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APRIL08 SHOW:
Bear Kirkpatrick & Celeste Lambert:
Photography and Intaglio/Woodcut Prints
Opening
reception Friday, April 11 from 5-8PM.

Taiga by Celeste Lambert, intaglio print
Celeste Lambert | Artist Statement
Zinc plates are the topography of my prints. There is a connection between the chemical weathering which carves and shapes land formations and that which forms an image on a zinc intaglio plate. As rock records the trespass of water, so metal records the trespass of acid. When I am working on a plate, covering some areas with acid-resistant ground, exposing others, carving and scratching, and then scraping and burnishing, I imagine how these acts parallel the forces which have shaped landscape. Scribers cut and carve through ground; tributaries, fissures. The recessed areas of intaglio plate hold the image, the hidden, incipient landscape. The ink is forced into these places. What was once below is now above. The process correlates to the shifts of rock and earth through geologic time. Plates of lithosphere move apart, magma rises forming new crust, plates collide, subduction occurs, mountains rise, and mountain erode.
I combine multiple etched plates and woodblocks into a single print. The stratum records the topographic features of a period of time, a layer of ground, a plate. It is customary in printmaking to do editions of printed image, with each print as close to identical as possible. I do not do editions of my work; each print is unique. My prints are impressions of a place in time, and like a natural land formation that is shaped by a series of forces acting upon them, their creation cannot be replicated. It is the time of working, shifting ground, building for
which I have chosen printmaking. It is watching prints begin to shape their land. They ask for more earth, more time, more layers; each one wants to be the evidence of grandeur of prehistory, to speak of the time before geologic time.

Untitled, Bear Kirkpatrick, 2008.
Bear Kirkpatrick | Artist’s Statement
Nature terrifies me. All those screaming birds. All that rot. The blasting
sunshine or a hard wind or thick ice. Nature can seem like a heavenly flower-burst
of blood and death. A beast that is both thought and felt, something with
a dual nature that will not mix within us. We seem to experience nature both
as a mental conception and as a kind of physical rapture. Aristodle takes
his scientific stab but not after Plato took his philosophical one, and they
do not speak to each other, except in some kind of over-the-shoulder glance
taken from where their own fear lives. Take a walk among trees and try not
to feel. Try as hard as you can not to impose taxonomy and genome. My work
splits by this split because I do not know which nature to shoot. I can feel
one and think the other, and only in moments of stasis will they blend just
slightly. They separate again as soon as I look at them. As soon as I think
of them.

Artists Celeste Lambert and Bear Kirkpatrick
of Kittery, Maine.
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GALLERY SCHEDULE
NOVEMBER : Sara Crall | Observations Of
DECEMBER : Biggest Little Art Show
SHOWS DONE & GONE
FEBRUARY : Jared Radding | Paintings
MARCH : Michael Pomerleau | Flush and Preserve
: Painting Seattle
APRIL : Bear Kirkpatrick
| Photography and Celeste Lambert | Intaglio and Woodcuts
MAY : Honnie Goode | Paintings
+ Drawings and Alisha Gould | Sculpture
JUNE : Christopher
Betjemann | Sculpture + Joel LeVasseur | Gelatin Prints with guest
curator Alex Rheault of drawing
room
JULY : Devin Brook | New Paintings + Kelly
Harrison | Sculpture
AUGUST : Laura Dunn | Mixed Media + Sculptural WorkSEPTEMBER
: Gil Corral | New Paintings
OCTOBER : Donna Oehmig | Paintings and Donna Caron | Sculptures
MUSIC SCHEDULE
NOVEMBER 8: CANCELLED. David Wax Museum with South China 8:30pm.
REVIEWS
PORTLAND
PHOENIX: "When
ordinary is extraordinary : Gil Corral’s questions and answers
in Biddeford" by Ian Paige, September 25, 2008
PORTLAND
PHOENIX: "An
Informal Formalism," a review of Jared Radding's
show by Ian Paige of the Portland Phoenix, 02/20/08.
LINKS TO OUR FRIENDS
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