The Chazan Gallery is pleased to present Intersections of Scale, an exhibition of works by Doug Bosch, Damon Campagna and Geoff Williams from January 17 to February 6, 2019.  There will be an opening reception for the artists on January 17, from 5:00 - 7:00. The public is invited.

D. Bosch, After Nobili #032418, 2018

Doug Bosch has long been attracted to the processes of accumulating, piling, sorting and stacking. He finds that when multiples accumulate and reach a critical mass a special condition emerges, one in which the individual parts compound and strike a consonance of provocative texture. Coaxing this consonance requires attention to scale, material, and proportion in order to ensure the effect. So, while manipulating and directing his works in the studio, Bosch continually monitors the density of the accumulations, watching for that moment when the textural condition becomes visually and physically significant. Within each individual work, Bosch explores various equations for combining its singular parts, teasing those parts to move toward a cooperative and cumulative beauty, where the textural sequencing distinguishes itself with some cadence. As a result, there is often a grainvisible in his work, a patterning of material along specified axes, which articulates the form’s general anatomy. Consequently, Bosch’s work is often ordered into piles, stacks and bundles, as he endeavors to negotiate a confluence between discipline and grace. And in these works, one can still see the method and residue of manufacturing with intended clarity, imbuing the work with a visible, procedural history which demonstrates that the marriage between process and form is a thorough one.

In this particular group of works Bosch directs his attention to some historic moments in science. By referencing a few key scientists and their development of scientific principles he takes cues from a series of early scientific instruments to bring to life the stuff of dry science textbooks. An assortment of small sculptures pays homage to the experiments conducted on the topic of electromagnetism by the French scientist André-Marie Ampère and the Italian scientist Leopold Nobili. Another assortment of small sculptures draws direct reference from the earliest pile batteries invented by Alessandro Volta and the trough battery invented by William Cruickshank. Toying with scale and the tradition of how scientific artifacts are displayed in museums Bosch has placed most of the small sculptures under the care of a glass case, intimating a functionality and protecting the sculptures’ more fragile parts.  

Bosch's work has been exhibited at the Columbus Museum of Art, OH, the Newport Art Museum, RI, the DeCordova Museum & Sculpture Park, MA, Montserrat College of Art, MA, the Institute of Contemporary Art, Portland, ME., Massachusetts Institute of Technology, MA and the New York Academy of Sciences, NY.  His work is included in the permanent, curated collections of the Columbus Museum of Art, Ohio, the Massachusetts Institute of Technology, Sloan School of Management, Fidelity Investments, Boston, and the DeCordova Museum, Lincoln, Massachusetts.  Doug has been an artist-in-residence at the Vermont Studio Center, 2018, the Ballinglen Arts Foundation, Ballycastle, Ireland in 2007, 20012, 2105 and La Macina di San Cresci, Chianti, Italy in 2009 and 2012. Since 1992 he has taught art at Carnegie Mellon University, Columbus College of Art & Design, Endicott College, New Hampshire Institute of Art, White Pines College and is currently a Professor at Rhode Island College, Providence. He received the Master of Fine Arts degree in sculpture from the Yale School of Art and the Bachelor of Fine Arts degree in photography from the Columbus College of Art & Design. 
He lives in Providence, Rhode Island, with his wife and two daughters.

D. Campagna, 268 Marks over Two Dark Fields in a Square, 2018

If one assumes basic markmaking is as unique to the human being as a heartbeat, running gait or sleep pattern, can it be similarly quantified, recorded and studied? Would it enable one to establish any sort of deeper, metaphysical “meaning” behind one’s art, and if so, what would it be? Through drawing, painting and printmaking, Damon Campagna investigates methods in which the most elemental human markmaking information, lines and loops, could be catalogued and recorded in an existential attempt to define “self." As the artwork is intimately linked to the process of its documentation, he also comments on the consequences of both obsessively producing and collecting information in a pursuit of the potentially unknowable.

Damon Campagna is a second-year MFA 2D candidate at Massachusetts College of Art and Design. He received his BFA in painting with departmental honors from Rhode Island College in 2016 and was awarded Antonio Cirino Memorial Fellowships in 2017 and 2018. Damon held exhibition at AS220 in March, 2017, in the MassArt All School Show and Year Two Graduate Exhibition and will be presenting his thesis work at MassMOCA in the spring of 2019 and the Boston Sculpture Gallery in the summer of 2019.

For over 20 years Geoff Williams has been honing his craft as an electron microscopist. Each image that he collects is an expression of his sensibilities. The dynamic interplay of shape and grayscale values speaks to him. From that first image Williams collected on a scanning electron microscope (SEM) until now, he has been consistently striving to master a technique that engages this scientific tool towards a goal of sharing this world through his personal lense.
Williams’ images provide a tactile and striking view of samples we may or may not encounter in our day-to-day lives.  These samples can come from very diverse sources, from food to tiny fragments of the custom bicycle making process, to broken or discarded bits. Williams strives to present them as inspiring visuals, hoping to draw in and engage the audience in a way that is not possible in any other expressive form. The unique three dimensionality of these SEM works has the potential to decouple any a priori connection a viewer might have, while at the same time fostering a powerful de novo relationship to the subjects.

G. Williams, Dead Horse Bay seashell 1 detail, 2018 - Scale bar on print = 100µm

When Williams views and collects images of samples on the SEM, he starts with one plan but usually winds up following a subconscious drive. The most gratifying are those rare moments when he can just explore the nano-world and capture fields of view that strike him. These visual explorations are also the ones that produce the images that he finds most compelling.

Geoff Williams is in his thirteenth year as manager of the Leduc Bioimaging Facility at Brown University. Everything clicked for him as an undergraduate at Connecticut College (’ 94) with the discovery of Electron Microscopy and being two classes short of adding two minors (Studio Art and Chemistry) to a Major with Honors and Distinction in Botany.  It was then that he started his complex journey straddling the worlds of both art and science.
The opportunity to combine visual arts, science, technology and the challenging mastery of playing the violin was fully realized at Michigan State University when while working at the Center for Electron Optics. Geoff transitioned from a graduate program at MSU to running the Imaging facility at Central Michigan University. Nansoscape was coined with the first cohesive gallery collection at The Culinary Arts Museum at Johnson & Wales University and it was titled Edible Nanoscapes. From there Geoff has been focused on more defined collections like the ‘Process of Scale.’ This work is based on four groups of images from very low to very high magnification. It is placed with the groups of two or three images that are the actual tiny shells mounted and viewable with a dissecting microscope. Process of Scale, Beachcombing Dead Horse Bay is a way to help people understand the mystery of the scale through the artistic use of a scientific instrument. Single images of samples from the SEM are often difficult to put in context even with a scale bar on the image. This collection, divided into separate but related and intertwined sets, plays directly with space and scale allowing the images to tell a story of a hidden and wonderful world that not only draws on the impact of size but also helps to unite art and science in a way that strengthens both.