
Since I was a young girl, I knew I wanted to be an artist. I would spend all day drawing or creating something. My mother would encourage me to go out to play. Sometimes I took her advice, but often I would stand at the end of the driveway waiting for what seemed a reasonable amount of time to go back to making art. I majored in art in college and minored in graphic design. I always felt there was nothing else for me to be but an artist. The first seven or eight years after college I was a graphic designer, feeling it was a more practical choice. I continued to paint for myself. After my second child was born (I have three children, two boys and a girl), I decided to try being a full-time artist. I woke up at 5:00 am. Monday thru Friday to enable three to four hours of uninterrupted painting. I squeaked out another few hours in between naps and trying to keep the children entertained with toys at my feet while painting. I entered my first juried show and won best in show, which gave me the courage to keep going. I was fortunate to receive some awards, attention, exhibits, and sales, in those first few years which made me feel I was on the right path. Through the nineties and early two-thousands I was lucky to maintain a steady presence in the art scene. A series of difficult life events, including divorce and the death of my sweet mother, along with a horrible economy forced me to reevaluate how to go about being an artist. With the new challenge of being a single mum to three adventurous adolescents, I began teaching oil painting and became an expressive arts consultant/facilitator while continuing to paint. I ended up loving both of these other hats in the art world and for a while they were a bit more in the driver’s seat. After a few years of managing this balancing act, the reduced attention to my painting just wasn’t feeling right anymore. Now, I have blissfully returned painting to the driver’s seat while still incorporating teaching and expressive arts.
Who are your biggest influences?
There are so many artists. Off the top of my head the more well-known influences would be Edward Hopper, Pierre Bonnard, Jamie Wyeth, David Hockney, William Merritt Chase, Henri Matisse, and Edgar Dega. I’m constantly inspired by the artists I meet and exhibit with locally and in this region. I feel like I’m part of a community. I need to mention my mum too for her sense of fun, whimsy, creativity, perseverance, ambition, caring and love..among many more attributes.
Where do you find inspiration?
The light always informs and drives my work. The subtleties of light. Painting the stream of light falling into a room while the nuances of the landscape/seascape light play through the window vista grabs me on a core level. I tend to like cozy, quiet, scenic spaces.
What do you like to do for fun?
Anything involving my sweetie and my family! I also like hiking, yoga, bike riding, going to hear live music, hanging out with friends, and reading. A favorite activity is on Sundays. grabbing the Boston Globe, breakfast sandwiches, ice lattes, a little jazz music, and heading to the beach for a couple hours in the morning with my husband.
What are you reading right now?
I usually have a few going at the same time. Right now it’s Mary Oliver’s A Thousand Mornings, Anya Yurchyshyn’s My dead parents : A Memoir, Julie Andrews A Memoir of My Hollywood Years, and I always have some psychological and art books in the mix.
What is your favorite medium?
Oil painting on linen or panel.
Can you describe your process?
I’ve lived in coastal and scenic areas for a good part of my life. The connection to nature and beauty surrounding me is part of the energy I need to paint. The passion to create usually comes from a deeply felt place or concept. For instance, my rumpled sheets or “bedscape” series came from a very transitional period in my life. I tend to go through different phases of how I work on a painting. The one I’m currently using is first to tone a canvas and then sketch on top of the toning. I paint at least 2 -3 layers. My “wow” factor is at the very beginning of the painting. This is where all of the possibilities are in front of me!
How or where can people see your work?
I’m preparing for a solo exhibit at the Woodman Shimko Gallery in Provincetown, MA from July 24-August 6, 2020, which I’ve been assured WILL happen. My work is currently in a traveling group exhibit titled “Mel Leipzig and Friends” which began at the Art Complex Museum in 2017 and was exhibited at the Cape Cod Museum of Art in Dennis, MA in 2019 and will proceed to the Provincetown Art Association and Museum in 2022 (date TBA, check back on my website for dates). I’m represented by Copley Society of Art in Boston, MA, Elizabeth Moss Gallery in Falmouth, ME, Woodman Shimko Gallery in Provincetown, MA and Sunne Savage, in Winchester, MA. My work can also be seen on Instagram under Laura_Tryon_Jennings, my website at www.LTryonJennings.com, and in my Marshfield, MA studio by appointment.
Click below for a virtual visit to Laura’s home studio.
An interview with The Art Complex Museum’s yoga instructor Kezia Bacon
Tell me a little about your background.
I’ve been teaching yoga since 1997- almost half my life! I did most of my training at Kripalu, in the Berkshires, and try to get back there regularly to learn more. I teach several weekly public classes, including Wednesdays at The Art Complex, and also work with several private clients. (These days they are all online, because of Social Distancing). I also teach various workshops (“Meditation Basics” is popular), and run the outdoor Yoga at the River’s Edge program for the North & South Rivers Watershed Association.
When did you know you wanted to do what you are doing now?
I started teaching yoga when I was 25. I had been studying it for several years and my teacher encouraged me to become a certified instructor. At the time, I was also beginning a career as a freelance writer, and my hope was that the two vocations would balance each other and provide a sustainable income. It wasn’t until I added my work as a Wedding Celebrant (writing and officiating wedding ceremonies) to the mix that I truly found the balance I was seeking. So yes, I have three different lines of work, and together they are very fulfilling!
Who are your biggest influences?
For yoga, Mary Norton was my mentor. She ran The Yoga Center in Cohasset, and informed a lot of my teaching and business sense when I first got started. I’ve especially enjoyed Stephen Cope, a teacher and scholar, for his insights into yoga-related “big picture” stuff. These days I’m especially enjoying classes with Emma Boyle, who runs Dragonfly in Marshfield.
Where do you find inspiration?
Nature. Much of the writing I do (articles and website content) centers on discovering and sharing aspects of the natural world, at the local level (South Shore). Our local rivers (North, South, Green Harbor) are my happy place. Between that and talking with friends and family, I often gain insights and perspectives that I can incorporate into my yoga classes. For me, the meaning of life is to spread as much goodness and love around as possible. I’m always looking for ways to do that.
What do you like to do for fun?
Walk in the woods, kayak and paddleboard on the rivers, discover new places, share stories with friends and family. I’m also a huge music fan – listening to albums and podcasts, talking about music, reading about music, going to shows, and even playing/singing a little bit.
What are you reading right now?
Liz Phair’s memoir, Horror Stories, and the latest issue of Harper’s Magazine.
How has the current pandemic affected your teaching – the challenges, and advantages?
I had to learn quickly how to teach live classes online! Teaching to the camera on my laptop, constantly checking to make sure that I’m remaining in the frame, and not cutting off my head or feet – it’s been a learning curve. Also, my voice tends to get tired more quickly, because I have to project quite a bit more. On the bright side, people are generally at home, looking for things to do, and also looking for solace, so I’ve seen an increase in attendance, which is – of course – very welcome!
What’s the funniest thing you’ve seen on Zoom?
My students typically set up their laptops and phones at home, where life continues to happen, so there are often random sets of legs (human) walking through the backgrounds, and also pets and small children. But my favorite was the toddler who noticed herself on her grandmother’s monitor and started dancing joyfully, fascinated by her own image!
Social Distancing!
In late February, the Duxbury Middle School installed an exciting and colorful display of paper mache masks created under the guidance of their teacher, Amy Squillante. This exhibit is the latest installment of of our ongoing “Complex Collaborations” hallway exhibit series, showcasing the talent of our local students.
The masks are still there, hanging out together, while the museum waits to greet visitors again.
As we know, teachers, on a very short notice, had to adapt to teaching remotely. When Amy was asked how it was going, she responded:
“Remote teaching has been different and challenging. I have been creating drawing videos each week from ‘’Mrs Squill’s Art Basement”. The kids are practicing drawing, photographing their drawings and submitting in Schoology, our online platform. I’m a YouTube artist!”
Amy’s love for teaching and enthusiasm is infectious (sorry, no pun intended), and it shows in her students’ work.
Sally’s update on the Fish Project!
I have been working on completing the museum’s community herring run fish mosaic to be part of the Plymouth 400 celebration.
The mosaic is 23 feet long and will be installed on an exterior wall in the sculpture court at the museum.
While quarantined at home, in the spirit of hope and compassion, with the help of Michelle Green of High Street Studios in Hingham, I have been hand-making ceramic fish pendants to be given out to visitors at the reveal of the mosaic, date TBA.
The idea was inspired by the tale of Sadako and the Thousand Paper Cranes.
The fish was sacred to the Greco-Roman mythology, where it held symbolic meaning of change and transformation.
In ancient Eastern Indian mythology, the fish is a symbol of transformation and creation. This is observed in the ancient flood myth in which Vishnu transformed himself into a fish (Matsya) to save the world from a great flood. In this form, he guided king Manu’s boat (which contained the select few survivors and seeds of life to re-create the world after the flood subsided) to safety.
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Photographer Jim Hooper was able to get the local oyster farmers off the water long enough to take their picture. We put portraits together to with Evvy Eisen's from Drakes Bay, on the west coast.
📸 Jim Hooper:
"Jenny Mattern of Merry Oysters"
"Joe Grady, Matt Grady and Kyle Hallisey
of Blue Moon Oyster Farm"
"Kevin Thomson of Duxbury Oyster Co."
#artcomplexmuseum #jimhooper #evvyeisen #meryoysters #duxburyoystercompany #islandcreekoysters #portrait #bluemoonoysterfarm #southshore #massachusetts #oyster #popupstudio #controlledlighting
Evvy Eisen’s photographs of oyster farmers from Drakes Bay, on the west coast, contrast Jim Hooper’s photos of oyster farmers working in the coastal towns of Boston’s South Shore and Cape Cod . Eisen spent two years documenting the closure at Drakes Bay, photographing the daily activities at the farm and creating portraits of the immigrant workers whose jobs and homes were threatened.
📸 Evvy Eisen,”Oysters Ready for Planting” from the series: “Oyster Farm The Working Farm”
📸 Evvy Eisen,”Guadalupe” from the series: “Oyster Farm Workers”
#artcomplexmuseum #jimhooper #evvyeisen #drakesbay #portrait #photography #museumfromhome #oyster #aquaculture #westcoast #oysterfarm #blackandwhitephotography
Gallery shots of our Oyster Farm photo show in 2018 with work from Jim Hooper and Evvy Eisen. Evvy spent two years documenting the closure at Drakes Bay and the farmers whose jobs and homes were threatened. Jim shot the Duxbury, Kingston and Plymouth farmers at a makeshift studio at the Duxbury Bay Maritime School.
#artcomplexmuseum #jimhooper #evvyeisen #drakesbay #Eastcoast #westcoast #duxburyoystercompany #islandcreekoysters #DBMS
Summerhouse get-away! Painter and printmaker Prilla Smith Brackett creates contemporary landscapes that explore ideas of home. Touchstone: Glimpses of Noon #2 is part of a series entitled Old House, that Brackett created as she prepared to move from her family home. The summerhouse acquired in 1916, saw many generations of her family. Its most compelling feature was the sleeping porch, which Brackett rendered in three planes: the porch, its outdoor view, and the interior space that overlooked it. Compositional elements like the angled windows, furniture, and porch rails lead viewers into the organic landscape outside.
#summerhouse #summer #SummerGetaway #vacation #family #home #prillasmithbrackett #outdoors #touchstone #glimpseofnoon #sleepingporch #contemporarylandscape #artcomplexmuseum
There's nothing like a summer sunset! American Impressionist Childe Hassam frequently painted scenes from the Isles of Shoals near Portsmouth, New Hampshire. The artist spent nearly thirty summers there from the late 1890s - 1900s, painting the seacoast and gardens on Appledore Island. He coveted the rocky coast, its rugged terrain and magnificent sunsets.
This small scene, painted on the back of a cigar box-top, demonstrates his expressive handling of paint. Hassam, who was born in Dorchester, Massachusetts, painted a series of coastal scenes like this example, in which he thickly applied bands of color to small wood panels, often breaking the horizon with a sailboat or another vessel.
#Hassam #isleofshoals #sunset #blueclouds #americanimpressionism #appledoreisland #portsmouth #dorchester #paintsunset #ocean #beach #sailboat #sailing #artcomplexmuseum #MusuemFromHome
Looking back at Carol McSweeney’s “Sign Of The Times,” from 2018’s New England Watercolor Society Biennial North American Open, juried by Iain Stewart.
#theartcomplexmuseum #newenglandwatercolorsociety #iainstew7 #news #watercolor #watercolorpainting #carolmcsweeney
We couldn't be more excited about our new look! Designed by Linzi Clary (@linziclary), our new logo captures the museum's characteristic wave-mimicking roof and architecture. We hope you like it as much as we do!
#artcomplexmuseum #graphicdesign #logodesign #makeover
Need a break from the heat? This ocean scene by American Artist George Wesley Bellows, Green Sea, created in 1913 provides welcome visual refreshment. Bellows painted it while staying on Monhegan Island, Maine that summer. Between 1911 and 1913 the artist completed more than 100 canvases inspired by the powerful energy of the ocean.
When the painting underwent conservation in 2014, evidence of sea spray and salt was discovered in the pigment, indicating that the artist worked in close proximity to the water. A decision was made to leave the salt in place, as it confirms the authenticity and provenance of the painting.
#ocean #heatwave #georgebellows #monheganisland #artcomplexmuseum #enpleinair #canvas #oceaninspired #saltwater #beach #provenance #authenticity #mainebeaches
Looking back at Robert Noreika’s piece, “Cruising,” from 2018’s New England Watercolor Society Biennial North American Open, juried by Iain Stewart.
#theartcomplexmuseum #newenglandwatercolorsociety #iainstew7 #news #watercolorpainting #watercolor #worksonpapaer #robertnoreika #museumfromhome
Looking back at Beverly Hammerman’s “Art Student, Sienna,” from 2018’s New England Watercolor Society Biennial North American Open, juried by Iain Stewart.
#artcomplexmuseum #newenglandwatercolorsociety #iainstew7 #news #watercolorpainting #museumfromhome #watercolor #worksonpaper
