Chaya Mallavaram is a modern impressionist and abstract painter who lives in Massachusetts. Inspired by the works of Monet, Van Gogh and the colors from India where she grew up, Chaya combines vibrant colors and bold textures in her paintings that lets viewers escape into places that are magical and uplifting. When painting, Chaya lets her emotions and intuition guide her through the process that takes her into a calming place. “I love that happy place and that’s where the magic happens”. Chaya uses pallet knives, her fingers, brushes and other objects she feels fit while painting. “It’s exciting to explore new ways to paint. Art is a journey for me and I can’t wait to see where it takes me!”
Virginia Fitzgerald is a mixed media artist who works in sculpture, installation, fiber arts, painting, photography and collage. Her studio is in Natick, MA where she also lives with her two daughters in a house full of love and creativity.
The Dress Project
The dress form is Virginia's symbol for our essential being, our core. using this emblem, her work speaks about the power of relationships and the politics of relationships; our relationship to ourselves, to each other and to the world in which we live. the work speaks to the emotional or lack of emotional connection between people.
The dress form denotes the body - how we relate to our own body, how we relate to other’s bodies, how we cover our bodies and present our bodies, and how that veneer affects all our experiences and encounters. i deal with the ideas of fertility, fragility, strength, waste, war, imprisonment and freedoms. my work ignites viewers to reconsider their place in our society and culture, to question the status quo.
The dress project is relevant to the current issues being debated today. the dress is Virginia's soapbox from where She can engage in political debate, question social protocol, and express her authentic self. using different media and scale the work touches many people regardless of gender, age, background and experiences. She strives to create for them a safe place in which to reconsider their place in the world.
The dress project has brought Virginia to a deeper and more determined desire to create. Her dresses have shown her the power of art - how art can touch people, move people; help people to reach a deeper place in themselves. She has been blessed with the opportunity to witness people become physically moved when interacting with her work. the dress project has given Virginia the occasion to challenge her technical skills, and pushed her out of her comfort zone, tackling many different types of visual arts; performance, installation, photography, sculpture and mixed media. all of these media are integral to the vision of my work. the dress project has also given her the opportunity to teach, lecture and lead workshops, allowing Virginia's enthusiasm to reach people in a more active manner.
Torqued and Tethered . . .
(Currently exhibiting at Uni-T Window Gallery)
This is part of Virginia Fitzgerald’s dress project. The bodice is stunted, emaciated, twisted and tortured. The sculpture hangs by only one of the shoulder straps, the other strap sags, defeated, exhausted. The way the bodice hangs forces the viewer to see in, under and through her; all is exposed. Being white, there is the suggestion of seeing bone. All she really wants to do is to fly, to be free…
Torqued and Tethered... was first exhibited at 'breaking open...' in 2013, at Fountain Street Fine Arts, Framingham, MA. It was during that exhibition that Fitzgerald was nearing the end of a long and intense divorce process and was feeling very burned by the excepted and traditional roles for a woman. Since that first installment, when the sculpture has been exhibited not all the ribbons have been held down or trapped, reflecting hope and new strength. In this current state of the installation, with some of the ribbons free and some still trapped, reflects the truths of women's rights in general. There have been some advances but there still remains a great struggle.
Esmeralda Lambert is a jewelry designer born and raised in the Dominican Republic. She moved to the US in 2010 to do her MBA in Entrepreneurship at Babson College. In March 2013, she founded her own jewelry company with the purpose of creating jobs for women in the Dominican Republic, foster entrepreneurship within their communities and empower women artisans. She creates lightweight statement jewelry designed with Latin and Caribbean influences and intricately hand woven with Swarovski and Czech crystals, semi precious stones with Sterling silver and gold-filled findings. Currently the Esmeralda Lambert collection is being sold in more than 30 high end boutiques in Massachusetts, Rhode Island, New Hampshire, Washington DC and through her online store.
Born in Brooklyn, New York, Jodie currently reside in Natick, Massachusetts where she focuses her time on establishing and supporting fundraising events through her art. Her interests in both biology and environmental science, led Jodie to a biology degree at Cornell University before continuing her graduate studies in Natural Resources at the University of Michigan. Two careers later (one in environmental mitigation focused on protecting natural and visual resources and one in fisheries biology), Jodie received a M.Ed. at Lesley University and finally brought her love of art into the foreground when combined with the many facets of elementary education.
Much of Jodie's work is done on the printing press creating one-of-a-kind monotypes using both water-based and oil mediums. Her style is varied and ranges from representational images to abstract design. Vivid colors and authentic cultural patterns infuse her works. An avid traveler, the beauty of the natural world is a constant inspiration ~ from the lavender fields of France to the poppy blooms in Arizona.
Jodie's watercolors focus primarily on the watery world of koi. Having worked in a fisheries lab throughout graduate school gave her a healthy regard for the simple magnificence and curvilinear beauty of fish. Many of the paints she uses are ground from semiprecious stones such as Lapis, Turquoise, Hematite, Jade, and Tourmaline which impart a vibrant and lustrous luminosity.
Currently, Jodie's works are exhibited in galleries throughout Boston’s Metrowest communities, Martha's Vineyard, Rhode Island, and New York. Her paintings are held in private and corporate collections from the West to East coasts, Canada, Australia, Europe, Russia, and India. Collections are carried locally at Boston Children's Hospital, Floating Hospital for Children, Massachusetts General Hospital, and TJX Corporation.
Julia Zimmerman's drawings involve a lot of malabranche and women (particularly in intricate, impractical outfits), with a healthy dose of bird people, descendants of lizards, ravenous female airships, two-headed little girls, monsters, nuns, religious imagery, the Geometric City, the Geometric Palace, and machinery. She likes to use micron pen 005, metal nib fountain pen, murano glass fountain pen, ballpoint pen, sharpie, koh-i-noor woodless colored pencils, colored pencils, oil pastels, acrylic paint, pencil, and charcoal. She likes to make both tiny, tiny drawings, and paint murals and decorations on walls.
Julia lives in Boston with 2 cats and 3 humans. She is working on a very long illustrated religiously themed text at the moment, as well as numerous other projects. Julia is an engineer and works at the MIT Media Lab.
Christian Glen Rodriguez
ScientisTechni or Techni for short, Glen was brought up in the early 90’s of Brooklyn. Early on in his childhood, He moved out of the city, but the spirt of the borough still sticks with him till this day. Falling back in love with art, Glen's style has gone through an evolutionary change. Now he works fully in black and white, while incorporating the beautiful grit of his roots into the work.
One woman’s trash is another woman’s treasure. The average American throws away approximately 185 pounds of plastic per year. Upon learning there are islands of trash twice the size of Texas floating in our oceans, 80% of which enters from land, Sarah Alessandro could not look at accumulating plastic the same way ever again. Instead of seeing empty laundry detergent, juice, or shampoo bottles, Alessandro now sees colors and shapes with creative potential. She delicately balances art and the everyday object, transforming plastic containers collected from laundromats and trash bins into whimsical fish and delightful mobiles.
Sarah studied Landscape Architecture at Cornell University and has taken art classes in just about every medium from woodworking to watercolors, glass blowing to metalsmithing. Influenced by Alexander Calder, Vladamir Barsukov, and David Edgar, Sarah brings her own unique style to her work. She is most drawn to art which is interactive and stimulating to the imagination; not static. As you look at her pieces you will do a double take as you slowly recognize common everyday objects in their new form.
Sarah, who creates all of her work in her Quincy home studio, Orange Room Arts, hopes to both raise awarenessof plastic’s effect on the environment and please the eye with her delightful creations.
New objects become old faster than ever before and when they are dumped into landfills it’s not just bad for the environment and a waste of materials - it is a waste of decades of engineering effort.
Melissa Glick's contribution to solving this problem is to use the components you never see - but make your technology work, into art that celebrates the beauty and humanity imbued in machines. Her work is abstract geometrical compositions they show relationships between found objects and combine 2D color and patterns with 3D shape, materials & textures. Melissa shows people things they never see in beautiful & unique manners.
Melissa has a BA from SUNY Purchase
MSAE from Mass College of Art
She works out of the Artisan’s Asylum, located in Somerville, MA the largest maker space on the east coast, supporting teaching, learning and practice of fabrication.
David Lang builds interactive kinetic sculpture that is narrative in nature. It is both whimsical and serious, graceful and awkward, understated and at the same time conspicuously complex.
The work is, by and large, gas welded from steel wire, rods, fabricated into something often resembling vehicles, portrayed on very delicate wheels, some large and some quite small. The wheels themselves represent the passage of time. Motion and movements are very subtle and elegant. Everything interacts smoothly, if not by very small margins and the work is slow and understated.
The work seems to give the impression that the rules are often in flux, but if you observe for long enough and allow yourself to become drawn in, everything comes into alignment. There is a balancing point between the machine and the observer, who in fact becomes an active participant in its existence.
Zwart is an artist who lives and works in Wayland, MA, where she creates work that challenges people’s perceptions of reality. What often appears to be one thing from afar is, upon closer inspection, something else entirely. She takes items that have been constructed for specific purposes and transforms them into something that has nothing to do with their intended use. She works with materials as simple and easily-recognizable as flour and snow, or harder-to-find items like horseshoe crabs and plaster teeth models, giving solitary objects new life as she multiplies them to yield an overall piece. Some of her work is simply abstract, but much of it serves as social commentary, blurring the lines between organic and manufactured, humorous and disturbing.