A hidden gem on the northern coast of Gloucester, Flatrocks Gallery offers visitors an impressive collection by established and emerging local artists.

Artists

Fabrications Bios

Nina Fletcher-My art is about my obsessions. The challenge is to externalize them for all to see and, to that end I look to the human body, especially its interiors, for inspiration. The body is a boundless source of information. Coming from a medical background I am still in awe of its beauty, mystery, and logic. I work in several different media, each bringing a unique twist to the forms that emerge.

Dawn Southworth-Dawn Southworth is recognized for her mixed media works and installations. She has been awarded artist fellowships from the Massachusetts Cultural Council in both painting and drawing and is a recipient of a NEA/NEFA Fellowship in sculpture. Southworth, a passionate collector, has the extraordinary ability to combine a vast range of materials and processes. her use of found objects, drawing, sewing, pyrography, and construction are unified in emotionally charged imagery laden with metaphor and symbol grounded in a strong conceptual base. Dawn also owns Clark Gallery in Lincoln, MA, one of New England’s leading art galleries and a member of the Boston Art Dealers Association. Clark Gallery exhibits contemporary art in all media by emerging, mid-career and established artists from the northeast and nationally.

Margaret Rack-Margaret Rack came to making art in childhood and by age twelve she began taking classes with local artists in their studios. When Rack went to college, it was painting she studied seriously, until she encountered welding. Metal gave her the most freedom to run with her ideas, and she became a successful studio artist primarily as a metal sculptor. For about a decade she has been working with metals in a very linear way. Using wire, she has been “drawing”. These pieces have tended to combine two and three dimensional aspects, wall works as well as sculpture to walk around. New works have a light delicate quality to them, with layers of twined wire and fine gauge crocheted copper elements. Rack loves quality of line, and some work is very calligraphic; other series are curtain-like. Though the work reads as abstract, inspirations come from nature and the human condition. A 2010 Fulbright Hayes trip to study in Cambodia deeply influenced her ideas for sculpture, in particular a twelve hour leisurely boat ride heading south down the Tonle Sap River passing floating villages between Siem Reap and Battambang. Fragility, strength, provisional construction, playfulness, resourcefulness and resilience took on new meaning and contexts that Rack continues to investigate in her work.

Caroline Bagenal-Caroline Bagenal is a sculptor, installation artist and writer. She is currently an Associate Professor at Montserrat College of Art where she teaches Art History and the Senior Fine Arts Seminar. She is the Director of the African Study Abroad Program. Caroline Bagenal is a member of Boston Sculptors Gallery. In her recent work Caroline Bagenal has created fragile constructions of marsh reeds, newspaper, and books to comment on the temporality of manmade structures. The sculptures made from reeds covered in newsprint refer to both architecure and landscape. They reflect Bagenal’s interest in the idea of architecture wthout an architect and draw on her rural childhood with work that refers to enclosures like sheepfolds, animal and fish traps, fences, gates and haystacks.

Elizabeth Billings-Weaving is deeply connected to rhythm and the rhythm informs the work. I was trained by traditional weavers in Vermont and Japan and have focused on extending those traditions. Gathering local materials, everything from pine needles to small saplings, I make work that comes from nature and connects to nature. The work includes small studio pieces and huge public art commissions and speaks quietly to the intuitive experience we all share. Elizabeth Billings graduated from Cranbrook Academy of Art the same year she was included in the Lausanne Biennale. She has continued to develop her studio work and maintained a strong exhibit record. Her work has expanded to large scale public art projects, many in collaboration with Andrea Wasserman, including permanent installations at the Philadelphia International Airport, the Florida College of Medicine the Dana Farbor Institute and City University of New York. In the 1990’s, she was part of a team that successfully revived the Shelburne Craft School eventually becoming the executive director. More recently she worked closely with National Park officials to develop and implement an Artist Residency Program at Marsh-Billings-Rockefeller National Historical Park that is now seen as a model for national parks across the country. Her work extends the long tradition of textiles and emanates out of the rhythms at the very essence of the process of weaving. At the core of these rhythms is a deep connection to nature. The strength of her work lies in making visible that connection, an essential consciousness in our world today.

Document Bios

Anne Rearick
Anne Rearick was born in Caldwell, Idaho in 1960. She received a Masters of Fine Arts Degree from the Massachusetts College of Art in 1990 and has worked as a photographer and teacher for the past 23 years. Rearick has been the recipient of several awards and grants, most notably a Fulbright/ Annette Kade fellowship to photograph Basque life and culture in France in 1990, New England Foundation for the Arts/Mass Cultural Council grants in 1995 and 2007, the European Mosaique prize in 1998 to explore rural communities in Italy and Scotland, and a Guggenheim fellowship for 2003-2004 to photograph the culture of amateur boxing in the U.S. In 2003, Editions Atlantica, published a monograph of Rearick’s work from the Basque Country entitled Mirescoletea, named after the particular butterfly discovered by Nabokov on the Basque coast. Public collections include the Bibliotheque Nationale in Paris, the Centre Nationale de L’Audiovisuel in Luxembourg, and the San Francisco Museum of Modern Art among others. Rearick has been a member of Agence Vu, Paris, since 1992.
Rearick lives in Gloucester with her husband Willie and their two cats.

Brooks Gibson
born in Gloucester Ma. Received a B.F.A in photography from New York University (TSOA). He was a member of the Cork Artist Collective, Cork Ireland, SDSU Arts center, Lo Jolla CA, and more recently he was a faculty member and lab tech at the Hui No’eau Visual Arts Center, Maui Hi teaching both silver and non-silver processes. Brooks now resides back on Cape Ann. His current work is a collection of color images exploring the shallow waters of Cape Ann and the surrounding areas.
His other works have been shown in New York, Ireland, Hawaii and Massachusetts.

Lynn Swigart
Lynn S. Swigart was born in Kansas City, Missouri, in 1930. He spent his youth in Clinton, Illinois and graduated from Bradley University, Peoria, Illinois in 1952 with a B.S. in psychology. He worked as a professional photographer from 1951 to 1953 and since that time has worked in and studied photography independently. He has also studied with Gus Kayafas, Minor White and George Tice. During the summers of 1973 and 1974 he taught photography at the Multi-Media Arts Institute at Bradley University. He has conducted a number of workshops in black-and-white photography. He worked for Caterpillar Inc. from 1953 to 1988, his last position being manager of Communications Services. From 1988 to 1994, he was president of WYD Design, Inc. of Westport, Connecticut. Swigart is now living in Gloucester, MA. He exhibits his work at Swigart Studio, 97 E. Main Street, Gloucester. His exhibits include numerous one-man and group shows.

Driven Bios

Jon Sarkin

There is no facet of my work that has not been profoundly impacted by my stroke. Our physicality and perception are how we access and negotiate and navigate our environment and surroundings. When this balance is disturbed, the resulting disequilibrium changes everything. One of the things that is most apparent in my art is its sheer abundance. I create in a fever, in a mad torrent of ideas and images. This directly relates to my inability to censor the floodgates of my imagination. Because my stroke has caused me to be obsessive, my art involves working with the same images over and over and over again, I suffer from a syndrome I like to call “obsessive-compulsive-manic-depressive-creative-disorder.”

Paul Cary Goldberg

I don’t know why I’m driven to make art. I have been since childhood. Perhaps it’s an effort to understand, contend with, push back at and counterweigh all the sorrow and fury of life. Maybe it’s just for the love of it, or for the love others give to me on account of it. Most likely it’s because of all of these reasons – and more. I do know that for me the process of making art is about finding balance and optimal tension; it’s the exhilaration that comes with discovering, experiencing and expressing beauty. In this body of work titled, Etudes, the beauty is found, (as always), in the dialogue between light and shadow, in the textures, colors and compositions. Particular to this portfolio the beauty lies in the surfaces of old bottles, broken eggs, a broken egg cup and a faded photograph.

Ken Riaf Start with an empty space. Imagine yourself in it - beings like ourselves, only different.  Scale and perspective, politics and prose, words and phrases, artifacts and archetypes, places, memories, colors, symbols. Things that never were, along with some, that someday could be. It’s a reclamation project for emptiness. By moving things into these boxes and out of my studio….I get more space -my contribution to the expanding universe. They say ”think outside the box”. How ’bout, think’n inside the box? They say ”think big”. How ’bout, keeping things to scale? They say”what’s it mean”?  How ’bout, why don’t you, -  tell me?

Next Wave Bios

Ben MacAdam-My interest is to continually discover and describe beauty. Mostly inspired by sound, sight, or touch, my work is created to describe moments of tranquility, movement, and imagination. I wish to ask for, look for, or wait for these things daily. For the work, the pursuit involves an abstract and naturalistic vocabulary within the window of a painted surface. Within the window of life on earth, the pursuit involves the same constructs though it is within the window of body, mind and soul and the landscape from which we came and see around. My hope is to help people recognize that beauty is all around us by painting forms that may or may not be familiar. Whether the landscapes seem the most mundane to call upon or subject matter seems at first far from familiar, I find it worthwhile to put these subjects on a surface to see freshly.

Elizabeth Woodward- A photographer and printmaker located in Beverly Massachusetts, specializing in digital printmaking and pronto plate prints.  A graduate of New England School of Photography, she has exhibited across the country, including Seattle, Los Angeles, New York City, and New Mexico, as well as showing locally in the Boston area.  This past summer her work was for sale in White Bird Gallery in the Rocky Neck Art Colony and on display at the Cultural Center at Rocky Neck.

Nina Samoiloff-In my work  I only create with materials that have already been created, so to speak. I pick up lumber, boat parts, remnants of furniture – all elements of human habitation, on my daily walks, finding man made objects set against the backdrop of the natural world. I collect and manipulate these materials without drastically altering the form in which I find them, allowing that nature has already made alterations through the ravages of wind, sand and the sea. The sculptures I create are still made of wood and metal, but now the force of manmade materials visibly contends with the force of the natural world in every piece. Each sculpture shows signs of both artifice and nature and becomes a sort of uneasy collaboration between the two, serving as a reminder of our tenuous relationship with the world we live in.I combine random pieces of wood and metal into a pattern, constraining the work within the rigorous framework of a square or rectangle, a direct attempt to make order out of disorder.

Jamison Knowlton- I have grown up in the Lanesville area and have always had a strong love for the ocean and the woods. I create one of a kind art pieces and furniture, specializing in driftwood and re-claimed wood.

Nate Longcope-I work with paper and cut-outs to create vibrant landscapes of the subconscious. After graduating from the San Francisco Art Institute in 2000, Nate has spent most of the past ten years working as an art installer in New York City. He has also spent five years of the Museum of Modern Art as an audio video technician, where he worked closely with artists and curators to install and archive major works of art. This last year Nate has moved back to western Massachusetts with his fiancé and is pursuing his craft. Revisiting old haunts and sacred spots where he grew up, Nate has been going over the junkyard of scrap metal that his late father had collected over some 40 years. The sculptural objects on exhibit are the result of this endeavor, piecing together the remains of some long lasting memories.

Ariana Martin-When I am inspired, the landscape is in contrast; colors are vivid, the mood is dramatic and light is amplified. It is in this state that I am compelled to create. These moments are fleeting but productive and reviving. I am channeling something greater than myself and more honest than my own attempt at imitation. My work becomes life interpreted in an emotional sense within a tangible realm. It is every bit of me in a moment. I strive to glorify the tones that speak to me. Art is life’s design.

Nika Feldman-As an ethnographic textile artist my interest is in the intersection of needle and thread, hand-work and the relationship between clothing and identity.New-Work-in-Progress:WHAT WE TAKE WITH US AND WHAT WE LEAVE BEHIND-In Memory of a Nomadic Identity.This series of work was made while researching and living with a tribal group in India known as the Banjara.  Sharing a common language of embroidery, costume and self-adornment, I was welcomed into their community as one of their own.  The work exhibited here was inspired by an old saying of theirs which they shared with me; “When we die, all we take with us are our tattoos”.  Each portrait combines my daily embroidery and sketches with elements of their, soon-to-be-extinct, traditional costume.

Whitney Gibson was born in Miami Florida. Her photography career began as an assistant wedding photographer in Hawaii in 2005. She then received fine art training at the Hui No’eau Visual Arts Center in Maui Hi. Her work has been exhibited in various shows in Hawaii and Massachusetts. Her current series is an in depth look at mundane objects and house-hold substances..

Brooks Gibson born in Gloucester Ma. Received a B.F.A in photography from New York University (TSOA). He was a member of the Cork Artist Collective, Cork Ireland, SDSU Arts center, Lo Jolla CA, and more recently he was a faculty member and lab tech at the Hui No’eau Visual Arts Center, Maui Hi teaching both silver and non-silver processes. Brooks now resides back on Cape Ann. His current work is a collection of color images exploring the shallow waters of Cape Ann and the surrounding areas.
His other works have been shown in New York, Ireland, Hawaii and Massachusetts.

Sean Hurley This work is a documentation of the environments – both physical and mental – through which life’s path takes me.  In the play of light and shadows over crumbling walls, weathered streets, and open skies, I find a poignant visual metaphor for my own internal environments. These prints represent the intersection of these two seemingly separate worlds, united in their exposure to the onslaught of time, and by the unshakable inevitability of change.