ART: CYNTHIA YI CHEN

THE ARTISTS

Juried by

Amor Díaz-Campos, MSc.

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Cynthia Yi Chen | Boston, Massachusetts, USA

Curator’s Choice: First Place

Searching for Myself in a Museum in Boston

36x36” oil on canvas, NFS

Footprint

24x18”, oil on panel with a metal hand welded mount of interconnected roots, $4000

Mind Landscape, Seeking to Live

24x18” oil on canvas, $2000

My work is dedicated to proactive subjects who are reaching for possibility. I often incorporate natural elements who call attention to the parallels between human resistance and persistence of nature amidst manufactured constructs. My simplified renderings and semi translucent forms amongst a sea of opacity reckon with the superficiality of imposed identity as one both disappears and emerges from it.

Cynthia Yi Chen (b. Takoma Park, Maryland) is from Massachusetts and based in Boston, unceded lands of Massachusett people. Chen was the first of her family to be born in America and is Hakka-Chinese American. Chen won the Bradford F. Swan Prize for Oil at Edward Mitchell Bannister National Exhibition in Providence, Rhode Island in 2023 and has been exhibited widely in the New England area, including a recent group show at Flowing Space Gallery in NYC. Chen is passionate about AAPI identity and discourse and is curating an Asian-American and Diaspora exhibition in Distillery Gallery x No Call, No Show in May 2025. Chen has an upcoming group show the CICA Museum in South Korea in summer 2025.

On Cynthia Yi Chen, from juror Amor Díaz Campos

Cynthia Yi Chen’s work navigates the fluid intersections of identity, exploring the multiplicities within the self. Through layered perspectives, her practice highlights how even within our own uniqueness, we hold traces of collective experience. Her work speaks to the profound ways in which internal diversity connects us across cultures and histories.

Abu Mwenye | Worcester, Massachusetts, USA

Curator’s Choice: Second Place

Beauty in the Beads Series #4

30x40”, acrylic on canvas, actual maasai beads, canvas layers, fabric paints, NFS

Beauty in the Beads Series #6

30x40”, mixed media art: acrylic on canvas with genuine maasai beads embellishments, NFS

Zaramu Dance Series, 4

36x48”, acrylic on canvas, $6500

Hello, I'm Abu Mwenye, a multi-talented artist with a rich East African heritage. Born to a Kenyan mother and a Tanzanian father, I draw inspiration from my diverse background. My artistic interests encompass both music and visual art, with a particular focus on acrylic paintings.

My artistic journey began in childhood when I became fascinated by my uncle's sketches. I later honed my skills through formal art classes and college studies in graphics and design. This foundation has enabled me to develop unique style that blends traditional and contemporary techniques.

My art celebrates the resilience and beauty of East African cultures, particularly those of the Maasai and Samburu people. Through vibrant cultural scenes, realistic portraits, and abstract tribal figures, I share their stories, strength, and traditions with the world.

Deeply rooted in my heritage, I explore my own identity and connection to my roots. By showcasing the rich cultural heritage of the Maasai and Samburu, I hope to inspire a deeper appreciation for cultural diversity and preservation. Currently, I'm exploring new creative avenues, including 3D art, to share the beauty and richness of East African culture with the global community.

Youveline Joseph | Brockton, Massachusetts, USA

Curator’s Choice: Third Place

Kreyol Essence

40x30”, acrylic, $800

Nipsey Blue Giclee Print with Embellishments

30x34", canvas print with acrylic and mixed media, $500

General Okoye

24x20”, acrylic mixed media, NFS

Youveline Joseph is a contemporary visual artist, born in Cap-Haitien, Haiti but raised in Brockton, Massachusetts. Her passion for art began at a young age. At age of five, she began creating artwork with crayons and markers. Drawing was second nature to young Youveline. In high school, she took an International Baccalaureate art class, an advanced art course designed for students to excel and develop their artistic abilities. Coming from an immigrant family, Youveline decided to pursue a more “practical” profession as opposed to fulfilling her true passion. Therefore, Youveline minored in Fine Arts at Suffolk University, while majoring in Sociology with a concentration in Health Medicine. Despite not being classically trained, after graduating in 2017, Youveline decided to pursue her art on a more professional level.

While on her journey of self acceptance, she began to develop her Afrocentric painting style. She mainly paints in acrylic and/or oil paint. Youveline prides herself in creating pieces that you can feel, both internally and externally. Youveline also incorporates vibrant colors, patterns, textures, crystals, glitter, fabric, beads, and jewelry to personalize her artworks. Making her pieces one of a kind. In short, her inspiration comes from beauty, culture, social media, fashion, adversity, and societal issues. Her body of work focuses on representation and her goal is to showcase the beauty and diversity within the African Diaspora.

My artwork embodies the notion of power, purpose and divinity by both challenging and changing the Black narrative. Our society is saturated with negative images of Black men and women via social media, propaganda, news outlets, books etc. I counteract this by creating beautiful portraits of people of color. In this political climate, minorities, especially peoples of the African Diaspora often get overlooked. My work places Black people as the subject matter and focal point. The need for positive representation in all aspects of life is essential to solidifying the upcoming generations' acceptance and love of their individuality. My work explores the Black experience, essence, and the diversity within the Black Diaspora. My artwork is an ever changing visual diary of my self love and acceptance, my trials and tribulations, my growth.

Paula Borsetti | Beverly, Massachusetts, USA

Tied Tight in Ribbons

30x22”, acrylic, ink, graphite on paper mounted on deep cradled panel with uv varnish, $2500

Hold On Their Are Moments Of Light

30x22”, acrylic, ink, graphite on paper mounted on deep cradled panel with uv varnish, $2500

We Play At Dress Up

30x22”, acrylic, ink, graphite on paper mounted on deep cradled panel with uv varnish, $2500

Paula Borsetti works primarily in acrylic, creating highly layered abstract paintings.  She is inspired by inner and outer landscapes, stories sandwiched in between, resulting in pieces meant to evoke personal yet universal moments and narrative. 

Borsetti’s early training began with working in plein air from the landscape while in high school. She fell in love with painting then and continued through her formal education. Being an art educator fueled her desire to nurture, learn, and share. She now maintains a full-time studio practice.

Working in series allows Borsetti to follow a thorough line of thought and process. She works on multiple paintings at a time.  The series grows until they come to an organic conclusion naturally leading into the next series. 

Borsetti’s PALS series is a body of work inspired by the battle her friend's son lost against ALS. She states “ I use words describing Bobby’s experience with ALS as layers submerged in the paintings. I am rolling these thoughts and words around in paint and letting them lead the way to paintings that resonate with a sense of strength, hope, perseverance, and life .”  

Her latest work investigates creative barriers that keep us from moving forward and finding ways to nurture, heal, and soar. Themes of love, loss, joy, and grief flow through the works.  Moving paint around the surface, scraping, sanding, building, layering, and drawing are all parts of the vocabulary to express this particular moment.

The year began with a feeling. Not a pleasant feeling. It began heavy with a large ball of grief. One morning I woke up with a start. I had been dreaming of a painting. I was carrying and holding that ball of grief. There was weight and movement. I was hugging it and slinging it around. I was holding that ball close to the womb. Emanating from the ball was energy that showed me a sense of evolution. This was the evolution of grief. I had to paint that, and as I painted,  joyful moments came through. Energy and spiraling leading to passages of light. The marks and feelings tell me this series is just at the beginning. Marks and words start the paintings and feelings lead them to a finish. I am searching for ways to express the feelings inside as well as to create beauty. There are thin areas of transparent color paired with more opaque areas and linework that veil the grief, wrap it in love, and emanate sparks of joy. Busy and quiet passages, symbolic shapes, and distinct color palettes create paintings that can are meant to be read over and over again.

Borsetti Paula

Congratulations, Paula— for exhibiting recently at ART Newport. It was such an honor for Juniper Rag to jury your work.

Anna Fubini | Cambridge, Massachusetts, USA

Letters Never Sent

33"x 13.5”, iron wire, paper pulp, $900

Garden of Menstrual Eden II

27x40”, collage print on foam board, wire, yarn, $1200

Unraveled

38x15”, acrylic screenprint on cotton, yarn, wire, $800

Anna Fubini (1996) is a Cambridge-based experimental fiber and mixed media artist who creates works of sculptural installation. Integral to her process is twisting wire and yarn with a modified electric drill to create a bendable material that is woven and draped, creating branching tendrils. This combination of opposing materials, as well as the frequent incorporation of found objects and subversion of established surface design processes, reflects the thematic interest in exploring duality, contradictions, and deconstruction, particularly regarding societal norms and gender binaries. She is the youngest member of the Galatea Gallery, where she showcased her solo exhibition, Unraveled Realities, in July 2024, funded in part by the Cambridge Arts Association. She is a founding member of the Black Walls Gallery in Fenway. She has also worked as an educator and administrator in organizations such as the MFA, Artist For Humanity, West House Boys and Girls Club, and Artisans Asylum.

Greg Creek | Melbourne, Australia

Black-Egg

40x30”, textured acrylic on canvas, $4000

Greg Creek is an Australian artist who has presented group and individual exhibitions in Australia, the UK, Europe and Asia, and has been the recipient of numerous residencies, commissions and art prizes.

His practice represents a political perspective on personal and public histories. He weaves re-imagined spectral figures, ruptured domestic and institutional architectures, and ideas from speculative fiction into allegories of contemporary experience.

Black-Egg painting manifests ideas using raw canvas grounds, tenebrous naturalism, tessellated painted off-cuts, screen prints, painterly scumbles and compositional colour, creating an abstracted environment generating spatial effects where figure and urban-scape unsettle one another.

In this twilight, vector-cratered vista, women attend to a young child shadowed by a quilted floating form. In the background a St.Kilda Rd tram and image of former nightclub Chevron Hotel. A third silhouetted figure sits on a scooter below a distorted head-form.

We wonder who is this community, and what compels them to gather? Pictured are my partner and her friend when they had their first children, facing choices and doubts confronting creative women. Imagery is based on drawings after figure works of Austrian feminist avant-garde visual artist Renate Bertlmann. The title of the work is sourced from lines by Japanese poet and Hiroshima survivor, Sadako Kurihara, ‘My conceptions: like sterile eggs, / will they never hatch / no matter how long, how long, I sit on them? / O black eggs I’m incubating in my heart of hearts: / won't the day ever come / when you spread your wings and fly?’

Dina Doyle | Tiverton, Rhode Island, USA

Weightless

18x24”, acrylic on canvas, $1000

Awareness

20x20”, acrylic on canvas, $1000

Fear not...

18x20”, acrylic on canvas, $1000

As a portrait artist, my work is driven by the paradox of perception—the notion that those who see do not always understand, and those who claim to understand can be the blindest of all. Through oil painting, I seek to explore the silent dialogues hidden within human expression, the unspoken narratives that bind us together, yet remain deeply personal.

Portraiture, for me, is an exploration of connection. Each face I paint carries a story, a moment of shared experience that transcends individual identity. In a world that often rushes to categorize and define, I strive to create spaces where ambiguity is embraced —where viewers are invited to look closer, to question, and to find pieces of themselves reflected in another.

For Common Ground, I reflect on the tension between recognition and understanding. My work challenges the assumption that we truly see one another, urging a deeper engagement with the complexities of human presence. Art has the power to bridge divides, to foster empathy where words fail, and to remind us that, despite our differences, we are all bound by the same fundamental emotions—love, loss, resilience, and hope.

In my practice, I aim to capture not just faces, but the layered realities behind them. My paintings are an invitation: to pause, to wonder, and to seek connection beyond the surface. Through this, I hope to contribute to the ever-evolving narrative of our shared humanity.

Dina Doyle, RI based figurative painter primarily self-taught, with continued studies in New York Academy of Art, RISD, and Amsterdam (Netherlands). My work is primarily in oil on wood or canvas, grounded in classical techniques. I use a restrained palette and traditional methods of application to create timeless portraits that capture the human spirit. The human body, with its constant transformations, remains the focal point

of my work. I am particularly inspired by how light dances across the skin, shifting its colors and moods. This fascination with light informs my color choices as I weave intricate color stories. Beginning with traditional underpainting, I layer glazes of multicolored oil, creating depth and vibrancy. My work asks not only to be seen but to be felt, for as I often reflect, “Those who see do not always understand, and those who claim to understand can be the blindest of all.” Drawing inspiration from the Mannerist and Late Renaissance periods, I am deeply influenced by artists like Bronzino, El Greco, and Tintoretto. Their exploration of light, form, and emotional depth resonates in my work, where I seek to merge their classical sensibilities with a contemporary vision of human expression.

In portraiture, I rely on photography to capture subtle micro-expressions and body language, allowing me to authentically portray the essence of the subject. I believe art should not only be seen but experienced. In pursuit of a deeper connection with collectors, I offer custom pieces for private homes, working closely with interior designers and homeowners to create work that feels personal and meaningful within their spaces. 

Tracy Hayes | Morrisville, Vermont, USA

Exhumations of Structures

90"x130"x30”, charcoal, ink, acrylic and oil on canvas & vellum, NFS

Obliteration Scrolls: Piles & Pages

120"x108"x109”, mixed media on paper and vellum, NFS

Obliteration Scrolls: Void

145”x145”x108”, mixed media on paper, NFS

Tracy Hayes is a mixed media and installation artist. Restless mark-making explorations build across media. Imagery emerges from a process that is as reliant upon drawn media as upon painted.  Themes of amplification & de-escalation, compression & expansion coalesce to  suggest an underlying ordering logic.  Entry points emerge in one instance to break apart in another. Structures appear briefly only to dissipate and dissolve.  

There is a need to uncover a space which is anticipated as welcoming yet sensed as simultaneously repellant and sets up visceral tension between anticipation and access, seduction and danger. These juxtapositions become meditations on larger psychological states.

Hayes’ work has been exhibited at The Broad Institute at MIT and Harvard, Eastover Contemporary Art Space, Gadsden Museum, Mosesian Center for the Arts, Kathryn Schultz Gallery, Bromfield Gallery, Arts Mid-Hudson, A.P.E. Gallery and New Arts Center. 

Hayes holds a BA from University of New Hampshire, a BFA from New Hampshire Institute of Art ('12) and an MFA in Visual Art at Lesley University College of Art + Design ('21). Hayes is co-founder of Art+Everywhere, co-director of Gallery RAG, and currently lives and works in Morrisville, Vermont.

In my visual work, there is a need to uncover a space which is anticipated as welcoming yet sensed as simultaneously repellant and sets up visceral tension between anticipation and access, seduction and danger. These juxtapositions become meditations on larger psychological states.

Obliteration of surface with alternating series of marks speaks both to a type of rage but also a need to assert my own pleasure in the making process. The marks resemble a type of language or mantra, or an attempt to speak about the unspeakable.

The Obliteration Scrolls grew from an interest in the fickle nature of language and story.  Drawing from a constellation of references, including Julia Kristeva, Helene Cixous, Hal Foster and linking through Jacques Lacan’s Real, I became interested in what a circumvention of the image screen would look like in contemporary abstract painting, and specifically, how an engagement with the alien might appear. In poetry, as “accepted” text-based subversion to dominant social structures which set rules/norms, I sought clues of what was unsettling, destabilizing and... potentially threatening to both mature the syntax within personal visual language, and explore as a means of resistance. 

Nancy Szostak Wright | Westborough, Massachusetts, USA

The Infamous Pink House

10x20", photography metal print, $345

The Infamous Pink House is a photograph with a story of abandonment, resilience, and the creation of a unifying force.

Its history? Some say it was built by a divorcé ordered to build a replica of his marital home for his soon-to-be ex-wife. The facts? A couple, married in 1922 moved into the home in November of 1925, only to have the wife and baby boy move out weeks later, as the husband had been leaving them alone for weeks at a time.

The Pink House was sold to a federal agency in 2011, and they have tried several times to tear it down to return the land to its original state and support local wildlife. 

Not so fast. The irony— A home that was built around divisiveness has spurred a current movement of common ground unity.

Locals, businesses, and artists see the isolated faded pink box as a beloved iconic landmark that serves as a gateway to Plum Island. For years, musicians, writers, photographers, and painters have made the Pink House their main subject. Colorful sunsets, full moons, snowy drifts, birds of prey on its roof.

In March 2024, another demolition plan emerged. Support the Pink House, which had become a non-profit 501 (c)(3) in 2020 started an aggressive campaign to save the Pink House. So much dialogue. Petitions. Meetings. It escalated so much, it became a NY Times cover story; the Chicago Tribune picked up the story, as well. In the fall of 2024, Governor Maura Healey stepped in to put a hold on the planned demolition of the Pink House.

In 2022, well before the third plan for demolition emerged, I was on a photography outing on Plum Island with friends, and I asked if we could stop, so I could grab a photo of the infamous Pink House. Typically, I like to avoid the most photographed locations, but this house was special. And yes, the experience of photographing it was special, too. I felt like I had become part of history.

Imagine that. An abandoned house, whose weather-beaten pink paint is pale and peeling, is bringing together neighbors, businesses, local artists, politicians. All for the sake of a shared space that is centered around love for those who know the house so well and curiosity for those who do not. The goal? Remain resilient to avoid the loss of the Pink House and keep intact the emotional connection that people from different walks of life have established.

[Just recently, while this exhibition was call-for-art was being conducted, on March 11, 2025 the spite house of Newbury on the marsh was razed.]

Nancy sees things that others miss. She notices every little thing. For years, people told her she should do something with her photography. Following her successful career as a writer in Corporate America for 20+ years and 13 years of philanthropic work, in 2019 she launched her business, wrightpix photo gifts. Validation ensued, as her photos quickly earned local, regional, and national recognition. Both humbled and honored in 2021, Nancy earned first place in the National Wildlife Federation photo contest for her portfolio of 10 bee images, rising above almost 400 portfolio entries.

More recently, Nancy has shifted her focus to artist communities, where her own sense of connection has become heightened and a craving to explore has intensified. In that capacity, she has found more creative ways for her photography to provide a visual voice that tells a story ignited by emotions and feelings. 

What inspires Nancy the most is connecting others with the colors, shapes, textures, patterns, and some might even say drama, of nature and the everyday world around us. Based in Westborough, Massachusetts, most of Nancy’s stunning photos have New England roots. With that said, she is always scanning for photo opportunities, finding them everywhere she travels: swamps, woods, beaches, cities, mountains and even in her own backyard. She believes that there is beauty all around us and she marries that beauty with stories that connect us. 

In Nancy’s world, every photo has a story; what she loves most is connecting her stories with yours.

R. Douglass Rice | Stonington, Connecticut, USA

Standing With The Mothers and Children of Ukraine

72 x48 x 46", powder coated aluminum, $7500

Standing with The People of Ukraine

96 x 56 x 62", powder coated aluminum, $12,500

Solidarity

48 x 48 x 48", absolute black granite, $25000

When the pandemic hit, we were told to isolate ourselves. On March 25th, I put out a call on social media for people to send me selfies as I wanted to create a virtual community within which people could connect. As I completed each portrait, I posted it on Facebook and Instagram with the title,” Portraits of Friends in Isolation,” and their name. I invited them to join a private Facebook group of the same name and urged them to meet their fellow “paintees.”.

R. Douglass Rice was born in La Jolla, California in 1952. He grew up in Sewickley, Pennsylvania. In 1968 his family moved to San Francisco, California. He attended Phillips Exeter Academy where he took his first sculpture class with Richard Lyman. He attended Stanford University where he studied sculpture with Richard Randall and earned a degree in Human Biology in 1974. He also studied painting at the Mendocino Art Center, San Francisco State University and the School for Visual Arts in New York.

In 1987 Rice moved with his family to New York and raised their two children in New York City’s Soho District. He worked in his high end residential company from 1987 to 2015. During this same time, Rice maintained a studio in Tribeca. He has exhibited in numerous galleries over the last thirty years, including two shows at the National Arts Club. After his second show there in 2008, he was invited to become a member and continues to serve on the club’s Round Table committee.

Rice was a board member of the Bronx Museum of the Arts for ten years and served as its chair from 2009 until 2013. He is currently Chair Emeritus of the museum.

In 2016 Rice moved to Stonington, Connecticut. He now paints and sculpts full time and shows at local museums and galleries.  

He is currently an Elected Artist at the Connecticut Academy of Fine Arts, Art League Rhode Island, Mystic Museum of Art, Artist Co-op Gallery of Westerly and a member of the New Britain Museum of Art.

Kathryn Shagas | Belfast, Maine, USA

Lifting Fog

10x10”, acrylic and drawing media on yupo, NFS

Making Connections

8x10”, acrylic and collaged paint skins on wood, $600

Do You Want To Dance

10x12”, acrylic paint and cheesecloth, NFS

The whole universe is humming. Actually, the whole universe is Mongolian throat singing. Every star, every planet, every continent, every building, every person is vibrating along to the slow cosmic beat. —Adam Frank, The Atlantic (magazine), 2023

I’m a confirmed night owl. I often stand at the water’s edge, watch the moon rise and come back hours later to hear the nightime sounds of wind and animals. The night rhythms are deeper and quieter, until a screech or howl interrupts the silence. Bits of light in my night paintings echo those rhythms.

I walk on Maine’s rocky shoreline and let the music of wind and water sharpen my senses. I feel part of a world humming with life. From the viewpoint of physics, everything exists within a sea of vibration that includes rocks, trees and objects that appear stationary. In the studio I draw from these walks and my early training in music, re-experiencing connectivity as I work intuitively and non-objectively with paint and drawing media, asking, “How does this make me feel?” I think of the work as stories hidden in nature’s rhythms.

Mixed media artist Kathryn Shagas works to give form to the flow of visible and unseen rhythmic energies in nature. Her mixed media work is exhibited nationally, most recently at Triangle Gallery in Rockland, Prince Street Gallery in NYC, Fountain Street Gallery in Boston, Juniper Rag of MA, Maine Art Gallery in Wiscasset and several Union of Maine Visual Artists venues.

Originally from Montreal, Shagas holds a BFA in design from Philadelphia College of Art, University of the Arts and has studied at the New York Studio School and Maryland Institute, College of Art. She grew up playing classical piano, worked as an offset printer, pacifist magazine editor and graphic designer. After a year of independent international bicycle travel that included China, Tibet, Bali and New Zealand, she built an award-winning graphic design firm. In 2022, Shagas closed the 33-year-old design firm to paint full-time. She lives and works in Belfast on the Gulf of Maine, which has warmed faster than 99% of the global ocean.

Ori Aviram | Tel Aviv, Israel

Painters of Israel

60x40”, oil on canvas, $7000

The Suns of Adam

60x40”, oil on canvas, $7000

Color, oil paint, is the main issue in my art. Color as a matter that can be sculpted, shaped, engraved and shoveled. In most of my paintings  color is strong and dominant, while line and composition – though not neglected – are secondary. 

In addition to canvas, I often paint on old books, bibles, art books, monetarynotes, accountbooks, comics, etc. I'm intrigued by text, print and painting relations. Perhaps because I was a bookworm as a child, I enjoy erasing words with paint as a kind of renewed self-definition.

Being a 20th century product, realism, modernism, and abstract are my points of reference, and the periods that influenced and shaped me. I create from an internal place, but the traditions of art and their history are familiar to me and presence clearly in my background. I believe that art cannot be created in a vacuum.

At first, my paintings were figurative. The bible and mythology were the subjects that interested me the most. Furthermore, I drew from observation. In the past few years, I've become more absorbed in the abstract. Basic forms intrigue me, I keep reverting to them obsessively and never quench. The free play and the relations between shapes and  colors are what I relish.

I enjoy creating series. They release me from the need to decide What to draw and let me concentrate and work solely on the How. I go back again and again to a certain form or composition and explore it thoroughly. 

When I work, I'm surprised by the gap between intention and outcome, the produce of the matter's will, objection and point of view. In some  moments, when the action streams off effortlessly, I feel myself become a mere instrument; I'm only a tube, or an insignificant mediator. These are rare moments of exaltation. 

Ori Aviram has been painting non-stop for over twenty-five years.

Born in 1965 in Jerusalem and after a short career as a producer and editor in television and the advertising world, he decided to dedicate himself to art.

As an artist, he has worked over the years with various types of media – sculpture, assemblage, collage, drawing and painting. Today, his work is characterized by large formats in oil paints, with the paintings moving from figurative to expressive abstract. Alongside these, there are also series of paintings on book pages, scriptures, bills and more, so that their past becomes an inseparable part of the creation of new art.

Cultural connections, including Biblical stories and local and Western art history, recur repeatedly in his work and correspond with his rich emotional world. Aviram presents solo exhibitions and participates in group exhibitions in museums, galleries and alternative spaces. His works and interviews with him have been published in a variety of international magazines and his works appear in collections in Israel and abroad.

Jamaal Bonnette | Brockton, Massachusetts, USA

Absence Pt.2

30x48”, acrylic on canvas, $1000

Baby Boy

24x30”, acrylic on canvas, $800

Jamaal Bonnette is a Piano Craft Gallery board member and artist out of Brockton, Mass. Jamaal has been painting and displaying his work since its early inception in 2014. Jamaal has displayed his work in galleries and museums across the country including; Boston, New Jersey, LA, RI, & NY.

His art has been housed in places as the, Piano Craft Gallery for a month long interactive exhibit (2018 & 2022). The Menino Arts Center, The Stacy Adams Cultural Building, The Liquid Art House (2017) and Savvor Night Club in Boston. Jamaal has teamed up with the Culture Collection of CT, to display his art in Hartford (2016). He was also spotlight artist for a week long installation at Canvas of Memphis in Memphis, TN (2018).

His work implements ideas of higher spiritual entities to highlight overlooked love, compassion & growth. His work is full of multiple meanings and offers different perspectives that are expressed by bringing to light the most hidden divisions sanity and reality.

My work implements ideas of higher spiritual entities to highlight overlooked love, compassion & growth. My work is full of multiple meanings and offers different perspectives that are expressed by bringing to light the most hidden divisions sanity and reality.

The idea that we are all a product of Mother Earth is cornerstone to my pieces. I bring those ideas to the surface by highlighting the unity and exploration of ones self and nature. As the maker, I interpret my pieces of work to be a set of stages in ones growth whether it be mentally or physically; the stages of self evolution are evident in the way the progression, highlights different milestones occurring on the journey. I tend to embed hidden symbolism, even as simple or as drastic as the paint color. The aspect of space, time and reality all being intertwined is a major factor in my work. Many of my pieces of work relate to each other being extensions of the story that’s already being told. Figuring out the order is something for the spectator.

I’ve created this body of work to document my spiritual journey realizing what was missing from my life. I’ve imagined my new found journey a path of honesty with the idea of losing and finding yourself. Depictions of fear & uncertainty but also peace, because spiritual journeys are not just wary, but peaceful. I put together a presentation of feelings that were absent from my life. Each feeling presented in hand gestures. 

Jamaal Bonnette

Maria Merlino | Boston, Massachusetts, USA

Autumn’s Blaze

23x27”, soft pastel on sanded paper, $3500

The Crunch Beneath Our Feet

18x24”, soft pastel on sanded paper, $3000

Forest Floor

10x14”, pen and ink on Arches drawing paper, $1400

Maria Merlino is a mostly self-taught artist living in the Boston area. She dabbles in many mediums, but soft pastel and pen and ink are two of her favorites. And like so many other artists, nature is a huge source of inspiration. But these days, much of her work comes from literally studying the ground. Whether it’s a wonderfully organic spiral of turkey tail mushrooms or a heaping pile of leaves swept against a fence, she sees beauty beneath her feet. There is a whole world just below us—those leaves we rake aside are home to overwintering insects, while turkey tails offer medicine to humans and shelter for tiny critters. The ground on which we all walk— our common ground—offers us more than just steady footing. All one must do is bend down and observe the minute and magical details to see these worlds. Merlino feels that she captures this beauty in her. zoomed-in drawings, inviting a viewer to appreciate the details of nature in an up-close and intimate way. 

In today’s polarized political climate, we feel that this exhibition, Common Ground is a vital reminder of our shared humanity.

Through diverse artistic voices, the exhibition highlights universal themes—love, loss, resilience, and curiosity—transcending cultural and ideological divides. It creates a space where empathy can flourish, and meaningful dialogue can begin.

By focusing on the intersections of our lived experiences, we hope Common Ground encourages our viewers to see beyond our differences and embrace connection. In a time when division often dominates discourse, this exhibition stands as a powerful testament to art’s ability to unite, heal, and inspire collective understanding across boundaries.