Skip to main content

Chain Mail in Boston

Yesterday was the opening of the Chain Mail show in Boston. Ten artists were invited to invite 10 artists whom they admire. Then those 10 artists invited 10 more and those invited 10 more etc. etc. Over 1200 pieces of art were installed at Samson Projects on Harrison Ave. in Boston. I was on the fence about participating, but finally I decided to do it. It was a fun mishmash of all sorts of art, and somehow it all worked to create a very interesting visual experience. The best part was there were no titles or names attached to any of the pieces, so you get to look without any preconceptions.























Comments

Anonymous said…
You did a good job documenting this show!
Karen Moss

Popular posts from this blog

A Show of Hands - the Fairy Tale Series is on view through July

The Fairy Tale Series is now on view at the Fort Point Artists Association Gallery at 300 Summer Street, Boston, MA until August 1. Thanks to curator and fellow artist, Catherine Carter for including my work in this four person show with Anthony Falcetta and Kristin KB Breiseth.

Adria's Lanesville Workshop - A Creative Retreat

Lured by the beauty of the north shore of Boston, I once again brought a group of students to Lanesville, MA for a week of artmaking. Nine lovely people joined me for some serious fun and exploration using mostly acrylics. As I work for Golden Paints, much of my teaching revolves around helping students understand the versatility of the medium and what all those different products actually can do for them.













Appetite - four day exhibit, report from the scenes

Appetite  - four day exhibition in Melrose, MA featuring my work and my friends Patti Brady and Catherine Bertulli.

Lisa Crossman, Ph.D., Curator - Fitchburg Art Museum, had this to say about Appetite  
Appetite begins with instinct and results in vibrant, playful excess. Catherine Bertulli hosts the artist-organized pop-up exhibit in her large studio in Melrose, MA. Each artist toys with the seduction of the surface such as the draw of bright colors. Bertulli’s monumental towers are impressive illusions, shimmering columns of gold, turquoise and other brilliant tints. They are eye-catching objects. Yet the aniline dyes are fugitive­­–presenting only impermanent effects–and they are hollow, only a shell of architecture. Adria Arch’s palette too confesses her interest in forcing the unexpected through experimentation–freezing a mark in time and then responding to it, and intuitively combining fields of color with shapes and patterns. Her paintings are pleasurable in their leg…