Current Exhibit: Deep Roots & Many Moons
This exhibit takes place from September 8 through October 6, 2022. with an artist lecture series on Thursday, Sept. 8 from 4 - 6 p.m. and a reception to follow.
Gallery Hours are currently Monday through Friday, 2-4 p.m. and 7-9 p.m. and Saturday & Sunday 2-6 p.m. During the Caz Art Trail - Saturday, September 24 from 10-5 p.m. and Sunday, September 25 from 10-5 p.m.
The Cazenovia College Art Gallery in Reisman Hall, 6 Sullivan St., is on the corner of Sullivan and Seminary streets in Cazenovia, just one block from Albany Street (Route 20). All exhibitions and receptions at the Cazenovia College Art Gallery are free, open to the public, and handicapped accessible.
Each artist is a storyteller who presents a sense that reveals our constant connectivity with nature. The group is comprised of photographer Beth Bishoff, ceramists Jo Buffalo and Margie Hughto and painter Sarah McCoubrey. As the exhibition’s title suggests, each artist makes extraordinary connections that travel across time and space and that speaks to the complexity of our existence and our humanity, cradled by the Earth itself.
The explorations and excavations made by the artists illustrates a sense of curiosity of the past and their relevance to the present. The works are comprised of digitized black and white film, porcelain and other clay bodies, paint and graphite on canvas and found papers. The artists present a sense of exploration that is mindful and engaging, acutely orchestrating their narrations masterfully.
Deep Roots & Many Moons harnesses the energies of the four women who successfully straddle a multitude of narrations powerfully and yet remain rooted and committed to their craft. The exhibition is accompanied with a 60 page full color catalogue.
My photographs are painterly in style in contrast to the virtual reality of today. Images of humans fused with ancient trees suggest an intimate, powerful connection to the world. There is a majesty revealed in an image of these trees and a mystical union of tree roots and flowing earth contours.
I was influenced by the pictorialist movement photographers, like Anne Brigman and Edward Steichen. My images are suggestive rather than literal. They inspire romance and introspection. In 2012, I spent months at a time traveling around Yucatan ruins. I couldn’t help but sense what it was like to have lived in the villages in those times. They built temples and cities housing thousands of people until their downfall from overpopulation and soil depletion leading to the destruction of the ecology. I feel there is a comparison to what’s happening in our world now.
All artists decide what their job is within the greater art world. Some choose to be provocateurs; some choose work with the formal elements within a medium. I have chosen to be a storyteller. My interest in stories and science has fueled my artwork for the past 56 years. The pieces explore a narrative related to an event, or myth, or phenomena. Sometimes the work is about the forms of nature. The structure of the work is somewhere between two dimensions and three dimensions. I love in-between the two. The form and the surface make the story. By approaching the subject in an unconventional way, my hope is to interest the viewers into undertaking their own exploration. The work is consistent with life: imperfect, unexpected, sometimes funny, sometimes puzzling. I always hope for beautiful.
My ceramic sculptures have always been inspired by layers in the earth, nature, and time. Although some of the work is free-standing, most are wall oriented. My most recent work (2016-2021), which I refer to as the “Excavation Series,” draws inspiration from archeological dig sites and landfills, both bodies of evidence that mark human activity and the passing of time. For this series, my way of working is to press mold or slip cast household items, discarded technology, and things from nature and arrange them in sculptural collages. In some ways, tension exists between the beauty and the serious subject of waste and remains. I try to make work which turns obsolescence and human debris into a provocative spectacle
My work has does not flow in a direct line from one thought to another. I work in an intuitive manner which meanders and weaves together various interests in painting, drawing, landscape, history and feminist inquiries. My recent work has included imagery from mostly Dutch traditional maritime paintings of the sea with the iconic sails of mercantile and war ships. These paintings are often about national power, commerce and war. My work also goes in another direction. The lace patterns made in the lowlands come to re-describe the Dutch sailing ships on the sea. My ships with sails of lace that can hold no wind, travel on waves of lace that can hold no water.