Seesaw: Anna Hepler and Karen Gelardi
May 26 – July 21
Opening Reception: Friday May 26 from 5 to 8 pm
Artist Talk: Wednesday, June 7 at 7:00PM
Assembly Mixed Media Collage Workshop: Saturday, July 22, 10:00am – 3:00pm
A new ‘zine, also named SEESAW, will launch at Waterfall Arts in conjunction with the exhibition. The publication, printed in part by Wing Club Press, includes artwork by Elizabeth Atterbury, Meghan Brady, Karen Gelardi, Anna Hepler, Christopher Patch, and Andrea Sulzerand. Cover artwork is by Meghan Brady. Select work from the ‘zine will be exhibited in the Corridor Gallery at Waterfall Arts alongside the exhibition SEESAW: Works by Anna Hepler and Karen Gelardi in the Clifford Gallery. In the spirit of the exhibition, the publication explores a visual dialog between a group of artists working up and down the Maine coast.
Anna Hepler was born in Boston, and raised in western Massachusetts. After a decade of living elsewhere, both within the US and abroad, she returned to New England, settling in Maine in 2002. Using a wide variety of materials to make work both hand-held and monumental, she creates an unassuming but enigmatic visual language. Allowing each new piece to be informed by her last studio experiment or impulse, Hepler enacts a series of mutations, such that a collaged image becomes a woodcut, the woodcut a printed fabric, the fabric a soft-sewn sculpture, and the sculpture a ceramic form. She states: “I am interested in what is alive and breathing, what is fleeting and dissolves in the spotlight. My work attempts to cast an oblique eye towards these indefinable qualities in hopes of catching a glimpse of something clear.”
Karen Gelardi was born in Providence, Rhode Island and grew up in Maine, Massachusetts, and Connecticut. She has resided in Maine full-time since 1989. Karen Gelardi describes her work and process: “I am interested in resiliency— what it looks like, what it feels like, and how to promote it. By observing nature and industry, I have found that modular units, reproduction, variety, and mutation are essential elements in a resilient system. In my studio, I operate within this framework as a way of modeling or putting these observations into practice. Repeatable drawing units, handmade and industrial production techniques, acceptance of imperfection and damage as a way to reveal inherent qualities of adaptability, translating an image, technique or idea from one medium to the next— all of these strategies are used in my approach to building images, objects, and environments.”