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Conditions Altered
Dominick Takis and Bo Petran
March 4-April 23, 2022
Opening Reception: Thursday, March 17, 6-9PM
Closing Reception: Thursday, April 21, 6-9PM
Atlantic Works Gallery
80 Border Street, East Boston, MA 02128
Contact; contact@atlanticworks.org; 857-302-8363
Artists: Dominick Takis: nicktakis@hotmail.com, Bo Petran: bopetran@comcast.net
Reviewer: B. Amore; amoreb@earthlink.net 917-748-3661
Dominick Takis and Bo Petran are two artists in love with materiality. Takis is a lover of nature, obsessed with the qualities of lichen, its texture, colors, and shapes. He makes use of actual lichen as well as creating lichen-like textures through means as varied as spray foam, caulking, screws, and paint. A sense of mystery abounds in the built-up layers, and they continually entice the viewer to look even deeper.
His knowledge of color relationships is a key. In the sometimes-dense thicket of the wall reliefs, bright elements catch the eye. Often, they are tesserae, small mosaic-like squares in primary colors of red, blue, or yellow, that glow out of the strata of lichen and branches, as in Altered #3 where they are like dots of blue sky around the central cloud of a bee’s nest. At other times, Byzantine or Renaissance faces will appear as if out of a fog of history, to surprise us with the contemporaneity of their gaze, reminding us that we may not be as distant as we think.
There is an iconic or shrine-like quality to the work which is quite arresting. They are three-dimensional palimpsests, each layer causing us to look beyond the surface of what lies before our eyes, discovering more loving touches, more surprises, more mystery created by this painter-sculptor who is clearly in love with nature, paint, history and a deeply rooted European sensibility.
Petran’s works, carefully chosen for major impact, are larger canvases that punctuate the white walls. The surfaces of the paintings are highly sculpted in acrylic medium. In Untitled #3, the black and silver surface is roiling with energy. The rhythm of the motion over the entire canvas is a tour-de-force of painting, with the artist in skillful control. Sensuous and full of motion, the surface looks like molten metal.
Untitled #2, in silver tones, is more lyrical. The patterned painting has a lighter touch and is enlivened by what looks like flecks of iridescent metallic powders. In Untitled #1, a field of flowers, is delicately configured. The petal-like shapes stretch before the eye, filling the landscape of the mind with a hopeful feeling.
The textures of Untitled #4 rise off the surface as if they might flutter up in a soft wind. Each one is carefully delineated, both contrasting and blending with the entire field. Two hanging sculpted forms, White Flower and Grey Flowers, animate the gallery space and dance with the branches of Takis’ energetic creations.
Conditions Altered is a reminder of the constant changes present in our lives, particularly during the pandemic, and brings attention to the inherent beauty that can be discovered by an adventurous eye. The sense of exploration and excitement of both artists is palpably present. The collection of works is a perfect blending of the transition from winter to spring and well worth the visit to the Atlantic Works Gallery, at the edge of Boston Harbor in East Boston.
We wanted to share a little sample of some of the FABULOUS art continues to be submitted for this year’s Biennial Project Biennial to be presented on our website and via video projection at the Venice Biennial 2022 Opening week!
Feast your eyes on a selection of this beautiful work:
Lorraine Motel, No Justice No Peace, and Seat at the Table, by Al Harden
Eternal frost and Scents for Forgotten Countries, by Anna Novakov
Arctic Pending: Surrender and Arctic Pending: Arctic Thaw, by Eileen Wold
Gaia Rise, The Perseids, Melancholia and Rape of Medusa, by Artemis Herber
Adinkrahene and Cymbal and Machine Noire, by Marcus Brown
John the Baptist, copresence and A Glorified Approach to Violence, by Matthew Keller
Ofrenda – a walking project and For The Forest, by Maria Villanueva
Memories of Family and Stories Told and Stories from the Photo Album, by Wendell Brown
Ian Babylon and AWG are inviting you to a scheduled
Zoom Opening Reception and super fun Dance Party!
WHEN: Friday, November 13, from 7:30 p.m. to…??
WHAT: Artist Talk: 7:30 – 8:00 p.m.
WHAT: Dance Party: 8:00 – 9:30+ p.m.
Housekeeping: Upon joining make sure your video is ON, audio OFF, and ensure you’re set to MUTE, unless you’re an exhibiting artist, or you’ve “raised your hand”
Dance Partiers are limited to the first 100 folks joining, so if you can’t get immediately onto the Zoom channel at 7:30, check back in at 8 or 9 p.m. No Cover! BYOB. We want you to join in!
Gather round Netizens and let me sing to you a tale of the trim-ankled artists of Babylon & Co. We’ll talk, toast, and offer insight for this exhibition at Atlantic Works Gallery. Dialogue to conclude at 8 with more toasting, fun times, exhibition images set to good rump shaking music, with obligatory silly Zoom faces for what will surely be a lovely time. Looks like there are reasons to dance again. Save a spot for me on your dance cards for when we can do this in person?
See you there Sailors. xoxo IB et al.
The German Christmas markets sparkle in the European landscape as places where reality can be suspended and grown-ups can be kids again. Central Berlin alone has 10 Christmas markets, each market with its own personality. They run from late November to early January.
There are constants: Twinkling rows of small shops bring crafts and specialty street-foods from all over the country. Sausages sizzle. Beer foams. Wonderful smells waft. Gingerbread morphs into festive shapes. Some markets even have ice-skating rinks, amusement-park rides, and carnival games of chance.
Drinks are plentiful, the Glühwein (hot mulled wine) and hot rum grog are most popular because it is cold outside, and most drinking places are outdoors, around circular fire pits or at long tables. My modus operandi is strolling among crowds with a mug of Glühwein or a package of hot roasted chestnuts, or sitting at a fire pit.
My favorite market is at Alexanderplatz, where there is a giant Pyramide with life-size Mary, Baby J, Joseph, shepards, and kings revolving on a 5-story-tall replica of a common German Christmas table-top decoration, which at home has tiny tiers propelled by candle heat. The ground level of Berlin’s monstrous Pyramide is a beer garden, the second tier is a restaurant.
The Berlin Christmas markets are kitschy and crass, but within bounds. The mood seems a mix of merriment and nostalgia. Little kids are ecstatic with all the lights and movement, and adults are ready to drift into a realm of holidays long past with hope for the future. This is maybe why the killings at last year’s Berlin Christmas market seemed especially brutal. Its one-year day of remembrance happened this week in Berlin, and the observance was not without controversy.
When the attacker last year on Dec. 19th drove a 25-ton truck into the Christmas Market at Breitscheidplatz quickly killing 12 people and injuring 70 more, prime minister Angela Merkel herself seemed like a doe caught in the headlights.
She was blamed for the terror by the right wing for having allowed so many immigrants into the country (the driver of the truck was from Tunisia), and she was criticized from the left wing for showing so little compassion toward the victims and their families. She did not meet with the families after the attack. She did not write them personal letters. She did not offer government-funded reparation or funeral costs.
It’s not like terror is unknown in Germany. The 20th century Germans unleashed much of their own on the world. But since the 1972 terror attack at the Olympic Games in Munich, which now seems long ago, modern Germany has gotten off easier than many other countries in terms of this sort of violence. Frankly, Merkel has had little practice in dealing with terrorism on her own turf.
On Tuesday of this week, Merkel visited the site of the killings, where an elegant and unusual monument to the victims was unveiled (see next blog entry on artistic monuments to terror) and where fresh flowers and candles have been constant since a year ago. The Christmas market was shut down that day for the ceremonies. Bells tolled in the Gedächtniskirche – the Church of Rembrance of WW II events, on the steps of which the truck driver had mowed down the 12 victims. On Wednesday, Merkel finally met with the families of the killed and the injured, and talked with them for 3 hours. Overdue, but kind.
In the past Germans have been critical of the way some nations report terrorist events – nations that name and lionize the perpetrators, and leave the victims nameless. In response to this act of terror, German journalists have made a point of naming all 12 victims in each coverage of the event. I will do it, too: Anna Bagratuni, Georgiy Bagratuni, Sebastian Berlin, Nad’a Cizmár, Dalia Elyakim, Christoph Herrlich, Klaus Jacob, Angelika Klösters, Dorit Krebs, Fabrizia Di Lorenzo, Lukasz Urban, Peter Völker.
Three-foot high, one-ton sections of concrete barrier now encircle the same market and life goes on in a bent direction.
May our celebration of the new season, the new year, in any holiday form we choose, signify a fresh start for us all.
X Bonnie Woods