July 2 - Aug 3, 2014
Friday, July 11
Friday, Aug 1
"BLACK / WHITE"
Bromfield Gallery Artists
Featuring a wide variety of media—including painting, photography, drawing, mixed media and printmaking—“BLACK / WHITE” showcases a number of Bromfield Gallery artists responding imaginatively to a restricted palette…with possibly just a splash of color.
62" x 42"
collage, inkjet print, rivets
This collage is the first of five images based on the '50s song about an out-of-control teenage girl. The idea of the series was to take the theme of emotional chaos and upheaval to express various states of that upheaval, while keeping the form of the composition the same throughout the five images. "Runaround Sue," with its stark black-and-white elements, establishes the basic shapes that unifify the series.
22" x 30"
polyester plate lithograph
For the past few years I have been fascinated by, and obsessed with the color Milori Blue. The color was accidently discovered in the early 1700’s by a German druggist and pigment maker. He was experimenting with potassium and iron sulphides and happened upon the color. The origin of the color is particularly interesting to me because I rarely preconceive what my palette will be; it happens intuitively, spontaneously and sometimes accidently. It is now time for my obsession to end, so having the opportunity to create new work for the BLACK / WHITE show has come at an opportune time.
8-1/2" x 20"
mixed media photos
As part of my working in a series process, I wanted to take the photograph and explore the possibilities of the medium outisde of Photoshop. Taking the photograph apart and enlarging some parts, printing on photo and wall paper using tape to try to push the norm of the photographed image. The Quintuplets image was taken from The Swaddled Babies series of mixed media painting, drawings, prints and collages. Using photography and violating the image was just another step in the series. All pieces are 8-1/2 inches x 20 inches.
44" x 30"
charcoal and chalk pastel
Each of my drawings maps an on-going, three-way conversation between the materials, the unique marks my hand makes, and my emerging vision. I am on a journey to discover the secrets that are embedded in the process. During periods of reflection, the image and I regard each other. We agree when we reach our destination.
Wave Range II
48" x 48"
oil on aluminum
My work is driven by the strangeness of the black and white construct, how it both limits and expands visual expression. A world built on the gray scale can deny the reality of the color spectrum, yet at the same time imply fathomless depths of imagination.
64" x 40"
Sumi ink on paper
In my large Sumi ink drawings I strive to capture the energy and individual expression of the Sumi painting masters and the abstract expressionists such as Franz Kline and Robert Motherwell, who found them a key inspiration for their work.
48" x 18"
acrylic on canvas
I am creating a new thing that lives on the flat surface. It is born from a collaboration between nature, the camera, the xerox machine, and me. I call it “Macana 1.”
Pixel Rivers: Amazon, Congo, Mississippi
5" x 7" each
thread, aida material
Black and white, the only difference needed to encode information. And you don't need a lot of either one to encode something meaningful. A series of simple squares rendered on a display — or even with needle and thread — can be enough to supply information about scale, form, shape and extent. Fewer than 100 pixels can take you from Manaus to Belem, Kisangani to Kinsasha, or Minneapolis to New Orleans.
Top row L: Splice #1, 2 ½” x 3 ½”, collage with found photos
Top row R: Splice #4, 2 ¾” x 4 ¼” collage with found photos
Bottom row L: Split (skin-salt), 5” x 7 ¾”, letterpress on wedding stationary
Bottom row R: Split (chalk-wrist), 5” x 7 ¾”, letterpress on wedding stationary
I often play with fragmentation and juxtaposition of imagery to see how I might obscure, subvert or create meaning. Here I have used basic forms of communication — text and photography — to create studies that address our learned processes of reception and interpretation. In "Split", the words become visually foreign although information is there to be read. The photographic fragments paired in "Splice" emphasize the images' conversion to mere compositional elements but hint at an openness to new interpretation.
18" x 30"
pigment inkjet print
I am fascinated with organic materials and in the past have used my collections of nature's debris for my inspiration, carving roots for sculpture and photographing decaying flowers. Recently, I've been pushing my work toward abstraction and, as I was experimenting with ink on a slick surface, this image emerged. It is abstract but still very organic, an enigmatic space for the viewer to explore.
" x 40"
acrylic, oil and pencil on canvas
Working in black and white started as a challenge and turned into a battle. Denying myself color initially felt like a penance, but it made me think harder about the structure of the painting.
36" x 36"
oil on board
Using architectural details as my source, I continue my explorations of creating space through minimal means.
30" x 22"
mixed media on paper
"Here I Sit, Brokenhearted"
An ongoing installation on bathroom tiles where drawings make visceral vignettes, showing moments ranging from giving birth to getting booked. A shape-shifting protagonist emerges from the tiles. She morphs in time and race and limps along at odds with expectations but at one with viscera.
"Here I Sit, Brokenhearted" is about the ill fit of the body and how our most private moments can play out in the public sphere.
Helen Payne was born on Jamestown, RI, and was raised in Appalachia. She studied Poetry at the Jack Kerouac School of Disembodied Poetics, painting and drawing at the Slade School of Fine Art, UCL, the Corcoran and the Maryland Institute, College of Art.
Helen’s paintings and drawings have been shown nationally including Fraser Gallery, Washington, DC, Woman-Made Gallery, Chicago, IL, and Mobius, Cambridge, MA.