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Sacred Sense

'sacred sense'
Exhibit dates: 8 September-15 October 2006. Reception: 8 September.
about the show
artist statements directions/hours contact

Kelvy Bird
“Pulse 043"
Latex on canvas
5' x 5'
full imageweb
  Matt Carrano
Oil on Linen
36" x 32"
full image
  Barbara Cone
“Tidal Storm One"
Digital Color Photograph
12" x 10"
full image
  Jennifer Flores
Encaustic /print /oil
6" x 12"
full imageweb
Herbert   Jackson   Moss   Novesky
James Herbert
“The Moment He Knew"
Oil on canvas
72" x 60"
full image
  Jim Jackson
“³Golden Cloud²"
Acrylic on Cut Canvas
24" x 30"
full imageweb
  Riki Moss
“Forest Angel"
Paper pulp, willow, and wire
18" x 24"
full imageweb
  Diane Novetsky
“Lush Garden"
36" x 36"
full image
SchönEllen Schön
Found wood
22" x 20" x 15"

full imageweb
  vansV Van Sant
“the sacred place"
Mixed Media
80" x 19" x 24"
full image
  WestonSarah Weston
Digital Transfer Fresco
15" x 8" x 1"
full image


about the show
Curators: Karl Gustafson and Matt Carrano.

artist statements

Kelvy Bird: email
The story central to this work is that of spiritual opening, unfolding. Each painting presents a moment where a person’s true being, their presence, comes forth the moment someone’s eyes light up, the moment we are touched and touch, moments of personal insight and revelation. These works seek to convey a truth that inner joy persists. Yellow, a color of hope radiates forth and surrounds. The directness of a circle within a square quite simply represents our self in relation to our environments. The line of the circle is the place of boundary, the edge that defines how we intersect with others and with the world. If there were to be any message for the viewer, it would be that there is tremendous beauty in letting our spirit expand out beyond our internal walls. If the work were to convey an intuitive message, it would be that that presence is truth, undeniable, pure, and perfect. To receive this message a viewer must be ready to feel, let go of thought, leave these words behind and stand in front of the orbs and feel, be. Respond to the work from your heart. Be willing to have no answer, no explanation. Suspend any judgment. Soak in what you can. Locate your own pulse.

Matt Carrano: email
For me, painting in plein-air, directly from the landscape, is a way to engage with nature.  To experience the changing light, the changing weather, the sun, and yes, even the insects, makes me feel connected with the essential forces of life.  These are forces that we experience, but cannot completely understand or control.  To create a painting that says, “This is what I saw in this place, at this time,” allows me to share that experience with the viewer.  While I hope that the paintings themselves can capture, at least in some small way, the feeling of time and place from which they were made, it is the act of making these paintings that I hold sacred.  It’s the act of trying to capture my experience of time and place on the canvas and create a work of art that transcends a simple pictorial reading, for the real subject is time.  It is a desire to invite the viewer to enter that space with me.  It is an attempt to allow that singular moment to live on.

Barbara Cone
The “tidal storm” series is part of an on-going photography project taking place over the course of one year.  A visual record is being made of the same subject in the same place.  Only the time of day, weather and season will change. This project reflects the increasing influence of buddhist traditions in my work, especially the notions of the inevitability of change and the interdependence of all existence.  Buddhism is essentially experiential and art is a distillation of experience.  Many artists find a great deal of common ground between the two. I have long been interested in how the simple and elegant beauty of a bamboo basket, piece of japanese pottery, fragment of hand-woven fabric or a japanese garden suggest some element or energy that is hidden from view but can be felt in the heart.  The tidal series project is my attempt to capture something that transcends both the simple idea of the project and the subject matter. The project also reflects my efforts to slow down, quiet my “monkey mind,” as the buddhists call it, and works towards incorporating a more conscious spiritual practice into my everyday life and work.  I have a very long way to go, but this project allows me to document the journey along the way. 

Jennifer Flores: email
Question: how do we maintain convictions that we believe in; the core of our identity and what we stand for? What happens when situations cause us to falter? We are periodically faced with those defining moments that suddenly change our purpose for being and challenge our definition of life. Crossing that Line of Demarcation changes who we are and once crossed this doubt changes our belief and convictions. These works are representative of that moment of choice.

James Herbert: email
Each person who contemplates this piece may come up with a different point of view on what it is that he knows at this moment.  Acceptance? Betrayal? Is he rising? Is he falling?  He is certainly not hanging. This piece is a manifestation of excruciating pain, not only physical pain but mental as well. It suggests to me the moment of realization that each person must come to at some time in their life.

Jim Jackson: email
For years, I felt inspired by the idea that all that is about life and death, the earth and the universe is sacred. Until I came to the realization
that if this was so then by definition the exclusiveness implied by the word"sacred" was meaningless. There is a certain sense of liberation in being free from the word, free from so many taboos that societies generate to protect sacredness. On the other hand, I feel strangely compelled to hold onto the classification. Much of my work is about this conundrum. It dances with many diverse ideas of specialness, spirituality, deism, agnosticism, all those exotic words. I want the images to be perceived in an inclusive, rather than exclusive way, yielding a broader meaning to what each individual might define as the sacred. I don't expect the work itself to be defined as sacred (that would make me very nervous), however I would hope that the work would help the viewer draw a little deeper from within themselves as they go about the process of giving special meaning to art.

Riki Moss: email
These pieces are part of an ongoing paper forest. The idea is to reconstruct a new forest from what has been taken away by man (exploitation) or discarded in the natural process of generating new forms (husks, seedpods, broken branches, etc.) or created as a recorded memory (digital images, a web presence) or through interaction (kinetics through sensor, motors, robotics.) Consider art as a gift that must be passed on, not necessarily to the giver. The forest provides innumerable gifts of housing, sustenance, protection, beauty, sounds, smells; the experiences of bewilderment, patience, endurance, fragility, fear, destruction, meditation and murder. By working with the materials provided by the forest - the paper, reed, water, fallen trees, torn out roots - by interacting in the forest with my senses, my mind, my desires, I create a record of that experience to pass on to you. By being in this space, you take the gift into yourself and pass it through.

Diane Novetsky: email
I believe the sacred to be a consciousness of a higher power or being and the connection of all living things to this divinity. As “rational” beings we try to understand this power and discover that our search must be conducted through our experience of the world and a transcendent faith rather than through the intellect alone. As an artist, I believe that the creative process connects me to the concept of creation which is at the heart of the universe. This connection to the divinity is what Michelangelo expressed in the Sistine Chapel fresco of Adam receiving the divine spark of life from God. My paintings are all about my individual journey towards self-discovery— a journey of self-creation in which I am able to express the connection which we all have to this sacred life force. My paintings—a by-product of this creative act—are also a way for me to share a pathway to this transcendent vision with the viewer. While I may obliquely reference the world of nature, my paintings are basically about the world of the spirit and our search to become one with the divine.

Ellen Schön
These pieces acknowledge both the vulnerability and strength of human beings in face of the vicissitudes of life. Seen as altars, they are pleas and offerings to the mysterious, nameless unknown; as fonts, they are refuges and wellsprings, sources of solace from pain and despair. 

V Van Sant
Some of my strongest beliefs stem from the more primitive indigenous people of the past. People closer to nature because they lived in it. They believed there was a connection to everything, and all is important. The earth is sacred, water is sacred, the air itself is sacred. If those carefully formed balance of molecules cease to exist there would be no man to ponder this question. The beauty and balance of nature is the miracle. The reason for it's existence is the question debated. Do we give credit to a higher power? In these alter-like pieces, the imagery of natural elements combined with man-made decay is meant to remind us that nothing stays the same, and that everything must be cared for and "tended". In time the world will break down, and decay, we need to slow that progress. If we truly believe that God made all of this for us, then we need to treat it with respect. We need to consider it sacred.

Sarah Weston: email
Our journeys encompass a panoply of experience, and we are changed by each new segment of our path.  Artmaking is a process of acknowledging our spiritual expansion, seeking possibilities, seeking the sacred self. My artistic expression becomes my vehicle for understanding the connection we all have to our world. In this way, I try to participate in the life of the soul. Windows allow us to be transported beyond our personal world. They offer possibilities, leading us Into or Away. We see the promise of a liminal space that offers a different kind of being. My pieces are modeled specifically as windows. As in churches, these are varied. They reveal a sacred perspective, witnessing where we have been or proposing where we might go. They offer a promise of change, of transformation. My windows are an expression of my own sacred journey in which I limp, leap, swim, intuit or stumble toward a place that feels right.

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