Provincetown
Gallery Ehva
Contemporary & Early Provincetown Art
Ewa Nogiec, Director
Gallery hours:
Mon-Tue 11am-6pm
Wed-Sun 11am-8pm
provincetown
contemporary artists
James Bakker
Cid Bolduc
Rachel Brown
Daniel Cleary
Barbara Cohen
Didier Corallo
Daniel Dejean
Donna Dodson
Rob DuToit
William Evaul
Jenny Fragosa
Lorrie Fredette
Edward Giobbi
Wendelin Glatzel
Julie Gorn
Iren Handschuh
Myrna Harrison
Alicia Henry
Jenny Humphreys
Leslie Gillette Jackson
Zehra Khan
Jane Kogan
René Lamadrid
MP Landis
Bill Liebeskind
Jay McDermott
Kevin McDermott
Andy Moerlein
Ewa Nogiec
Fawn Potash
Meg Shields
Richard E. Smith
Sterck/Rozo
Lisa Ventre
Michael Walden
Rob Westerberg
Special Collection:
Richard Baker
Sculpture Garden (outside):
A Boat for the Impossible Journey: Andy Moerlein
Elevation: Andy Moerlein
Listening for Lightning: Andy Moerlein
Wind: Donald Gerola
74 Shank Painter Road
P.O. Box 1426
Provincetown, MA 02657
508-487-0011
www.galleryehva.com
art@galleryehva.com
AMPLE PARKING!
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Visit great sites about art & Provincetown:
William Harry Warren Bicknell | Joseph Birren | Evelin Bodfish Bourne | Peter Busa | Frank Carson | Oliver Chaffee | Jim Forsberg | Dorothy Lake Gregory | Marion Hawthorne | Marsden Hartley | Blanche Lazzell | Joseph Kaplan | Karl Knaths | Doris Lindo Lewis | William Littlefield | Dorothy Loeb | Ross E. Moffett | Olga Sears | Hyman Shrand | Jack Tworkov | Marcus Waterman | Agnes Weinrich | D.C. Wyman
Jenny Fragosa
Interview with the artist Jenny Fragosa
E.R. : What do you enjoy most about what you do?
J.F. : I enjoy talking to myself about life, and reliving those experiences though the layering of images. When I say, I am truly excited about a piece, what I am really saying is that it's legible. You can visually read it, the images have formed a language the viewer can connect with.
E.R. : What patterns emerge in your work? Is there a pattern in the way you select materials? In the way you use color, texture or light?
J.F. : I do not have a pattern of selecting materials. Many times I place myself in a material predicament. I feel this helps my work by having to work thru a solution to problematic surfaces. I love textures. This quality of texture applies to my work immensely. I enjoy creating work in which I am able to imaginatively escape into. The layers are like a small convenience store on the side of the road, providing for my needs in a pinch. The layers are meant to help me relax and be present in everyday situations. When I work with texture I am reminded that surfaces need to be softened, made to look inviting.
E.R. : How do you start a new piece?
J.F. : I begin a new piece by formally introducing myself, as if to start a new friendship.
E.R. : How do you solve a piece?
J.F. : I make my decisions in my work quickly and fiercely, I like decisions to be almost immediate as if second nature. I feel this helps my work appear very human, attainable. I want everyone to be gut struck by my work.
E.R. : How do you know you have finished?
J.F. : I know a piece is done in the same way you know when a conversation is done, everything that had to be stated was stated. When my work is going well I am filled with a sense of immense joy and calmness. A sense of awareness to all of life's attacks. A sense of determination for the next piece.
E.R. : How do you what people to see your work?
J.F. : Literally, when people see my work, I’d like them to squint. I’d like them to feel self aware.
E.R. : Why do you make your art?
J.F. : Because I have to. Something inside me tells me I have to produce this object. I make my art to relate feelings and emotions that tend to fail when expressed though verbal language. Daily I see situations that are inspiring, I am inspired by people and their reactions to a situation. I find joy in watching peoples reactions and then connecting that with my own experiences. Or in comparing the differences of many peoples reaction to the same situation. My goals are to further my range of materials that I use, video, fabric, sculpture, all in an effort to capture movement through layering.
5 Servings: Trace monotype on rice paper, 17 x 21, 2009
Acidic tongue: Trace monotype on rice paper, 17 x 21, 2009
After the sound: Trace monotype, 22 x 30, 2009
Animal instincts: Trace monotype, 30 x 22, 2008
Attainable: Monotype, 30 x 22, 2007
Consumption: Trace monotype on rice paper, 17 x 21, 2009
Coruscate: Trace monotype, 30 x 22, 2008
Credulous: Trace monotype, 30 x 22, 2008
Digging in the dirt: Monotype, 30 x 22, 2008
Duration: Trace monotype on rice paper, 17 x 21, 2009
Entrailed: Trace monotype, 30 x 22, 2008
Floatation: Monotype, 30 x 22, 2008
Generations: Tracemono type on rice paper, 17 x 21, 2009
Intraocular: Monotype, 30 x 22, 2007
Invitation only: Tracemono type on rice paper, 21 x 17, 2009
Isolated: trace monotype on rice paper, 17 x 21, 2009
Late lunch: Trace monotype on rice paper, 21 x 17, 2009
Man vs. man: Monotype, 22 x 30, 2007
Neighbors: Trace monotype on rice paper, 17 x 21, 2009
Roadside: Trace monotype on rice paper, 17 x 21, 2009
Saturday morning: Trace monotype on rice paper, 17 x 21, 2009