Bloom, Kane, Crowley, and Friedman.
“Convergence” — the show at City Gallery running now through Jan. 30, and featuring the work of Meg Bloom, Phyllis Crowley, Roberta Friedman, and Kathy Kane — celebrates not only the ways in which the four artists have continued to make art during the pandemic, but how the City Gallery artists have maintained the bonds of their community even while being, once again, forced apart by Covid-19.
Meg Bloom’s tactile pieces can feel like clouds and sea creatures, things that exist not quite on the ground, even as in texture they also have something in common with found objects. Her visceral approach begins with the fact that the paper she uses is made by hand. “Her abstract art references nature, whether human or otherwise, often addressing broader social and environmental issues. But it is finding beauty in the imperfect, acknowledging moments of change and engaging with the process of transformation that form the basis of her work,” an accompanying statement asserts.
Bloom’s approach finds parallels in Roberta Friedman’s work, which also investigated what was possible with paper. “With the intention of exploring the paths that a long narrow surface would take me on, I set out to delve into the confluence of that shape and the encaustic mono prints that emerged on rolls of Asian papers, or on thin tissue papers,” Friedman writes. “The spontaneity of the printing process on a hot surface, the vibrancy of encaustic wax paints, and the richness of oil pigments and cold wax have resulted in a cacophony of color and expression. Exposing or obliterating aspects of design and pigments are a challenge that complement and enhance the vision: a confluence.”
Where Bloom and Friedman created their textures in their materials, Phyllis Crowley found tactility in photographs. “Combining images has been an interest of mine for a long time,” she states in an accompanying text. “In the darkroom days, I cut out prints and collaged them, hoping to find a way to join them successfully. Now with digital tools, I am free to combine in any way I can imagine, creating a more powerful image, allowing for the development of new ideas and associations. Another major feature of my work is an interest in the distortions that water, weather or any obscuring interface can provide. I use methods like abstraction, multiple images, and change of format to create new relationships that bring myself and the viewer closer to the original emotional experience.” Those distortions, as it turned out, found echoes in the work of her peers.
Kathy Kane also found herself using collage techniques to create her pieces for the show. “The power of the paint and its randomness is what most intrigues me,” she says in an accompanying statement. “Watching how it reacts as I manipulate it with whatever comes to hand: fingers, squeegees, chopsticks, any unconventional tool and occasionally brushes. ” Creating her series of kimonos — one of which anchors the back half of the show — “was instinctive, unreasoning and most enjoyable.”
The artists didn’t coordinate with one another explicitly for the group show. “We each presented what we wanted to do, what we had been working on, and hoped that it would work,” Friedman said with a laugh. Hence the title; the show came together in the way that “rivers converge,” said Kane, starting from disparate sources and flowing together. When they first brought their pieces together in the gallery space, “it was a mess,” Kane said, “because we had tables full of all of our pieces.” But as they sorted through it, certain through-lines emerged. “We looked to see what seemed to enhance the appearance of what is next to it,” Crowley said. A shade of orange, for example, appeared in both Bloom’s and Crowley’s pieces, and they were arranged to bring that out in both pieces. Other formal aspects of the pieces — certain shapes, uses of color, energy — seemed to speak to one another. The artists took it from there.
They also sang the praises of Dwight Pedersen, of Pedersen Frames in Erector Square, who installs and lights the pieces, for making sure that there was a sense in which viewers could move from one piece to the next. “He installs all of our shows. I think he’s a genius, and no one ever gives him credit for that,” Kane said. “He makes suggestions about how to hang things that I would never have thought of.”
Bloom pointed out a a more personal parallel, that all the work in the show had been done during the shutdown.
“We’ve been busy,” Bloom said. “Even the world moved away from us, so to speak, we continued to grow.… We maintained who we were.”
“It’s healing,” Crowley said.
“I think that’s one of the wondrous things about being a maker of things, that where everyone else is looking for something to do to occupy their time, we have the joy of having that decided for us,” Friedman said.
“And we’re used to being alone, completely alone,” when working, Kane said. Making art is enough company; “once you’re in the studio, and you’re doing what you came there to do, you don’t even notice you’re alone.”
And at the same time, the show is a testament to the way the members of City Gallery have kept in touch with one another. They still have regular Zoom meetings and critiques of one another’s work. “Every time we think we’re going to stop Zooming, we don’t stop Zooming,” Friedman said. “But we get great attendance.” They look forward to being able to get back together in person, especially for critiques. “But we still manage to communicate with everybody, and we’re still working,” said Kane. “What more can we do?”
Friedman was more thankful than ever for the City Gallery artists and the way they’ve stuck together during the pandemic. “It’s a solace,” she said.
“Confluence” runs at City Gallery, 994 State St., through Jan. 30. Visit the gallery’s website for hours and more information.
