Encounter: Debra Claffey and James Morningstar
This month the main gallery features artists invited by Fountain Street core members. The exhibition Encounter runs through December 20th and can be viewed during gallery hours on Saturday and Sunday from 12–4PM, as well as by appointment.
There will be a Virtual Artists Reception and Tour on Saturday, December 19th from 3–4PM. If interested in attending, please register by 2:30PM on Saturday the 19th to receive the event link.
Debra Claffey
Below Core Artist Kay Hartung introduces and interviews invited artist Debra Claffey.
I have known Debra Claffey for several years and admired her work. When I had the opportunity to choose an artist for the “Encounter” exhibition Debra came to mind because I have recently seen a lot of growth in her work.
Kay: Over the past few years, your work has become looser, more colorful, and with more drawing. What do you think has been causing these changes?
Debra: For many years I noticed that I was choosing a softer, limited palette. It helped me accentuate the drawn elements and loosen up the line work. I was also able to hone my attention in on content. The color has begun to work its way back in lately, as I learn to use the color to support the drawing.
Kay: Your work has recently become larger in scale as well. Can you talk about why? Is this a new development?
Debra: I had a large studio with 12-foot ceilings when I was living in Boston years ago. Large canvases were much easier to manage. Here in my converted small barn studio, it’s a bit more challenging. Working large is so immensely satisfying, though, that I have figured out a way I can work large in a small space by working on paper and making it modular.
The opportunity arose to present that work at the Great Bay Community College’s Gateway Gallery with 30-foot ceilings, and a full glass wall with lovely natural light. I jumped at the chance! I was honored to be able to show that work and some new large pieces recently at AVA Gallery in Lebanon, NH, in a large gallery space with plenty of viewing room.
Kay: Can you say something about the plant forms in your work?
Debra: I have been working in horticulture and organic land care. It has made me very aware of our cultural relationship to plants. I celebrate them: their great age and history on the planet, their intelligence and successful adaptions, their beauty of form, shape, and infinite color. I find them to be endlessly fascinating as subjects and hope viewers will find them a bit more noticeable too.
James Morningstar
Below Core Artist Sarah Alexander introduces and interviews invited artist James Morningstar.
I first met James at The Hopkinton Center for the Arts where I work as a teacher and Director of Visual Arts. He came to me for some drawing and painting lessons, and I recognized early on that he had something unique and special about his approach to art making. He fought hard and overcame many obstacles to forge a path for himself to attend art school (James is in his third year at MassArt.) When asked to nominate an artist for this exhibit, he was the first person who came to mind.
Sarah: Why fiber art? What informed your choice of materials for the work in this exhibit?
James: I’ve always loved textiles, fabrics, and patterns. I’ve been weaving since I was 9 years old, and had been dying fabric even earlier than that. I think in patterns, always observing and taking note of patterns around me. Whether it is the pattern of a snake I pick up, or patterns in behavior that I’m observing. I use patterns as a metaphor for making whatever statement I am going for.
Sarah: In your piece In Yellow, you spoke of veiling crochet squares over fabric to add a touch of nostalgia. Is there a specific inspiration for this piece?
James: I grew up near a little shop in Hopkinton Ma called Old Thyme Cupboard owned by a dear friend who acted as a grandmother figure for me. Her shop was filled with bits of lace and crocheted items. I liked the idea of contrasting vibrant fabrics in vintage dated colors (to simulate age) and using traditional crochet techniques to spark feelings of reminiscence.
Sarah: Let's talk about your piece entitled Carol. Why did you choose that title? Can you tell me more about this piece? It has a sculptural feel to it.
James: I wanted to take an ordinary name and do something extraordinary with it. My intent was to make a more playful piece, adding depth and dimension by stuffing things like the brows and lips. I hand dyed all of the fabric, and used black thread to mimic lines used in my pen and ink drawings to give it emotional intensity.
Sarah: I see your face in her. I know that expression.