The Chazan Gallery at Wheeler is pleased to present THICKET, an exhibition featuring the work by Anthony Fisher, Milisa Galazzi and Thomas Ladd, from January 16 to February 5, 2020. There will be an opening reception for the artists on January 16, from 5:00 - 7:00 pm. The public is invited.
At present, Anthony Fisher’s working process is very close to a meditative act. His new studio process involves physical struggle, the law of gravity, chemistry, and ingenuity. He has found a “viral” means of mark-making that allows for hundreds, even thousands of marks, lines, and shapes to be thrown onto the paper or canvas all at once. Fisher’s process is specifically designed for EXCESS and with so many visual ideas emerging at once, the overwhelmingly vast majority are discarded. He wants the unexpected, his goal is to spark ideas that otherwise wouldn’t appear with a more deliberative, considered approach. Fisher’s first stage is all about QUANTITY. Judgement, analysis, and editing occur in later stages.
Fisher received his MFA from Yale University and his BFA from Carnegie-Mellon University. Nationally, Fisher exhibits at Galerie Mourlot in New York City. His latest solo exhibit in NYC was in 2018, his fifth since 2003. He has received reviews of his work in Art News, Art Critical, and Painting Perceptions. Fisher’s work is included in private and public collections.
Anthony Fisher lives and paints just outside Boston in a community of other artists in what was once an elementary school. His wife Laura is a psychiatrist and psychoanalyst, his two sons, Adam and Luke, are currently in PhD programs for Marine Microbiology and Plasma Physics. He describes himself as a distinct “outlier” in his family, always messy, rambunctious, and playing games with paint. He has been a university teacher for twenty-seven years.
Milisa Galazzi is an artist best known for her three dimensional hand sewn shadow drawings, her printed works on paper, and her richly layered abstract drawing and paintings all of which explore the very nature of being human. Her work is held in private international collections as well as public collections in the United States such as the Women and Infants Hospital and the Women's Medicine Collaborative in Rhode Island. She exhibits nationally in solo and group shows in both galleries and museums and her work is represented by Miller White Fine Arts. Galazzi presents talks at national and international conferences such as the International Encaustic Conference and the National Art Education Association Conference in New York City and is an adjunct professor at universities such as Clark and Yeshiva. Her artwork has been featured and reviewed in Surface Design, FiberArts and ArtScope magazines as well as in books such as Contemporary Cape Cod Artist: On Abstraction and Paper + Wax, Techniques in Handmade Paper and Encaustic, as wells as "Encaustic Art in the Twenty First Century. Galazzi was 'boat schooled' as a child while she and her family traveled and lived aboard their thirty-one-foot trimaran sail boat, hand built by her father. She received an MA with Honors from the Rhode Island School of Design were she exhaustively researched the educational effectiveness of community-based art education settings and her findings are published by Harvard University Graduate School of Education, Project Zero Press, 1999. In addition, Galazzi holds a BA from Brown University where she studied Studio Art with minors in Women’s Studies and Cultural Anthropology and spent a semester studying at Studio Art College International in Florence, Italy. She attended and graduated from Phillips Academy, Andover. Her broad education directly informs the content of her art making. Galazzi works full time in her studio near Providence, Rhode Island.
Thomas Ladd's photographs included in the exhibition “Thicket” are culled from two series: “Plain Sense” and “Sheep Pasture Gardens.”
The images from the body of work titled “Plain Sense” are inspired by Wallace Stevens’s poem “The Plain Sense of Things.” Stevens describes the end of poetic imagination by portraying negative thoughts in a blank, cold, and silent landscape. Ironically, his description of the place created a beautiful poem that erased the aging poet’s fears of physical and mental immobility.
Ladd had not taken pictures for several years when he read the poem, and he feared that his ability to create compelling images had run dry. The words in the poem reminded him of an exquisite winter garden pond photograph by Eugène Atget titled “Parc de Sceaux, Mars, 7h. matin, 1925.” To Ladd, both Stevens and Atget demonstrated how bleak thoughts and unwelcoming places could be transformed into something sublime. He began to work again.
The photographs from the series “Sheep Pasture Gardens” were taken near Ladd’s home, and they developed from the series “Plain Sense.” For over ten years, he visited a local community garden at the Natural Resource Trust of Easton, Massachusetts. There, he took pictures while the garden was both active and dormant. Some plots appeared to be therapeutic hobbies, and not essential for food—often, the forgotten, and decaying vegetation became his subject matter. The waste inspired him to research family gardens in environmentally vulnerable and impoverished areas of the world—places where no one could leave the food unharvested. He has since created two bodies of work in the Northern Andes of family kitchen gardens and mountain grasslands. Ladd plans to continue making plant-based photographs without concern for an end of his imagination.
Thomas Ladd is a photographer, graphic designer, and university professor who lives in Providence, Rhode Island. For over thirty years, he has taken landscape and still-life photographs that have been exhibited internationally. Mr Ladd earned an MFA in photography from Cranbrook Academy of Art, and an MFA in Graphic Design from Rhode Island School of Design. Prof. Ladd has taught at RISD, Northeastern University, Endicott College and the University of Massachusetts Dartmouth.