Upcoming Show

Mark your calendars for our upcoming show opening in October!
The exhibit will showcase represented artists, Jocelyn Braxton Armstrong and Lisa Neher.

The show pairs Jocelyn Armstrong's elegant, fluid figures with the thick brush work of Lisa Neher. The artwork compliments one another with their light, soft colors of white, green, and blue, white. The body of work also offers a contrast between Jocelyn's smooth surfaces and Lisa's rough textures. The show will run from October 1, 2015 until November 28, 2015. The exhibition includes an Opening Reception on Thursday, October 1, and an Ashland First Thursdays Reception on Thursday November 5. Follow us on social media for a chance to see previews of the body of work.

Interested in these artists? Visit our website for more information on the exhibiting artists. Current work can also be found on the artists' page. All artwork can be purchased online or in the gallery.





 

 



About the Artist | Jocelyn Braxton Armstrong is a ceramic artist whose sculptures have a fresh sophistication and modern aesthetic that link fine art with craft. Before devoting herself full-time to ceramics in 2001, Ms. Armstrong spent nearly 20 years as a freelance fashion stylist/editor in Manhattan. Since then, she has developed a signature technique of building black and white porcelain ceramic sculptures to look delicately stitched together.
Ms. Armstrong’s talent has been recognized and her work critically acclaimed. She received an Artist Fellowship Grant from the Connecticut Commission on Culture and Tourism in 2008, and was granted prestigious Emerging Artist Awards from American Style Magazine in 2008, Ceramics Monthly in 2007, and The Aldrich Contemporary Art Museum in 2005. She won the First Prize in Sculpture in 2008 and 2006 during the “Annual Art of the Northeast USA Exhibition” at the Silvermine Guild Arts Center (New Canaan, CT). 

Her porcelain sculptures have been exhibited regionally and nationally at venues including Fuller Craft Museum (Brockton, MA), San Angelo Museum of Art (San Angelo, TX), Peninsula Museum of Art (Belmont, CA), Lincoln Arts & Cultural Foundation (Lincoln, CA), Mesa Contemporary Arts (Mesa, AZ), Wayne Art Center (Wayne, PA), Annmarie Sculpture Garden & Arts Center (Dowell, MD), Sherrie Galerie (Columbus, OH), Visual Arts Center of New Jersey (Summit, NJ), Fairfield Arts Council (Fairfield, CT), Westport Arts Center (Westport, CT) and The Aldrich Contemporary Art Museum (Ridgfield, CT).  Her work is included in Brooklyn Museum's Elizabeth A. Sackler Center for Feminist Art: Feminist Art Base (Brooklyn, NY).





In the Studio

Ms. Armstrong holds a BFA from Maryland Institute College of Art. She is a juried member of the Silvermine Guild of Artists (New Canaan, CT). Ms. Armstrong currently lives in Westport and maintains a studio in Bridgeport, CT.



About the Artist | Lisa Neher

I want to paint images that move, that live, that reach beyond the moment fixed to the canvas.

            When I began to paint, after not having touched a piece of artwork for years, I came to art with little formal training, and 30 years of making my way through the world.

            I had been working at the Embassy of France’s office of the National Center for Scientific Research where I translated two books dealing with Chance and Time. This introduction to systems theory made me question the nature of matter, the ambiguity of edges, and the role of perception in defining reality. Heady ideas!

 

         When Professor Steve Cushner, at the Corcoran School of Art, asked his class “What do you want to accomplish when you paint?” my answer was that I wanted to incorporate systems theory into my paintings – linking my subjects with their befores and afters, as a dynamic rather than static. Of course, I had no idea how to do this.

 

            For years, I painted, learning my materials and capabilities.

            One day, a studio guest asked me how I produced my work. While explaining that I often painted over old paintings that didn’t satisfy me, I realized that each previous painting had left parts of itself to participate in the newer painting. The new painting became an unexpected and unpredictable image incorporating elements of everything that came before.

            That effect, along with absence of discrete edges, together seem to suggest the ambiguity of form and the recycling of components that systems theory proposes.