Have Patience with Everything that Remains Unsolved in Your Heart

The Nobles visual arts faculty exhibit is showing in the Foster Gallery through Feb. 8, which means this week is your last chance to see the exhibit. The exhibit’s title, a quote from Ranier Maria Rilke’s Letters To A Young Poet, speaks to the frustration that can occur during the art making process. Art can be a process of uncovering and discovering what lies within. No one knows this better than a teacher of art, who must approach art-making from many points of view: creator, mentor, instructor, community member. In this exhibition, the tables are turned on the normal school dynamic. Instead of contemplating and giving feedback to other’s work, the visual arts faculty display their own hearts, whether resolved or not, inviting dialogue with their students and the rest of the community.

Below, we share excerpts from the artists’ statements.To hear more from all of the artists, visit https://soundcloud.com/fostergallery.

Nora Creahan:

“While making this recent body of work, I was thinking about how these cups could take part in these opportunities of celebration. The kind drink that will end up in the cup influences everything: the size and shape of the interior volume, whether or not I will put a large or a one-finger handle on the body or how I will treat the lip of the cup. In order to achieve a level of elegance and playfulness, I use glazed color, underglaze line drawing and raw clay to adorn the surface of the pots. I hope these cups find their way into the dishwasher and the microwave as they becomes a part of somebody’s daily ritual.”

John Dorsey:

“This body of work is a determined effort on my part to keep things simple. Usually, my mind travels very fast when working in the studio, much faster than my hands can make. I see possibilities opening up long before I exhaust a particular road of investigation. Consequently, I end up with a very disparate group of pots, if I am not careful. To counteract this, it works best if I give myself parameters to work within.”

Betsy VanOot:

“Journals—crowded with observations and scribbles, overflowing with ephemera, bleeding intimacies—these are things of wonder to me. I envy journal keepers—their instant access to memories, their records of interactions small and large, their lives on pages. However, the diligence required for the practice of journaling has always danced away from me, elusive to one who admires discipline from a distance.

This series of paintings came from a resolution to document every day in July, to make myself paint with the same discipline that some devote to journaling, to determine that certain moment when the arrangement of clouds, sky and land captured something essential about the day. It was a great resolution. I broke it on day six.”

David Roane:

“I believe that, on a fundamental level, all art is autobiographical in nature, and that possessing a strong sense of self stems from having a strong sense of story. Since memory serves this narrative function for me, I believe I can claim my story mainly through the process of claiming my memories. This speaks of my insistence on the power of my own personal material to effect elements of place and voice. Art simply becomes a way of representing and communicating this story.”

Kelsey Grousbeck:

“Now I’m trying to build a bridge. I took these portraits of campers, my friends from Camp Jabberwocky, to introduce you quietly, almost intimately. I am asking you to get to know my friends. I am inviting you to stare. Get as comfortable as you can, and let’s work from there.”

John Hirsch:

“These images are from an ongoing series investigating a small area of the Noble and Greenough School campus. I am interested in exploring the visual complications represented by the chaos in this dynamic and transitional ecosystem. Located on the Charles River this temperate deciduous forest is a riparian zone wetland that is in constant flux with the seasons and the amount of water present.”

Lisa Jacobson:

“I started making bowls and playing with the relationships between them. The more I threw and juxtaposed them, the more the relationships between the groupings grew. The intensity within each box lessened, became a little more playful and communicated just beyond the box walls.”

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