Atlantic Works Gallery Member
Marjorie Kaye’s sculptures reach out and in and up and beyond. The transcendent stacks of energy are constructed from pieces of plywood, which are cut into shapes with a jig saw, smoothed and then tinted with bold gouache color–or house paint washes. The pieces are assembled in sequences, one piece glued or nailed against the other, forming patterns that transit from basic schematics of color and size into higher, longer and wider dimensions that strive to be freed from the constraints physicality. In her gracious unfolding of form, Kaye considers the mechanics of duality, and the vibration between the laws of intention and those of magnetism.
Perhaps classical in inception, the sculptures are very particular to our present time and reflect the emotions of a meditation on internal space. “I reflect who I am as a person. I bring my inside experience outside,” Kaye says.
Kaye sculptures and paintings have been shown both locally and nationally. She has an BFA in painting and has done graduate work in printmaking. Her work has been reviewed in many publications including the Boston Globe and ArtScope Magazine. She is the founder/member/owner of Galatea Fine Art in Boston, MA, a large artist-run gallery.
In her most recent work Kaye breaks down the emotive qualities of sound, dissecting music, particularly the curvaceous, meticulous and musical chases composed by Bach. She appreciates Bach’s order and expression, pointing out that his arrangements are repetitive and sequential, like her art. “Bach didn’t express chaos. Order allows emotion to come through.”
Kaye grew up in the Boston area, in a musical environment. “It began in the crib–the listening, the appreciating, the dissecting. The family took me to Leonard Bernstein concerts, to musicals.” She remembers seeing, The Carnival of Animals with her grandmother. Kaye sang in oratorios. “In my mid-20s, after art school, I studied voice. But I found I was more interested in music theory than performance. The calibrations. Cadence. The ideas.”
“Yes,” she smiles. “I ride a lot of different horses,” adding, “when I was young I started a journey of many disciplines: music, the occult, theosophy, astrology, Judeo-Christian texts, the Kabbala. Eventually it culminated in Zen Buddhism. And I’m still investigating, contemplating, researching…
“When I think about organized religion, I see no differences. Each is a system to look at the threads that join all of us together.” That thread is apparent in her art. “The most important thing in life is God and spirit. My art is a spiritual practice; my ongoing contemplation is about the meaning of life. I ask: Who are we? What is nature?
She turned to sculpture as an expressive form when she and her companion, Artist George Shaw, began living together. “George is also a woodworker,” she explains. “There were of scraps of wood around the house. I started shaping the pieces and painting them. Finally I gave myself permission to do sculpture.“
Previously her painting (which she still practices and exhibits) had focused on the mandala. A mandala is a ritual symbol, representing the universe, that guides viewers into a sacred, internal space. “Instead of painting mandalas I began building them,” she says.
In 2016 Marjorie was awarded by the Provincetown Art Association and Museum: a Lillian Orlowsky/ William Freed Foundation grant. “On the application I wrote that with the funding I would get a studio and I did.” In June Kaye moved her tools, paints and wood to a studio in East Boston, to 80 Border Street, Atlantic Works Studios.
In her studio she doesn’t listen to music. “I like complete silence. Plus I use power tools, and they make a lot of loud noise.” As far as color, the color of her work is bold. “The brighter the better,” she says. Orange seems to be the bridge color. “I use orange to pull everything together. To get from here to there.”
She can’t predict how having a dedicated art studio will effect her work. “For sure I have more opportunity to look and consider each piece,” she says. “But I worked hard in my home studio. I’m just a hard worker; it’s my nature. I’m process oriented. I make the best of any situation.”
MARJORIE KAYE’S ONGOING AND UPCOMING SHOWS:
The Poetics of Space. (with George Shaw) at Atlantic Works Gallery, 80 Border Street, East Boston, MA. October 8-29, 2016.
Colo Colo Gallery, 29 Centre Street, New Bedford MA. December 2016
FOR MORE VISUALS and info VISIT www.marjoriekayeart.com
George Shaw’s paintings seduce the viewer with their color and secret. They are investigations of home and house, Shaw’s personal continent of experience. He studied painting at Massachusetts College of Art, graduating with honors, and works during the day as a master carpenter. Shaw also has a certificate in historic architectural preservation. The paintings of a single house on an unnamed landscape provoke and free a sense of light, time and place and within those realms release a vulnerable precariousness. The seen feeling is a Hopper-esque isolation, a captured desire just out of grasp; a moment saturated with color and suggestion. The secret within the house is a light; life is happening.
Shaw said, however that his intention is not to be inside the house but to be approaching it. “Life is an illusion,” he says, “we’re on a journey but we don’t know where. Meanwhile, we’re all looking for home.” Home according to George, is a sense of place and security.
Shaw’s been producing paintings in his house series for two years. His day job, finish carpenter, gives him the opportunity to be a voyeur in many people’s houses and family life. He sees how people value their space and what they desire to have inside their house, how they create comfort and security and control the chaos and tentativness of life in their immediate surroundings. “A lot of times it’s the idea they have of a house that people strive to attain.”
The paintings are very American in their idea of lone individualism, masculine in their frankness, saturated in color intelligence, and layered with spiritual meaning of potential ascension. Technically, Shaw’ paints on board using oil, powdered pigment, wax and glazes. He usually begins with the color in the sky and works his way down the board to the earth, knowing intuitively when the color needs to change. In many paintings a line of oil pastel defines the meeting line of heaven and earth, adding an intense seam of drama to that line where souls eventually ascend.
In the realm of the house, in search of the real resting place for family and soul, Shaw has positioned the viewer between the lure of the everlasting and the possibility of attaining that reality, sensation, idea, hope . A place we all hope to attain: home.
George Shaw is a member of Atlantic Works Gallery. An exhibit of his work “Home Again” is on exhibit at Galatea Fine Art in Boston, June 1-26, 2016. Upcoming shows at Atlantic Works, East Boston, and Colo Colo Gallery in New Bedford in the fall of 2016.
Artists for Animals Reception and Auction
Benefit in support of Citizens for Farm Animals
Thursday, July 14, 2016, 6-9PM
Work from over 70 artists will be on display, including anything from handmade jewelry to painting, for a silent auction with 100% of the proceeds benefitting the Citizens for Farm Animals campaign, which aims to make Massachusetts the first state in the US to mandate basic humane care standards for farm animals.
You do not need to bid/buy any works to enjoy and participate in the event, but if you do, you will taking home a piece of art to enrich your life at a price far below art gallery pricing while providing crucial financial support to an important landmark cause.
Add your voice to those of other Massachusetts citizens working to make our state the leader in the nation for compassionate care for all animals.
Reception and Auction: Thursday, July 14, 2016, 6-9PM
Participate: Become a member of the Facebook group
More info: (617) 913 1871
About Citizens for Farm Animal
Citizens for Farm Animal Protection is a grassroots campaign working to prevent cruelty to veal calves, egg-laying hens, and pigs by putting a measure on the November 2016 ballot. These animals are crammed into cages so small they can’t turn around or extend their limbs. This practice is abusive and increase the risk of food safety problems, like Salmonella. We’re a broad coalition of non-profit organizations, farmers and businesses, community leaders, and grassroots activists dedicated to enacting a ballot measure to ban the cruel confinement of farm animals.
In the fall of 2015, more than a thousand volunteers helped us reach and surpass our signature gathering goal, collecting over 100,000 signatures in 66 days to help put this on the ballot. For our second — and final — signature drive in May and June of 2016, our goal is to gather an additional 25,000 signatures from registered Massachusetts voters to qualify for the November 2016 ballot. By voting yes on this ballot question, we will help protect animals from abuse.