2016 Jana Matusz, Mia Cross, Phoebe Potts, Howard Sherman, DA/T Julie Graham

2016 Goetemann Artist Residency

Howard Sherman

Letter of Correspondence, Acrylic, Marker on Acid-Free Paper, 83″ x 76″ x 13″, 2013

Letter of Correspondence, Acrylic and marker on acid-free paper, 83″ x 76″ x 13″, 2013

I have had a long-standing interest in creating paintings that mix muscular abstraction with a playful cartoonist sensibility. The results have been commanding and humorous. My most recent work has included a disruption of my painting’s surfaces with collage in a raw and powerful way. – Howard Sherman

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Phoebe Potts, Gloucester Invitational Artist Residency

Drawings go directly into the bloodstream. I want –I need– to tell detailed stories about myself and words alone do not satisfy my vision. Instead, I draw and write comix in which I am the star. I draw and write out the events of my recent past.

This is not therapy, but it has the therapeutic by-product of healing psychic wounds by virtue of controlling my story: I may not have chosen what happened to me, but I can decide how the experience is represented in the present.

My comix about my inability to reproduce became the graphic memoir Good Eggs published by Harper Collins in 2010. More recently, I have been drawing and painting comix about my metamorphosis to orphan and mother.

For context, or maybe comparison, or probably just looking for a way to connect with the viewer and reader as quickly as possible, I use time worn biblical narratives and tropes from undergraduate courses on class, race and gender to flesh out my ideas. – Phoebe Pott

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Julie Graham, Distinguished Artist / Teacher

Adjacent, 2014, Acrylic, sparkle on panel, found wood, 15” x 24” x 2”

The Committee of the Goetemann Artists Residency is proud to present their choice for the 2016 Distinguished Artist Teacher, Julie Graham. Ms. Graham is on the painting Faculty at the School of the Museum of Fine Arts in Boston MA.

STATEMENT

Architecture imposes geometry on nature, creating and defining spaces that are inhabited, at least for a time, by individuals and communities. I am drawn to unoccupied spaces, which can at once speak of a past and future, waiting to be occupied again. I am interested in what defines a “sense of place”, how we move through and negotiate our relationship to place, and by extension, to each other.

Structures and their surrounding environments carry the memory of their creation and cause us to question our cultural identities and our own locations in time.

I work in a variety of media — painting, works on paper, sculpture and photography — in order to investigate multiple perspectives and ways for interpretation. As the boundaries between mediums are sometimes blurred, I enjoy how one medium informs another, and hope to create a dialogue in the process. – Julie Graham

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Jana Matusz

Blueberry Hill Morning, 2015, Acrylic on panel, 16″ x 20″

The opportunity provided by The Goetemann Artist Residency will allow me to return to the coast of Cape Ann, a place which has greatly inspired me in the past. Although I live relatively nearby, in Arlington, Massachusetts, getting to Cape Ann challenges my ability to work successfully there. Day trips are not enough.

An extended, concentrated residency will enable me to work on paintings of the rocky coast, the quarries, and the town. I am particularly interested in the rocks and quarries, including Halibut Quarry and the State Park, but everything, from town to fishermen, is fair game.

I am very fortunate to be doing something I love. As someone who has taught for many years, I am happy to share ideas and techniques with other artists and the public. I know it is possible, through my work, to excite an appreciation both for painting and for our rich and powerful visual environment. I would love to add my vision, my contributions to the many glorious paintings inspired by Cape Ann. – Jana Matusz

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Mia Cross

Oleg’s Flowers, Oil painting on canvas mounted on board, 43″ x 36″

A large part of my process is layering paint and leaving hints of a painting’s former stages. Whether it is keeping the first spontaneous mark visible, or allowing a small peek into a pattern past, I want the viewer to keep searching and uncovering the work’s story.

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