Aleah Chapin: What Happens at the Edge
Flowers Gallery (New York)
Through November 2, 2019
www.flowersgallery.com

Flowers Gallery presents an exhibition of new paintings by Aleah Chapin, focusing on the unified depiction of the human body and the natural environment. In her latest work, Chapin describes a world concerned with “in-betweenness and edges” — from the juxtaposition of soft human flesh against the hard contours of cliffs and rock faces, to the symbolic representation of emotional edges and extremes.

The people and place of Chapin’s home in the US Pacific Northwest are the foundation of her work, involving naked portraits of aunties, cousins, her mother, and friends. Described by painter Eric Fischl as “the best and most disturbing painter of flesh alive today,” Chapin’s bold and intimate portrayal of nude figures has broadened the debate around the visibility of aging or so-called imperfect bodies in images of everyday life.

Chapin describes her recurring cast of elderly women as having an energy and directness that demonstrates joyful resistance, reflecting her own desire to “take up space, speak up, and be loud.” They perform mysterious, playful dances (such as “Our Voices Are Still Singing on the Margins,” shown at top) and appear to howl, sing, or roar. Monumentally scaled nudes such as “And It Caught Fire” appear powerful and confrontational, while intertwined groups of women supporting each other’s bodies recall the solidarity of the Me Too movement.

Since moving from New York to the Northwest, Chapin’s realistic depiction of the landscape has become a highly significant attribute of her painting. Her scenes of pristine wilderness reflect the strong influence of nature and the seasons during her island upbringing, and a wider, growing concern for the environment and the future stability of natural resources. In recent paintings of dramatic mountain ranges and lush rainforests Chapin’s palette is saturated by the indigo blue of half-light, bathing her figures with an opalescent moonlit glow. Two large-scale landscapes titled “Where the Edges Meet” (Under/Over) are entirely devoid of figures, allowing space for the viewer to occupy the scene.

In the self-portrait “Turning,” Chapin confronts fragility and change using her own image framed by fallen leaves. Shifting her gaze to herself, Chapin addresses the experience of transitioning from youth to womanhood and coming to terms with the onset of physical change. Further ideas of passage are explored in the painting of a close friend Max, who identifies as transgender (using the pronouns they/them). Chapin has explored the edges and boundaries of gender specificity and gendered expression in several previous paintings of close family and friends such as “Qwill” and “Emmett” (both 2016), countering the often-politicized view of transitioning bodies with striking empathy.

For more information and images please visit flowersgallery.com.

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To the Shakers, light was everything, fuel for body, mind, and spirit. “Borrowed Light: Barbara Ernst Prey,” on view at Hancock Shaker Village May 26 – November 11, 2019, captures this dynamic essence in the form of 10 large-scale watercolors ranging in size from 28 x 40 inches to 40 x 60 inches. Each work is imbued with “borrowed light,” a term adopted by the Shakers to describe their architectural technique of incorporating windows and skylights into interior walls. The result is both pragmatic and sublime.

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The Shakers designed their built environment to let light in, as can be seen in the 20 buildings on the campus of Hancock Shaker Village. Artist Barbara Ernst Prey (American, b. 1957) spent many days during the fall and winter of 2018–2019 immersed in these buildings and in the material culture and landscape of the Village. Carefully observing luminescence, she sketched boxes, garments, tools, and domestic objects as angular refractions of light migrated slowly across interior and exterior scenes. An astonishing palette of color emerged under her acute painterly gaze — violet and emerald awash in the Laundry and Machine Shop, indigo and gold in the Round Stone Barn, slate and amber in the Sisters’ Dairy & Weave Shop.

“Borrowed Light” offers an opportunity to see Hancock Shaker Village in a new way, to explore the Shakers through a contemporary lens. It is part of a rigorous changing exhibition program at the Village and comes on the heels of the contemporary exhibitions “Making, Then and Now,” with works by Maya Lin, Jenny Holzer, and others, and “Altered Visions,” with works by Abelardo Morell, Marko Remec, and Henry Klimowicz.

The exquisitely beautiful works in “Borrowed Light” are unexpectedly big and bold, a deliberate approach by the artist to explore how we can connect to the universe in an expansive and meaningful way. The exhibition lends new insight into the visual and haptic experience of sacred design, featuring objects and spaces enlivened by luminosity. Such light is expressed in intimate paintings such as “Channeled Light” (watercolor and drybrush on paper, 2019), in which a wash basin and bucket are bathed in geometric-patterned light cast from a window.

Similarly intimate is “Spindles” (watercolor on paper, 2019), with its rows of colorful spools of thread resting on simple wooden shelves, casting long shadows on the white wall behind them.

“My paintings are based on abstract shapes, so there are multiple narratives within the painting,” Prey said. “If you think about it, that space is a microcosm of Shaker life. They raised the crops and animals to make the fiber, grew the plants to make the dyes, spun the thread, wove the textile, sewed the jacket, and later washed the jacket, all using tools that were handmade, down to the smallest hand-carved spool of thread,” she explained. Intrigued by the Shakers’ concept of equality between men and women, Prey also has a particular interest in women’s work, the subject of both “Channeled Light” and “Spindles.” The simplicity of Shaker design, pared down to its essentials, is a recurring theme in the exhibition.

But light can also be vast, as in “Shaker Barn” (watercolor and drybrush on paper, 2019). The Village’s iconic Round Stone Barn stands sentinel at the center of a winter landscape, anchored by a dramatic cloudy sky and shadows of tree branches in the foreground.

Said Jennifer Trainer, director of Hancock Shaker Village, “When Barbara and I discussed the idea of a series of paintings of the Shaker buildings at Hancock, and then she showed me paintings she had made of quiet moments in houses of worship, I knew she would capture the ethereal quality of this former Shaker settlement like no other artist. Her ability to capture light, and give tangible essence to the spirit of an environment, took my breath away.”

“I’ve always been drawn to the simplicity of Shaker design,” said Prey. “I’m also drawn to the handmade, which is something I equate with the Shakers.” It was during her undergraduate years at Williams College in the 1970s that she was introduced to the Shakers. She felt an immediate connection to their use of color in art, furniture, and everyday objects — a connection that became even stronger as she worked toward the master of divinity degree she earned at Harvard Divinity School in 1986. Her studies led her to examine existential questions — “who we are, where we’re going, why we’re here, and what’s important, what really matters,” said Prey. “I think this is reflected in much of my work. “Borrowed Light” is influenced by Shaker design, spirit, and sense of community, and we’re all connected through community.”

Prey deliberately chose watercolor as her medium for all 10 paintings in the exhibition, explaining that watercolor lends a transparency that, in the context of this series, is akin to a kind of spiritual transparency. “When I’m looking at architecture, essentially, I’m looking at light itself. In this way, all light is borrowed light,” she said.

“Borrowed Light: Barbara Ernst Prey” was curated by Sarah Margolis-Pineo for Hancock Shaker Village, Pittsfield, Massachusetts. The exhibition is supported by Herbert Allen, Duncan and Susan Brown, Paul Neely, Sheila Stone, and Balance Rock Investment Group. A fully illustrated catalogue (Puritan Press, 42 pages) with essays by Sarah Margolis-Pineo and Charles A. Riley II, PhD, accompanies the exhibition.

For more information, please visit hancockshakervillage.org.

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