The Chazan Gallery is pleased to present LINE, EDGE, SPACE, an exhibition of works on paper by B.L. Green, Jessica Deane Rosner and Lynne Tobin, from October 18 – November 7, 2018. There will be an opening reception for the artists on October 18, from 5:00 - 8:00. The public is invited.
Paper as surface
Paper as object
Paper as medium
Paper is a wonderful malleable medium to manipulate. It tears. It cuts. It can be spun and woven.
In the installation Cascade, the draping of paper twine, unwinding a single strand partially, becomes a drawing of water flowing. It is the 3D effect of the shadow that enhances the work as real and abstract.
In the artist book echoes…, line is now drawn and is followed through pages designed in accordion design. This was drawn on an I-pad and then printed and assembled in a book format with the addition of string and completed by a handmade sleeve case.
In the installation “Torn,” a flat watercolor on paper is torn and re-assembled into a three dimensional object that emphasizes a variation in edges, interaction of the watercolor marks, and the shadows that are created by a directional light.
For many years Green concentrated on watercolor, falling in love with the classic watercolor washes. These works sold well and resulted in many commissions, which supported her art. Her fascination for paper as a surface, paper as string, spun and woven, has resulted in artist books and installations.
Sources of inspiration for Green are nature, the seasons, being outdoors, sailing, hiking, and pursuing the sport of rowing. Flowing water has been one of her favorite themes.
In 1999 Jessica Diane Rosner began a series of abstract line drawings, moving away from what had been a narrative bent to her work. They are mostly small, self-contained ink drawings with patterns formed by dividing the page and filling contained areas with lines, and or shading. Since Rosner started doing this type of work, there have been series within these series.
The group of drawings presented at the Chazan Gallery belongs to the Ruled Un-Ruled series. Each drawing is divided into two parts. One part is carried out by using a ruler or compass to draw a pattern usually consisting of lines, circles, and simple geometric shapes. The other half is the same pattern done freehand.
Within this parameter there may be some freehand variations in the Ruled section, but the freehand area is always completely freehand. It is often a struggle for Rosner to not allow herself to ‘fix’ the Un-Ruled part as she notices it veer off from the borders and into unruliness. So, although they are neat and careful, they also expose the humanity that we all share when we make marks on paper by hand.
Jessica Deane Rosner primarily works on paper with ink, gouache, and marker to create labor intensive, intricate drawings. Within every series and across media that includes cloth and rubber gloves, she strives for control while allowing mistakes and accidents to remain visible, revealing a measure of fragility and humanity. Her work often incorporates text, giving it a diaristic quality.
Rosner holds a B.F.A.from the Cleveland Institute of Art. Her works on paper are in public and private collections including the R.I.S.D. Museum of Art and Smith College. She has exhibited nationally at galleries and museums including the DeCordova Museum, The David Winton Bell Gallery and Dorsky, L.I.C.. Yellow Peril Gallery brought both her works on paper and embroidery to SCOPE, Miami. Rosner has been a fellow at the MacDowell Colony, NH, and at the V.C.C.A. in Amherst, VA. Her drawings are in the flat files of Pierogi Gallery in NYC and Carroll & Sons in MA. She is represented by Yellow Peril Gallery in Providence, RI, where she also lives and works.
For Lynne Tobin what started as a method to make a line without using a pencil or a brush, has morphed into an immersive exploration of materials and process. In Tobin’s most recent drawing series, Line Studies, she was searching for a freer, less self-conscious way of drawing a line. Tobin dipped flexible materials like string, thread, and rope into ink, investigating the physical properties of the materials she was using. The first drawings were done on a horizontal surface. Later she began working vertically on the wall and observing the impact of gravity, how things hang in space, and the tension between something fixed and something falling freely. Tobin also became fascinated by the inherent tension between the repetitive, vertical lines and the unrestrained marks, and the random happenings created by materials saturated in ink.
For Tobin art is discovery. When she allows the materials to speak, when she allows room for uncertainty, the work unfolds naturally. There is something about simplifying the drawing process to its basic elements, which allows a truer and more immediate expression to emerge. For Tobin this is the moment when drawing becomes like poetry.
Lynne Tobin is a mixed media artist who lives in Rhode Island and upstate New York. After studying painting, drawing, and ceramics in undergraduate school, Lynne went on to get a doctorate in psychology. She returned to her art practice in 2003. Since 2008, Lynne’s work has been the subject of a number of solo and group exhibitions. She has held solos shows at the New Bedford Art Museum in Massachusetts in 2013, and the Mill and Krause galleries in Rhode Island in 2012 and 2014. Her work has also been exhibited in a number of galleries including the Naples Museum of Art (FL), the Judith Klein Gallery (MA), the Bridgette Mayer Gallery, (PA), and most recently in a three-person show at the Dryden Gallery in Rhode Island in 2016. In 2016 Lynne was awarded a month residency at the School of Visual Art in NYC. She also has had residencies at the Vermont Studio Center in 2017 and at the Virginia Center for Creative Arts in 2018. Lynne’s studio is in Pawtucket, RI.