Opening reception Thomas Connolly and Frederick Lynch Nov. 2 from 5-7pm
- October 17, 2017
Thomas Connolly’s solo exhibition entitled “Scenes I’ve Seen” will be on display for the month of November, with works by Frederick Lynch featured in the side gallery. The opening reception will be held on Thursday, November 2 from 5-7pm and the show will be on display from November 2-25.
Greenhut Galleries’ November solo exhibition will feature new work by long-time Greenhut artist, Thomas Connolly. This exhibition highlights Connolly’s keen gift for capturing and conveying the mood of any given location, as well as his ability to shift with ease from tight, detail-driven though painterly realist observations of architectural subjects to loose, lively and impressionistic land- and seascapes. Whether laboring in the studio on his architectural paintings or en plein air on his scenes of nature, Connolly’s stated goal is “to convey an emotional sense of place that is consistent with all the work I do. I want my paintings to have a sensual combination of colors that makes them feel like there is light coming from within the paintings, and this all comes from adjustments and balances within the work.”
With regard to his cityscapes, Connolly wants “to make the paintings look the way a city feels.” In this he is quite successful. As arts writer Mariel Melnick observes, “Connolly’s paintings are entirely realistic, but they are so much more. They contain brilliant, lyrical touches of paint that stand out like high notes in prominent harmonies. . .His paintings represent atmospheric light and emit their own luminosity. And instead of allowing architectural prestige and iconography to occupy the spotlight, Connolly forces them to succumb to the mood and atmosphere of his paintings. He deliberately chooses to paint identifiable sights, which are subsequently overshadowed by their painterly rendering.”
Thomas Connolly earned his BFA from Maine College of Art in 1987 and participated in the Maine College of Art Baie Ste. Marie residency program in New Edinburg, Nova Scotia. He was juried into the 2011 Portland Museum of Art Biennial Exhibition, the 2010 Center for Maine Contemporary Art Biennial Exhibition, and was featured in the University of New England’s 2013 Exhibition “The Art of Katahdin.” He is the recipient of a Pollock-Krasner Foundation Grant and the Sheldon Bergh Award. Connolly’s work is included in the permanent collections of the Bronx Museum of the Arts and the National Museum in Gdansk, Poland as well as in other public and private collections in the U.S. and abroad.
In the side gallery this month, Greenhut is pleased to announce its first exhibition of works from the estate of one of Maine’s most celebrated abstract artists, Frederick Lynch (1935-2016). His obituary states, “In a career spanning more than 50 years, Lynch pursued a singular vision that began with the observed world and went deep into the underlying structure of appearances.” This exhibition features a group of Lynch’s sculptural segments, with each displayed beside a gouache on paper representation of itself. The works on paper feel a bit like architectural specs and are, in Lynch’s own words, “almost obsessively accurate” renderings of the geometric oil and enamel on pine segments they represent. “I tried to translate every nick, every texture,” he says. Though Lynch’s method is systematic, it is not formulaic. Lynch’s aesthetic is drawn from the ordered chaos of nature, his shapes a bit quirky. “Deviations, mutations, and the unexpected” are welcome advents, staving off predictability. “Art,” Lynch says, “is perhaps the most interesting subject there is to me, and my art the most interesting of that—not out of ego, certainly, but out of curiosity. I make art to see what happens.”
These two and three dimensional renderings of each respective form are separately and independently beautiful; the combined effect is not only beautiful, but also fascinating. Observing each segment as it confronts its own image, the viewer is invited to contemplate the transformative effects of media, scale, and dimensionality. But philosophical ponderings are not at all necessary to appreciate the exhibition. As Lynch puts it, “My art is about aesthetics. All other positive associations, invocations, or implications are bonus points, incurred with the advantage of a second look.”
Fred Lynch lived in Maine for 44 years. He served as a faculty member of the Art Department at the University of Southern Maine from 1981 to 2006, and has exhibited widely throughout New England and beyond. In 2005, the Farnsworth Art Museum in Rockland mounted a 20-year survey of his work. His work is in numerous public and private collections including the Portland Museum of Art. In 2012, Lynch was one of five artists to be honored at the Center for Maine Contemporary Art’s 60th Anniversary Honors Exhibition.