University of Maine Museum of Art Winter Exhibitions
- Date: February 6, 2019 - May 4, 2019 (Tuesday, Wednesday, Thursday, Friday, Saturday)
- Time: 10:00 AM - 05:00 PM
- Location: University of Maine Museum of Art, Bangor
REVERSIBLE ROLES: MEGHAN BRADY
January 18 - May 4, 2019
Meghan Brady’s large-scale paintings and collages are brought to life through intense color saturation and dynamic, abstract
forms. The compositions are vibrantly structured with unadulterated blues, intense yellows, and oranges. The focal point of the
exhibition is a work titled Everyday that spans over 16 feet and explores shape and form on a grand scale. The artist states,
“The container form—human or otherwise—is a jumping off point to do what I want to do, which is to construct, deconstruct, and
hopefully land somewhere totally unexpected.” Brady also layers bold colors, such as acidic green over deep blue, as a means
of creating unique shapes in her compelling compositions. The use of saturated color and powerful gestural marks articulate
Brady’s exploration of energetic geometric forms and how they relate to each other.
The selected works of Reversible Roles involve both the concept of representation and abstraction and explore how the negative
spaces—the spaces created between and around color—can become the focal point of the piece. Brady explains, “Negative
shapes are the by-product of cutting shapes from canvas and these shapes transform from negative to positive in the course
of one quick decision.” These works are the culmination of Brady’s practice of working with diverse media, including ceramics,
woodcut, collage, and oil paint as a means of expanding her creative praxis and extending her process. Brady adds, “Reversible
Roles is about the possibility of upending expectations by swapping places. Or in the case of painting, turning them upside
down, placing them on the floor, or cutting them in half.” Producing works of this size is a challenging endeavor. The physicality ofthis process is like a dance between artist and canvas and this corporeality infuses the paintings with energy, spirit, and life.
EDGING FORWARD: RICHARD KEEN
January 18 - May 4, 2019
Maine-based artist Richard Keen explores abstraction in both paintings and mixed media, wall-oriented sculptures. Keen
states that “experiences are brought into focus by removing unnecessary detail, often simplifying the world into line, shape,
color and texture.” In his paintings there are often predominant solid shapes, sometimes further accentuated by precisely
painted pin-striped lines, that occupy other expanses of color. Imbued with order and clarity, the angular forms in Keen’s
paintings seem to be derived from aerial views of the landscape. Dominant central shapes often have smaller lines that are like
pathways or roads, leading the eye off the picture plane.
Shapes that emerge in Keen’s paintings inform his wall sculptures—often incorporating surfaces created by sanding though
successive layers of paint. Originally inspired by the undersides of boats being stripped of paint, Keen’s revelation of these
layers of history is integral to his process. The quirky, enigmatic forms created by the artist integrate objects such discarded
wood and other found materials. Using polyester resin, fillers and spray enamel, Keen brings together these contrasting
surfaces within his singular compositions.
BIG ROCK CANDY MOUNTAIN: ZACH HORN
January 18 - May 4, 2019
Boston-based artist Zach Horn has created an exhibition where food and landscape take center stage. Horn has depicted key
ingredients of a picnic: a watermelon, sliced cucumbers, a hot dog, bowls of spaghetti and even a life-sized gingham blanket.
A massive graphite drawing of a cave functions like a backdrop that allows the viewer to almost step into the scene. In another
area, the viewer confronts a three-dimensional sculpture of a yellow-hued mountain range that curiously projects from the wall.
Pattern and repetition are prominently featured throughout these selected works. In the large graphite drawing, Tomatoes,
2018, the artist has meticulously rendered slices of tomatoes placed in perfect rows. Horn states, “The food pictures are
arranged in symmetrical abstraction, often with a closed composition. It’s recognizable form, but it is couched in the language
of spiritual abstraction: patterns, mandalas, the grid, and the sublime landscape”. The artist’s celebration of routine daily tasks
and the importance of coming together around food have inspired these compositions. The repetitive act of carefully preparing
ingredients for the family meal may be a ruminative experience, just as drawing may be a meditative act. Ultimately, Horn
invites the viewer to contemplate feelings evoked through food and the environment.
Admission to the Museum of Art is FREE in 2019 thanks to the generosity of Deighan Wealth Advisors.