IN THE MEMBERS' GALLERY
In Memory: works by Stacey Alickman
May 3-28, 2017
Opening Reception: Friday, May 5, 2017, 5:30-8:00 pm
Spiral, paint chips on paper.
Spiral (detail), paint chips on paper.
On view in the Members' Gallery is work by the late Stacey Alickman, a long-time member of Kingston Gallery and an important presence in the Boston art community for more than twenty years. In Memory: works by Stacey Alickman exemplifies a fascination with paint and free-flowing experimentation with additive and reductive techniques, sanding down layers of paint to allow for underpainting to come through, and building surface that speaks to the perception of texture rather than just texture itself. Often allowing the physical aspects of the paint to assert itself, Alickman conveys a transcendence of medium.
About Stacey Alickman
Stacey Alickman was a painter and illustrator based in Cambridge. MA. She earned a degree from Brandeis University, studied graphic design at the Massachusetts College of Art, and painting at The School of the Museum of Fine Arts. Alickman’s work has been featured in publications including Drum Literary Magazine, Big Red & Shiny, and The Boston Globe. Her Pulling The Legs Off Bugs Project was successfully funded through USA Projects in Los Angeles, CA in 2012, and she received grants from both the Coleman Foundation and Berkshire Taconic Association in 2014 and 2015. Alickman’s works on paper can be seen at The Drawing Center/Viewing Program in New York and also at Carroll and Sons, Drawing Project at 450 Harrison Avenue in Boston. In January 2017, Stacey Alickman died after valiantly living with ovarian cancer.
In the artist's voice: an Artist Statement by Stacey Alickman, 2014
“In the past couple of years, I’ve been layering oil paint over extended periods of time, often putting it on then taking it off. At some point, the physical aspects of the paint assert itself and I am no longer controlling the outcome. The paint wills itself into a composition that is not of my ideas but something hopefully more transcendent. Lately, I’m simply more open to the possibility of not knowing what the work is about. A painting I can live with is one that results in an end that couldn’t have gone any other way. I'm most excited to be exploring more nuanced type of textures. Not just impasto and ridges but also something that is the perception of texture rather than just texture itself. I am finding new inspiration in current work by sanding down the paint in order to build up lines again while allowing for previous layers to come through.”