In addition to maintaining an active studio and exhibition practice, MacLelland is also an Associate Professor in Illustration at Lesley Art + Design. MacLelland’s work has received kudos from 3×3, American Illustration, Applied Arts, Creative Quarterly, HOW Design and the Society of Illustrators. He’s exhibited throughout the United States in cities such as NY, LA, and Boston, and has been published in the US, Australia, France and Germany.

Process

MacLelland’s paintings on birch panel are created with Flashe, a vinyl-based paint that dries evenly to a velvety matte, opaque finish. His collage works are constructed from discarded ephemera: cereal boxes, flooring remnants, and leftover gift wrap, MacLelland’s Boston and Cape Cod based mixed media studio practice is eco-conscious. And his palette is dominated by saturated colors that echo the brightly painted buoys that bob atop the ebb and flow of ocean waves.

When Keith’s not making, teaching, or installing exhibitions you can find him living a happy life on Cape Cod with his wife and daughter, three cats and one fluffy dog named, Buoy. Keith loves raw oysters, winter surfing and beach-combing the dunes of Cape.

keith@yourillustrator.com
Wellfleet, MA 02667

www.keithmaclelland.com

Arist reception Friday 6/12 & Saturday 6/13, 5:30 pm – 8:30 pm

Artist, teacher, author, Mary Ann de Buy Wenniger is a well-respected art dealer and gallerist of forty years in Boston, Rockport, Provincetown and now co-owns Wenniger Cottage Gallery and Print Studio in Gloucester, Massachusetts. Mary Ann studied Art history at Boston University and New York University. She received an M.A. in art education from Harvard and a M.F.A. from Vermont College. Mary Ann learned printmaking at the Radcliffe Institute and DeCordova Museum, and is a self-proclaimed course junkie 

delighting in learning new things. Mary Ann was one of the first artists to experiment with the collagraph during its genesis in the 1960’s when polymer glues were developed that make it possible to create permanently adhered collaged plates and print them on rag paper using an intaglio press. She purposely uses new colors for each print; thus each print is unique. The plates themselves are art works. They take weeks to assemble. She uniquely combines elements of sculpture and printmaking. Wenniger collagraphs captivate with their genre scenes, poetic titles reflecting her optimistic spirit. Their hand wrought, painterly surfaces shine with rich colors from heavy printmaking oil inks used. Although printmaking implies multiples, for Wenniger each print becomes a painting. Wenniger collagraphs are primarily in private homes with some in corporate collections: First Bank of New Hampshire, Bank of Boston, Fidelity Investments, Rockefeller collection. maryannwenniger@gmail.com www.wennigercottagegallery.com

Read more about Mary Ann in the Provincetown Magazine article “Labors of Love” published April 13, 2022. >>>

Chris Kelly, Returning Artist at Gallery444 PTown

Opening on Friday night

About the Artist

Contact:
813.453.0492
heyitschriskelly@gmail.com

www.heyitschriskelly.com/about
https://www.longstreetgallery.com/chris-kelly

Opening on Friday night.

Artist, teacher, author, Mary Ann de Buy Wenniger is a well-respected art dealer and gallerist of forty years in Boston, Rockport, Provincetown and now co-owns Wenniger Cottage Gallery and Print Studio in Gloucester, Massachusetts. Mary Ann studied Art history at Boston University and New York University. She received an M.A. in art education from Harvard and a M.F.A. from Vermont College. Mary Ann learned printmaking at the Radcliffe Institute and DeCordova Museum, and is a self-proclaimed course junkie 

delighting in learning new things. Mary Ann was one of the first artists to experiment with the collagraph during its genesis in the 1960’s when polymer glues were developed that make it possible to create permanently adhered collaged plates and print them on rag paper using an intaglio press. She purposely uses new colors for each print; thus each print is unique. The plates themselves are art works. They take weeks to assemble. She uniquely combines elements of sculpture and printmaking. Wenniger collagraphs captivate with their genre scenes, poetic titles reflecting her optimistic spirit. Their hand wrought, painterly surfaces shine with rich colors from heavy printmaking oil inks used. Although printmaking implies multiples, for Wenniger each print becomes a painting. Wenniger collagraphs are primarily in private homes with some in corporate collections: First Bank of New Hampshire, Bank of Boston, Fidelity Investments, Rockefeller collection. maryannwenniger@gmail.com www.wennigercottagegallery.com

Read more about Mary Ann in the Provincetown Magazine article “Labors of Love” published April 13, 2022. >>>

Opening on Friday night.

About the Artist

I think a lot about non-human perspectives, the buckling of space and narrative time, the interface between human infrastructure and nature. I grew up on a farm in Illinois where I was often outside on my own. In paint I try to muscularly inhabit other things, to create worlds of sometimes disparate or dreamlike pieces tethered to the chaotic logic of this one.

The term ‘environment’ can imply a disassociation between us and what we call wild or natural. I try to work from a place that challenges this conceit. I’m interested in shintoism and the old connections of religions to nature. Maybe the things I make are bits of spirit, or icons — not of beings but of interconnections.

Many of my recent paintings are un-stretched. Drawn to the flux of boundaries and the uncertainty of wholes, I play with the shift between a thing, a backdrop, and a window. I am interested in capturing the feeling of a glimpse, or the flickering coexistence of disparate outcomes, as in my spin series and some of my diptychs. Sometimes my pieces seem to me like when someone finds the image of a saint in a piece of toast. Painting can feel like the reverse of that — a kind of hunting for a corporeal and flawed sublime; serious but also funny.

When I am not painting I work as a co-manager for my family’s farm, and at times as a part-time journalist focused on science and culture. I currently live in Idaho and Cape Cod. Although I love people I have prosopagnosia (face-blindness), and I believe the fondness coupled with the anonymity also informs my work.

Contact:
athomp13@gmail.com

www.alexandra-thompson.com

Opening on Friday night.

About the Artist

I think a lot about non-human perspectives, the buckling of space and narrative time, the interface between human infrastructure and nature. I grew up on a farm in Illinois where I was often outside on my own. In paint I try to muscularly inhabit other things, to create worlds of sometimes disparate or dreamlike pieces tethered to the chaotic logic of this one.

The term ‘environment’ can imply a disassociation between us and what we call wild or natural. I try to work from a place that challenges this conceit. I’m interested in shintoism and the old connections of religions to nature. Maybe the things I make are bits of spirit, or icons — not of beings but of interconnections.

Many of my recent paintings are un-stretched. Drawn to the flux of boundaries and the uncertainty of wholes, I play with the shift between a thing, a backdrop, and a window. I am interested in capturing the feeling of a glimpse, or the flickering coexistence of disparate outcomes, as in my spin series and some of my diptychs. Sometimes my pieces seem to me like when someone finds the image of a saint in a piece of toast. Painting can feel like the reverse of that — a kind of hunting for a corporeal and flawed sublime; serious but also funny.

When I am not painting I work as a co-manager for my family’s farm, and at times as a part-time journalist focused on science and culture. I currently live in Idaho and Cape Cod. Although I love people I have prosopagnosia (face-blindness), and I believe the fondness coupled with the anonymity also informs my work.

Contact:
athomp13@gmail.com

www.alexandra-thompson.com

Opening on Friday night.

Artist, teacher, author, Mary Ann de Buy Wenniger is a well-respected art dealer and gallerist of forty years in Boston, Rockport, Provincetown and now co-owns Wenniger Cottage Gallery and Print Studio in Gloucester, Massachusetts. Mary Ann studied Art history at Boston University and New York University. She received an M.A. in art education from Harvard and a M.F.A. from Vermont College. Mary Ann learned printmaking at the Radcliffe Institute and DeCordova Museum, and is a self-proclaimed course junkie delighting in learning new things. Mary Ann was one of the first artists to experiment with the collagraph during its genesis in the 1960’s when polymer glues were developed that make it possible to create permanently adhered collaged plates and print them on rag paper using an intaglio press. She purposely uses new colors for each print; thus each print is unique. The plates themselves are art works. They take weeks to assemble. She uniquely combines elements of sculpture and printmaking. Wenniger collagraphs captivate with their genre scenes, poetic titles reflecting her optimistic spirit. Their hand wrought, painterly surfaces shine with rich colors from heavy printmaking oil inks used. Although printmaking implies multiples, for Wenniger each print becomes a painting. Wenniger collagraphs are primarily in private homes with some in corporate collections: First Bank of New Hampshire, Bank of Boston, Fidelity Investments, Rockefeller collection. maryannwenniger@gmail.com www.wennigercottagegallery.com

Read more about Mary Ann in the Provincetown Magazine article “Labors of Love” published April 13, 2022. >>>

Opening on Friday night.

About the Artist

I think a lot about non-human perspectives, the buckling of space and narrative time, the interface between human infrastructure and nature. I grew up on a farm in Illinois where I was often outside on my own. In paint I try to muscularly inhabit other things, to create worlds of sometimes disparate or dreamlike pieces tethered to the chaotic logic of this one.

The term ‘environment’ can imply a disassociation between us and what we call wild or natural. I try to work from a place that challenges this conceit. I’m interested in shintoism and the old connections of religions to nature. Maybe the things I make are bits of spirit, or icons — not of beings but of interconnections.

Many of my recent paintings are un-stretched. Drawn to the flux of boundaries and the uncertainty of wholes, I play with the shift between a thing, a backdrop, and a window. I am interested in capturing the feeling of a glimpse, or the flickering coexistence of disparate outcomes, as in my spin series and some of my diptychs. Sometimes my pieces seem to me like when someone finds the image of a saint in a piece of toast. Painting can feel like the reverse of that — a kind of hunting for a corporeal and flawed sublime; serious but also funny.

When I am not painting I work as a co-manager for my family’s farm, and at times as a part-time journalist focused on science and culture. I currently live in Idaho and Cape Cod. Although I love people I have prosopagnosia (face-blindness), and I believe the fondness coupled with the anonymity also informs my work.

Contact:
athomp13@gmail.com

www.alexandra-thompson.com

Opening on Friday night.

Contact:
https://www.lisagrubb.com/contact

www.lisagrubb.com