Tag: fall

Solo Series Winter 2025

Fraktur “Trust”, 2024 | Kate Strachan | Ceramic, felt, wax & wood, $1,000

On View January 16 – February 24, 2025

Opening Reception | Thursday, January 16 | 6:00p.m. – 8:00 p.m.

Artist Talk | Saturday, February 1 | 10:00 a.m. – 12:00 p.m.

Artist Talk | Wednesday, February 12 | 6:00 p.m. – 8:00p.m.

DIGITAL CATALOG

ARTISTS

Eric Anthony Berdis, Fiber and Installation

Scarecrow-Gold Eyes, 2025 | Textiles, embellishments, handmade paper on wooden armature, $3,000
Scarecrow-Puppy, 2025 | Textiles, embellishments, handmade paper on wooden armature, $3,000

“Using personal secrets, queer history, and gay boy glamour, my work builds a world for my audience to enter.”

– Eric Anthony Berdis

Eric Anthony Berdis’ work simultaneously celebrates the contributions of queer artists and reflects on the violence and oppression that has lingered and continues to linger throughout queer history. This juxtaposition of celebration and reflection is evident in their childlike play of materials and connections to queer art history. Happiness and play are vital to survival, and Berdis, being a queer artist themself, is no stranger to this. They note “joy is an act of resilience—a critical method of subverting hegemonic narratives of suffering.”

Eric Anthony Berdis’ Paper Bullies and Friends of Dorothy’s is being exhibited in our Community Arts gallery.

Alicia Finger, Painting

Another Place, Another Time, 2024
| Acrylic on cut paper, collage, $1,025
Beginning to Understand the Terrain, 2022
| Acrylic on cut paper, collage, $625

“Each piece has gone through a range of stages and appearances, reemerging as different works each stage.”

– Alicia Finger

Alicia Finger encapsulates her memories and visits through a combination of painting and collage. Using water-based paints, Finger begins by developing a series of paintings on paper, inspired by places she has been to. She then begins the meticulous process of cutting, rearranging, and layering the material to create dimensional paintings that break beyond the bounds of the paper plane. This evolution parallels memory, noting “as my memories of these places and experiences evolve, so do these works.”

Alicia Finger’s Reconstructed Places is on view in our Tile gallery.

Jenna Hannum, Mixed Media

The dying of the light, 2022 | Oil, graphite, and embroidery on linen, $2,400
It wasn’t deadly (III), 2022 | Oil, graphite, and rabbit skin glue on paper, $1,800

“These new portraits on paper and linen, combinations of fine art and craft, are an elegy to the women I’ve lost and a way to retroactively be a caregiver through drawing and embroidery.”

– Jenna Hannum

Jenna Hannum combines scientific illustration with unconventional portraiture to catalog childhood memories, family medical histories, and the biological journeys of loved ones. Following the tragic passing of both her mother and sister, her work stems from her desire to have spent more time as a caretaker. “Creating ink from the ashes of medical records and repurposing the tangible items left behind by [her] mother and sister”, Hannum’s careful renditions allow her to retroactively be a caregiver, even posthumously.

Jenna Hannum’s Elegy is on view in our Kellner gallery.

Kate Strachan, Mixed Media

Fraktur “Dis Obey” and “Mis Obey” (diptych), 2024 | Ceramic, felt, wax & wood, $900 (each)
Fraktur “Trust”, 2024 | Ceramic, felt, wax & wood, $1,000

“Our artwork serves as a curiosity cabinet, a repository where we place ourselves within the collected fragments of our existence. Much like the rooms we inhabit, our creations become filled with impressions of our identities and experiences.”

– Kate Strachan

Using a blend of materials—wax, wood, ceramic, and felt—Kate Strachan draws upon her Pennsylvania Dutch heritage to create work that comprises relics and manuscripts that convey and preserve the rituals of action, sexuality, and silence. Her artwork reflects the ancestral manuscripts that detail life, death, spiritual poetry, and house blessings, typical of Pennsylvania Dutch Frakturs. With an emphasis on materiality, Strachan notes, “I weave together ceramic for its fragility and coolness, felt for its capacity to evoke silence, wax for its encaustic technique symbolizing preservation, and wood for its primal origins…Through these materials, I tell my own story, layering meaning and texture to explore the depths of human experience.” 

Kate Strachan’s I n v i s i b l e  Sight is on display in our Book Room gallery.

For inquiries about work in our exhibition, please contact acook@abingtonartcenter.org.

Solo Series Fall 2024

Scission, 2022 | Benjamin Long | Oil, alkyd, and graphite on Dibond

On View September 13 – October 21, 2024

Opening Reception | Friday, September 13 | 6:00p.m. – 8:00 p.m.

Coffee Break: Artist Talks | Saturday, September 28 | 10:00 a.m. – 12:00 p.m.

Coffee Break: Artist Talks | Saturday, October 19 | 10:00 a.m. – 12:00p.m.

DIGITAL CATALOG

ARTISTS

Bobbie Diamond Adams, Printmaking and Papermaking

From the Alchemy Series | Mixed media, $600
From the Meditations Series | Collagraph Monoprint, $800

“I like to provide hints of subject matter in my titles, but leave specific narrative to the imagination of the viewer.”

– Bobbie Diamond Adams

Bobbie Diamond Adams’ printmaking and papermaking works are abstract in concept.  
From the hints of green that emerge from a sea of black textures in one piece, to the stillness and quiet of the lone green ellipse in another, her artistic eye is evident in the connections she makes amongst seemingly disparate or unrelated elements. The process of printmaking and papermaking are both labor-intensive and meditative to Diamond Adams, often layering over and reworking pieces for extensive periods of time. Following an intuitive approach, she notes “I use many different plates, and interweave many layers of transparent ink, assembling and embellishing, as well as overprinting.”

Bobbie Diamond Adams’ work is on display in our Tile gallery.

Anna Bockrath, Interdisciplinary Art

days go, 2024 | Screen printed photograph, handwoven cotton, NFS
held, 2024 | Screen printed photograph on cotton twill tape, $400

“Though weaving, screen printing, trimming, and folding, I utilize techniques that lend themselves to transformation through accumulations of repeated gestures.”

– Anna Bockrath

Inspired by poetry, mythology, and her own personal history, Anna Bockrath explores the complicated concepts of loss, care, and time through her interdisciplinary work. Bockrath’s creations have an airy and ephemeral quality about them, achieved by using both materials and processes that allow for light and air to permeate. Driven by a fascination with process and materiality, her works are created through acts of iteration, layering, and repetition. This act of repetition in her creative practice parallels the repetitive cycles she experiences in her own life, citing “I relate this use of repetition to my own experience of dealing with loss and the repetitive cycles that are entangled with grief.”

Anna Bockrath’s a certain slant of light is on view in our Community Arts gallery.

Benjamin Long, Painting

K.O.O.K., 2021 | Oil and alkyd on wood, $1,500
Dot Dash, 2023 | Oil and alkyd on panel, $1,100

“Please just look and let your eyes have the experience…words can take a break this time.”

– Benjamin Long

Benjamin Long’s oil paintings are colorful, punchy, and both visually and conceptually intriguing.
Each piece comes with its own complex, almost dream-like composition, which leaves the viewer yearning for context. Recurring motifs of snowman-like figures, beehives, and lit cigarettes and pipes give the work an illustrative quality, reminiscent of the work of the late artist Philip Guston. Long acknowledges the ambiguity of his narratives, noting “maybe someday I will figure out a way to translate a personal visual language into a written one” and invites the viewer to derive their own meaning from the clues provided instead.

Benjamin Long’s paintings are featured in our Kelner gallery.

Mick Ricereto, Painting

Cumberland, 2024 | Watercolor on paper, $650
Stillman, 2023 | Watercolor on paper, $650

“I work in response to our disordered, beautiful and sometimes crumbling civilization.”

– Mick Ricereto

From dilapidated brick storefronts, to rusted fences and street signs, Mick Ricereto encapsulates the decay of the urban landscape in his intricate watercolor works. Ricereto uses watercolor to build each landscape layer by layer, a lengthy and intensive process that acts as a metaphor to the civil environment he captures: each layer is built upon the last. The fragility of the watercolor medium, he notes, doubles as “a nod to society’s delicate balance of survival.” This “tensionless state of constant entropy”, as described by Ricereto, is expressed through his paintings in both observed realism and idealized moments of repose. 

Mick Ricereto’s Corner’s Report is being exhibited in our Book Room gallery.